Prompts
1968. In many plays, a character has a misconception of himself or his world. Destroying or perpetuating this illusion contributes to a central theme of the play. Choose a play with a major character to whom this statement applies and write an essay in which you consider the following points: what the character’s illusion is and how it differs from reality as presented in the play and how the destruction or perpetuation of the illusion develops a theme of the play.
1994. In some works of literature, a character who appears briefly, or does not appear at all, is a significant presence. Choose a novel or play of literary merit and write an essay in which you show how such a character functions in the work. You may wish to discuss how the character affects action, theme, or the development of other characters. Avoid plot summary.
2005. In Kate Chopin's The Awakening (1899), protagonist Edna Pontellier is said to possess "That outward existence which conforms, the inward life that questions." In a novel or play that you have studied, identify a character who outwardly conforms while questioning inwardly. Then write an essay in which you analyze how this tension between outward conformity and inward questioning contributes to the meaning of the work. Avoid mere plot summary.
Full Text of Ghosts:
Important Quotations from Ghosts
Act I
1. Yes, you may be sure we'll see about it! Me that have been brought up by a lady like Mrs. Alving! Me that am treated almost as a daughter here! Is it me you want to go home with you?--to a house like yours? For shame!
2. Then never mind about marrying them. You can make it pay all the same. [More confidentially.] He--the Englishman--the man with the yacht--he came down with three hundred dollars, he did; and she wasn't a bit handsomer than you.
3. Well, I seem to find explanation and confirmation of all sorts of things I myself have been thinking. For that is the wonderful part of it, Pastor Minders--there is really nothing new in these books, nothing but what most people think and believe. Only most people either don't formulate it to themselves, or else keep quiet about it.
4. Object to in them? You surely do not suppose that I have nothing better to do than to study such publications as these? … I have read enough about these writings to disapprove of them.
5. When Oswald appeared there, in the doorway, with the pipe in his mouth, I could have sworn I saw his father, large as life.
6. Oh, how can you say so? Oswald takes after me.
7. But how is it possible that a--a young man or young woman with any decency of feeling can endure to live in that way?--in the eyes of all the world!
8. Well, then, allow me to inform you. I have met with it when one or other of our pattern husbands and fathers has come to Paris to have a look round on his own account, and has done the artists the honour of visiting their humble haunts. They knew what was what. These gentlemen could tell us all about places and things we had never dreamt of.
9. Soon after, I heard Alving come in too. I heard him say something softly to her. And then I heard--[With a short laugh]--oh! it still sounds in my ears, so hateful and yet so ludicrous--I heard my own servant-maid whisper, "Let me go, Mr. Alving! Let me be!"….It was my purchase-money. I do not choose that that money should pass into Oswald's hands. My son shall have everything from me--everything.
Act II
10. Ghosts! When I heard Regina and Oswald in there, it was as though ghosts rose up before me. But I almost think we are all of us ghosts, Pastor Manders. It is not only what we have inherited from our father and mother that "walks" in us. It is all sorts of dead ideas, and lifeless old beliefs, and so forth. They have no vitality, but they cling to us all the same, and we cannot shake them off. Whenever I take up a newspaper, I seem to see ghosts gliding between the lines. There must be ghosts all the country over, as thick as the sands of the sea. And then we are, one and all, so pitifully afraid of the light.
11. Yes--when you forced me under the yoke of what you called duty and obligation; when you lauded as right and proper what my whole soul rebelled against as something loathsome. It was then that I began to look into the seams of your doctrines. I wanted only to pick at a single knot; but when I had got that undone, the whole thing ravelled out. And then I understood that it was all machine-sewn.
12. Oh, wait a minute!--now I recollect. Johanna did have a trifle of money. But I would have nothing to do with that. "No," says I, "that's mammon; that's the wages of sin. This dirty gold--or notes, or whatever it was--we'll just flint, that back in the American's face," says I. But he was off and away, over the stormy sea, your Reverence.
13. It only shows how excessively careful one ought to be in judging one's fellow creatures. But what a heartfelt joy it is to ascertain that one has been mistaken! Don't you think so?
14. At last he said: "There has been something worm-eaten in you from your birth." He used that very word… He said, "The sins of the fathers are visited upon the children." No other explanation was possible, he said. That's the awful part of it. Incurably ruined for life--by my own heedlessness! All that I meant to have done in the world--I never dare think of it again--I'm not able to think of it. Oh! if I could only live over again, and undo all I have done! [He buries his face in the sofa.]
