(In Three Parts)
Tuesday, November 15, 2011
(In Three Parts)
Here bygynneth the Book of the Tales of Caunterbury
Whan that Aprill, with his shoures soote
The droghte of March hath perced to the roote
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
Whan Zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open eye-
(So priketh hem Nature in hir corages);
Thanne longen folk to goon on pilgrimages
And palmeres for to seken straunge strondes
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond, to Caunterbury they wende,
The hooly blisful martir for to seke
That hem hath holpen, whan that they were seeke.
Modern Translation:
When in April the sweet showers fall
That pierce March's drought to the root and all
And bathed every vein in liquor that has power
To generate therein and sire the flower;
When Zephyr also has with his sweet breath,
Filled again, in every holt and heath,
The tender shoots and leaves, and the young sun
His half-course in the sign of the Ram has run,
And many little birds make melody
That sleep through all the night with open eye
(So Nature pricks them on to ramp and rage)
Then folk do long to go on pilgrimage,
And palmers to go seeking out strange strands,
To distant shrines well known in distant lands.
And specially from every shire's end
Of England they to Canterbury went,
The holy blessed martyr there to seek
Who helped them when they lay so ill and weak.
Friday, November 11, 2011
50 British Poets that have stood the test of TIME
- A.E. Housman
- Alexander Pope
- Alfred Tennyson
- Andrew Marvell
- Anne Bronte
- Ben Johnson
- Charlotte Bronte
- Christina Rossetti
- Christopher Marlowe
- D.H. Lawrence
- Dante Gabriel Rossetti
- Dylan Thomas
- Edmund Spenser
- Elizabeth Browning
- Emily Bronte
- Ezra Pound
- Francis Bacon
- George Elliot
- George Herbert
- John Betjeman
- John Clare
- John Donne
- John Dryden
- John Keats
- John Milton
- Jonathan Swift
- Mathew Arnold
- Oscar Wilde
- Percy Shelley
- Phillip Larkin
- Richard Lovelace
- Robert Browning
- Robert Burns
- Robert Graves
- Robert Herrick
- Rudyard Kipling
- Samuel Johnson
- Samuel Taylor Coleridge
- Sir Phillip Sidney
- Sir Walter Scott
- T.S. Elliot
- Ted Hughes
- Thomas Hardy
- Thomas Moore
- W.H. Auden
- Wilfred Owen
- William Blake
- William Butler Yeats
- William Shakespeare
- William Wordsworth
Thursday, October 27, 2011
Essentials for Chaucer
IV
COUNTERING THE "DEADLY" VICES WITH VIRTUES
We need to see the deadly vices in the context of the spiritual warfare we are engaged in as Christians. We are in mortal combat with an enemy, Satan and his host of evil spirits, who seek to destroy us and to take from us the reward of heaven-an inseparable union with an all-loving and all-wise Creator. While the encounter with vices may be inevitable, we need not counter them unarmed. The virtues are like a warrior's armor and weaponry. At worst they blunt the blows of the deadly vices; but at their best they enable us to defeat the enemy decisively. The Apostle Paul exhorts us to "put to death, therefore, whatever belongs to your earthly nature" (Col. 3:5). He goes on to list a number of deadly vices: sexual immorality, impurity, lust, evil desires, greed, anger, rage, malice, slander, filthy language, and lies (Col. 3:5,8,9). He instructs us to "put on the new self, which is being renewed in knowledge in the image of its Creator" (Col. 3:10). This new self is characterized by virtue: compassion, kindness. humility, gentleness, patience, and love (Col. 3:12,14)."Therefore put on the full armor of God, so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand" (Eph. 6:13).
The necessity of countering the vices with virtues was long recognized by Christians. Francis of Assisi, a 13th century reformer, describes the power of the virtues in destroying vices in his poetic discourse on The Praises of the Virtues (Salutatio Virtutum)26
0 most holy Virtues, may the Lord protect all of you, from Whom you come and proceed. There is surely no one in the entire world who can possess any one of you unless he dies first. Whoever possesses one (of you) and does not offend the others, possesses all. And whoever offends one (of you) does not possess any and offends all. And each one destroys vices and sins. Holy Wisdom destroys Satan and all his subtlety. ...Holy Charity destroys every temptation of the devil and of the flesh and every carnal fear.Writings on the seven deadly sins or vices can be traced back to the early church fathers, such as Cassian, a 4th century writer. Geoffrey Chaucer, a 14th century English writer, included a treatise on repentance and the nature of the seven deadly sins or vices in his book The Canterbury Tales (last chapter, "The Parson's Tale"). Chaucer used the image of a tree in describing the deadly vices as "principle sins because they are the chief sins and the trunk from which branch all others. And the root of these seven sins is pride, which is the general root of all evils; for from this root spring certain branches, as anger, envy, acedia or sloth, avarice (or coveteousness, for vulgar understanding), gluttony, and lechery. And each of these principal sins has its branches and its twigs..." Chaucer remarked that the visible acts of sin are indications of what is within a man's heart, just as the sign outside the tavern is a sign of the wine that is within the cellar. Chaucer identified a virtue for countering each of the deadly vices:
| Pride | Humility |
| Greed, avarice, coveteousness | Liberality, mercy |
| Lust | Chastity, continence |
| Anger | Patience, meekness |
| Gluttony | Temperance, abstinence, self-control |
| Envy | Love of God, love of neighbor, love of enemy |
| Sloth | Fortitude, courage |
Wednesday, October 19, 2011
POETRY MASTER SCHEDULE
The Elements of Poetry
Directions: You will be required to annotate/outline all chapters within the poetry unit of the Perrine’s textbook. As you track your notes, you MUST select ONE poem per chapter and answer the questions asked about that specific chapter. You might want to use a separate spiral notebook for this assignment or you could possibly use legal pads (your predilection).
I ask this of you because you MUST become “the scholar” of poetry analysis. You will then “knock out” all poetry multiple choice questions AND write an amazing response for Question #1. You will have pop quizzes periodically.
Chapter One—What is Poetry?
