Writing Persuasive Essays for Timed Prompts
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William Shakespeare
Hamlet gives us seven soliloquies, all centered on the most important existential themes: the emptiness of existence, suicide, death, suffering, action, a fear of death which puts off the most momentous decisions, the fear of the beyond, the degradation of the flesh, the triumph of vice over virtue, the pride and hypocrisy of human beings, and the difficulty of acting under the weight of a thought ‘which makes cowards of us all’. He offers us also, in the last act, some remarks made in conversation with Horatio in the cemetery which it is suitable to place in the same context as the soliloquies because the themes of life and death in general and his attitude when confronted by his own death have been with him constantly. Four of his seven soliloquies deserve our special attention: ‘O that this too sullied flesh would melt’, ‘O what a rogue and peasant slave am I!’, ‘To be, or not to be, that is the question’, and ‘How all occasions do inform against me’.
Readings of these soliloquies are varied and diverse. However, three remarks are in order:
1. The density of Hamlet’s thought is extraordinary. Not a word is wasted; every syllable and each sound expresses the depth of his reflection and the intensity of his emotion. The spectator cannot but be hypnotized.
2. The language is extremely beautiful. Shakespeare was in love with words. His soliloquies are pieces of pure poetry, written in blank verse, sustained by a rhythm now smooth, now rugged, by a fast or a slow pace, offering us surprises in every line.
3. The soliloquies are in effect the hidden plot of the play because, if one puts them side by side, one notices that the character of Hamlet goes through a development which, in substance, is nothing other than the history of human thinking from the Renaissance to the existentialism of the twentieth century.
1. ‘O that this too sullied flesh would melt’ (Act One, Scene Two)
The Hamlet of the first soliloquy is an outraged man who, disgusted by his ‘sullied flesh’, can see no outcome to his disgust other than death. To free himself from the grip of his flesh he must put an end to his life. But there is the rub: God, the Everlasting, he tells us, does not allow one to act in this way. God still rules the universe and Hamlet must obey his strictures.
2. ‘O all you host of heaven’ (Act One, Scene Five)
3. ‘O what a rogue and peasant slave am I!’ (Act Two, Scene Two)
Some actors, including the very best, believe that the most beautiful soliloquy is that which comes at the end of Act Two, immediately after the first discussion between Hamlet and the travelling players. Here Hamlet is enraged, furious and rude. He lays himself, we feel, totally bare. He is no fool however. Recovering his spirits he devises a plan which will lead the king to betray himself. This is Shakespeare at the height of his theatrical prowess, stamping Hamlet’s language with relentless changes in tone, the peaks of rage inter-cut with short moments of profound depression or of incredulous questioning.
4. ‘To be, or not to be, that is the question’ (Act Three, Scene One)
In the first soliloquy Hamlet submits to rules and prohibitions; in the second he imagines and rationalises and decides to remain in the world, for the moment at least. But he goes much further. Throughout the final act he pictures the final scene. There, where another dramatist would have given the dying Hamlet a long discourse on death, Shakespeare has Hamlet say just a few words of disconcerting simplicity, ‘the rest is silence’, precisely because Hamlet has already said everything before.
5. ‘Tis now the very witching time of night’ (Act Three, Scene Three)
6. ‘And so a goes to heaven’ (Act Three, Scene 3)
7. ‘How all occasions do inform against me’ (Act Four, Scene Four)
The other two soliloquies are memorable because they reveal all the passionate nature of Hamlet’s personality. Observing young Fortinbras and his army on their way to conquer Poland-’an eggshell’, ‘a wisp of straw’-Hamlet, on the edge of despair, asks himself why he, when he has so many reasons, cannot stir himself to action, why he cannot carry out the necessary act of vengeance. Why? Why? The last lines of Act Four are very revealing:
videos relating to English
William Shakespeare's Danish Tragedy
A short course on Hamlet
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Rascolnikov's Story
Raskolnikov's Story
The Six Stages of a Story (Michael Hauge)
The Journey to Freedom
Why read Frederick Douglass?
We know that he was one of the foremost leaders of the abolitionist movement, which fought to end slavery within the United States in the decades prior to the Civil War. We also know Douglass was a brilliant speaker; he was asked by the American Anti-Slavery Society to engage in a tour of lectures, and so became recognized as one of America’s first great black speakers. He won world fame when his autobiography was publicized in 1845.
