Mr. Musiak’s English

Workbook

Volume 5

Foreward Literary Terms

Allegory Alliteration

Antagonist and Protagonist Character Flaw

Climax Comic Relief

Compare and Contrast Conflict

Foreshadow Imagery

Inner Conflict Irony

Main Idea Metaphor and Simile

Mood Plot

Resolution Rhyme Rhythm Satire Setting

Symbolism Theme Tone

Understanding Understanding More

Character Sheets A Day In The Life Of Ivan Denisovich

A Midsummer Night’s Dream A Wizard of Earthsea

Animal Farm Antigone

Black Boy Fahrenheit 451

Hamlet Lord of the Rings-Fellowship

Macbeth Merlin

Of Mice And Men Othello

Romeo and Juliet Lord of the Rings Pt 2 The Olympic Pantheon

Worksheets

Declaration of Independence Gathering the Evidence

Gothic Horror Harry Potter

Shakespearean Excerpts Steinbeck

The Lord of the Rings The Hobbit

Snoopy and Walter Mitty The Quest

The Quest PT 2

Writing Prompts A Christmas Carol

Animal Farm Anne Frank Holocaust

Hamlet v. What Dreams May Come Lord of the Rings

The Odyssey The Wizarding World

Just a few words…

One of my very favorite authors wrote an outstanding series of books that illustrated his point of view on life, the universe and everything quite well (in fact, one of the books in the series was actually titled Life, the Universe, and Everything). In these books, I found one of the most profound (and astoundingly simple) bits of advice I’ve ever encountered. It went something like this, “DON’T PANIC”. That’s exactly what I believe about critical thinking, literary discourse, and life in general. There are scholarly purists who will scoff at some of the ways I’ve introduced concepts in this workbook. I invite their scorn and welcome them to introduce these topics without the need for antidepressants or years of therapy for students whose love of literature was poisoned by someone who attempted to “teach” alliteration in allegorical works of iambic pentameter or some other such nonsense. Please remember, this work is a starting point. One meant to foster further exploration of meaning and understanding.

E. Musiak

Literary Terms Metaphor Simile Foreshadow Local color Loaded

language Alliteration Allegory Imagery Tone

Plot

Character Flaw Theme Onomatopoeia Symbol

Rhyme

Rhythm Setting Mood Antagonist

Protagonist

Act Dialogue Conflict Climax

Comparison

Contrast Genre Figurative Language

Hyperbole Irony

Motivation Moral Personification Slang

Resolution

Soliloquy Style

Sub-plot Stereotype Rising action

Satire Myth

Narrative Expository Prose

Pun Colloquialism

Drama Comic Relief Main Idea

Musiak’s Note- Before you go off running around in a snit, these terms are not only for you to use in this class (and they certainly are useful), they’re also for you to use in the future. The better you define these terms now, the more understanding of basic literary concepts you’ll have for inevitable references when you get your next English class. Of course, that’s just the beginning. You’ll also have a better understanding of why you like the things you do when you read, watch movies, or even listen to music.

Allegory

Allegory. A figurative work in which a surface narrative carries a secondary, symbolic or metaphorical meaning. Taken from http://www.virtualsalt.com/litterms.htm Now there’s a technical definition for you. Basically an allegory is a story that

has some meaning other than what is written on the page. An excellent example of

this is, Animal Farm by George Orwell. The situations throughout the critique of

Soviet Communism, involve the use of metaphor, simile, personification, as well as

many elements of myth and legend.

Essentially we can look at any story that uses archetypal themes (An original

model or type after which other similar things are patterned. Taken from

http://dictionary.reference.com/search?q=archetype ) as being an allegory. Animal

Farm shows Orwell’s thoughts on major themes such as; naiveté of “the people”,

the abuse of power, caste systems, and the corruption of ideals by using our

stereotypical representations of animals (horses are strong, dogs are loyal, pigs are

“dirty”) to embody his opinions. One example of this is the horse Boxer as being

symbolic of “the people”. He’s loyal, hard working, and easily manipulated by the

maneuverings of Napoleon. His mottoes “I will work harder” and “Napoleon is

always right” show his devotion to the goals of the farm and his faith in his leaders

however misguided they might be.

Study Questions

1. Throughout the 20th Century, various writers used allegory to show complex

ideas in ways that made them exceptionally popular. Discuss one of these

books you’ve read and explain why you believe it either uses allegory well to

“get the point across” or it does not.

2. Animal Farm, Lord of the Flies, The Chronicles of Narnia, and even the Harry

Potter books have all used allegory as a technique for revealing and

understanding themes in modern literature. Using works you’ve read in

school, show several works from “classic literature” that have also used

allegory to advance insight into complex themes dealing with humanity’s

beliefs concerning things like; loyalty, honor, and dignity.

Alliteration Alliteration is the repetition of initial consonant sounds in neighboring words.

This is one of those poetry terms that comes up every so often on some sadistic

high school English teacher’s literary vocabulary “hit lists”. I’ve added it here because I

thought that you might like to know that it’s big in Romantic poetry. I’m not sure if

Coleridge, Whitman, Blake, and Wordsworth are your thing, but it’s a good technique to

be aware of when you’re taking an exam in 12th grade English Literature classes. Of

course, there are examples of it in music too.

Here are just a few of those examples

"Five miles meandering with a mazy motion," Coleridge, from “Kubla Khan”

"I lean and loaf at my ease observing a spear of summer grass." Walt Whitman, “Leaves of Grass”

“Tyger, tyger burning bright, In the forest of the night” William Blake, “The Tyger”

“Helplessly hoping, her harlequin hovers nearby…” Stephen Stills, Golden Hill

“Helplessly Hoping”

The effect that alliteration has can be lyrical and, if I can be so bold, melodious under the

circumstances I’ve mentioned above. While there are certainly other examples, the

ones mentioned above (particularly “Helplessly Hoping”) are good instances of

alliteration being used to illustrate an emotional response.

Essay Questions

1. In what way does alliteration aid in eliciting an emotional response from a reader?

Explain your point of view using what you know about mood and tone in an

author’s language.

2. How is setting of a poem or song affected by the use of alliteration? Using a poem

you’ve read in class, explain why an author’s manipulation of language in such a

way creates a different “place”, “time”, and “condition”.

Antagonist v. Protagonist The Real Story

The central character in a story (that’s any kind of story folks) is called the

protagonist. He (or she) is involved in the central conflict of the plot during the

course of the story. Sometimes there is more than one protagonist in a story. A good

example of this is The Lord of the Rings- Fellowship of the Ring. There is certainly

more than one protagonist as well as more than one antagonist. The antagonist is the character or force against which the protagonist is

contending. In simple terms, he’s the bad guy (at least he is from the perspective of

the protagonist). .In any case, this means that the antagonist is generally standing

opposite to the protagonist. While they may actually look very similar, there are

generally several profound differences that make the distinction between the two very

pronounced in the end.

One of the best examples of the similarity I was speaking about is the

resemblance of Gandalf the Grey to Saruman the White in the Lord of the Rings.

While it is not initially obvious that Saruman is working at opposite purposes to

Gandalf, it is very clear that they are remarkably similar in physical appearance and

ability. What becomes clear after reading further is that it is internal characteristics

that are so significant to understanding the motivations of the characters. Gandalf

actually tries to understand and respect why something is (not disrupting the course

of things by using wizardry), where Saruman understands and yet, still acts upon his

own wishes and whims.

Antagonist v. Protagonist The Real Story

1. Show the nature of the conflict between the protagonist and the antagonist.

What are the main differences between the two? What is the conflict?

2. In what ways does either the protagonist or the antagonist show they either

maintain control or lose control over the action in the plot? Explain using

examples.

3. In what way could one character be both protagonist and antagonist? Explain

your point of view using examples and details from our readings.

4. Using what you know about conflict, explain the motivation of both the

protagonist and the antagonist in you present readings.

5. In books you have read, show examples of the reason behind making the

protagonist or antagonist, a non-human. Explain your choices and what they

represent.

Character Flaw "The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings."

--From Julius Caesar (I, ii, 140-141)

In the play “Julius Caesar” we see people who are flawed beyond

their own capacity to understand their personal limitations. Brutus is just

such a man. His nobility and decency as a citizen of Rome is well known

and respected. This becomes the way Cassius and the rest of the

conspirators to kill Caesar get Brutus to join them. They convince him it’s

for the good of the Roman Republic. This is his character flaw. A “character flaw “is a trait (or characteristic) in a person which leads

to the downfall of the character or the situation the characters find

themselves in. In the case of Brutus, he was “too” noble. He would be

unable to refuse to lend his “honor” to the cause because he believes that

Caesar will destroy the Republic. This turns out well initially for the

conspirators, but ultimately leads to disaster.

It is the use of the character flaw that gives some of the greatest

heroes their human qualities as well. Odysseus and his ego, King Arthur

and his birth and upbringing led to his compassion and desire for a higher

standard of conduct (knightly chivalry), Mr. Spock (Star Trek) and his

continuous attempts to bury his human emotions are all examples of how

human these characters can be.

Character Flaw 1. In what way does the character flaw of the protagonist advance the

plot? Give examples from our reading to support your conclusions.

2. In what ways have the main characters of our readings turned their

character flaws into positive aspects of themselves? Describe your

POV in detail

3. How has the character flaw in the main character influenced the

conflict of the story? What evidence is there to support your claim?

Climax

CLIMAX, (From Greek word for "ladder"): The moment in a play, novel, short story, or narrative poem at which the crisis reaches its point of greatest intensity and is thereafter resolved. It is also the peak of emotional response from a reader or spectator and usually the turning point in the action. The climax usually follows or overlaps with the crisis of a story, though some critics use the two terms synonymously. Taken from http://web.cn.edu/kwheeler/lit_terms_C.html You might be asking yourself why I would include this term in this workbook. The

fact is, many people confuse this term with the events involved in the “rising action” or

the actual crisis. What sets the climax apart from them is the beginning of the

“resolution” or “denouement”. The most important part of this is the realization (though

not always the understanding) of the crisis and it’s implications for the characters. An

excellent example of this is the “Council of Elrond” in Book II, chapter two of The Lord

of the Rings-The Fellowship of the Ring.

In this chapter we see the major factions of the opposition to Sauron as they

discuss and debate what should happen to the Ring they have in their possession. It is

here where we learn many of the real implications and fears of those who are aware of

what the ring really was (and could do). After a heated debate, Frodo said that he

would carry the ring to the cracks of Mount Doom and destroy it in the only fire hot

enough to do the job. It is from this turning point where the events of “The Fellowship”

move on.