Chapter Two—Reading the Poem
October 24th Chapter Three—Denotation and Connotation
October 25th Chapter Four—Imagery
October 26th Chapter Five—Figurative Language I
October 27th Chapter Six—Figurative Language II
October 28th Chapter Seven—Figurative Language III
October 29th Chapter Eight—Allusion
October 30th Chapter Nine—Meaning and Idea
October 31th Chapter Ten—Tone
November 1st Chapter Eleven—Musical Devices
November 2nd Chapter Twelve—Rhythm and Meter
November 3rd Chapter Thirteen—Sound and Meaning
November 4th Chapter Fourteen—Pattern
November 5th Chapter Fifteen and Sixteen—Evaluating Poetry I, II
Friday, October 14, 2011
College Admission Essay Topics
Apologies if the list does not contain your particular college/university question. Speaking of apologies, keep this one in mind as you write your final draft, and as you remember those tired admissions officers who must sift through 20 or 30 applications before lunch:
1.What work of art, music, science, mathematics, or literature has influenced your thinking, and in what way? (University of Virginia applicants to the College of Arts and Sciences)
2.Discuss how a particular work of music, literature, or art has inspired your life. (William and Mary)
3.Tell us how a particular book, play, film, piece of music, dance performance, scientific theory or experiment or work of art has influenced you. If you choose a novel, film or play, assume we know the plot. (University of Notre Dame)
4.Consider the books you have read in the last year or two either for school or for leisure. Please discuss the way in which one of them changed your understanding of the world,other people, or yourself. (Duke University)
5.Tell us about a situation where you have not been successful and what you have learned from the experience. (William and Mary)
6.First experiences can be defining. Cite a first experience that you have had and explain its impact on you. (University of Pennsylvania)
7.Recall an occasion when you took a risk that you now know was the right thing to do. (University of Pennsylvania)
8.Tell us what you think about a current scientific or social controversy. (William and Mary)
9.Most people belong to many different communities‹groups defined by (among other things) shared geography, religion, ethnicity, income, cuisine, interest, race, ideology, or intellectual heritage. Choose one of the communities to which you belong, and describe that community and your place within it. Limit your response to half a page, or approximately 250 words. (University of Virginia all applicants)
10.What can you contribute to a multi-cultural world? (William and Mary)
11.The quality of Rice¹s academic life and the residential college system is heavily influenced by the unique life experiences and cultural traditions each student brings. What perspective do you feel that you will be able to share with others as a result of your own life experiences and background? Cite a personal experience to illustrate this. Most applicants are able to respond successfully in two to three pages. (Rice University)
12.Northwestern is a community of individuals from diverse cultures and regions of the world and with a myriad of interests and talents. Is there a type of individual you have not had much contact with in your community whom you would like to meet on campus? What do you think would be the outcome of that meeting, and what would be its effect on you? (Northwestern)
13.Respond to the question: How can I prepare educationally for a global society? (Hampton University)
14.Once you have completed your education, would you return to your hometown to begin your adult life? Why or why not? (William and Mary)
15.Names have a mysterious reality of their own. We may well feel an unexpected kinship with someone who shares our name, or may feel uneasy at the thought that our name is not as much our own as we imagined. Most of us do not choose our names; they come to us unbidden, sometimes with ungainly sounds and spellings, complicated family histories, allusions to people we never knew. Sometimes we have to make our peace with them, sometimes we bask in our names¹ associations. Ruminate on names and naming, your name, and your name¹s relationship to you. (University of Chicago)
16.The late William Burroughs once wrote that "language is a virus from outer space." We at the University of Chicago think he¹s right, of course, and this leaves us wondering what else came here with it. Could this finally explain such improbable features of modern life as the Federal Tax Code, non-dairy creamer, Dennis Rodman, and the art of mime? Name something that you assert cannot have originated any other way. Offer a thorough defense of your hypothesis for extraterrestrial origins, including alternate explanations and reasons for eliminating them from consideration. (University of Chicago)
17.What effect has any voluntary or independent research, reading or study, work in the arts, science project, etc. (outside of school), had on your intellectual and personal growth in recent years? Discuss what influence this involvement has had on your academic goals. (Northwestern)
18.What has been your most profound or surprising intellectual experience? (Duke University)
19.Anatole France said, "If 50 million people say a foolish thing, it is still a foolish thing." On what subject do you disagree with most people, and why? (Northwestern)
20.According to Stephen Carter, we can admire those with integrity even if we disagree with them. Are there people you admire even though you deeply disagree with them? What do you admire about them? How do you reconcile this apparent contradiction in your assessment? (Duke University)
21.Who is the secondary school teacher who has had the greatest positive impact on your development? Please describe the ways in which this teacher has influenced you. (Bowdoin College)
22.Reflect on these words of Dorothy Day: "No one has the right to sit down and feel hopeless. There's too much work to do." What is "the work to be done" for your generation, and what impact does this have on your future as a leader? Write a creative, reflective, or provocative essay. (University of Notre Dame)
23.Read Martin Luther King Jr.'s "Letter from Birmingham Jail." It can be found in several anthologies, most recently King Remembered (W.W Norton & Company, 1986). Drawing upon personal experience, write a creative, reflective or provocative essay. (University of Notre Dame)
24.What characteristics of Penn, and yourself, make the University a particularly good match for you? Briefly describe how you envision your first year in college. How will your presence be known on campus? (University of Pennsylvania)
25.Why did you first become interested in William and Mary? (William and Mary)
26.Why do you consider Duke a good match for you? Is there something in particular you anticipate contributing to the Duke community? If you are applying to the School of Engineering, you may discuss your interest in the field of engineering in general or your interest in Duke's program specifically. (Duke University)
27.You have just completed your 300-page autobiography. Please submit page 217. (University of Pennsylvania)
28.Imagine you have written a short story, film, or play about your last four years. Briefly describe the one moment or scene that your audience will most remember from this autobiographical piece. What will they learn about you from that moment? (Northwestern)
29.What do you think people who know you would be surprised to learn about you? Limit your response to one page.(Rice University)
30."The instructor said,/Go home and write/a page tonight./And let that page come out of you‹/Then, it will be true." The second line of this poem by Langston Hughes, "Theme for English B," goes on to ask: "I wonder if it¹s that simple?" We ask you here to write a truthful page about yourself, beginning where Hughes begins: "I am twenty-two, colored, born in Winston-Salem./I went to school there, then Durham, then here/to this college on the hill above Harlem./I am the only colored student in my class." That is to say, each of us is at a certain stage of life and has a history. Each of us has lived somewhere and gone to school. We each are what we feel and see and hear, as the poem goes on to say. Begin there and see what happens. (University of Chicago)
31.Pose a question of your own, the answer to which you believe will display your best qualities as a writer, thinker, visionary, social critic, sage, sensible woman or man, citizen of the world, or future citizen of the University of Chicago. (University of Chicago)
32.Tell us the question you think a selective college should ask. Why? (William and Mary)
33.The Committee on Undergraduate Admissions is interested in learning more about you. Please use this essay to relay information about you that cannot be found elsewhere on your application. You may choose to write about your future ambitions and goals, a special talent or unusual interest that sets you apart from your peers, or a significant event or relationship that has influenced you during your life. (George Mason University/Virginia Tech)
34.Please submit a final piece of writing on any subject you choose. Limit your response to one page, or approximately 500 words. (University of Virginia all applicants)
35.Please write on a matter of importance to you. Any topic, and any form of written expression, is acceptable. If you have written something for another purpose--even an essay for another college--that you believe represents you particularly well, feel free to submit it here. As a guideline, remember that we are especially interested in issues of personal significance. (Duke University)
36.Which of the majors in the School of Architecture‹architecture, architectural history, or urban and environmental planning‹most appeals to you, and why? (University of Virginia applicants to the School of Architecture)
37.Please respond to each of the following: 1) What aspirations, experiences, or relationships have motivated you to pursue the study of architecture? 2) Outside of academics, what do you enjoy most or find most challenging? Responses should be one page each. (Rice University applicants to the School of Architecture)
38.Engineers will face many challenges over the next twenty years. Which of these challenges seems the most compelling to you, and how do you plan to help meet it? (University of Virginia applicants to the School of Engineering)
39.Select a creative work: a novel, a film, a poem, a musical piece, a painting or other work of art that has influenced the way you view the world and the way you view yourself. Discuss the work and its effect on you. (University of Virginia/William and Mary/NYU)
40.What book, poem, piece of music, or artwork has influenced you? Write down your thoughts and feelings about this work and write a dialogue in which the work responds to you.