Although this classic text will shock and inspire any reader, just as it did when it first appeared in 1845, it does more than shock. It still speaks to contemporary readers with stirring insights into Douglass’ discovery of the meaning of freedom. It’s a useful book for anyone looking to find new hope for their own lives.
Frederick Douglass shows us how one one’s personal plight has roots in larger public issues, opening up the possibility of new roles to play in society and a new sense of responsible citizenship. For example, when Douglass taught himself to read and write, starting as a boy of nine, it was because he realized even then that literacy was the key to personhood and to his vision of freedom. “If you teach that nigger how to read,” young Frederick overheard his master warning his wife, “it would forever unfit him to be a slave.” He did learn to read, and it did inoculate him against the slave mentality. This was his first step in understanding his condition, and thereby taking a hand in his own fate.
Later, when a white farmer, Edward Covey, determined to break his spirit, to fit him for field labor, Douglass fought back because at age sixteen he had begun to understand that what was at stake was not simply another beating. He recognized that he had arrived at a defining moment aimed at making him “a slave for life,” as he had now learned to phrase it. “This battle with Mr. Covey was the turning-point in my career as a slave. . . . My long-crushed spirit rose, cowardice departed, bold defiance took its place; and I now resolved that, however long I might remain a slave in form, the day had passed forever when I could be a slave in fact.”
Finally, after his escape four years later, Douglass devoted himself to the abolitionist movement, telling these stories over and over because he understood that his own destiny had depended on seeing beyond personal suffering to its significance as part of the slave system.
It teaches us one meaning of courage--the understanding that what we say and do can change our lives in a split second. Not only our lives. But the people in our own time. It was true in 1845 and it is true today. The book invites questions like the following: How do people learn to face the things that life will demand? Where do people get their courage, dignity, and knowledge of righteousness?
After the book made him famous, Douglass served as an adviser to President Abraham Lincoln during the Civil War and fought for the adoption of constitutional amendments that guaranteed voting rights and other civil liberties for blacks. Douglass provided a powerful voice for human rights during this period of American history and is still revered today for his contributions to a more just world.
Worksheets and Handouts
Study Guide: Most of the questions for the final exam will be drawn from this: Study Guide (8 page PDF)
Worksheet: Reading Douglass’ Rhetoric
(Handout on Aristotle’s “modes of persuasion"--logos, ethos, pathos--to be used with the “Reading Douglass’ Rhetoric” worksheet)
Worksheet: Analyzing Douglass’ Style
(Outline of the Elements of Style, to be used with the “Analyzing Douglass’ Style” worksheet)
Worksheet: Slave Spirituals: Myth and Reality
Worksheet: Irony Chart
Worksheet: Theme to Thesis
Worksheet:Characterization: What Virtues were Important to Douglass’ Greatness?
Writing Assignment: Autobiographical Paragraph
INTRODUCTION
The compelling autobiography of an extraordinary man born into slavery, Narrative of the Life of Frederick Douglass, an American Slave is also a powerful inquiry into the question of what it means to be human. From the opening sentences of the narrative, Douglass delineates the context from which this question emergesthe fact that slave owners typically thought of slaves as animals. Douglass does not know how old he is, and he quickly asserts that this is not unusual, since most slaves “know as little of their ages as horses know of theirs” (p. 47). It is instructive that this initial comparison of slaves to animals does not serve to express something about the minds of the slave owners; instead, it expresses something about the minds of the slaves that is the consequence of being born into an environment constructed and carefully maintained by their owners. In an environment that does not permit the idea that slaves are human, the only perspective available to them is that of their owners. Their own perspective therefore becomes an additional barrier to thinking of themselves as human.
Learning to read and write is essential to the process whereby Douglass comes to see himself as human. As he describes it, the acquisition of these skills is inseparable from the dawning of self-consciousness. Reading gives Douglass access to a new world that opens before him, but the strongest effect of his literacy is the light it casts on the world he already knows. His anguish is so great that he “would at times feel that learning to read had been a curse rather than a blessing” (p. 84). It allows him to see his “wretched condition, without the remedy” (p. 84). Self-consciousness, the trait that most distinguishes humans from animals, produces such despair in Douglass that he confesses he often wished himself a beast.