Another example might be the wedding of Romeo and Juliet. It is here where the

intensity of the action and emotion in the play is at its peak and also here where the

resolution of the crisis begins. The very next thing to happen, Mercutio being killed, is

where we see the tragic events begin to unwind around the young lovers.

Essay Questions

1. In a book you’ve read in class, identify what the climax of the action actually is

and explain why you believe it to be the peak of the emotional intensity of the

work. Use direct examples from the book to illustrate your reasoning.

2. What makes the climax of a novel so important to the plot? Show, by using

quotes from specific passages, why it is the “turning point” in a novel you’ve read

in class.

Comic Relief

According to the definition I found out on the web (specifically at the infoplease web site, http://www.infoplease.com/ipd/A0380948.html ) comic relief is:

1.an amusing scene, incident, or speech introduced into serious or tragic elements, as in a play, in order to provide temporary relief from tension, or to intensify the dramatic action. 2. relief from tension caused by the introduction or occurrence of a comic element, as by an amusing human foible.

Now you might be asking yourself, “Why is this so important to know?” It’s a good question. The answer is, difficult. In many works of fiction, drama, poetry, or any genre of literature really, comic relief sets us up for other actions that will happen at a later point in the work.

Let’s look at a couple of examples of this in Shakespeare. In many of his plays there’s a character that always seems to break the tension in certain moments only to reveal some truth through their sometimes absurd actions or comments. The two best examples of this are the Nurse in “Romeo and Juliet” and the Drunken Porter in “Macbeth”.

From the Nurse’s Monologue in “Romeo and Juliet”

“For even the day before, she broke her brow; And then my husband (God be with his soul! 'A was a merry man) took up the child. 'Yea,' quoth he, 'dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit; Wilt thou not, Jule?' and, by my holidam, The pretty wretch left crying and said 'Ay.' To see now how a jest shall come about! I warrant, an I should live a thousand years I never should forget it. 'Wilt thou not, Jule?' quoth he, And, pretty fool, it stinted and said 'Ay.'” From the Drunken Porter’s speech in “Macbeth ”Here's a knocking indeed! If a man were porter of hell-gate, he should have old turning the key. [Knocking.] Knock, knock, knock. Who's there, i' the name of Belzebub? Here's a farmer that hanged himself on the expectation of plenty: come in time; have napkins enow about you; here you'll sweat for't.--[Knocking.] Knock, knock! Who's there, in the other devil's name? Faith, here's an equivocator, that could swear in both the scales against either scale, who committed treason enough for God's sake, yet could not equivocate to heaven: O, come in, equivocator. [Knocking.] Knock, knock, knock! Who's there? Faith, here's an English tailor come hither, for stealing out of a French hose: come in, tailor; here you may roast your goose.-- [Knocking.] Knock, knock: never at quiet! What are you?--But this place is too cold for hell. I'll devil-porter it no further: I had thought to have let in

some of all professions, that go the primrose way to the everlasting bonfire. [Knocking.] Anon, anon! I pray you, remember the porter. As you can see, there’s a great deal that’s funny about what they’ve said considering the situations they find themselves in. Whether it’s inappropriate or just plain funny (the Nurse speaking so coarsely to Lady Capulet and Juliet or the Porter speaking so sarcastically), the timing in either case provides a break from the tension of surrounding events and perhaps a glimpse into what the reality of the oncoming events really are.

Questions

1. In what way can we see that comic relief provides a glimpse into the reality of the situations the protagonist finds him/herself in? Explain your point of view by citing examples from the text.

2. Show examples of comic relief throughout the piece of literature you’re working on at the moment and how it impacts the development of the plot. Be specific and show details to illustrate your point of view.

Compare & Contrast There are a number of things we could say about the notion of

“compare and contrast” in a literature class. However let’s just start

things off kind of slow and work our way up from there. In order to

really understand what these literary devices are used for, we have to

know what they mean first (from a literary point of view anyway).

Comparing things, whether in a group or just two’s, is simply

finding the similarities in the comparison. Not too difficult is it? For

the most part, finding similarities is relatively easy for most of us. A

good for instance is the comparison between Odysseus and Batman I

usually make in class when we’re talking about archetypes and

heroes.

Both men are heroes in the sense that their function in society

is to remind us of the hero as a flesh and blood man who, despite the

odds against a “normal” human being, performs heroic deeds with his

main weapon being his intellect. They both use their minds as the

basis for their success.

Contrasting things is simply the opposite of comparing them.

We find those aspects of a thing that are different and point them out

for what they are. Carrying on with the Odysseus/Batman line,

Odysseus is not a solitary hero in the same way that Batman is. He

is a leader of men and King. Batman is more of a vigilante and is

isolated by his nature.

Compare & Contrast 1. Compare and contrast the protagonist and the antagonist in a

modern adventure story. Show how the characters mirror each

other by using examples from the stories.

2. Compare and contrast the concepts of what is right with what is

legal. Use your readings as examples to illustrate your point of

view.

3. In what ways can we compare and contrast the affects of

loaded language (such as in the Declaration of Independence)

from long ago with the loaded language of today (pick a political

speech). (I want the outline, rough draft, and final draft)

Conflict

CONFLICT: The opposition between two characters (such as a protagonist and an antagonist), between two large groups of people, or between the protagonist and a larger problem such as forces of nature, ideas, public mores, and so on. Conflict may also be completely internal, such as the protagonist struggling with his psychological tendencies (drug addiction, self-destructive behavior, and so on); Taken from http://web.cn.edu/kwheeler/lit_terms_C.html Now I know there are a number of you who are going to say, “This is an easy one

Mr. M.”. If I were going to take the definition above at face value, I’d say the same thing.

I can’t however. Once again, there are many6 people who might think that the conflict in

a play, poem, novel or movie is the main idea/theme/plot. As I’ve explained in earlier

sections of this workbook, that perception may be close, but it’s not quite hitting the

bull’s eye. The conflict is the catalyst for those techniques. It sometimes sets up the

main idea, is a piece of the story that can reveal a theme, and drives the plot as a

general rule.

In some instances the conflict is right out in the open for the reader/spectator but

not for the characters. A good example of this is the action occurring in the play

“Othello”. The audience/reader is aware of the machinations of Iago whereas Othello is

in the dark until it’s too late for him. Of course, in Shakespeare anyway, that’s why we

call it a tragedy.

Plays like Arthur Miller’s “The Crucible” seem to be a bit more indirect. When we

think about conflict we (the audience) know; about the duplicity of Abigail, John Proctor’s

inner struggles with his emotions and the actual hysteria caused by prejudice and

intolerance as being central issues to the conflict.

Foreshadow

This is a technique used by writers to give hints that something

will be happening in the future. Most times it’s used to create

suspense or set up the readers for what will be happening in the

narrative at some future point. It is used somewhat more extensively

in the horror and fantasy genre’s to highlight symbols and

superstitions and make them that much more potent, with regard to

their affect on the reader.

One example of this is from J.K. Rowling’s’ Harry Potter and the

Order of the Phoenix. Harry notices a fountain in the Ministry of

Magic (when he’s going to a disciplinary hearing) has several magical

creatures in addition to a beaming witch and wizard. Having met and

had experience with several of the creatures, Harry realizes that the

attitudes of the sculpted figures do not actually reflect what would be

their real attitudes. Later in the novel, we find that the attitudes of the

creatures represented by the sculpture are vastly different than was

thought (this happens just before the statue is blown to bits in an

attack by Lord Voldemort).

Foreshadow

1. In what ways does imagery play a part in foreshadow? Explain

your answer using any books or movies you’ve seen in class or

out.

2. Explain how foreshadow can build suspense in a literary piece

you’ve read or seen. Be specific and use examples to illustrate

your point of view

ImageryThink how boring books would be if authors never used the type of

figurative language they do to create those wonderful pictures in our minds.

What is this literary device they use? Imagery shows us the things they see so

that we might understand the vision of the worlds they try to create for us. How

will we figure out what’s important and what isn’t? Well, that’s what this class is

all about now, isn’t it?

First let’s start off with Making Connections. Most of what Imagery is

supposed to do is make us “see” what we’re (and the author as well) thinking

about in our minds. We can ask ourselves some really basic questions each

time we see an example of imagery that seems to be striking to us.

What is the author trying to say?

Why would the author want to say it?

Does this image relate to anything I might need to know later in the

story?

When you start thinking about all of this, remember none of this is easy at first!!! It takes a good deal of practice to be able to recognize images to single

out as significant to the story. But, if you start practicing, it does become easier

as the skills you acquire become habits.

1. How does the author’s use of imagery inform us of setting?

2. Give examples of the author using imagery to describe the main

character.

3. What is the author trying to say with the imagery used to show tone in

this work?

4. In what way does the author use imagery to inform us of mood?

Inner Conflict

While there are many different ways we could discuss the

literary technique of inner conflict, it seems the best way is to

associate it with a character we are all familiar

with. The best one I can think of is Harry Potter

(my apologies to those of you who will read this

and think I should have gone with a character

like Macbeth or Michael Corleone).

Inner conflict deals with the inner

struggles a character is subject to throughout a storyline. Sometimes

the struggle might be very obvious, as in the case of Macbeth where

he has a choice between the evil of his ambition and the purity of his

service and loyalty to the king. But then again, the situation could be

like the one Harry Potter finds himself in continually. While he

struggles with emotions that are both personal and very common (to

people of his age experiencing the process of maturing), he also

labors with the eyes of the wizarding world upon him (both favorably

and unfavorably). Because of our sympathy for the all too common

experiences Harry has, we understand his reactions to both external

events and the emotions he attempts to control.

1. A hero deals with an inner conflict throughout his/her journey

through a certain trial. Using a character you’ve read about, show

how a hero has dealt with an inner conflict. Give examples from the

reading to illustrate your point of view.

Inner Conflict

2. When the protagonist of a written work is “dealing” with an inner

struggle, we are shown everything from the physical effect of

the issue to the emotional repercussions on the individual

through description. How is this same range of emotions and

physical consequences shown in other mediums (i.e. film and

theater)? Explain your point of view using examples from at

least three different sources and justify their relevance.

Irony

This literary device is one of the more versatile “tricks in the bag” of many

authors throughout history. Homer, Sophocles, Ovid, Spenser, Milton, and

Shakespeare are just a few of the many who have used irony to create both tone

and mood, as well as setting within their works. In use in a variety of ways, irony

is basically the contrast between what is expected and what actually happens, or

exists.