41.Name one book you have read in the past year, describe your reason for considering this book significant and what you gained from reading it. (Lewis and Clark College)
42.Discuss how something you have read has affected you or changed your mind about something. 5.Tell us about the biggest mistake you¹ve ever made, or heard of. (University of Virginia)
43.Describe a risk that you have taken and discuss its impact on your life. (Kalamazoo College)44..Tell us about the most embarrassing moment of your life. (Santa Clara University) 8.Tell us about the neighborhood that you grew up in and how it helped shape you into the kind of person you are today. (Yale and the University of Chicago) 9.Read Annie Dillard¹s "An American Childhood." Choose one of her observations or ideas and write a creative, reflective or provocative essay. (Notre Dame) 10.What are the responsibilities of an educated person? (University of Puget Sound).Identity and culture are clearly intertwined. How has your experience of culture influenced the development of your own personal identity? (NYU)
44. At Colorado College, diversity is considered an integral component of every student's liberal arts education. Discuss your division of "diversity" and the ways in which you expect it to affect your college experience. (Colorado College)
45. Of all the activities you listed above, which one has proved to be the best, or the worst, use of your time, and why? Use one specific example to illustrate how this activity has, or has not, been worthwhile. (University of Virginia) 14.Sartre said "Hell is other people," while Streisand sang, "People who need people are the luckiest people in the world." With whom do you agree? (Amherst) 15.Discuss an important personal relationship you have had and explain how it has changed your life.
46. Who are the people who have done the most to influence your personal development and in what ways were they influential? (Carleton College) .Defend your least conventional belief. (University of Virginia)
47. If you were to protest something, for or against, what would it be and why? 19.Are you honorable? How do you know? (University of Virginia)
48. Relate a personal experience that caused you to discern or refine a value that you hold. (University of Virginia) 21.Relate an incident in your life in which honesty or character (or both) were at issue. (University of Virginia) 22.Describe a situation in which your values or beliefs were challenged. How did you react? (NYU)
49. As a prospective 21st century college graduate, you will enter a workforce and live in a society with an increasingly global perspective. How will your current knowledge of international issues and cultures influence your undergraduate study? (NYU)
50. If you could invent something, what would it be, and why? (University of Virginia) 25.Using a piece of wire, a car window sticker, an egg carton, and any inexpensive hardware store item, create something that would solve a problem. Tell us about your creation, but don't worry: we won't require proof that it works. (Johns Hopkins)
51. What invention would the world be better off without, and why? (Kalamazoo College)
52. If you were to write a book, on what theme or subject matter would it be based, and why? (Stanford)
53. What is your favorite word, and why? (University of Virginia)
54. What effect has any voluntary or independent research, reading or study, work in the arts, science project, etc., had on your intellectual and personal goals in recent years? Discuss what influence this involvement has had on your academic goals. (Northwestern)
55. Describe your most important academic accomplishment or intellectual experience to date. We don't want to know about test scores or course grades, rather we want to know about your creativity, your willingness to take intellectual risks or your affinity for scholarly endeavors. (MIT)
56. Describe an intellectual experience of the past two years that has given you great satisfaction. (Amherst)
57. Do you believe that your academic record accurately reflects your abilities? Explain. 33.What confuses you most in life, and why? (University of Virginia)
58. George Washington said, "Associate with men of good quality, if you esteem your own reputation; it is better to be alone than in bad company." About which of your friends do you and your parents disagree? Why do you feel that the continued company of this friend is a good thing? (Northwestern)
59. Explain how your experiences as a teenager significantly differ from those of your friends. Include comparisons. (University of Puget Sound)
60. Imagine you have written a short story, film, or play about your last four years. Briefly describe the moment or scene that you think your audience will most remember after they have finished this autobiographical piece. What will they learn about you from that moment? (Northwestern)
61. If you were to look back on your high school years, what advice would you give to someone beginning their high school career? (Simmons)
62. Imagine that you are a "hero" or "heroine" for one day during any time period and under any circumstances. Write a creative essay describing your experience. (Notre Dame)
63. What is the best advice you ever received? Why? And did you follow it? (University of Pennsylvania)
64. Tell us about a conversation you've had that changed your perspective or was otherwise meaningful to you. (Stanford)
65. If we could only admit one more student to ________ University, why should it be you? (University of Pittsburgh)
66. Of all the things you hope or expect to gain from your college experience, which two or three would you place at the top of your list? Explain what you want to gain and why these experiences are most important to you.
67. You are about to write your future college roommate a letter. Please provide the roommate with a personal story that will give him/her some insight into your personality. (St. Mary¹s College, MD)
68. Tell one story about yourself that would best provide us, either directly or indirectly, with an insight into the kind of person you are. For example, the story can simply relate a personal experience, or a humorous anecdote; it can tell about an especially significant academic encounter or about an unusual test of character. The possibilities are unlimited (well, almost so). You choose. Just relax and write it. (Princeton)
69. .Please provide information that you feel will give a more complete and accurate picture of yourself, e.g., background, personal philosophy or traits, goals, etc. Be sure to describe the influence of these factors. Please be concise and limit your response to one or two pages. (Pomona College)
70. What single adjective do you think would be most frequently used to describe you by those who know you best? Briefly explain. (Stanford)
71.If you were to describe yourself by a quotation, what would the quote be? Explain your answer. (Dartmouth)
72. Create a metaphor for yourself using something you would find in your kitchen or your garage. List as many similarities or relationships between yourself and this object as you can think of, then elaborate on this comparison in an essay. Why is this object a good representation of you? (adapted from U. of Chicago)
73.Discuss how some negative experience (disability, illness, failure) has had a positive influence on your life.