Douglass portrays the breadth of slavery’s ability to dehumanize through his insights into the mentality of slave owners. Douglass suggests that if slaves are made rather than born, the same is sometimes true of slave owners. The mistress who began teaching him to read and write “at first lacked the depravity indispensable to shutting [him] up in mental darkness” (p. 81). Under the influence of her husband and, more generally, the institution of slavery, “the tender heart became stone, and the lamblike disposition gave way to one of tiger-like fierceness” (p. 82). The mistress not only stops teaching Douglass to read and write, but she is even more vigilant than her husband in preventing him from learning. The transformation of his mistress raises the question of how much of the behavior of slave owners toward their slaves was learned and how much was internally motivated. Douglass would have us believe that the mistress was the victim of her circumstances, yet the brutality other slave owners seemed to come by so easily makes it difficult to determine whether the behavior was learned or inherent.
Edward Covey undoubtedly counts among the slave owners who play the role as if born for it; his harsh treatment breaks Douglass “in body, soul, and spirit” (p. 105). Following his eloquent lament for the freedom he cannot have, represented by the ships sailing on Chesapeake Bay, Douglass writes, “You have seen how a man was made a slave; you shall see how a slave was made a man” (p. 107). The first part of this statement could refer to the methods employed by Covey, if not to all the owners at whose hands Douglass suffered. The second part refers to the story that follows, in which Douglass resists the whipping Covey intends to give him for disobeying. They fight for two hours, with Covey “getting entirely the worst end of the bargain” (p. 113). Douglass is never whipped again, and he describes this incident as “the turning-point in [his] career as a slave” and says that it “revived within [him] a sense of [his] own manhood” (p. 113). Douglass emphasizes the importance of literacy in developing his sense of himself as human. Is he suggesting, though, that his refusal to submit to Covey’s punishment was ultimately more important than his ability to read and write in shaping his sense of self?
In a letter that prefaces the narrative, Wendell Phillips, social activist and friend of Douglass’s, recalls “the old fable of ‘The Man and the Lion,’ where the lion complained that he should not be so misrepresented ‘when the lions wrote history’” (p. 43). As Phillips observes, Douglass’s narrative is history written from the perspective of those who previously had no voice. The very existence of the narrative makes it a testament to its author’s humanity and, therefore, a document of revisionist history. However, what gives Douglass’s narrative its universal relevance is his acute awareness of the complexities of human psychology. He observes that slaves usually spoke of themselves as content and of their masters as kind, concluding that slaves “suppress the truth rather than take the consequences of telling it, and in so doing prove themselves a part of the human family” (p. 62). Douglass is ever mindful that our humanity encompasses our failings no less than our capacity for nobility.
ABOUT FREDERICK DOUGLASS
Frederick DouglassFrederick Douglass was born into slavery in rural Maryland in 1818. Sent to work in Baltimore, he was taught to read by the mistress of the house and regarded this achievement as a turning point in his life. Another such point was his violent resistance to a beating by the man to whom he had been bound as a field slave at age seventeen. Three years later, he escaped to the North, married, and worked menial jobs until his debut as an orator at an antislavery convention in 1841.
To expand his audience and to document the authenticity of his story, Douglass published his autobiography, Narrative of the Life of Frederick Douglass, an American Slave, in 1845. The book was critically acclaimed and sold well both in the United States and in Europe. Douglass left for England later the same year, where he spent two years writing and lecturing. He returned to the United States after abolitionist friends purchased his legal emancipation.
From 1847 to 1863, Douglass published his own weekly paper, The North Star, leading to a break with his mentor William Lloyd Garrison. Douglass also produced a number of other periodicals, as well as two extensions of his narrativeLife and Times of Frederick Douglass and My Bondage and My Freedom. In 1848, he played a prominent role at the women’s rights convention in Seneca Falls, and he was a lifelong supporter of the women’s suffrage movement. During the Civil War he was an adviser to President Lincoln and recruited blacks, including his own sons, for the Union army. He was appointed to several government positions, including recorder of deeds for the District of Columbia and United States minister and consul general to Haiti. Douglass died in 1895.
What is Freedom?