There are several different kinds of Irony that have to do with who has

knowledge of what and when. For instance, situational irony has to do with a

character expecting something to happen and something else occurs (generally

the opposite. This has a great comedic effect on stage and in the movies and

can certainly be used in horror films as well.

Dramatic Irony is one of the suspense building tools especially for live

theater. We, the audience know that something is going to happen, while the

characters on stage do not. The build up to the actual event is often more

exciting than the actual event itself (and its aftermath). A great example of this is

in the play “Julius Caesar”. Caesar is unaware that there is a conspiracy to kill

him and, ignoring the many warnings on going to the Senate, is murdered on the

steps of the Forum.

Verbal Irony is probably the most common, or well known, to us. It’s

basically a device where an individual expresses an opinion by stating one thing

and meaning another. The speaker in the poem “Do not weep, maiden, for war

is kind” shows this by repeating “war is kind” after having described horrific

events on battlefields. Bob Dylan, a musician you’ll be hearing more from as this

class progresses, uses it very liberally in his song lyrics.

Irony

1. In what way does irony contribute to the setting of our readings? Explain

using at least three different examples from the text to explain your point of

view.

2. Explain an ironic situation in our present readings. Then, explain what type

of irony it is, how you are made aware of it’s being ironic, and what affect it

will have on the main characters.

3. Of the three forms of irony described in the writing above, which do you see

occur most in our readings? Illustrate your point of view by offering

examples from works we’ve read or viewed in class.

4. In what ways has irony contributed to showing the mood and tone of the

works we’ve read in class so far? Give specific references to the readings

and explain why they relate to your answer.

Main Idea

You’d think that this literary device would be a fairly easy one to

figure out, but it’s not. People are constantly confusing “main idea”

with “plot” or “theme”. The fact is, it’s comparable to neither of

these two (although it’s closest to “theme” for reasons we’ll talk about

in a minute). It, as opposed to the others, is a single idea relative to

the characters or action in a piece of work.

Now, what about this comparison between “theme” and “main

idea”? Given what I’ve already said, there can only be one “main

idea” in any given piece of work, whereas there might be several

different themes working toward supporting that “main idea”. A good

for instance might be the main idea of Of Mice and Men was

probably something like “showing the lives of the migrant farm

workers of the southwestern states during the Depression era”. The

themes that would support and eventually blend to create such a

great piece of writing might be; loneliness, loyalty, innocence lost, or

even corruption. The point is, a theme tells us something about the

condition of human existence, where the main idea is what the piece

is about.

Metaphor & Simile Metaphor comparison of two unlike things using the verb "to be"… Simile is the comparison of two unlike things using like or as.

http://www.tnellen.com/cybereng/lit_terms/

These two definitions are helpful, but they don’t quite get in the

meaning of a good, down home example that you can easily

understand. Think of the Dylan Thomas poem “Do not go gentle…”

Now there’s a perfect instance of the use of metaphor and simile in

the same poem.

“Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay,

Rage, rage against the dying of the light.”

Comparing blind eyes blazing with meteors and “the dying of the

light” with the prospect of immanent death is absolutely incredible in a

little over two lines. The website above offers an observation that

states the following on the subject of metaphor.

“A metaphor establishes a relationship at once; it leaves more to

the imagination”

Any way you look at it, both metaphor and simile are both tools

that authors use to give us a greater insight into their work by making

colorful comparisons and observations.

Metaphor & Simile

1. Give three examples of metaphor in the piece we are currently

reading in class. Explain how they give us an insight into the

author’s thoughts and feelings.

2. Show how the use of simile brings a greater understanding of

the

Mr. Musiak's English Classes Room 219

Mood I Mood is the feeling created by the author in a literary work. Events,

descriptive details, and setting all contribute to mood. We've talked

about setting, imagery, and other literary devices as being part of

what makes up this singularly emotional mechanism or tool if you will.

Examples of mood are related directly to our personal interpretations

of the author's use of sensory images and other details that make an

impression on us. One example might be:

Even though I felt so much better after I won

the Lottery, I had the feeling things would be changing

soon when it began to storm and get colder.

What do you think might be happening? Exactly. The person might

be in for a serious change in his/her luck. The use of the words storm

and colder lend a very definite impression of something serious

changing from the earlier use of the words even though and better.

Mr. Musiak's English Classes Room 219

1. What types of language are being used to create mood in the selection? Explain in detail.

2. Why is the above significant? Explain.

3. Show how the director of a film sets the mood during a movie. Explain your point of view.

Plot Plot is the chain of events that takes place in a story. While

some folks would have the thought that Plot and Theme are the

same, they are most certainly not. One is an idea about the meaning,

or intention, of a story, while the other concerns the actual events of

the story.

There are four very distinct segments within a plot that tell us

the tale. They are:

I. Exposition- this is the introduction to the characters,

world and essential background so we know what’s going

on.

II. Rising Action- This is where the story starts to get

moving. The conflict causes reaction for other characters

and suspense for us the readers.

III. Climax- This is the major turning point. The intensity and

suspense are pretty much at their peak when the

revelation of knowledge occurs.

IV. Declining Action- This means denouement or resolution

within the story arch. This is generally the bit where the

main characters figure that they’d better do what they

figured out in the climactic scenes in order to move along.

Pretty simple huh?

Plot 1. In what way is plot influenced by things like symbolism,

allusion, and realism? Explain, using examples from our

readings as the basis for your answers.

2. How can the author use language to drive the plot in a certain

direction? Illustrate your point of view by using details from a

short story you’ve read.

3. Discuss the difference between plot and theme. Use examples

from our readings in class to illustrate your point of view.

Resolution

You’d have to think that this one would be fairly simple right? Not

exactly. Resolution (in a literary sense) is actually several events that

wrap up the loose ends to any of the plot twists that might have occurred

over the course of the work. There is a term for the “final resolution” or

clarification and that is denouement. That is, of course, the realization of

the main characters in their quest for some type of enlightenment.

I can see the wheels turning now. You’re saying, “But Mister M.,

what do you mean by enlightenment?” That’s a good question. Basically

it means that in everything we read or watch, there’s something that the

main characters have to find out. One example might be found in “The

Lord of the Rings-The Fellowship of the Ring”.

After the Ring has been destroyed in the chasm of Orodruin (that’s

Mount Doom), Frodo and Sam are awaiting the end of their lives as the

mountain blows itself apart. They both know that Frodo was unable to

willingly give up the Ring and that he wouldn’t have if Gollum hadn’t bitten

off the finger it was on. They’re aware of the fact that they’ve been

changed forever by their experiences and the world as they knew it would

never be the same again.

1. Describe the resolution of a book you’ve read in class. Explain what it was and what it meant to the main characters. Be specific and offer evidence from the text to support your answer

2. What affect does the author have in revealing the denouement to us? Take into account the climax of the work and the repercussions of that (or those) event has on the rest of the work.

Rhyme

RHYME (from Old French, rime meaning "series," in turn adopted from Latin rithmus and Greek rhythmos): Also spelled rime, rhyme is a matching similarity of sounds in two or more words, especially when their accented vowels and all succeeding consonants are identical. Taken from http://web.cn.edu/kwheeler/lit_terms_R.html There are many people who ask me about rhyme and whether it’s an absolute

necessity for poetry. My answer is no. Particularly when we look at the definition of

the word as you see it above. We can go into the how’s and why’s at some later point

because right now we’re going to get into why some other people used rhyme as well

as why you might want to use it.

The main reason for using a certain rhyme scheme (that’s just a fancy way of

saying how you use your rhyme) is to establish mood and tone. If you’ve read through

the pages on those two terms, you’ll know that they’re both terms that deal with the

way an author uses language to either create your response to the work (mood) or

show their feeling about the work (tone). It’s a sign of a good writer when you can look

at the words themselves and know about both. Some excellent examples of this are

from folks like Dylan Thomas and Robert Frost. Of course there are many great

instances when we can see how authors do this. But then, that’s why we study these

things isn’t it? For some of us that’s why we even (loud gasp as Mr. M writes this)

enjoy reading the poetry of people like; Keats, Coleridge, Whitman, and so many

others.

Essays

1. As you read through the poetry from today’s class, show how the author uses

rhyme to establish mood and tone. Take into account the language the author

uses in the actual rhyming words themselves as well as the language he (or she)

uses to “set it up”.

2. Why do you believe people think that poetry is simply the way an author uses

rhyme? Use examples from your readings to illustrate your point of view.

Rhythm

RHYTHM (from Greek, "flowing"): The varying speed, loudness, pitch, elevation, intensity, and expressiveness of speech, especially poetry. Taken from http://web.cn.edu/kwheeler/lit_terms_R.html Looking at the definition of the word as it’s written above; you’d almost think that

the term was limited in its scope. Don’t let it fool you! Rhythm is so much more than just

the physical quality of speech. It’s an indicator of so many of the emotions that can be

shown by literature of any type. In many cases it’s the way we understand the emotional

expressions authors, actors, musicians, and other artists show us in their work. In

addition to that, language and other art is given more (or less) meaning when we

consider the rhythm of its construction (techniques like rhyme and alliteration come to

mind here).

Some examples of the sorts of rhythmic devices and techniques you’re likely to

encounter in an English literature class are found in the works of authors such as;

Shakespeare, Coleridge, Miller, and even Rowling. In each of their works, the language

inspires us to interpret it in an intensely personal way. The soliloquy of Hamlet, the tale

of the Ancient Mariner, the testimony of John Proctor, and the experience of Harry Potter

meeting Lord Voldemort are all affected by our interpretation of the intensity and

expressive nature of the language used by each author in the creation of the situations

their characters face.

Of course, the rhythmic qualities of language are also enhanced by the

combination of several art forms as well. This is most clear in the poetry and music of

people like; Bob Dylan, John Lennon, and Tupac Shakur to name but a few.

Essays

1. In your readings and experiences in English classes, you’ve read a couple

Shakespearean dramas (Most E9 classes read “Romeo and Juliet” while many

E12 classes read Hamlet). Each of the plays has had a very distinct kind of

rhythm. Compare and contrast the intention of Shakespeare’s language in two

different plays and explain how the rhythm of the actor’s interpretation of them

might affect the audience’s understanding. Explain.

2. Show how using different rhythms in popular music today either enhances (or

doesn’t enhance) the way people feel when they listen to the lyrics of a song.

Explain using direct quotes from at least two different songs.

