Monday, June 6, 2011

Monday 6 June The Crucible


REMINDER: your take home final exam is due Thursday. As this is 25% of the year's grade, hence it's very important, I will need to ring home to anyone who has not turned the test in on Thursday. DON'T GO THERE.

In class this week, we are looking at Arthur Miller's The Crucible. There will be a short assessment on Thursday based upon the film, which does an excellent job with the play.

Character List

John Proctor

A farmer in Salem, Proctor serves as the voice of reason and justice in The Crucible. It is he who exposes the girls as frauds who are only pretending that there is witchcraft, and thus becomes the tragic hero of the tale. Proctor is a sharply intelligent man who can easily detect foolishness in others and expose it, but he questions his own moral sense. Because of his affair with Abigail Williams, Proctor questions whether or not he is a moral man, yet this past event is the only major flaw attributed to Proctor, who is in all other respects honorable and ethical. It is a sign of his morality that he does not feel himself adequate to place himself as a martyr for the cause of justice when he is given the choice to save himself at the end of the play.

Elizabeth Proctor

The wife of John Proctor, Elizabeth shares with John a similarly strict adherence to justice and moral principles She is a woman who has great confidence in her own morality and in the ability of a person to maintain a sense of righteousness, both internal and external, even when this principle conflicts with strict Christian doctrine. Although she is regarded as a woman of unimpeachable honesty, it is this reputation that causes her husband to be condemned when she lies about his affair with Abigail, thinking it will save him. However, Elizabeth can be a cold and demanding woman, whose chilly demeanor may have driven her husband to adultery and whose continual suspicions of her husband render their marriage tense.

Abigail Williams

A seventeen year-old girl who is the niece of Reverend Parris, Abigail was the Proctors' servant before Elizabeth fired her for having an affair with John. She is a malicious, vengeful girl who, in an attempt to protect herself from punishment after Reverend Parris finds them dancing, instigates the Salem witch trials and leads the charge of accusations. Despite her accusations, Abigail is an unabashed liar who charges witchcraft against those who oppose her, even Elizabeth Proctor in an attempt to take her place as Proctor's wife. Abigail's callous nature stems partially from past trauma; she is an orphan who watched as her parents were murdered by Indians.

Deputy Governor Danforth

The deputy governor of Massachusetts presides over the Salem witch trials. He is a stern yet practical man more interested in preserving the dignity and stature of the court than in executing justice or behaving with any sense of fairness. He approaches the witchcraft trials with a strict adherence to rules and law that obscure any sense of rationality, for under his legal dictates an accusation of witchery automatically entails a conviction. Danforth shows that his greatest interest is preserving the reputation of the court when he prompts Proctor to sign a confession, thus precluding the backlash of his execution.
Reverend Samuel Parris A weak, paranoid and suspicious demagogue, Parris instigates the witchcraft panic when he finds his daughter and niece dancing in the woods with several other girls. Parris is continually beset with fears that others conspire against him. Parris knows the truth that Abigail is lying about the dancing and the witchcraft, but perpetuates the deception because it is in his own self interest. Parris fears any defense against the charges of witchcraft as an attack upon the court and a personal attack on him. As a pastor, his primary concern is personal aggrandizement - he strives for monetary compensation, including the deed to the preacher's house and expensive candlesticks.

Reverend John HaleA scholar from Beverly, Reverend Hale comes to Salem on Reverend Parris' request to investigate supernatural causes for Betty Parris' suspicious illness and thus instigates the rumors of witchcraft. Hale approaches the situation precisely and intellectually, believing that he can define the supernatural in definitive terms. Despite his early enthusiasm for discerning the presence of witchcraft in Salem, Hale soon grows disillusioned with the witchcraft accusations that abound and defends Proctor when he challenges Abigail. Hale does this out of guilt, for he fears that he may have caused the execution of innocent persons.Giles Corey