DISCUSSION QUESTIONS
1. Why does Douglass believe “Slavery proved as injurious to [his master’s wife] as it did to [him]” (p. 81)?
2. After his confrontation with Mr. Covey, what does Douglass mean when he writes “however long I might remain a slave in form, the day had passed forever when I could be a slave in fact” (p. 113)?
3. Why is Douglass able to “understand the deep meaning of those rude and apparently incoherent songs” (p. 57) sung by slaves only when he no longer is a slave himself?
4. When Douglass writes, “You have seen how a man was made a slave; you shall see how a slave was made a man” (p. 107), what does he understand a man to be?
5. Douglass describes knowledge as “valuable bread” (p. 83) and the Liberator, an anti-slavery paper, as his “meat and drink” (p. 151). How does literacy sustain him?
6. How is Douglass able to maintain his religious faith when that of his owners is used to justify their treatment of him?
7. Why does Douglass consider holiday celebrations as part of the “inhumanity of slavery” (p. 115)?
8. Why does Douglass describe the sails on Chesapeake Bay as “so many shrouded ghosts” (p. 106)?
9. To what extent should a piece of autobiographical writing be regarded as “factual”?
10. Can literacy be a curse as well as a blessing?
Free audio recording of entire book
A study of truth and justice
http://artsedge.kennedy-center.org/content/3498/
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Background: A note on the historical accuracy of the play
A psychiatrist’s explanation of hysteria (scroll down for his discussion of the Salem Witch Trials)
Study Guide Questions crucible-study_guide.pdf
Complete Packet of Worksheets
By the time we finish studying this play, you will be expected to turn in the following materials:
A. A “conflicts” graphic organizer for Act One: Crucible-act1-conflict.pdf
B. A “changing status” graphic organizer for Act Two: Crucible-act2-status_changes.pdf
C. A “motivation” chart for Act Three: Crucible-act3-character.pdf
D. An “action/explanation” chart for Act FourCrucible-act4-character.pdf
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In addition, you will need to write a 600-word essay about the play. Your essay should answer one of these questions:
1. How does Proctor’s major dilemma change in the course of the play?
2. How does Reverend Hale change during the play?
3. Compare or contrast the role of Abigail Williams with that of Elizabeth Proctor.
4. Which three characters are most to blame for the injustice that takes place in Salem?
5. Discuss Elizabeth as a symbol of truth.
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In addition to the essay itself, you will need to turn in:
A. A completed “plot to theme” worksheet: http://www.flatheadreservation.org/images/phs/From_Plot_to_Theme-story_analysis.pdf
Here’s a sample worksheet that I filled out: http://www.flatheadreservation.org/images/phs/Notes_and_analysis_of_Crucible-truth_and_lies.pdf
B. A thesis/outline worksheet: http://www.flatheadreservation.org/images/phs/thesis-worksheet.pdf
Crucible-act4-status_changes.pdf
Crucible-act4-character.pdf
Crucible-act3-status.pdf
Writing About The Play
Plot to Theme worksheet: A Journey Toward Truth: John Proctor’s Choices in The Crucible
Story Analysis Worksheet
Posted by Michael L Umphrey on 11/15 at 11:43 PM
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A Poem by Wendell Berry
February 2, 1968
In the darkness of the moon, in flying snow, in the dead of winter,
war spreading, families dying, the world in danger,
I walk the rocky hillside, sowing clover.
- Wendell Berry
With only a date for a title, the poem invites contemplation about a particular moment in time. Anyone who remembers 1968 will suspect the poem is about trouble. During 1968 the Tet Offensive changed Americas attitude toward the Vietnam War; an incumbent president, Lyndon Johnson, announced he would not seek re-election; Martin Luther King, Jr. and Robert F. Kennedy were gunned down in public; and 12,000 police and 15,000 army regulars and National Guardsmen bloodily suppressed rioters at the Democratic National Convention in Chicago. Trouble was everywhere, and the country seemed to be coming apart.
The day, February 2, calls to mind Groundhog Day-suggesting that the title might be intended symbolically-suggesting an ambiguous turning point, a day when we can hope the worst is over. But maybe not.