Satire

According too my ever trusty glossary of literary terms, satire is:

“…a literary technique in which ideas, customs, behaviors, or institutions are ridiculed for the purpose of improving society.”

Sometimes this ridicule is mild while at others, it’s scathing. You’ll notice

satire on television in shows like; “Saturday Night Live”, “The Bill Maher

Show”, and even on MSNBC on a show called “Countdown with Keith

Olberman”.

There have been many people in the last 50 years or so that have given

us some of the most vicious and yet funny looks at ourselves through the eyes

of what can only be described as a common humanity. That is to say, satirists

and comedians will always find something to laugh at ourselves about.

People like Dennis Miller, Bill Cosby, and Bill Maher are all being provided

with an enormous amount of material every day. Writers like Mark Twain,

Dorothy Parker, Will Rogers, and many others have made satire part of the

fabric of the modern world in politics, religion, and in everyday life.

1. Show and explain elements of satire in several different media.

2. Over the course of the weekend, show at least two examples of satire as

written for the stage (live theater). Explain why you find them to be

satire.

Setting The way an author uses language to create an environment for their work is

one of the most important literary devices we will study in this class. Setting tells us

many different things about a story, poem, novel, movie or any other piece of

communication where an author is trying to get an element of a narrative across.

In many cases, the setting helps us recognize the mood an author wants to

create by describing the environment around which the action takes place. The

setting is made up of three main, yet fundamental pieces. They are; place, time

and condition

When we think of how an author uses setting to give us information, it’s

always a good idea to try to understand why this person wants us to make us look

at his/her work in such a way. Making connections is the most important part of

why we want to recognize what the setting actually is. To do this we have to ask

ourselves some questions.

What is the time of the action?

What is the location of the action?

What are the conditions the main characters find themselves in?

How does the author use setting to influence mood?

Give examples of the language the author uses to create the setting. Please

be specific.

Why is the setting important to this work? Give examples from the text to

support your point of view.

SymbolismThe dictionary I was looking in this morning said that symbolism is “the art

or practice of using symbols or indicating symbolically by means of visual or other

sensual representations”. Now that’s a mouthful isn’t it? Of course, you have to

remember that the word is based on the term symbol. That term means,

according to my handy-dandy dictionary, “something concrete that represents or

suggests something that cannot, in itself, be visualized”.

A really good example of symbolism is the Cross as being representative of

Christianity. Of course, some of the other examples of symbolism you might

recognize from your readings and discussions might be:

Excalibur-the sword of King Arthur

The crown Antony offers Caesar at the festival of Lupercal

The Ring Frodo carries in The Lord of the Rings

The Star of David in Night

Some of the things we might want to look for when we try to determine the

symbolism of certain devices or situations are:

What does it represent?

Why is it important to the situation?

Who will it affect?

1. What are some of the uses for symbolism you’ve seen in the literature you’ve

read in your previous English classes?

2. How does the author of today’s reading use symbolism to get his/her

message across? Explain.

3. In what ways does the use of symbolism enhance the meaning of a

particular piece of literature?

4. How does metaphor contribute to the meaning of symbolism?

5. In what ways can symbolism set the mood of a piece of literature?

Theme The theme of a literary work is an insight about life or a train of though

concerning some part of human nature the author presents to the reader. In

many cases the theme of a work is closely related to the plotline and the main

character’s reactions to the events unfolding around them.

Some examples of theme might be: loneliness in Steinbeck’s Of Mice and Men, tragic love in “Romeo and Juliet”, ambition in Macbeth good vs. evil

in “Paradise Lost”, and loss of innocence in Anne Frank-Diary of a Young Girl. When you consider trying to find out what the theme of a work is, imagine

yourself in the position of the characters. What is it the going through? What

devices are helping us to understand the significance of the events surrounding

them?

1. Describe the theme the author is trying to discuss in the piece we’re

reading in class right now.

2. What devices is the author using to help us more fully understand the

theme in his/ her work?

3. How do we determine the main theme of a literary work?

Mr. Musiak's English Classes Room 219

Tone A writer's attitude toward the subject of his or her writing is referred to as

the tone of the work. It is our observation of the types of imagery, setting, & mood that gives us impressions of the author's intent. However, the

most telling piece of evidence in any search for the tone of an article of

writing is the language. It definitively reflects on the nature

of the author's opinion of the topic.

When you think of some of the things that make up tone, consider the fact

that it is not only the way you perceive things, but it is also true that the

author/writer/speaker/etc...has an opinion as well. Remember, even

though theirs was the first opinion considering the subject and creating it,

you may see something in the language they do not.

Mr. Musiak's English Classes Room 219

1. In what ways can you tell the author is setting the tone of a piece of

writing? Show examples from our readings

2. Is it possible for a person to misunderstand the tone an author is

trying to portray? Show examples from at least 2 different media.

3. How does the tone of the language used to describe mood, imagery,

and setting affect the way we see them in our interpretations?

Mr. Musiak's English Classes Room 219

Understanding Interpretations

So many people today seem to have their own views, justifications,

rationalizations, excuses, and the like, we tend to forget that everything we see

and do is open to interpretation by others. What we are going to focus on in this

class is the notion (idea) of literary interpretation.

Very simply put, literary interpretation, means trying to find out what literary

works mean. Don't get me wrong here, opinion means a great deal to this

concept, but opinions should be based on some well thought out assertions first.

We've already seen what setting, imagery, mood, tone and theme can mean for

any literary work, but what about some of the other things like: Motivation, Loaded

Language, Specialized Vocabulary, Local Color, and Sensory Details among other

things? Over the course of the semester we're going to be talking about these

things in great detail.

Motivation The key to finding any type of meaning in a work is understanding the motivation of the author or the characters. Motivation is essentially "a reason for some type

of action being taken". You can take a number of things into account to find out

what the motivation of an author or character might be.

Mr. Musiak's English Classes Room 219

1. What is the main reason for the author’s choice of setting?

2. What is the author’s motivation for using the tone of this literary piece?

3. How does Imagery play a parting helping us understand the motivations of

the author? Be specific and give examples from our readings in this class.

Understanding More

Interpretations Among the more confusing notions to be created by those guys and gals climbing out of the caves and starting to make their homes in groups and clusters, we have the concept of written language. Instead of making smoke signals which tend to disappear quickly, or making body language permanent (Which was difficult to produce since the writing of the books could take up most of the known population at the time. Not to mention the sculpting tools, equipment, and sculptors) these people actually thought it would be a good idea to find a way to make language last. Of course, when that happened, all sorts of things came along with it. Book agents, weight-loss books, autobiographies, trashy love novels, and more importantly, all these text books that teachers use to torment students everyday. Of course, one of the most important ideas to come along right around this time was the concept of using loaded language in the writing. Some of the most important documents in history use this type of writing to persuade us to, at the very least, consider the opinions they want us to follow (which generally tend to be their own). The Declaration of Independence, The Gettysburg Address, The Emancipation Proclamation, Letters from the Birmingham Jail, I Have A Dream Speech, are all examples of writers and speakers from our history trying to use loaded language for the betterment of people. Of course, there are many others that try to do the right things for people. But, just as there is good, there is also bad. It’s a sad thing really, but some people just don’t ever get the big picture. It’s up to us to be able to tell the difference between what’s right and wrong for not only ourselves, but for our children as well. (By the way, the above paragraph uses loaded language)

1. Give examples of the ways the words: mother, daughter, sons, fathers, country, pride, truth, justice and honor can be used in ways that are not considered good by most people.

2. How does the author of (insert selection) use loaded language?

Be specific and give examples from the text to illustrate your point of view.

A Day in the Life of Ivan Denisovich Character Sheet

Ivan Denisovich Shukhov Tyurin - Tsezar Fetyukov Alyoshka Pavlo Kolya Buynovsky Gopchik Eino Kildigs Snub Nose

Themes Human Dignity Unjust Punishment Corruption Faith

A Midsummer Night’s DreamCharacter Sheet

Puck Oberon Titania Lysander Demetrius Hermia Helena Egeus Theseus Hippolyta Nick Bottom Peter Quince Francis Flute Robin Starveling Tom Snout Snug Philostrate Peaseblossom, Cobweb, Mote, and Mustardseed -

A Wizard of Earthsea

People Ged Ogion Vetch Otak Nemmerle Master Doorkeeper Master Namer Master Patterner Master Windkey Master Summoner Master Herbal Master Hand Master Channger Master Finder (Chanter) Old Couple Elfarran Erreth-Ahkbe Segoy

Places Gont Roke Archipelago Ten Alders Re Albi Pendor Iffish Havnor

Animal Farm Character Sheet

Napoleon Snowball Boxer Squealer Old Major Clover Moses Mollie Benjamin Muriel Mr. Jones Mr. Frederick Mr. Pilkington Mr. Whymper Jessie and Bluebel Minimus

Antigone Character Sheet

Antigone Creon Ismene Haemon Nurse Chorus Jonas Second Guard Third Guard Messenger Page Eurydice

Themes

Right v Wrong Strength Corruption Companionship

Black Boy Character Sheet

Richard Wright Ella Wright Granny Alan Aunt Addie Grandpa Nathan Wright Aunt Maggie Uncle Hoskins “Professor” Matthews Uncle Clark Uncle Tom Ella, the schoolteacher Griggs Pease and Reynolds Mr. Crane Olin Harrison - The Hoffmans Shorty Falk Comrade Young Ross Ed Green

Fahrenheit 451 Character Sheet

Guy Montag Mildred Montag Captain Beatty Professor Faber Clarisse McClellan Granger Mrs. Phelp Mrs. Bowles Stoneman and Black

Themes Right v Wrong Strength Corruption Censorship

Hamlet Character Sheet

Hamlet Claudius Gertrude Polonius Horatio Ophelia Laertes Fortinbras The Ghost Rosencrantz Guildenstern Osric Voltimand Cornelius Marcellus Francisco Bernardo Reynaldo

Lord of the Rings Worksheet Names to Know

Gandalf Bilbo Baggins Frodo Baggins Samwise Gamgee Meriadoc Brandybuck Peregrine Took Strider/Aragorn Sauron Saruman Orcs Barad-ur The Shire Rivendell Bree Mordor Arwen Elrond Gimli Boromir Legolas Nazgul/Ring Wraiths/The Nine Moria Balrog Galadriel Celeborn Lothlorien Uruk-Hai Isengard

Macbeth Character Sheet

Macbeth Lady Macbeth The Three Witche Banquo King Duncan Macduff Malcolm Hecate Fleance Lennox Ross The Murderers Porter Lady Macduff Donalbain Siward