An irascible and combative old resident of Salem, Giles Corey is a comic figure in The Crucible whose fate turns tragic when he unwittingly effects his wife's charge for witchcraft when he wonders aloud about the strange books she reads at night. Corey is a frequent plaintiff in court, having brought dozens of lawsuits, and he stands with Proctor in challenging the girls' accusations, believing that Thomas Putnam is using charges of witchcraft to secure land. When Corey refuses to name the person who heard Putnam declare these intentions, Corey is charged with contempt of court and dies when the court orders him to be weighted with stones to coerce him to admit the name.
Mary Warren
The eighteen year-old servant in the Proctor household, Mary is one of the girls found dancing in the woods and is complicit in Abigail Williams' schemes. Although weak and tentative, she challenges the Proctors when they forbid her to go to court. However, Mary eventually breaks down and testifies against Abigail until Abigail charges her with witchery. She is a pliable girl whose actions are easily determined by others.
Tituba
Parris' slave from Barbados, Tituba was with the girls when they danced and attempted to conjure the spirits of Ann Putnam's dead children. She is the first person accused of witchcraft and likewise the first person to accuse others of witchery - particularly when she discovers that the easiest way to spare herself is to admit to the charges no matter their truth.Thomas Putnam One of the wealthiest landowners in Salem, Thomas Putnam is a vindictive, bitter man who holds longstanding grudges against many of the citizens of Salem, including the Nurse family for blocking the appointment of his brother-in-law to the position of minister. Putnam pushes his daughter to charge witchcraft against George Jacobs, for if he is executed, his land will be open for Putnam to purchase.
Rebecca Nurse
One of the most noble and well-respected citizens of Salem, this elderly woman is kindly and sane, suggesting that Betty's illness is simply a product of being out too late in the cold. However, because she served as midwife to Mrs. Putnam, Rebecca Nurse is charged with the supernatural murder of Putnam's children, who were each stillborn. Rebecca Nurse is the clear martyr in the play, the most pure and saintly character hanged for witchery.Judge Hathorne Hathorne is the judge who presides over the Salem witch trials. He remains largely subservient to Deputy Governor Danforth, but applies the same tortured reasoning to charges of witchcraft.
Francis Nurse
Francis is the husband of Rebecca Nurse, and a well-respected wealthy landowner in Salem. Francis Nurse joins Giles Corey and John Proctor in their challenge against the court when their respective wives are charged with witchcraft.

Betty Parris

The young teenager daughter of Reverend Parris, Betty falls mysteriously ill after Reverend Parris finds her dancing in the woods with Abigail and the other young women of Salem. She goes into hysterics when the charges of witchcraft first form, holding delusions that she can fly and exclaiming with horror when she hears the name of Jesus.

Sarah Good

One of the first women charged with witchery by the girls, she is a homeless woman who confesses to witchcraft to save herself and continues the charade with Tituba, comically claiming that Satan will take her and Tituba to Barbados.

Ezekiel Cheever

Ezekiel is a clerk of the court who serves the arrest warrants to the persons charged with witchcraft.

Mrs. Ann Putnam

The wife of Thomas Putnam, Ann suspects that there is some paranormal reason for the stillborn deaths of seven of her children and blames Rebecca Nurse.

Mercy Lewis

Mercy Lewis is the Putnam's servant - a fat, sly merciless eighteen year-old girl whom Parris found naked when he spied the girls dancing in the woods. She runs away with Abigail at the end of the play.

Susanna Walcott

Susanna is one of the girls whom Parris found dancing in the woods, and a confidant of Abigail.

Marshal Herrick

Marshal is one of the local constables who guards the jail cells while nearly drunk.

Hopkins

Hopkins is one of the guards at the jail cell.

Thursday, June 2, 2011

2 June 2011 Hollow Man etc



At this point everyone should be working on the final exam, which is due a week today, Thursday 9 June. There is no outside classwork.


In class today: review of Eliot's The Hollow Men and anything else we might have time for from the poetry packet.

Wednesday, June 1, 2011

Wednesday June 1 countdown



Yesterday vocabulary 15 was due- 10 points off per day as usual

Today: Roman numeral sheet.


There is no outside class related homework, the expectation is that everyone is working on your take-home final exam, which is due Thursday 9 June. Again, this is 25% of the whole year's grade.


In class today: looking at Carl Sandburg's Chicago poem and My Last Duchess.

Tuesday, May 31, 2011

Tuesday 30 May review of Frost poems

Due Today: vocabulary 15 and paragraph reponses to the Frost poem you chose.
Tomorrow (Wednesday) Roman numeral practice sheet
These are the last grades of this term, with the exception of anything we do within class time on material we cover in class.
Out of class your focus should be the take-home final exam, which is due Thursday June 9. This is 25% of the whole year's grade. I cannot emphasize enough the effort you should be putting into this.

In class: review of the Frost poem's. Anyone not turning it in will go down to the library and to complete this.

Friday, May 27, 2011

Friday 27 May final exam information




Reminders: vocabulary 15 is due Tuesday

Roman numeral practice Wednesday

Response to one of three Robert Frost poems due Tuesday


These are the last of the out of class regular assignments. Any other term grades will be from class work. The expectation is that everyone is working on their final exam.