15. I only mean that here people are brought up to believe that work is a curse and a punishment for sin, and that life is something miserable, something; it would be best to have done with, the sooner the better…But in the great world people won't hear of such things. There, nobody really believes such doctrines any longer. There, you feel it a positive bliss and ecstasy merely to draw the breath of life. Mother, have you noticed that everything I have painted has turned upon the joy of life?--always, always upon the joy of life?--light and sunshine and glorious air-and faces radiant with happiness. That is why I'm afraid of remaining at home with you.
Act III
16. And the refuge for wandering mariners shall be called "Chamberlain Alving's Home,” that it shall! And if so be as I'm spared to carry on that house in my own way, I make so bold as to promise that it shall be worthy of the Chamberlain's memory.
17. Well then, child of joy as he was--for he was like a child in those days--he had to live at home here in a half-grown town, which had no joys to offer him--only dissipations. He had no object in life--only an official position. He had no work into which he could throw himself heart and soul; he had only business. He had not a single comrade that could realise what the joy of life meant--only loungers and boon companions - Your poor father found no outlet for the overpowering joy of life that was in him. And I brought no brightness into his home.
18. Yes, but she was one of that sort, all the same. Oh, I've often suspected it; but--And now, if you please, ma'am, may I be allowed to go away at once? A poor girl must make the best of her young days, or she'll be left out in the cold before she knows where she is. And I, too, have the joy of life in me, Mrs. Alving!
19. Everything you point to you shall have, just as when you were a little child.--There now. The crisis is over. You see how easily it passed! Oh, I was sure it would.--And do you see, Oswald, what a lovely day we are going to have? Brilliant sunshine! Now you can really see your home. [She goes to the table and puts out the lamp. Sunrise. The glacier and the snow-peaks in the background glow in the morning light.]
20. [Sits motionless as before and says.] The sun.--The sun.
General Rubric for Mr. Pellerin’s English
Classes
(Based on the Advanced Placement Literature
Rubric)
Overview: The score that you are assigned will reflect the quality of the essay as
a whole—its content, its style, its mechanics.
I reward the writers for what they do well. The score for an exceptionally well-written
essay may be raised a half step above the otherwise appropriate score (i.e.
from an A- to an A). In no case may a
poorly written essay be scored higher than a D.
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9-8 A
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These essays offer a well-focused and persuasive analysis of the
assigned prompt. Using apt and
specific textual support, these essays fully explore the assigned prompt and
demonstrate what it contributes to the meaning of the work as a whole. Although not without flaws, these essays
make a strong case for their interpretation and discuss the literary work
with significant insight and understanding.
Generally, essays scored an A reveal more sophisticated analysis and
more effective control of language than do essays scored an A-.
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7-6 B
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These essays offer a reasonable analysis of the assigned prompt, and
what it contributes to the meaning of the work as a whole. These essays show insight and
understanding, but the analysis is less thorough, less perceptive, and/or
less specific in supporting detail than that of the A essays. Generally, essays scored a B+ present
better developed analysis and more consistent command of the elements of
effective composition than do essays scored a B or B-.
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5 C
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These essays respond to the assigned task with a plausible reading, but
they tend to be superficial or underdeveloped in analysis. They often rely upon plot summary that
contains some analysis, implicit or explicit.
Although the writers attempt to discuss the assigned prompt and how
the relationship contributes to the work as a whole, they may demonstrate a
rather simplistic understanding of the work.
The essays demonstrate adequate control of language, but they may lack
effective organization and may be marred by surface errors.
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4-3 D
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These lower-half essays offer a less than thorough understanding of the
task or a less than adequate treatment of it.
They reflect an incomplete or over simplified understanding of the
work, or they may fail to address the assigned prompt directly. They may not address or develop a response
to how it contributes to the work as a whole, or they may rely on plot
summary alone. Their assertions may be
unsupported or even irrelevant. Often
wordy, elliptical, or repetitious, these essays may lack control over the
elements of composition. Essays scored
a D- may contain significant misreading and demonstrate inept writing.
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2-1 F
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Although these essays make some attempt to respond to the prompt, they
compound the weaknesses of the papers in the D range. Often, they are unacceptably brief or are
incoherent in presenting ideas. They
may be poorly written on several counts and contain distracting errors in
grammar and mechanics. The writer’s
remarks are presented with little clarity, organization, or supporting
evidence.