-

“Merlin” Characters Merlin

Nimue

Ambrosia

King Constant

King Vortigern

King Uther

Igraine

Queen Mab

Lady of the Lake

Gawain

Frik

Sir Rupert

Lancelot

Galahad

Arthur

Guinevere

Round Table

Camelot

Modred

Morgana

Tintagel

Excalibur

The Holy Grail

Sir Kay

Sir Ector

Of Mice and Men Character Sheet

Lennie George Candy Curley’s wife Crooks Curley Slim Carlson The Boss Aunt Clara Whit Steinbeck Salinas

Themes Loneliness Strength Corruption Companionship

Othello Character Sheet

Othello Desdemona Iago Michael Cassio Emilia Roderigo Bianca Brabanzio Duke of Venice Montano Lodovico Graziano Clown

Romeo and Juliet Character Sheet

Romeo - Juliet Mercutio Tybalt Benvolio The Prince Montague Capulet Lady Montague Lady Capulet Friar Laurence Friar John Apothecary Rosaline The Nurse Paris Balthezar Gregory Peter - The Chorus

People and Places The Lord of the Rings-Fellowship of the Ring

Bilbo Baggins

Frodo Baggins

Samwise Gamgee

Meriadoc Brandybuck

Peregrine Took

Lobelia Sackville-Baggins

Ham Gamgee

Farmer Maggot

Fredegar Bolger

Rose Cotton

Gandalf

Radagast

Saruman

Tom Bombadil

Goldberry

Elrond

Arwen Evenstar

Glorfindel

Legolas

Galadriel

Celeborn

Haldir

Aragorn

Isildur

Gil-Galad

Elendil

Boromir

Gloin

Gimli

People and Places The Lord of the Rings-Fellowship of the Ring

Sauron

Witch-King of Angmar

Nazgul

Balrog

Orcs

Trolls

Gollum

Places Middle-Earth The Shire Hobbiton Bree Brandywine River Mirkwood Weathertop Moria Rivendell The Grey Havens Gondor Minas-Tirith Mordor Rohan Isengard Northern Wastes

The Olympian Gods A Worksheet

Zeus Hera Poseidon Hades Athena Apollo Hermes Ares Aphrodite Dionysus Demeter Hephaistos Parthenon Athens Sparta Mycenae Troy Thebes Secular Theology

The Declaration of Independence

Essay Questions What overall impact has the Declaration of Independence had on our nation? On the nations of the world? Is the Declaration of Independence a radical document? Explain

Multiple Choice 1. The Declaration of Independence contributed to the development of

democracy by

1. rejecting Parliament’s stamp tax.

2. allowing women to take part in government.

3. suggesting that people are the source of power.

4. demanding an end to salutary neglect.

2. According to the Declaration of Independence, the people have the

right to alter or abolish a government if that government

1. is a limited monarchy.

2. violates natural rights.

3. becomes involved in entangling alliances.

4. favors one religion over another. ;

3. "We hold these truths to be self-evident: That all men are created

equal; that they are endowed by their creator with certain unalienable

rights; that among these are life, liberty, and the pursuit of happiness.

This quotation is evidence that some of the basic ideas in the Declaration

of Independence were

1. imitations of the principles underlying most European

governments of the 1700's.

2. adaptations of the laws of Spanish colonial governments in

North America.

3. adoptions of rules used by the Holy Roman Empire.

4. reflections of the philosophies of the European Enlightenment.

4. Which fundamental political idea is expressed in the Declaration of

Independence?

1. The government should guarantee every citizen economic security.

2. The central government and state governments should have

equal power.

3. If the government denies its people certain basic rights, that

government can be overthrown.

4. Rulers derive their right to govern from God and are therefore

bound to govern in the nation’s best interest.

5. Which phrase from the Declaration of Independence most clearly

reflects the idea that the people are the source of government?

1. ". . . that all men are created equal, . . .''

2. ''. . . all men are . . . endowed by their Creator with certain

unalienable rights

3. ''. . . deriving their just powers from the consent of the

governed . . ."

4. ''. . . governments long established should not be changed for

light and transient causes . . . "

6 The Declaration of Independence was based on the ideas of the

(1) Enlightenment (3) Renaissance

(2) Romantic Era (4) Age of Exploration

7 According to the Declaration of Independence, governments are established to

(1) protect the nation from invasion

(2) provide a system of checks and balances

(3) protect the natural rights of citizens

(4) guarantee voting rights for all citizens

8 The Declaration of Independence contributed to the development of

democracy by

1 guaranteeing trial by jury to all men

2 allowing women to take part in government

3 indicating that people are the source of power

4 providing for Presidential elections every four years

9 Which principle of government is proposed in the Declaration of

Independence?

1 Political power originates with a strong central government.

2 The primary function of government is to protect natural rights.

3 A system of checks and balances is the most effective way to

prevent governmental abuse of power.

4 Individual liberties must be guaranteed by a strong bill of rights.

10 "That to secure these rights, governments are instituted among men,

deriving their just powers from the consent of the governed."

This statement from the Declaration of Independence indicates that

government has a responsibility to

1 promote economic development

2 control the lives of citizens

3 respond to the will of the people

4 provide for the defense of the nation

11 The Declaration of Independence contributed to the political development

of the United States by

1 condemning the practice of slavery

2 presenting a clear statement of the social contract theory of

government

3 providing the nation with a strong bill of rights

4 demonstrating the need for a strong chief executive

Gathering the Evidence! That’s right! You’re a detective tracking down a lead and you have to find the evidence to support your claims. OR, you’re the lawyer that has to defend his/her position to the judge and jury. Either way, it’s going to be a difficult job considering some of the questions you’re going to get asked! Before you try to answer any of those questions that are inevitably fired at you, you always ask yourself these sorts of questions first. 1. What is the question they’re asking me? 2. How can I answer it? 3. What do I base my opinion, viewpoint, thesis, or idea on? 4. What are the key things I’m going to be focusing on? 5. Why do I want to focus on them? 6. How much should I use to get my message across? 7. Did I get my message across? As an expert in your field, you can find the answers to these (and more) questions without too much trouble. If you happen to be a student in Mr. Musiak’s English class, it might be somewhat more difficult. You don’t have the years of experience in the field. But don’t fear! You do have ways to make your job easier. One of those ways is by using a GRAPHIC ORGANIZER. In the pages that follow, you’ll find out all kinds of things concerning the use of these wonderful tools.

Graphic Organizers In order to sift through all the information that you get even by reading something as simple as the side panel of a cereal box, graphic organizers are used to help make this task easier. Making comparisons, separating information, and showing the steps in a process are all reasons for using graphic organizers. Some examples of graphic organizers are: Tables-separate information into categories to compare information easily Bar Graphs-Show a quantity for comparison Flow Charts-Show the steps in a process Cluster Diagrams-show the relationship between ideas Maps-Show political and physical features of the Earth

Gothic Horror Throughout history there have been gatherings and celebrations where the sole purpose for the entertainment seemed to be scaring the participants of the gathering out of their wits. Stories about monsters, witches, vampires, werewolves, and other assorted demons have been around ever since man realized it was kind of fun to walk up behind one of your unsuspecting friends in the dark and say “Boo!”. Over the years, many people have researched what it is about being scared that we enjoy so much. Carl Jung figured that it was the collective unconscious and the archetypes of evil that made us feel the way we do. Some others have believed that there’s a biological reaction to certain stimuli that, once we have it, we crave more and more. Adrenaline rushes and spiked blood pressure would certainly do that from a purely physical standpoint. Maybe it’s a combination of the two. That’s probably the way of it. The point is, we love this type of excitement. Gothic Horror itself, since it is so very popular, has been studied (and written about) for some time as a literary genre by some of the greatest authors in history. Edgar Allen Poe, Shakespeare, Oscar Wilde, Bram Stoker, Mary Shelley and others have created some of the most widely read stories ever. The thing is, these stories have all had a few things in common….

The Gothic Traditions I. The Curse-There’s always a curse or some ancient evil come back to wreak

havoc on some mostly innocent (and almost harmless) people (inn literary terms, this would be the conflict).

II. The Hero/Heroine- They are generally a couple. Sometimes it’s a union bound for tragedy, but in many of the more recent gothic tales, it’s a romantic relationship.

III. The Quest (for knowledge and power)-Usually there is a quest or journey that has to be taken in order to find some bit of information, talisman, or power that will conquer the evil

Gothic Horror IV. The Resurrection- This is where it gets bad for the good guys. Because

of the literary concept of “rising action”, suspense and action builds up here.

V. The Confrontation- This is where the good guys almost lose everything in a direct confrontation with the bad guys. While it isn’t necessary, some sort of cataclysmic battle happens at this point.

VI. The Victory- The good guys win, but only after having paid a big price for the victory. Generally the loss of life or of their innocence.

VII. The Sequel- Somehow the bad guys always seem to find a way to come back.

Now there are always a number of other elements that crop up in gothic horror (particularly these days). Comic relief, irony, and symbolism are just a few of the literary devices used by authors like Stephan King who write Gothic Horror stories even today.

The Questions

1. Explain at least three of the literary devices used in tonight’s film. Make sure that you use direct examples from the film to illustrate your point of view. 2. In what ways are the traditions mentioned above found in the film we’ve viewed this evening? Illustrate your point of view by citing examples from the movie and how you feel they fit together by comparing and contrasting at least three situations.