74..Describe a personal habit that helps to define you as a person.
75.Discuss how a specific place can be used to help illustrate your personality. 52.If you had to describe yourself as an animal, what animal would you select and why?
76. Describe a fictional character. Be sure to point out what you do or do not like about the character and relate these attributes to yourself.
77. What have you undertaken or done on your own in the last year or two that has nothing to do with academic work? (Northwestern)
78. Discuss how your travel experiences have affected you as a student and a citizen of the world.
79. If money and family obligations left you entirely free, how and where would you spend the summer before college?
80. If you were given the opportunity to spend one year in service on behalf of others, which area would you choose? Explain what you would do and why.
81. If you had a day to spend as you wish, how would you use your time? (Carleton College)
82. .Imagine that you have the opportunity to travel back through time. At what point in history would you like to stop and why? (Swarthmore)
83. .What do you think has been the most important social or political movement of the twentieth century? Do you share a personal identification with this cause? (Trinity College, CT)
84. History has recorded the American Revolution, the Industrial Revolution, and the Sexual Revolution. Today we are witnessing a revolution in the way we receive information. What do you think will be the next great revolution, and what will be its impact on you and your society? (Northwestern)
85. If you were to develop a Mt. Rushmore representing the 20th century, whose faces would you select and why? (William and Mary) 63.If you could be a fly on the wall to observe any situation--historical, personal, or otherwise--describe what you would choose to observe and why. What would you hope to learn and how would it benefit you? (University of Pittsburgh)
86. If you could spend a year with any real or fictional person in the past, present, or future, whom would you choose? Why? (Kalamazoo College)
87. If you could hold a conversation with someone (living or deceased) you consider significant, who would you talk to and what would you talk about? Describe your conversation. (University of Oregon)
88. If you could meet any famous person, living or dead, who would it be? Write a dialogue between you and that person.
89. If you could become another person, real or fictional, for one day, who would you become and why?
90. If you had the power to change three things in your community or in the world, what would you change and why? (Middle East Technical University in Turkey) 69.If you could change the course of a singular event in history, what event would you affect, and why? In addition, please provide insight on how you would implement your decision. (St. Mary¹s College, MD) 70.If you could go back and change one day in your life, what would you change and why? (Santa Clara University)
91. Please write a personal journal entry as if the date were Sept. 20, 2030. (St. Mary¹s College, MD.)
92.It has been said [by Andy Warhol] that in the future everyone will be famous for fifteen minutes. Describe your fifteen minutes. (New York University)
93.Recent developments in technology have revolutionized the way we gather information, communicate with one another, and even express ourselves as individuals. If there is a computer in your life, tell us how you use it. If there is not a computer in your life, tell us how you would. (William and Mary)
94.Select a technological innovation of this century and discuss its effects on your family, local community or nation. (Notre Dame)
95.Look through old family photos and pull out a few that remind you of important times or significant moments. (Remember that the impact of a moment is what makes it significant. A hike through the woods can sometimes be more significant than a birthday.) Choose one of these "Kodak Moment" to describe and explain its significance to you. Speak about the photograph and your feelings about what you see in it.
96.Attach a small photograph of something important to you and explain its significance. (Stanford)
97.You are on your dream vacation and have just finished shooting a roll of film. As you go to develop the film, the local merchant offers to make a postcard of one of your photos. Describe the photo, why you selected it and write a brief note to your friends back home. (Be sure to include where you are and what you have been doing there.) (University of the Pacific)
98.Elvis is alive! Okay, maybe not, but we have been persuaded that recent Elvis sightings in highway rest areas, grocery stores and laundromats are part of a wider conspiracy involving five of the following: the metric system, the Mall of America, the crash of the Hindenberg, Heisenberg's uncertainty principle, lint, J.D. Salinger, and wax fruit. Construct your own theory of how and why five of these items are related. (University of Chicago)
99.The subject of food is never far from our minds here in College Admissions. It is a topic of serious conversation this year on campus, too, with the publication of a book called The Hungry Soul: Eating and the Perfecting of our Nature, by Leon Kass, M.D., a Chicago faculty member who teaches in the College. The book takes a philosophical look at what food, eating, and table manners have to tell us about our human estate. Compose an essay about a memorable meal you have eaten. We are especially interested in the details: the occasion, your company at this meal, its physical setting, the kinds of foods you ate, or their preparation. (University of Chicago)
100.Ask and answer the one important question which you wish we had asked. (Carleton College)
Senior BOAST
Requirements:
1. Your BOAST must be no longer than one page, no longer.
2. In this Boast you must include your genealogy, your acts of courage, your victories over enemies, any other achievements and awards, and, in closing, your next great act.
3. Remember to use elevated language, exaggeration (hyperbole), specific details, and poetic devises (similes, metaphors, imagery, alliteration, assonance, kennings, and personification)
4. You will deliver the Boast orally and should be prepared to turn in a typed copy (double spaced) with your name, date, and period (single spaced at the top left hand corner of the page)
Friday, September 16, 2011
Justification for 1984
From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.
I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious — i.e. seriously intended — writing which I produced all through my childhood and boyhood would not amount to half a dozen pages. I wrote my first poem at the age of four or five, my mother taking it down to dictation. I cannot remember anything about it except that it was about a tiger and the tiger had ‘chair-like teeth’ — a good enough phrase, but I fancy the poem was a plagiarism of Blake's ‘Tiger, Tiger’. At eleven, when the war or 1914-18 broke out, I wrote a patriotic poem which was printed in the local newspaper, as was another, two years later, on the death of Kitchener. From time to time, when I was a bit older, I wrote bad and usually unfinished ‘nature poems’ in the Georgian style. I also attempted a short story which was a ghastly failure. That was the total of the would-be serious work that I actually set down on paper during all those years.
However, throughout this time I did in a sense engage in literary activities. To begin with there was the made-to-order stuff which I produced quickly, easily and without much pleasure to myself. Apart from school work, I wrote vers d'occasion, semi-comic poems which I could turn out at what now seems to me astonishing speed — at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week — and helped to edit a school magazines, both printed and in manuscript. These magazines were the most pitiful burlesque stuff that you could imagine, and I took far less trouble with them than I now would with the cheapest journalism. But side by side with all this, for fifteen years or more, I was carrying out a literary exercise of a quite different kind: this was the making up of a continuous ‘story’ about myself, a sort of diary existing only in the mind. I believe this is a common habit of children and adolescents. As a very small child I used to imagine that I was, say, Robin Hood, and picture myself as the hero of thrilling adventures, but quite soon my ‘story’ ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. For minutes at a time this kind of thing would be running through my head: ‘He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a match-box, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf’, etc. etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside. The ‘story’ must, I suppose, have reflected the styles of the various writers I admired at different ages, but so far as I remember it always had the same meticulous descriptive quality.