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Ten Steps to writing an effective essay every
time
1. Read and Read and Read Prompt: Whatever you choose, make sure to think about
every facet of the question. Read over
and over again. Think. Digest what you are about to accomplish.
2. Return to the text.
Return to your blog responses, journal, and class notes. Go back and look your work again with the
prompt in mind. How is everything new now that you are seeing the plays with
the prompt in mind?
3. Rehearse.
What? Yes! Rehearse and perform a verbal essay using the
prompt and the works. How would you
address a jury of your peers with you proposed thesis? What evidence would you use?
4. Find your Evidence:
Find and cite valuable passages for each of the parts of the above
prompt. Go to the net and cut and paste
at least 10-12 passages and or quotations to use in your piece into a word
document.
5. So what’s your point?
Thesis statement: The questions in
the prompt are guiding your essay. Look at your 10 major passages and ask
yourself…what message am I taking away from this reading experience? Write a solid one sentence thesis statement of
purpose.
6. Organization: Look
at the list of quotations and organize the quotations into the paragraphs. DO NOT BE AFRAID TO JUMP AROUND. JUMP AROUND.
JUMP UP, JUMP UP AND GET DOWN!
7. Your thesis and 10 Quotations. Your complete thesis is the heading and the
10 quotations should be arranged in the order you would use them in your
argument.
8. Compose body paragraphs: Using the prompt and your accompanying
quotations - start writing your essay.
Make sure you come to some sort of conclusion in the third
paragraph. You may even have a brief
conclusion as another paragraph.
9. Read your essay over: The professor’s eyes should not be the
first set of eyes to read your essay.
Make sure it is solid. Read it
out loud.
10. Compose your introduction: Keep it brief and make sure the thesis
statement you wrote is the last sentence.
It seems to me that the novel is making a point about how wealth and prestige, rather than being liberating and desirable forces are rather meaningless and isolating. The Elliotts (Walter, Elizabeth, and Mary to a lesser extent) value their own family name and reputation more than anything else (ironically because their family name does nothing to stop them from losing vast amounts of money and having to rent out their ancestral home (in fact the expectation that they as a old lordly family should live an affluent lifestyle probably contributed to their debt)). The importance they place on their family name and status results in none of them really loving each other or caring to, in fact they view and judge each other’s value in the same hierarchical and estranged manner they judge other families, Elizabeth is the eldest and the most important, the other two are younger and therefore less significant, and Anne, who is the only one in the family who can actually see past class and status differences and have compassion for others, is seen as literally useless by her entire family. This hierarchical and status obsessed values of the Elliots and all other prideful families like them are restrictive and actively curtail the happiness of all involved, as seen when Anne gives into the arbitrary hierarchical thinking of her family and refuses to marry Wentworth, a decision she regrets for the rest of her life. All the other families, less ancient and wealthy than the Elliots and who are often looked down upon by them (The Croft’s, Musgrove’s, and Hayter’s) all seem to be happier, more equal, and more loving families, less obsessed with the trifels of high class due to their slightly lower status, birth, and expectations placed on them, and more able to focus on what is important, being happy and loving each other. However, meaningless and toxic class pride still seems to exist as long as one family is wealthier than another, the Musgrove’s looking down on the Hayters for being less well off then them despite all being family.
ReplyDeleteWhy does everybody keep falling down and getting hurt?
In the Ted talk, the speaker discusses how Jane Austen creates characters whose private selves and true thoughts are kept separate from their public selves or are expressed through a filter of societal norms that make the message more acceptable and less direct or overt. Nobody sits down to talk directly to someone else about their true deep feelings. Instead they twiddle around the country side for months trying to get a read on everyone else vicariously through semi-casual conversation. If Anne actually sought out Wentworth (or vise versa) and told him that she loves him, and that she regrets her decision and explained how she was pressured into leaving him then the novel would probably be over by this point. Instead they hardly even talk to each other most of the time, which is kind of reasonable given that Anne is timid and Wentworth is heartbroken, but the fact that they never even bring up the fact that they have a shared tragic past or confront the their deep emotions for eachother is a little frustrating for me. I know this is more of a gripe with the emotionally restrictive societal norms of the time (even though a cancelled engagement between two people is pretty significant and would at least be acknowledged verbally by the characters (as if all forms of emotional openness and maturity have only existed for the last hundred years)) but it still bothers me.