Harry Potter Worksheet Answer the questions below

1. Who were the Slytherin students Harry, Ron & Hermione were going to change into?

2. What were they going to use to make this change? a) Polyjuice potion b) Mandrake Draught c) Pixie dust d) None of the above

3. Professor Dumbledore has a pet phoenix. What is it’s name?

a) Fang b) Spot c) Fawkes d) Harry

4. What is the name of the Street the Dursley’s live on? a) Plainfield Street b) Eastern Avenue c) Privet Drive d) London Road

5. Name three Hogwarts instructors. A. B. C.

6. What are the names of the four “houses” at Hogwarts?

A. B. C. D.

7. What are the full names of the founders of each house?

A. B. C. D

8. What is Tom Riddle’s full name?

9. What did he change it to?

10. Who did he frame for the opening of the C.O.S.? a) Professor McGonagall b) Professor Snape c) Hagrid d) Professor Sprout

11. What is Mr. Filch’s first name? a) Aberforth b) Stan c) Argus d) Philip

12. What does Harry help Lockhart do as a detention? a) Brush his teeth b) Answer fan mail c) Catch Cornish pixies d) Sign pictures

13. What did Dumbledore teach as an instructor at Hogwarts?

a) Transfiguration b) Herbology c) Astronomy d) Divination

Harry Potter Worksheet 14. What does Hermione use to try to see the basilisk? a) Polarized shades

b) Water in a bowl c) A hand mirror d) A camera

15. Who does Harry ask about being put into the right House?

a) Professor McGonagall b) Tom Riddle c) The Sorting Hat d) Fawkes

16. What was Hagrid trying to hide when Tom confronted him?

a) Fang b) A unicorn c) Aragog d) A dragon egg

17. Name three members of Ron’s Family (with their full names)

A. B. C.

18. What does Harry do to free Dobby? a) Give him a sock b) Trick Mr. Malfoy c) Break the spell using magic d) Ask the Minister of Magic

19. What is the Minister of Magic’s name? a) Alastor Moody b) Charlie Filch c) Cornielius Fudge d) Remus Lupin

20. What is Harry’s cousin’s name? a) Henry b) Bobby c) Dudley d) Dobby

Identify the following 1. Hogwarts 2. Dobby 3. Hogsmeade 4. Whomping Willow 5. Severus Snape 6. Diagon Alley 7. The Burrow 8. The Sorting Hat 9. Platform 9 ¾ 10. Flourish and Blotts

1

Shakespearean Excerpts

Hamlet Macbeth

Romeo & Juliet Julius Caesar

2

From Hamlet HAMLET To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.--Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember'd.

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From Macbeth

SCENE VII. Macbeth's castle.

Hautboys and torches. Enter a Sewer, and divers Servants with dishes and service, and pass over the stage. Then enter MACBETH MACBETH If it were done when 'tis done, then 'twere well It were done quickly: if the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, We'ld jump the life to come. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return To plague the inventor: this even-handed justice Commends the ingredients of our poison'd chalice To our own lips. He's here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And pity, like a naked new-born babe, Striding the blast, or heaven's cherubim, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself And falls on the other.

Enter LADY MACBETH

How now! what news? LADY MACBETH He has almost supp'd: why have you left the chamber?

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MACBETH Hath he ask'd for me? LADY MACBETH Know you not he has? MACBETH We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. LADY MACBETH Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting 'I dare not' wait upon 'I would,' Like the poor cat i' the adage? MACBETH Prithee, peace: I dare do all that may become a man; Who dares do more is none. LADY MACBETH What beast was't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. MACBETH

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If we should fail? LADY MACBETH We fail! But screw your courage to the sticking-place, And we'll not fail. When Duncan is asleep-- Whereto the rather shall his day's hard journey Soundly invite him--his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only: when in swinish sleep Their drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? what not put upon His spongy officers, who shall bear the guilt Of our great quell? MACBETH Bring forth men-children only; For thy undaunted mettle should compose Nothing but males. Will it not be received, When we have mark'd with blood those sleepy two Of his own chamber and used their very daggers, That they have done't? LADY MACBETH Who dares receive it other, As we shall make our griefs and clamour roar Upon his death? MACBETH I am settled, and bend up Each corporal agent to this terrible feat. Away, and mock the time with fairest show: False face must hide what the false heart doth know.

Exeunt

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From-Romeo and Juliet ROMEO He jests at scars that never felt a wound.

JULIET appears above at a window

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off. It is my lady, O, it is my love! O, that she knew she were! She speaks yet she says nothing: what of that? Her eye discourses; I will answer it. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, As daylight doth a lamp; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek! JULIET Ay me! ROMEO She speaks: O, speak again, bright angel! for thou art As glorious to this night, being o'er my head As is a winged messenger of heaven Unto the white-upturned wondering eyes Of mortals that fall back to gaze on him When he bestrides the lazy-pacing clouds And sails upon the bosom of the air.

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JULIET O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet. ROMEO [Aside] Shall I hear more, or shall I speak at this? JULIET 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself.

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ANTONY Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer'd it. Here, under leave of Brutus and the rest-- For Brutus is an honourable man; So are they all, all honourable men-- Come I to speak in Caesar's funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man. He hath brought many captives home to Rome Whose ransoms did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then, to mourn for him? O judgment! thou art fled to brutish beasts, And men have lost their reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me. But yesterday the word of Caesar might Have stood against the world; now lies he there. And none so poor to do him reverence. O masters, if I were disposed to stir Your hearts and minds to mutiny and rage,

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I should do Brutus wrong, and Cassius wrong, Who, you all know, are honourable men: I will not do them wrong; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honourable men. But here's a parchment with the seal of Caesar; I found it in his closet, 'tis his will: Let but the commons hear this testament-- Which, pardon me, I do not mean to read-- And they would go and kiss dead Caesar's wounds And dip their napkins in his sacred blood, Yea, beg a hair of him for memory, And, dying, mention it within their wills, Bequeathing it as a rich legacy Unto their issue. Have patience, gentle friends, I must not read it; It is not meet you know how Caesar loved you. You are not wood, you are not stones, but men; And, being men, bearing the will of Caesar, It will inflame you, it will make you mad: 'Tis good you know not that you are his heirs; For, if you should, O, what would come of it! Will you be patient? will you stay awhile? I have o'ershot myself to tell you of it: I fear I wrong the honourable men Whose daggers have stabb'd Caesar; I do fear it. You will compel me, then, to read the will? Then make a ring about the corpse of Caesar, And let me show you him that made the will. Shall I descend? and will you give me leave? If you have tears, prepare to shed them now. You all do know this mantle: I remember The first time ever Caesar put it on; 'Twas on a summer's evening, in his tent, That day he overcame the Nervii: Look, in this place ran Cassius' dagger through: See what a rent the envious Casca made: Through this the well-beloved Brutus stabb'd; And as he pluck'd his cursed steel away, Mark how the blood of Caesar follow'd it, As rushing out of doors, to be resolved

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If Brutus so unkindly knock'd, or no; For Brutus, as you know, was Caesar's angel: Judge, O you gods, how dearly Caesar loved him! This was the most unkindest cut of all; For when the noble Caesar saw him stab, Ingratitude, more strong than traitors' arms, Quite vanquish'd him: then burst his mighty heart; And, in his mantle muffling up his face, Even at the base of Pompey's statua, Which all the while ran blood, great Caesar fell. O, what a fall was there, my countrymen! Then I, and you, and all of us fell down, Whilst bloody treason flourish'd over us. O, now you weep; and, I perceive, you feel The dint of pity: these are gracious drops. Kind souls, what, weep you when you but behold Our Caesar's vesture wounded? Look you here, Here is himself, marr'd, as you see, with traitors. Good friends, sweet friends, let me not stir you up To such a sudden flood of mutiny. They that have done this deed are honourable: What private griefs they have, alas, I know not, That made them do it: they are wise and honourable, And will, no doubt, with reasons answer you. I come not, friends, to steal away your hearts: I am no orator, as Brutus is; But, as you know me all, a plain blunt man, That love my friend; and that they know full well That gave me public leave to speak of him: For I have neither wit, nor words, nor worth, Action, nor utterance, nor the power of speech, To stir men's blood: I only speak right on; I tell you that which you yourselves do know; Show you sweet Caesar's wounds, poor poor dumb mouths, And bid them speak for me: but were I Brutus, And Brutus Antony, there were an Antony Would ruffle up your spirits and put a tongue In every wound of Caesar that should move The stones of Rome to rise and mutiny. Why, friends, you go to do you know not what: Wherein hath Caesar thus deserved your loves?

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Alas, you know not: I must tell you then: You have forgot the will I told you of. Here is the will, and under Caesar's seal. To every Roman citizen he gives, To every several man, seventy-five drachmas. Moreover, he hath left you all his walks, His private arbours and new-planted orchards, On this side Tiber; he hath left them you, And to your heirs for ever, common pleasures, To walk abroad, and recreate yourselves. Here was a Caesar! when comes such another? First Citizen Never, never. Come, away, away! We'll burn his body in the holy place, And with the brands fire the traitors' houses. Take up the body. Second Citizen Go fetch fire. Third Citizen Pluck down benches. Fourth Citizen Pluck down forms, windows, any thing.

Exeunt Citizens with the body

ANTONY Now let it work. Mischief, thou art afoot, Take thou what course thou wilt!

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Shakespearean Questions

1. Explain the motivation of people like the ones we’ve just read about. While each of them has a distinct situation, they all lean heavily on certain aspects of their personalities. Compare and contrast them. 2. Pick one of the characters we’ve just read about and analyze the situation that individual is in. Then explain why this situation and the results of it are examples of the emotional impact of people in the actual times.

John Steinbeck Worksheet

Answer the questions below 1. Name three works by John Steinbeck

2. When was Steinbeck born? a) 1902 b) 1904 c) 2003 d) None of the above

3. Steinbeck wrote about what state in many of his novels?

a) Louisiana b) California c) Kansas d) Texas

4. The migrant workers he wrote about did what? a) Made cars b) Worked on farms c) Drove busses d) Made coasters

5. Who was Charley?. A. A camp counselor B. A boyhood friend of Steinbeck’s C. A dog

6. What National Park does Steinbeck go to? A. Jellystone B. Forest Park C. Red Rocks D. Yellowstone

7. Name four states people migrated from in order to go to California according to Steinbeck

A. B. C. D

8. In what year did Steinbeck receive the Nobel Prize?

9. What category did he win it in?

10. Use four words to describe the situation in “The Flood”.

A. B. C. D .

11. What is Steinbeck’s first name? a) George b) Lenny c) Argus d) John

12. Who was Horace Bristol? a) 13. Who was Edith Mirrielees?

John Steinbeck Worksheet

14. Why does Steinbeck write to her?

15. What is the point of Steinbeck’s acceptance speech?

16. I(n what year was Steinbeck’s first novel published?

a) 1986 b) 1932 c) 1929 d) 1992

17. Name two of Steinbeck’s sons A. B.

18. What was the name of Steinbeck’s first published novel??

19. In what year did Steinbeck die? a) 1982 b) 1978 c) 1967 d) 1968

20. Name two other literary awards Steinbeck won during his lifetime.

Identify the following 1. The Great Depression 2. The Dustbowl 3. Drought 4. Pestilence 5. Travelogue 6. injustice 7. collaboration 8. perception 9. conscience 10. fascination

The Fellowship of the Ring-Part One

1. What is the name of the town Frodo lives in? 2. What is the name of his country? 3. Describe a hobbit. 4. What is Frodo’s home like? Describe it. 5. What is a dwarf as described in the story? 6. What kind of person is Gandalf the Wizard? 7. What is the first danger the Frodo, Sam, Merry, and Pippin face? 8. What is the name of the Ferry they use to cross the Brandywine River? 9. What is the most important aspect of Frodo’s meeting with Strider? 10. What is the name of the town they are in when they are attacked by the Black Riders first? 11. What is Frodo’s traveling name? 12. Who is Tom Bombadil? 13. Where does Gandalf go to find answers to his questions about the ring? 14. Who are the members of the Fellowship? 15. Where does Strider take Frodo, Sam, Merry and Pippin to meet with Gandalf first.? 16. What kind of blade is Frodo stabbed with? 17. Why is he stabbed? 18. Name three wizards mentioned in this book. 19. Is there a bit of foreshadow at the end of the novel? What is it? 20. What relation are Merry and Pippin to Frodo? 21. What are the full names of Merry and Pippin? 22. What happens at the Ford of Rivendell? 23. Who is Elrond? 24. What is the full name of his daughter? 25. Whom do they also find in Rivendell?