When I was about sixteen I suddenly discovered the joy of mere words, i.e. the sounds and associations of words. The lines from Paradise Lost —
So hee with difficulty and labour hard
Moved on: with difficulty and labour hee.
which do not now seem to me so very wonderful, sent shivers down my backbone; and the spelling ‘hee’ for ‘he’ was an added pleasure. As for the need to describe things, I knew all about it already. So it is clear what kind of books I wanted to write, in so far as I could be said to want to write books at that time. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their own sound. And in fact my first completed novel, Burmese Days, which I wrote when I was thirty but projected much earlier, is rather that kind of book.
I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job, no doubt, to discipline his temperament and avoid getting stuck at some immature stage, in some perverse mood; but if he escapes from his early influences altogether, he will have killed his impulse to write. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:
(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on the grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen — in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they almost abandon the sense of being individuals at all — and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.
(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.
(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.
(iv) Political purpose. — Using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples’ idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.
It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature — taking your ‘nature’ to be the state you have attained when you are first adult — I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision. I remember a little poem that I wrote at that date, expressing my dilemma:
A happy vicar I might have been
Two hundred years ago
To preach upon eternal doom
And watch my walnuts grow;
But born, alas, in an evil time,
I missed that pleasant haven,
For the hair has grown on my upper lip
And the clergy are all clean-shaven.
And later still the times were good,
We were so easy to please,
We rocked our troubled thoughts to sleep
On the bosoms of the trees.
All ignorant we dared to own
The joys we now dissemble;
The greenfinch on the apple bough
Could make my enemies tremble.
But girl's bellies and apricots,
Roach in a shaded stream,
Horses, ducks in flight at dawn,
All these are a dream.
It is forbidden to dream again;
We maim our joys or hide them:
Horses are made of chromium steel
And little fat men shall ride them.
I am the worm who never turned,
The eunuch without a harem;
Between the priest and the commissar
I walk like Eugene Aram;
And the commissar is telling my fortune
While the radio plays,
But the priest has promised an Austin Seven,
For Duggie always pays.
I dreamt I dwelt in marble halls,
And woke to find it true;
I wasn't born for an age like this;
Was Smith? Was Jones? Were you?
The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.
What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience. Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.
It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness. Let me give just one example of the cruder kind of difficulty that arises. My book about the Spanish civil war, Homage to Catalonia, is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You've turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.
In one form or another this problem comes up again. The problem of language is subtler and would take too long to discuss. I will only say that of late years I have tried to write less picturesquely and more exactly. In any case I find that by the time you have perfected any style of writing, you have always outgrown it. Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole. I have not written a novel for seven years, but I hope to write another fairly soon. It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write.
Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don't want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.
1946
THE END
Friday, August 26, 2011
How to set up a Twitter account and receive Mr. Killackey’s updates.
2. Create account with User Name, valid Email address, and password
3. Follow step 1 and 2 (these steps are for your own preferences)
4. Get to Step 3 and search for: aplitkillackey You will see a baby picture of Scout wearing star shaped pink sunglasses at a year old
5. Click on my account and “follow” me
6. Once you have activated your account and are following ME, locate your user name at the top right of the screen. Click the drop arrow for a choice between: settings, help, and sign out
7. Click SETTINGS
8. You will see a tab menu of Account, Password, Mobile, Notifications, Profile, and Design
9. Click MOBILE
10. Read the directions and enter your mobile phone number in the box, Click START
11. Verify your phone by texting GO to 4040 (read the directions AND Twitter Commands on the right)
Congratulations!! You will now receive my messages in TEXT form from the number 4040.
Thursday, August 25, 2011
Oklahoma Shakespeare in the Park
Friday, August 19, 2011
Emailing Expectations
Clear communication is an academic skill that you MUST work to attain and improve throughout the year. Most of this class is simply student-driven, clear communication through collective discourse, peer assessment, technology assistance (blogging/twitter), and one-on-one conferences.
Directions: Your first assignment will be to email me your personal responses to a list of my expectations. Begin by reading over the following questions and then formulating a sophisticated, well-written response that addresses all parts of each question should one ask for a complex answer.
1. Why are you here?
2. What is the point of reading a novel, poem, or short story?
3. What have you brought to this class and how do you intend to use that talent?
4. What will you give up to give your best to academics?
5. Are you willing to daily read 40 to 60 pages of an outside reading and/or class reading and keep an ongoing log or response to what you are reading?
6. What is your highest personal accomplishment?
By responding honestly to the following six questions, I will be able to determine what type of student you are and plan to be. If there is congruency between your email and the type of work you put forth during the first semester, I will have more than enough material for composing an outstanding letter of recommendation as many of you will be applying to colleges and for academic scholarships alike.
regan.killackey@edmondschools.net
AP Students DO and HAVE the following:
Engage in intelligent discussion.
Desire to learn more than surface-level knowledge.
Listen actively.
A sense of personal and social responsibility to keep up with workload and contribute sufficient meaning to group’s efforts.
The patience to accept a variety of answers for unresolved questions as starting points for further thinking and exploring of ideas.
A basic command of language or a willingness to obtain it.
High personal expectations/ goals focused on increasing self-sophistication.
Three levels of advance placement:
flexibility
transition
accountability
Monday, July 18, 2011
Time management is crucial within AP Literature in order to study the volume of work during the year.
First Assignment:
Read HOW TO READ LITERATURE LIKE A PROFESSOR: A LIVELY AND ENTERTAINING GUIDE TO READING BETWEEN THE LINES by Thomas C. Foster.
Answer the accompanying questions. This “How-to” book will better prepare you to read carefully and analytically as you begin your year in AP Literature. Having knowledge of the subjects covered in this text will give you an advantage throughout the school year and on the AP exam. We do not expect essay responses for each question. As long as you satisfactorily answer the questions, length will not be an issue.
1. Introduction: How'd He Do That?
How do memory, symbol, and pattern affect the reading of literature? How does the recognition of patterns make it easier to read complicated literature? Discuss a time when your appreciation of a literary work was enhanced by understanding symbol or pattern.
2. Chapter 1 -- Every Trip Is a Quest (Except When It's Not)
List the five aspects of the QUEST and then apply them to something you have read (or viewed) in the form used on pages 3-5.
3. Either of the following:
Chapter 2 -- Nice to Eat with You: Acts of Communion
Choose a meal from a literary work and apply the ideas of Chapter 2 to this literary depiction.