The poem begins with confirmation that it is, indeed, about trouble, a gathering of dark forces: the barren, snowswept imagery of night and winter, the swinging anapestic rhythm accelerated almost at once with quick iambs, the somber tone sustained through the final words: dead of winter.
The second line switches to a faster, more urgent trochaic rhythm, hard and driving, ratcheting up the pace and creating anticipation as the imagery becomes more strident, winter turning into war, militant r sounds harshly echoing and amplifying winter with a slant-rhyme: danger.
In two brief lines, the poet establishes a dark and troubled world with danger on the rise. Having been drawn into a sense of accelerating trouble, both in the imagery and in the rhythm, the reader expects the rising crescendo to continue, leading to fireworks of some sort in the final line.
But it doesnt happen. Instead, the poet shifts to an iambic rhythm, the most natural rhythm in English-the basic rhythm of everyday speech. Everything relaxes. Disaster is averted, normalcy returns, and images of winter and war fade into an image of an ordinary springtime routine. The ominous sounds of winter and danger are transformed subtly into the green freshness of clover. Spring has arrived. In some sense, the world is in order.
Given what went before, a world of winter and war, is this enough? Is the poets response to the troubled world strong enough? Is his action-to be out planting clover-an adequate answer to the desolate world in which he lives?
There is more, of course. It isnt a fertile field that he plants, but a rocky hillside, perhaps ruined by the short-sighted, abusive practices that Berry so eloquently laments in other writings. And he plants clover, a nitrogen-fixer that restores fertility to exhausted land. He isnt merely doing spring planting, he is healing a place where life is hard because of neglect and shoddy work.
In a troubled world, he adopts a local focus: repairing his little bit of the earth and planting for the future, keeping the basic work of peace going. He tends to his own affairs, making his place more abundant, more beautiful, more productive. Is it enough?
I suppose we make our own answers, but for me the answer is yes. One response sane and intelligent response to trouble is to abandon troubles strident tones and rhythms, to leave the urge for a quick resolution which, in being quick, is bound to be violent.
Sometimes, taking a longer view and changing the rhythm is precisely the best we can do.
reading schedule
Monday, Nov 2: to page 299
Tues, 326
Wed 337
Thurs 356
Fri 586
Mon 405
Tues 434
Wed 460
Beginning paragraph
In romantic relationships, its often the case that the person who wants the least has the most power. This is true of the relationship between Ishmael and Hatsue, though this is not something Ishmael yet understands. Hes lost in yearning, caught up in a sort of angst-ridden bliss, at once content to simply be with Hatsue, filling up his senses with the sights and sounds of her body, and yet not content at all, sensing that there is more to her than he realizes and yearning to know all of her. Using the images of clam digging and the mingling of ocean waters, Guterson expresses both Ishmaels quest to dig for something delectable below the surface and his mystical longing for something vast and unlimited. Unfortunately, Hatsue feels about things quite differently than Ishmael does, and this passage offers a series of contrast between them.
Poem by Robert Frost
Poem by Thomas Hardy
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Today's Assignments
English 11:
Thu, Oct 22
Assignment: Eng11: Benjamin Franklin
In what ways is Franklin’s thinking similar to that of the Puritans? In what ways is it different?
Review vocabulary and list of virtues from Franklin autobiography.
Take test over Benjamin Franklin selection. This is timed--30 minutes.
Advanced English 11:
Thu, Oct 22
Assignment: AP12: Darkness and Metaphor
Review essay question answers. Samples here.
re: Laura’s comment that Frost’s poem is only about a moth being eaten by a spider, and that’s just the way the world is.
Frost said that a poem was metaphor or it was nothing.
If metaphor works, this suggests that patterns of meaning exist in reality and that these matter. Can you see a relation between this and Puritan typology? Or can you contemplate it in Pablo Neruda’s refusal to use metaphor:
the blood of the children ran in the street like
the blood of the children.
Some modernist poets refuse to use metaphor and other figurative language because they feel these literary devices suggest false relationships that do not actually exist.
So.
For Frost, the poem is not merely about a spider eating a moth. What is it about?
Thu, Oct 22
Assignment: Adv11 Begin Wind from an Enemy Sky
Thinking about writing an essay for the AP Exam
AP Prompts
Discussing an AP Prompt
Wind from an Enemy Sky
Assignment sheet and study questions
AP English 12:
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