The Hobbit A Worksheet for Understanding

1. What is the name of the town Bilbo lives in? 2. What is the name of his country? 3. Describe a hobbit. 4. What is Bilbo’s home like? Describe it. 5. What is a dwarf as described in the story? 6. What kind of person is Gandalf the Wizard? 7. What is the first danger the small company and Bilbo face? 8. How do they get themselves out of trouble? 9. When they take the Swords, and the knife, they discover the swords are named. What are those names? What do they mean? 10. What is the most important aspect of Bilbo’s meeting with Gollum? 11. Who are the Hobbits and Gandalf rescued by? Where do they live? 12. What is the riddle of the Key to the Lonely Mountain? 13. What is Bilbo’s sword named? 14. How many times does Bilbo save the company from captivity? 15. Why do the dwarves barricade the entrance to the mountain? 16. What is the purpose of the Arkenstone? 17. Who kills Smaug? 18. How does he do it? 19. What are the Five Armies? 20. Is there a bit of foreshadow at the end of the novel? What is it?

Snoopy is an extroverted beagle with a Walter Mitty complex. He is a virtuoso at every endeavor- at least in his daydreams atop his doghouse. He regards his master, Charlie Brown, as "that round-headed kid" who brings him his supper dish. He is fearless though prudently cautious about "the cat next door." He never speaks- that would be one human trait too many- but he manages to convey everything necessary in facial expressions and thought balloons. A one-man show with superior intelligence and vivid imagination, he has created such multiple personalities as: Joe Cool, World War I Flying Ace, Literary Ace, Flashbeagle, Vulture, Foreign Legionnaire, etc. March 25, 1955 The first time Snoopy goes after Linus's blanket.

April 12, 1957 Snoopy's debut on Charlie Brown's baseball team.

Dec. 12, 1958 Snoopy's first try at sleeping on top of the doghouse.

Jan. 29, 1959 Snoopy debuts as the "Big Man on Campus."

July 12, 1965 Snoopy writes his first line as an author.

April 8, 1968 Snoopy debuts as the golf pro.

Nov. 11, 1969 Snoopy celebrates Veteran's Day.

June 11, 1970 Snoopy's first try at tennis.

May 13, 1974 Snoopy debuts as the Beagle Scout.

The Secret Life of Walter Mitty by James Thurber

"WE'RE going through!" The Commander's voice was like thin ice breaking. He wore his full-dress uniform, with the heavily braided white cap pulled down rakishly over one cold gray eye. "We can't make it, sir. It's spoiling for a hurricane, if you ask me." "I'm not asking you, Lieutenant Berg," said the Commander. "Throw on the power lights! Rev her up to 8500! We're going through!" The pounding of the cylinders increased: ta-pocketa-pocketa-pocketa-pocketa-pocketa. The Commander stared at the ice forming on the pilot window. He walked over and twisted a row of complicated dials. "Switch on No. 8 auxiliary!" he shouted. "Switch on No. 8 auxiliary!" repeated Lieutenant Berg. "Full strength in No. 3 turret!" shouted the Commander. "Full strength in No. 3 turret!" The crew, bending to their various tasks in the huge, hurtling eight-engined Navy hydroplane, looked at each other and grinned. "The Old Man'll get us through," they said to one another. "The Old Man ain't afraid of hell!" . . . "Not so fast! You're driving too fast!" said Mrs. Mitty. "What are you driving so fast for?" "Hmm?" said Walter Mitty. He looked at his wife, in the seat beside him, with shocked astonishment. She seemed grossly unfamiliar, like a strange woman who had yelled at him in a crowd. "You were up to fifty-five," she said. "You know I don't like to go more than forty. You were up to fifty-five." Walter Mitty drove on toward Waterbury in silence, the roaring of the SN202 through the worst storm in twenty years of Navy flying fading in the remote, intimate airways of his mind. "You're tensed up again," said Mrs. Mitty. "It's one of your days. I wish you'd let Dr. Renshaw look you over." Walter Mitty stopped the car in front of the building where his wife went to have her hair done.

"Remember to get those overshoes while I'm having my hair done," she said. "I don't need overshoes," said Mitty. She put her mirror back into her bag. "We've been all through that," she said, getting out of the car. "You're not a young man any longer." He raced the engine a little. "Why don't you wear your gloves? Have you lost your gloves?" Walter Mitty reached in a pocket and brought out the gloves. He put them on, but after she had turned and gone into the building and he had driven on to a red light, he took them off again. "Pick it up, brother!" snapped a cop as the light changed, and Mitty hastily pulled on his gloves and lurched ahead. He drove around the streets aimlessly for a time, and then he drove past the hospital on his way to the parking lot. . . . "It's the millionaire banker, Wellington McMillan," said the pretty nurse. "Yes?" said Walter Mitty, removing his gloves slowly. "Who has the case?" "Dr. Renshaw and Dr. Benbow, but there are two specialists here, Dr. Remington from New York and Dr. Pritchard-Mitford from London. He flew over." A door opened down a long, cool corridor and Dr. Renshaw came out. He looked distraught and haggard. "Hello, Mitty," he said. `'We're having the devil's own time with McMillan, the millionaire banker and close personal friend of Roosevelt. Obstreosis of the ductal tract. Tertiary. Wish you'd take a look at him." "Glad to," said Mitty. In the operating room there were whispered introductions: "Dr. Remington, Dr. Mitty. Dr. Pritchard-Mitford, Dr. Mitty." "I've read your book on streptothricosis," said Pritchard-Mitford, shaking hands. "A brilliant performance, sir." "Thank you," said Walter Mitty. "Didn't know you were in the States, Mitty," grumbled Remington. "Coals to Newcastle, bringing Mitford and me up here for a tertiary." "You are very kind," said Mitty. A huge, complicated machine, connected to the operating table, with many tubes and wires, began at this moment to go pocketa-pocketa-pocketa. "The new anesthetizer is giving away!" shouted an intern. "There is no one in the East who knows how to fix it!" "Quiet, man!" said Mitty, in a low, cool voice. He sprang to the machine, which was now going pocketa-pocketa-queep-pocketa-queep . He began fingering delicately a row of glistening dials. "Give me a fountain pen!" he snapped. Someone handed him a fountain pen. He pulled a faulty piston out of the machine and inserted the pen in its place. "That will hold for ten minutes," he said. "Get on with the operation. A nurse hurried over and whispered to Renshaw, and Mitty saw the man turn pale. "Coreopsis has set in," said Renshaw nervously. "If you would take over, Mitty?" Mitty looked at him and at the craven figure of Benbow, who drank, and at the grave, uncertain faces of the two great specialists. "If you wish," he said. They slipped a white gown on him, he adjusted a mask and drew on thin gloves; nurses handed him shining . . . "Back it up, Mac!! Look out for that Buick!" Walter Mitty jammed on the brakes. "Wrong lane, Mac," said the parking-lot attendant, looking at Mitty closely. "Gee. Yeh," muttered Mitty. He began cautiously to back out of the lane marked "Exit Only." "Leave her sit there," said the attendant. "I'll put her away." Mitty got out of the car. "Hey, better leave the key." "Oh," said Mitty, handing the man the ignition key. The attendant vaulted into the car, backed it up with insolent skill, and put it where it belonged. They're so damn cocky, thought Walter Mitty, walking along Main Street; they think they know everything. Once he had tried to take his chains off, outside New Milford, and he had got them wound around the axles. A man had had to come out in a wrecking car and unwind them, a young, grinning garageman. Since then Mrs. Mitty always made him drive to a garage to have the chains taken off. The next time, he thought, I'll wear my right arm in a sling; they won't grin at me then. I'll have my right arm in a sling and they'll see I couldn't possibly take the chains off myself. He kicked at the slush on the sidewalk. "Overshoes," he said to himself, and he began looking for a shoe store.