Chapter 3: --Nice to Eat You: Acts of Vampires
What are the essentials of the Vampire story? Apply this to a literary work you have read or viewed.
4. Chapter 4-- If It's Square, It's a Sonnet
Select three sonnets and show which form they are. Discuss how their content reflects the form. (Submit copies of the sonnets, marked to show your analysis).
Optional
Chapter 5--Now, Where Have I Seen Her Before?
Define intertextuality. Discuss three examples that have helped you in reading specific works.
5. Chapter 6 -- When in Doubt, It's from Shakespeare...
Discuss a work that you are familiar with that alludes to or reflects Shakespeare. Show how the author uses this connection thematically. Read pages 44-46 carefully. In these pages, Foster shows how Fugard reflects Shakespeare through both plot and theme. In your discussion, focus on theme.
6. Chapter 7 -- ...Or the Bible
Read "Araby" (available online). Discuss Biblical allusions that Foster does not mention. Look at the example of the "two great jars." Be creative and imaginative in these connections.
7. Chapter 8 -- Hanseldee and Greteldum
Think of a work of literature that reflects a fairy tale. Discuss the parallels. Does it create irony or deepen appreciation?
8. Chapter 9 -- It's Greek to Me
Write a free verse poem derived or inspired by characters or situations from Greek mythology. Be prepared to share your poem with the class. Note that there are extensive links to classical mythology on my Classics page.
9. Chapter 10 -- It's More Than Just Rain or Snow
Discuss the importance of weather in a specific literary work, not in terms of plot.
Interlude -- Does He Mean That
10. Chapter 11 --...More Than It's Gonna Hurt You: Concerning Violence
Present examples of the two kinds of violence found in literature. Show how the effects are different.
11. Chapter 12 -- Is That a Symbol?
Use the process described on page 106 and investigate the symbolism of the fence in "Araby." (Mangan's sister stands behind it.)
12. Chapter 13 -- It's All Political
Assume that Foster is right and "it is all political." Use his criteria to show that one of the major works assigned to you as a freshman is political.
13. Chapter 14 -- Yes, She's a Christ Figure, Too
Apply the criteria on page 119 to a major character in a significant literary work. Try to choose a character that will have many matches. This is a particularly apt tool for analyzing film -- for example, Star Wars, Cool Hand Luke, Excalibur, Malcolm X, Braveheart, Spartacus, Gladiator and Ben-Hur.
Optional:
Chapter 15 -- Flights of Fancy
Select a literary work in which flight signifies escape or freedom. Explain in detail.
One of the three:
Chapter 16 -- It's All About Sex...
Chapter 17 -- ...Except the Sex
OK ..the sex chapters. The key idea from this chapter is that "scenes in which sex is coded rather than explicit can work at multiple levels and sometimes be more intense that literal depictions" (141). In other words, sex is often suggested with much more art and effort than it is described, and, if the author is doing his job, it reflects and creates theme or character. Choose a novel or movie in which sex is suggested, but not described, and discuss how the relationship is suggested and how this implication affects the theme or develops characterization.
Chapter 18 -- If She Comes Up, It's Baptism
Think of a "baptism scene" from a significant literary work. How was the character different after the experience? Discuss.
14. Chapter 19 -- Geography Matters…
Discuss at least four different aspects of a specific literary work that Foster would classify under "geography."
15. Chapter 20 -- ...So Does Season
Find a poem that mentions a specific season. Then discuss how the poet uses the season in a meaningful, traditional, or unusual way. (Submit a copy of the poem with your analysis.)
16. Interlude -- One Story
Write your own definition for archetype. Then identify an archetypal story and apply it to a literary work with which you are familiar.
17. Chapter 21 -- Marked for Greatness
Figure out Harry Potter's scar. If you aren't familiar with Harry Potter, select another character with a physical imperfection and analyze its implications for characterization.
Two of the five:
Chapter 22 -- He's Blind for a Reason, You Know
Chapter 23 -- It's Never Just Heart Disease...
Chapter 24 -- ...And Rarely Just Illness
Recall two characters who died of a disease in a literary work. Consider how these deaths reflect the "principles governing the use of disease in literature" (215-217). Discuss the effectiveness of the death as related to plot, theme, or symbolism.
Chapter 25 -- Don't Read with Your Eyes
After reading Chapter 25, choose a scene or episode from a novel, play or epic written before the twentieth century. Contrast how it could be viewed by a reader from the twenty-first century with how it might be viewed by a contemporary reader. Focus on specific assumptions that the author makes, assumptions that would not make it in this century.
Chapter 26 -- Is He Serious? And Other Ironies
Select an ironic literary work and explain the multivocal nature of the irony in the work.
20. Chapter 27 -- A Test Case
Read “The Garden Party” by Katherine Mansfield, the short story starting on page 245. Complete the exercise on pages 265-266, following the directions exactly. Then compare your writing with the three examples. How did you do? What does the essay that follows comparing Laura with Persephone add to your appreciation of Mansfield's story?
Optional:
Envoi
Choose a motif not discussed in this book (as the horse reference on page 280) and note its appearance in three or four different works. What does this idea seem to signify?
Second Assignment:
Reread your favorite novel or play that has literary merit and be ready to write about it. As you reread, select five passages (half a page to a full page). Copy or photocopy these passages and analyze them considering the following questions:
1. Why did you select the passage?
2. What was it about this particular passage stood out to you?
3. How significant or important is this particular passage to the novel?
4. What do you learn as a reader from this particular passage?
5. After finishing the novel, does this particular passage seem more or less significant?
Of course, AP English covers many other aspects of English besides the study of novels and plays. Since the tangible outcome of the class is to take a test in May, many of the activities prepare you for success. We congratulate you on your decision to take advanced placement classes.
Sincerely,
S. Vandagriff & R. Killackey
P.S. “A room without a book is like a body without a soul” (Cicero).
Tuesday, May 10, 2011
Journeying Through 12 Years
Justification: Throughout AP Literature, you have had the chance to read, analyze, and synthesize a wide array of poetry, crossing genres and time periods. During first week of class you were asked to explain William Blake’s “A Poison Tree.” Most of you had no idea where to begin or how to unlock what seemingly read as a child’s play, but ended as an in-depth gaze into human nature [insert 7 deadly sin here]. I used Blake to spring-board into what this class is about and how much effort MUST be used for keen analysis. What I am asking you to accomplish, as this year fizzles away, is to dive into the poetry of the most eccentric Romantic poet, William Blake, connect with his poetry on a personal level, rekindle emotions and feelings of years past (grammar school—high school), display your own charisma and charm through creative prowess, and use the hand-made film Coraline to discover the importance of being an individual.