English III Honors Final Exam for the 2010-2011 school year. DUE THURSDAY JUNE 9
The final exam is divided into three parts: personal reflection, college essay and poem analysis.
General information: all work should be typed, Times New Roman, size 12 font with an MLA heading and correct use of pagination and headers. Please keep in mind that this is 25% of your whole year’s grade. The objective is to demonstrate analytical skills, critical thinking skills, an understanding of the literary elements of literature (plot, character, tone, theme, dialogue, setting and figurative language devices) and a proficiency with English grammar, syntax and spelling.

Part 1: personal reflection.
This shall consist of a minimum of 750 words. In paragraph form discuss how you have grown as a writer this year. Reflect upon those assignments or works of literature that challenged you. What frustrations did you encounter and how have you overcome them; in contrast, what worked well for you? What strengths did you discover? What type of learner are you. To refresh your memory, please read over the blog. Your observations should be specific.

Part 2: college essay.
In 500 words- no less or more than 25, answer the following: Are you a poem or a novel?
This allows you great flexibility with your response. I suggest that you take the time to define these. You may adapt almost any personal saga or observation, but this question will provide a witty framework- and can be tidied up for the fall.
Part 3: poetry analysis.
You have a choice of either Eliot’s The Hollow Men or Robert Browning’s My Last Duchess. They are from different time frames and involve very different themes. For My Last Duchess: discuss the character of the narrator. For The Hollow Men: discuss the theme of the poem. For whichever one you choose, you must have copious textual support. As always you will make a statement, support it through text and give an analysis. Please remember that your conclusion is not a restatement of the introduction, but an original thought, a universal connection. Anyone who feels a need to plagiarize will receive a zero for this part of the final.
T.S. Eliot - The Hollow Men

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.

My Last Duchess
Robert Browning


FERRARA

That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now: Fra Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
the curtain I have drawn for you, but I)
And seemed they would ask me, if they durst,
How such a glance came there; so not the first
Are you to turn and ask thus. Sir, 'twas not
Her husband's presence only, called that spot
Of joy into the Duchess's cheek: perhaps
Fra Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much," or Paint
Must never hope to reproduce the faint
Half flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of you. She had
A heart--how shall I say?--too soon made glad,
Too easily impressed; she liked whate'er
She looked on, and her looks went everywhere.
Sir, 'twas all one! My favor at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace--all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men--good! but thanked
Somehow--I know not how--as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech--(which I have not)--to make your will
Quite clear to such a one, and say, "Just this
Or that in you disgusts me; here you miss
Or there exceed the mark"--and if she let
Herself be lessoned so, nor plainly set
her wits to yours, forsooth, and made excuse
--E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will't please you rise? We'll meet
the company below, then. I repeat
The Count your master's known munificence
Is ample warrant that no just pretense
Of mine dowry will be disallowed
Though his fair daughter's self, as I avowed
At starting, is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!

Thursday, May 26, 2011

Thursday May 26, 2011 more Robert Frost poems

REMINDERS: vocabulary 15 is due next Tuesday
Roman numeral sheet is due next Wednesday

In class: we are finishing up Home Burial
HOMEWORK FOR Tuesday- Please choose one of the three poems by Robert Frost that follows and write and respond, explaining the extended metaphor that is expressed through nature. This should be a minimum of 200 words. Make sure to use specific textual evidence as support.

Nothing Gold Can Stay

Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

Acquainted with the Night

I have been one acquainted with the night.
I have walked out in rain -- and back in rain.
I have outwalked the furthest city light.

I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,

But not to call me back or say good-bye;
And further still at an unearthly height,
O luminary clock against the sky

Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.



Fire and Ice

Some say the world will end in fire,
Some say in ice.
From what I've tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.

Wednesday, May 25, 2011

Wednesday 25 May Robert Frost




Anyone who was absent yesterday, please see me about making up the essays.

REMINDERS: vocabulary 15 is due next Tuesday

Roman numeral practice is due next Wednesday

In class: poems of Robert Frost.....note the literary elements. Who is the narrator? What words indicate his character? Is there a plot / story. What figurative language devices do you note? similes, personification, metaphors, sound sense? What is the theme?






MENDING WALL
Robert Frost

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

6. Home Burial


HE saw her from the bottom of the stairs
Before she saw him. She was starting down,
Looking back over her shoulder at some fear.
She took a doubtful step and then undid it
To raise herself and look again. He spoke 5
Advancing toward her: “What is it you see
From up there always—for I want to know.”
She turned and sank upon her skirts at that,
And her face changed from terrified to dull.
He said to gain time: “What is it you see,” 10
Mounting until she cowered under him.
“I will find out now—you must tell me, dear.”
She, in her place, refused him any help
With the least stiffening of her neck and silence.
She let him look, sure that he wouldn’t see, 15
Blind creature; and a while he didn’t see.
But at last he murmured, “Oh,” and again, “Oh.”