When he came out into the street again, with the overshoes in a box under his arm, Walter Mitty began to wonder what the other thing was his wife had told him to get. She had told him, twice before they set out from their house for Waterbury. In a way he hated these weekly trips to town--he was always getting something wrong. Kleenex, he thought, Squibb's, razor blades? No. Tooth paste, toothbrush, bicarbonate, Carborundum, initiative and referendum? He gave it up. But she would remember it. "Where's the what's-its- name?" she would ask. "Don't tell me you forgot the what's-its-name." A newsboy went by shouting something about the Waterbury trial. . . . "Perhaps this will refresh your memory." The District Attorney suddenly thrust a heavy automatic at the quiet figure on the witness stand. "Have you ever seen this before?'' Walter Mitty took the gun and examined it expertly. "This is my Webley-Vickers 50.80," ho said calmly. An excited buzz ran around the courtroom. The Judge rapped for order. "You are a crack shot with any sort of firearms, I believe?" said the District Attorney, insinuatingly. "Objection!" shouted Mitty's attorney. "We have shown that the defendant could not have fired the shot. We have shown that he wore his right arm in a sling on the night of the fourteenth of July." Walter Mitty raised his hand briefly and the bickering attorneys were stilled. "With any known make of gun," he said evenly, "I could have killed Gregory Fitzhurst at three hundred feet with my left hand." Pandemonium broke loose in the courtroom. A woman's scream rose above the bedlam and suddenly a lovely, dark-haired girl was in Walter Mitty's arms. The District Attorney struck at her savagely. Without rising from his chair, Mitty let the man have it on the point of the chin. "You miserable cur!" . . . "Puppy biscuit," said Walter Mitty. He stopped walking and the buildings of Waterbury rose up out of the misty courtroom and surrounded him again. A woman who was passing laughed. "He said 'Puppy biscuit,'" she said to her companion. "That man said 'Puppy biscuit' to himself." Walter Mitty hurried on. He went into an A. & P., not the first one he came to but a smaller one farther up the street. "I want some biscuit for small, young dogs," he said to the clerk. "Any special brand, sir?" The greatest pistol shot in the world thought a moment. "It says 'Puppies Bark for It' on the box," said Walter Mitty. His wife would be through at the hairdresser's in fifteen minutes' Mitty saw in looking at his watch, unless they had trouble drying it; sometimes they had trouble drying it. She didn't like to get to the hotel first, she would want him to be there waiting for her as usual. He found a big leather chair in the lobby, facing a window, and he put the overshoes and the puppy biscuit on the floor beside it. He picked up an old copy of Liberty and sank down into the chair. "Can Germany Conquer the World Through the Air?" Walter Mitty looked at the pictures of bombing planes and of ruined streets. . . . "The cannonading has got the wind up in young Raleigh, sir," said the sergeant. Captain Mitty looked up at him through tousled hair. "Get him to bed," he said wearily, "with the others. I'll fly alone." "But you can't, sir," said the sergeant anxiously. "It takes two men to handle that bomber and the Archies are pounding hell out of the air. Von Richtman's circus is between here and Saulier." "Somebody's got to get that ammunition dump," said Mitty. "I'm going over. Spot of brandy?" He poured a drink for the sergeant and one for himself. War thundered and whined around the dugout and battered at the door. There was a rending of wood and splinters flew through the room. "A bit of a near thing," said Captain Mitty carelessly. 'The box barrage is closing in," said the sergeant. "We only live once, Sergeant," said Mitty, with his faint, fleeting smile. "Or do we?" He poured another brandy and tossed it off. "I never see a man could hold his brandy like you, sir," said the sergeant. "Begging your pardon, sir." Captain Mitty stood up and strapped

on his huge Webley-Vickers automatic. "It's forty kilometers through hell, sir," said the sergeant. Mitty finished one last brandy. "After all," he said softly, "what isn't?" The pounding of the cannon increased; there was the rat-tat-tatting of machine guns, and from somewhere came the menacing pocketa-pocketa-pocketa of the new flame-throwers. Walter Mitty walked to the door of the dugout humming "Aupres de Ma Blonde." He turned and waved to the sergeant. "Cheerio!" he said. . . . Something struck his shoulder. "I've been looking all over this hotel for you," said Mrs. Mitty. "Why do you have to hide in this old chair? How did you expect me to find you?" "Things close in," said Walter Mitty vaguely. "What?" Mrs. Mitty said. "Did you get the what's-its-name? The puppy biscuit? What's in that box?" "Overshoes," said Mitty. "Couldn't you have put them on in the store?" 'I was thinking," said Walter Mitty. "Does it ever occur to you that I am sometimes thinking?" She looked at him. "I'm going to take your temperature when I get you home," she said. They went out through the revolving doors that made a faintly derisive whistling sound when you pushed them. It was two blocks to the parking lot. At the drugstore on the corner she said, "Wait here for me. I forgot something. I won't be a minute." She was more than a minute. Walter Mitty lighted a cigarette. It began to rain, rain with sleet in it. He stood up against the wall of the drugstore, smoking. . . . He put his shoulders back and his heels together. "To hell with the handkerchief," said Waker Mitty scornfully. He took one last drag on his cigarette and snapped it away. Then, with that faint, fleeting smile playing about his lips, he faced the firing squad; erect and motionless, proud and disdainful, Walter Mitty the Undefeated, inscrutable to the last. Show, using examples from the comic strips, movie and short story how Snoopy has a “Walter Mitty” complex. Explain what a “Walter Mitty” complex is and give examples of the relationship of Snoopy’s character to Walter Mitty.

The Quest-Part Two There are usually seven different aspects of a quest. Read through them carefully.

1. The Curse-This generally happens in the past to the antagonist of the story. It can be a spiritual curse or even a character flaw within the main character/protagonist. It is for this reason that the main character/protagonist goes in search of spiritual enlightenment or physical challenge. 2. The Challenge-For the most part, this happens when the protagonist is given the responsibility to solve a problem that is of great importance to him/her personally or the world/universe as a whole. 3. Companions/Allies-The side that the protagonist is on generally allows for people who are able to help the protagonist along the way. Either that or the “companions” make some kind of tangential contribution to the challenge being met in a more substantial way (i.e. LOTR). 4. Descent-When heroes are on quests, many times things get much, much worse before they can get better. Things like the journey of Odysseus to the Underworld or Frodo to the land of Mordor are examples of this. 5. Understanding-When things are at their worst; heroes generally have what is known as an epiphany. This is what gives them the insight into the “challenge” and the means by which to defeat or conquer the “challenge” 6. Battle-This should be fairly obvious don’t you think? 7. Growth/Rebirth-This can mean lots of different things in lots of different stories. Many times it’s simply the time when wounds are healed and people go back to the lives they led before the “challenge”. Of course, they do have the memory of recent events and hopefully, through the completion of the quest, they’ve learned from the experience and will remember the lesson that was taught.

The Quest-Part Two The Questions

1. In what ways are the aspects of the Quest mentioned above applicable to the situations of heroes you might have read about? Explain. 2. Are all quests, metaphorically or otherwise, apt to contain the elements of challenge and revelation as mentioned above? Explain your answer by basing your reasoning on the exploits of a hero you’ve read about or seen in a movie.

The Quest-Part One Mythology-Legend-Superstition Unit

The Quest is the search for knowledge or enlightenment within some of the stories we will be studying. What do you believe the true quest of Odysseus is over the time he is away from home?

In many of the stories and videos we will see, the hero is tested by the intellectual quest as well as the physical. What kinds of dangers does Odysseus face throughout his travels? Is he ultimately responsible for his actions, or is he at the mercy of circumstance?

A Christmas Carol 1. Describe how the vocabulary used in “Scrooge” sets the mood and tone for the movie. Explain your point of view. 2. In what ways do we know that Scrooge is or isn’t a product of his environment? Explain your point of view using examples from the version we’ve seen this week.

Animal Farm George Orwell

1. Why do you think Orwell chose to use a fable in his condemnation of Soviet communism and totalitarianism? Fiction would seem a rather indirect method of political commentary; if Orwell had written an academic essay, he could have named names, pointed to details, and proven his case more systematically. What different opportunities of expression does a fable offer its author?

2. Discuss Boxer. What role does he play on the farm? Why does Napoleon seem to feel threatened by him? In what ways might one view the betrayal of Boxer as an alternative climax of the novel (if we consider Napoleon's banishment of Snowball and the pigs' initial consolidation of power as the true climax)?

Anne Frank

Thoughts on Humanity 1. In her diary, Anne Frank shows a wisdom beyond her years. She had expressed

faith in humanity and the essential goodness of mankind even near the last entries of her diary. She died a painful and lonely death in a concentration camp without knowing that her father was still alive. Do you think that her views might have changed after her experiences in the camps? Would your opinion be different if she had known her father was alive (giving her hope)?

2. Is there a possibility that a time like those that surrounded the Holocaust could come again? Explain your position knowing what you learned from the video and what you know about situations in the world today.

The Holocaust 1. Can the events of the Holocaust happen today? Explain your Point Of View using examples from your experience and events as detailed in the videos we viewed in class. 2. In what way can we say that the emotions of the people who survived the Holocaust are justifiable? Explain your position using examples from your understanding of the things from the video we watched in class.

“Hamlet” v. “What Dreams May Come” Now I know what you’re saying, “He’s not here, what are we going to do?” Don’t Panic! I have something very interesting for you to look at and think about tonight and this week. The movie, “What Dreams May Come” is a direct outcome of Hamlet’s soliloquy from William Shakespeare. Some of the highlighted bits on this copy of the soliloquy tell you some of the really interesting stuff I want you to pay particular attention to while you watch this movie. If you remember your Literary Terms, then you might also want to be on the lookout for things like; symbolism, metaphor, simile, and various bits of imagery that seem really interesting. Knowing those things will help you when you’re answering this week’s questions. They are:

I. Can we really know what Shakespeare was trying to say in “Hamlet” through understanding the interpretation of the soliloquy we see in “What Dreams May Come”? Use examples from the text and the movie to illustrate your point of view (at least 500 words).

II. In what ways do the literary techniques of imagery, metaphor and symbolism create meaning in the movie “What Dreams May Come”? Use direct examples from the movie to illustrate and explain the mood the filmmakers wanted to create.

Lord Of The Rings

1. Compare and contrast the versions of LOTR that you’ve seen in class. Avoid making the observations concerning animation versus live action. I already know about that. Concern yourselves with the things the different directors chose to use in the plot exposition. 2. Discuss the imagery of light and dark as it is used in both movies. Think of the two concepts as being metaphors for good and evil and explain their use.

The Odyssey 1. How does Homer portray the relationship between gods and men in the

Odyssey? What roles do the gods play in human life? Explain your reasoning by using examples from the movie we saw this evening.

2. In what ways does Odysseus develop as a character during the course of the narrative? Does he develop at all? Illustrate your opinion by showing examples from the movie from beginning to end.

The Wizarding World

Millions of people have flocked to buy the books about the boy-wizard Harry Potter by JK Rowling. The appeal doesn’t extend only to those younger members of society either. Adults enjoy Harry often enough as well. His charm (if you’ll pardon the wizarding pun) lies in the fact that he doesn’t have any pretentions about himself or his power. But what, other than the fact that he’s a wizard, sets him apart from the rest of us and so he goes very nearly unobserved throughout most of his childhood (or at least until his eleventh birthday)? Why are these stories soooo…irresistible.

I. In what ways does Harry seem to be very similar to us and our opposite at the same time with regard to the way we socialize with others? Discuss what you believe to be the most glaring examples of our differences and our similarities.

II. In what ways does Harry seem to be older than an average eleven year old? Give some examples from several different points in the movie to back up your opinion. Hint- Think about how he treats and is treated by the Dursley’s, how he chooses his friends and enemies, how he feels about the unicorns to name but a few.

III. What is it about the way that Harry, Ron and Hermione became friends that makes you think that such a friendship will last even though they seem to be such very different people? Hint- Think about how Harry and Ron feel about Hermione before and after the troll was let loose in Hogwarts (specifically when it got to the girls washroom).