Step 1: Understand Intertextuality. The ONE STORY concept MUST be at the forefront of your thinking through this entire assignment.
Step 2: View the film, Coraline, based on the novel by Niel Gaiman. Take notes over ANY minute detail that will be classified as “intertextuality.” This time the definition will expand to include film. Yes, I know that this is a film based on a book, but I want you to be thinking about MANY things that can and will be applied to TEXT (William Blake’s poetry specifically)
Step 3: Go to aplitkillackey.blogspot.com Scroll to the bottom. Click on the poetry archive. Search for William Blake. Browse his poetry. You have more than enough to choose from. Select a poem that speaks to you on a nostalgic level. I want you to see yourself within his poetry through symbolic reference, connected on a personal, nostalgic level. Read it. Understand it. TPCASTT it if you need further clarification. All your analysis skills apply here. Annotate your copy.
Step 4: Go to coraline.com Go to the Other Mother’s Workshop. Create a photograph of you with BUTTONS for EYES. Print it (with a color printer preferably). Go to the Garden. Design a three-tiered flower that represents YOU. Keep in mind that you are selecting imagery that will SYMBOLIZE you and your growth through the last 12 years.
Step 5: Creating the box. When promoting this film, creators designed, developed, and created 50 boxes, each having its own separate theme connected with the film. Each box was sent to 50 top film bloggers. You are to create, design, and develop your own.
1. Go to http://superpunch.blogspot.com/2008/11/ten-coraline-boxes.html to look at the Coraline Boxes.
2. Gather materials that would best suit your box. Be resourceful. Think of a personal theme that agrees with the tone of your Blake Poem, Button Picture, Flower…YOU
3. DO IT YOURSELF: create your BOX.
Step 6: What goes in the box.
1. William Blake Poem—with annotations
2. Photograph of yourself with BUTTONS for EYES
3. Photograph of your personalized, three-tiered flower. On the back of your printed flower, write a sufficient explanation for each pedal selection. (use markers or crayons)
4. Objects and keepsakes representing YOU which further strengthen the tone of your selected theme. (notes to friends, concert tickets, toys, fortune cookie fortunes, drawings, miniature figurines)
Things to think about:
Keep asking why this multi-genre investigation (with William Blake’s poetry at the forefront) will help you define your individuality—charisma—charm. I am asking you to hold on to the joy that makes the childhood experience so inspiring and memorable. Coraline is tempted, therefore fallible. You are fallible. We are attracted to her character because of her innocence and experience. William Blake would have been as well. Intertextuality works with TONE. Think about it…
Get creative. Dive back through the years. Get nostalgic.
Friday, April 22, 2011
Winesburg, Ohio Dialectical Journal
How do I do this?
You are going to create a dialectical journal using the two-column [Cornell] note taking
graphic organization.
Left Hand Side: Jot down the passage, page and chapter. Use correct punctuation (quotation
marks).
Right Hand Side: What theme have you discovered? How is that theme/obsession/truth revealed? Why is this piece of evidence important to your theme? Who is the speaker?
Requirements: You must have 1 passage per chapter. This equals 25 total passages with 25
responses labeled, organized, and answered correctly. This will be a test grade
(100 points).
• Life and Death
• Isolation
• Failure
• Bravery/courage
• Femininity/Gender
• Journey/Quest
• Adolescence
• Religion
• Family
• Obsession
• Fear/Anxiety
• Coming of Age/Maturity
This is by no means a complete list of themes…
Friday, April 8, 2011
Of Mice and Men—Prose Analysis
Directions:
1. Closely read Of Mice and Men (preferably in one sitting—two to three hours). As a class we have studied the works of Robert Burns (“To a Mouse”). Your understanding of Robert Burns’ message/purpose/theme (“the best laid schemes of mice and men”) will help you enjoy and interpret this slice of American literature.
2. While reading, keep in mind what TWO pages or the unbroken equivalent of two pages would suffice for a Prose analysis Free Response question for the AP Exam. Your selected passage must have a logical beginning and end. If you google: Of Mice and Men full text, you will find a complete PDF file (only 54 pages, mind you).
http://staff.oswego.org/ephaneuf/web/ENG_9R/Steinbeck,%20John%20-%20Of%20Mice%20and%20Men.pdf
Copy, paste, and print your passage.
3. The question concerning your passage needs to be leaning towards language and tone. (DIDLS-possibly??) You will have to compose the question with a specific prompt. Browse the list of Prose Analysis prompts on AP Central, and write one that would logically fit your selected passage.
4. You guessed it!! You will answer your created Prose Analysis question— timed, and in class. However, first thing’s first. READ, ENJOY, and FALL IN LOVE with Steinbeck.
Thursday, March 31, 2011
Monty Python and the Holy Grail director's Influence
Set in 932 AD Britain. It is a series of sketches which deal with the legend of Arthur and the nature of medieval English society, the church, knighhood, chivalry, the peasanty, the burning of witches. The film should be seen as part of the tradition of satire about the chivalric ideal which goes back to Erasmus, Cervantes, and Chaucer (according to Jones's book). Its episodic nature needs to be understood (if not always enjoyed) as a result of its origins in the TV series. In his book Chaucer's Knight (1980) the director Jones notes that he had been concerned for some time about Chaucer's treatment of the Knight in The Canterbury Tales. Given the horrendous acts he was supposed to have participated in as a warrior and knight, Jones was troubled by the apparent dullness of his treatment of the character in the tale. Only when he was in Scotland filming The Holy Grail did Jones begin to reinterpret Chaucer's tale:
My problem was then to find out what Chaucer's contemporaries though about these mercenaries. In 1974 I was in Scotland filming Monty Python and the Holy Grail, when I picked up the guide-book for the castle in which we were filming, and there I found that not only was Doune Castle built at the very time that Chaucer was writing the Canterbury Tales but it was specially constructed so as to minimize the kind of treachery which had come to be expected from the new breed of globe-trotting mercenary. So there, expressed in the very fabric of the building we were using for our film, was the answer to my question about Chaucer's Knight - evidently the people of Chaucer's day were deeply suspicious of these mercenary knights. (p. x)
Jones also has some thoughts on the nature of the duel and one-on-one combat. The former is often fought for frivolous reasons by men overly concerned with their honour (see the scene with the Black Knight). The latter would be a good substitute for war if restricted to the leaders or their representatives. In his book Jones notes again that:
On that often quoted occasion in 1390, when the Saracens challenged the Christians to a tournament during the siege of Mahdia, there was, in fact, a considerable difference of opinion among the Christians as to whether or not they should accept it. The Lord of Coucy said that where the Christian faith was called into question, it was too serious a matter to be answered by one knight and that, 'such defyaunce in armes for suche a quarell ought nat to passe without great deliberation of good counsayle.'