“What is it—what?” she said.

“Just that I see.”

“You don’t,” she challenged. “Tell me what it is.” 20

“The wonder is I didn’t see at once.
I never noticed it from here before.
I must be wonted to it—that’s the reason.
The little graveyard where my people are!
So small the window frames the whole of it. 25
Not so much larger than a bedroom, is it?
There are three stones of slate and one of marble,
Broad-shouldered little slabs there in the sunlight
On the sidehill. We haven’t to mind those.
But I understand: it is not the stones, 30
But the child’s mound——”

“Don’t, don’t, don’t, don’t,” she cried.

She withdrew shrinking from beneath his arm
That rested on the banister, and slid downstairs;
And turned on him with such a daunting look, 35
He said twice over before he knew himself:
“Can’t a man speak of his own child he’s lost?”

“Not you! Oh, where’s my hat? Oh, I don’t need it!
I must get out of here. I must get air.
I don’t know rightly whether any man can.” 40

“Amy! Don’t go to someone else this time.
Listen to me. I won’t come down the stairs.”
He sat and fixed his chin between his fists.
“There’s something I should like to ask you, dear.”

“You don’t know how to ask it.” 45

“Help me, then.”
Her fingers moved the latch for all reply.

“My words are nearly always an offence.
I don’t know how to speak of anything
So as to please you. But I might be taught 50
I should suppose. I can’t say I see how.
A man must partly give up being a man
With women-folk. We could have some arrangement
By which I’d bind myself to keep hands off
Anything special you’re a-mind to name. 55
Though I don’t like such things ’twixt those that love.
Two that don’t love can’t live together without them.
But two that do can’t live together with them.”
She moved the latch a little. “Don’t—don’t go.
Don’t carry it to someone else this time. 60
Tell me about it if it’s something human.
Let me into your grief. I’m not so much
Unlike other folks as your standing there
Apart would make me out. Give me my chance.
I do think, though, you overdo it a little. 65
What was it brought you up to think it the thing
To take your mother-loss of a first child
So inconsolably—in the face of love.
You’d think his memory might be satisfied——”

“There you go sneering now!” 70

“I’m not, I’m not!
You make me angry. I’ll come down to you.
God, what a woman! And it’s come to this,
A man can’t speak of his own child that’s dead.”

“You can’t because you don’t know how. 75
If you had any feelings, you that dug
With your own hand—how could you?—his little grave;
I saw you from that very window there,
Making the gravel leap and leap in air,
Leap up, like that, like that, and land so lightly 80
And roll back down the mound beside the hole.
I thought, Who is that man? I didn’t know you.
And I crept down the stairs and up the stairs
To look again, and still your spade kept lifting.
Then you came in. I heard your rumbling voice 85
Out in the kitchen, and I don’t know why,
But I went near to see with my own eyes.
You could sit there with the stains on your shoes
Of the fresh earth from your own baby’s grave
And talk about your everyday concerns. 90
You had stood the spade up against the wall
Outside there in the entry, for I saw it.”

“I shall laugh the worst laugh I ever laughed.
I’m cursed. God, if I don’t believe I’m cursed.”

“I can repeat the very words you were saying. 95
‘Three foggy mornings and one rainy day
Will rot the best birch fence a man can build.’
Think of it, talk like that at such a time!
What had how long it takes a birch to rot
To do with what was in the darkened parlour. 100
You couldn’t care! The nearest friends can go
With anyone to death, comes so far short
They might as well not try to go at all.
No, from the time when one is sick to death,
One is alone, and he dies more alone. 105
Friends make pretence of following to the grave,
But before one is in it, their minds are turned
And making the best of their way back to life
And living people, and things they understand.
But the world’s evil. I won’t have grief so 110
If I can change it. Oh, I won’t, I won’t!”

“There, you have said it all and you feel better.
You won’t go now. You’re crying. Close the door.
The heart’s gone out of it: why keep it up.
Amy! There’s someone coming down the road!” 115

“You—oh, you think the talk is all. I must go—
Somewhere out of this house. How can I make you——”

“If—you—do!” She was opening the door wider.
Where do you mean to go? First tell me that.
I’ll follow and bring you back by force. I will!—” 120