In Monty Python's Flying Circus, the TV show in which I have been involved over the last ten years, we once did a sketch in which, instead of debating the existence or non-existence of God, a bishop and a humanist philosopher fought each other for it. It seems to me that Chaucer made this same joke almost six hundred years ago.
In his day, however, it had even more relevance, since he was in effect commenting on the Church's double-think on the subject of war. For the same Church that condemned tournaments, condoned and encouraged crusades in which, instead of two men, two nations fought each other to the death to prove the superiority of one religion over another. (pp. 81-2).
The process of filming The Holy Grail also showed the difficulties of moving about in heavy chain-mail, an experience which Jones uses to evaluate divergent academic critical opinion. In a footnote Jones comments:
Muriel Bowden thinks we are meant to visualize the Knight actually riding in his chain-mail on the pilgrimage... Skeat thinks not... For what it is worth, I agree with Skeat. It was a common cry that the armour of the day was too heavy (he then quotes Bonet). And although this must refer to the use of plate-armour in addition to chain mail, the chain-mail itself must have been very heavy. When we made the film Monty Python and the Holy Grail, most of us wore imitation chain-mail made out of knitted wool, which was uncomfortable enough, but Graham Chapman, as King Arthur, wore a genuine metal chain-mail coif and found the weight of it unbearable for more than short periods. (pp. 273-4).
BIBLIOGRAPHY Terry Jones, Chaucer's Knight: The Portrait of a Medieval Mercenary (New York: Methuen, 1980, 1985).
THINGS TO NOTE
- The contrast between the literary, romanticised world of Arthur and the Arthurian legend and the dirty, disease-ridden, impoverished reality of medieval England. Arthur's chivalric speech is not understood by the ordinary people. They recognise him as the king because of his attire - "He must be the King. He hasn't got shit all over him." The periodic reminders that ordinary people also lived and worked in Arthurian England: victims of the plague, villagers, serfs working in the fields.
- The nature of medieval kingshihp and the legitmacy of the king to rule. A peasant - "I didn't vote for you." The peasants' "anarcho-syndicalist collective" in which there is no need for a king. When Arthur becomes infuriated a peasant calls out - "Look at the violence inherent in the system".
- The satire on chivalry. Dueling and tournaments. The brutal one-on-one combat between the Green and the Black Knights. The fight between Arhtur and the Black Knight - satire on the nature of martial courage. A legless and armless Black Knight continues to challenge Arthur "to come back and fight like a man". The chastity of chivalrous knights - Sir Galahad and the castle of maidens. Sir Lancelot's rescue of the "damsel in distress".
- The suggestion that the "tales" sung about the exploits of the heroic knights were more fiction than fact, thus undermining the veracity of all epic poems. The gullibility of the Knights and ordinary people. The Tale of Sir Robin - "running away".
- The role of the Church in sanctifying violence - The Book of Armaments and the Holy Hand Granade.
- The references to other heroic legends - the Trojan Rabbit.
- The anachronistic self-reference to a modern "famous historian" - when pontificating about Arthur and Camelot (and thus perpetuating the legend) a knight strikes him down. The rest of the film is interrupted by the police investigating his "murder". The trademark use of animation - God and angles, monks, scribes, castle life, the Black Beast
Tuesday, March 29, 2011
Student Samples for 2006 Question #1
http://apcentral.collegeboard.com/apc/members/repository/ap06_englishlit_samples_q1.pdf
Monday, March 7, 2011
Structure of Drama Extra Credit
Here are the extra-credit terms:
- Dramatic Structure
- Prologue
- Parados
- Episode
- Stasima
- Exodus
- Act
- Scene
- Expostition
- Complicating Incident
- Conflict
- Complication
- Climax
- Crisis
- Turning Point
- Peripety/Peripetia
- Reversal
- Recongition Scene
- Senouement
- Catastrophe
- Catharsis
- Anachronism
- Implied Stage Direction
- Stage Direction
- Cue
- Doggeral
- Dramatic Irony
- Hamaritia
- Purple Patch
- Comic Relief
- Relief Scene
- Repartee
- Stichomythia
- Stock Situation
Friday, February 25, 2011
To Do List: Reminder

Things to think about:
Tuesday, January 25, 2011
Chaucer Reminder...
It is both one long narrative (of the pilgrims and their pilgrimage) and an encyclopedia of shorter narratives; it is both one large drama, and a compilation of most literary forms known to medieval literature: romance, fabliau, Breton lay, moral fable, verse romance, beast fable, prayer to the Virgin… and so the list goes on. No single literary genre dominates the Tales. The tales include romantic adventures, fabliaux, saint's biographies, animal fables, religious allegories and even a sermon, and range in tone from pious, moralistic tales to lewd and vulgar sexual farces. More often than not, moreover, the specific tone of the tale is extremely difficult to firmly pin down.
Monday, January 24, 2011
SCENE ANALYSIS
Since AP Literature has been given a chance to screen Apocalypse Now and to see how Dartmouth suggests approaching Film analysis, the class will now develop and edit a response to this historical film. You will be assigned a particular scene from the film and a cinematic focus. The film techniques you select will coincide with the focus of your paper.
Notice: This movie has the foundation of impacting literature; therefore, ALL themes seen within Heart of Darkness are reflected at times through these ELEMENTS OF FILM. You must keep this in mind at all times.
1. Fear
2. Fate
3. Race
4. Identity
5. Madness
6. Ambition/power
7. Exploration/ Unknown
8. Time
9. Language and Communication
Your Thesis needs to be grounded in a thematic statement according to your method of analysis AND assigned scene.
Francis Ford Coppola was the deciding director of the film, therefore he had to approve all production decisions (sound, editing, music, etc.). If you would like to include names responsible for specific elements within your discussion, please browse www.imdb.com.
No research is required for this assignment because this is YOUR analysis with the provided materials: Dartmouth Handout and your film notes. Select TWO of the following:
1. Music (Score)
2. Sound
3. Camera Movement/positioning
4. Lighting
5. Editing
You MUST determine what elements (film glossary terms) are most important to your overall analysis. Think: “What has been used to most effectively represent THEME?”
Paper Requirements: Due February 4th or 7th
—Assessment based on an AP Scale. (650 word minimum; 1000 word maximum)
—Times New Roman, 12 Pt., Double Spacing, Default 1.5” margins, and Header
Wednesday, January 5, 2011
T. S. Eliot
Mistah Kurtz—he dead.
A penny for the Old Guy
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
Monday, January 3, 2011
Screen Writer John Millius Speaks of adapting HOD
John Milius wrote screenplays ranging from Dirty Harry to Jaws.
Watch this interview. click here