Poetry: free verse
Ecclesiastes 3
A Time for Everything
1 To every thing there is a season, and a time to every purpose under the heaven:
2 a time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted;
3 a time to kill, and a time to heal; a time to break down, and a time to build up;
4 a time to weep, and a time to laugh; a time to mourn, and a time to dance;
5 a time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing;
6 a time to get, and a time to lose; a time to keep, and a time to cast away;
7 a time to rend, and a time to sew; a time to keep silence, and a time to speak;
8 a time to love, and a time to hate; a time of war, and a time of peace.
9 What profit hath he that worketh in that wherein he laboreth?
10 ¶ I have seen the travail, which God hath given to the sons of men to be exercised in it.
11 He hath made every thing beautiful in his time: also he hath set the world in their heart, so that no man can find out the work that God maketh from the beginning to the end.
12 I know that there is no good in them, but for a man to rejoice, and to do good in his life.
13 And also that every man should eat and drink, and enjoy the good of all his labor, it is the gift of God.
14 I know that, whatsoever God doeth, it shall be for ever: nothing can be put to it, nor any thing taken from it: and God doeth it, that men should fear before him.
15 That which hath been is now; and that which is to be hath already been; and God requireth that which is past.
Lincoln
Abraham Lincoln’s two addresses, in 1861 and 1865, are regarded as the best not just among inaugural addresses but in the history of American oratory.
In the first address, Lincoln, speaking to an assembled throng in front of the East Portico of the Capitol, tried to prepare the North for war.
“The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as they surely will be, by the better angels of our nature.”
Four years later, before a crowd that historians believe included John Wilkes Booth, who would assassinate the president a month later, Lincoln delivered a short but remarkable address, asserting that the 600,000 killed in the Civil War were God’s punishment to the nation for the sin of slavery.
“With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation’s wounds, to care for him who shall have borne the battle and for his widow and his orphan, to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations.”
Lincoln’s second inaugural address “is probably the best inaugural address ever delivered because of its great explanation of why we had the Civil War—God’s punishment for slavery,” Ryan said.
“It had an Old Testament language and cadence,” said Chris Matthews, The Chronicle’s national columnist and onetime speechwriter for President Jimmy Carter. “The level of the language was so eloquent, so sublime.”
Clear thinking makes a compelling argument
WHAT makes a strong argument - one that will pass the scrutiny of your audience? Simply wording an argument strongly doesn’t make it any more weighty than pounding one’s fist on the table makes one’s opinion right. Here are three things you should aim for:
First, be consistent. Have you undermined your own position by mentioning an objection and failing to rebut it? Considering objections strengthens your argument, but only if you can rebut them successfully. A rebuttal must show either that an objection is wrong or that it is somehow irrelevant. Let’s suppose you contend that we’re in the grip of climate change, yet you mention that some experts disagree. Unless you can show me why I should discount the skeptical experts’ opinion, you’ll have undermined your argument.
Second, is your argument rationally compelling? Since an opinion piece is too short ever to be comprehensive, choose your arguments judiciously. Address the most significant and highly relevant considerations bearing on your issue. Once you have sketched out your arguments try this test: could someone else, given the same information as you’ve presented, reach a different conclusion from yours? If the answer is yes, your argument is weak. Why might someone reach a different conclusion based on the same information? If you have addressed all the major considerations, then the problem probably lies in something left unsaid. What assumptions does your reader perhaps not share with you?
For example, suppose you are against the introduction of a national identity card. In support, you claim that identity cards infringe civil liberties. But I might say, “So what?” If I feel sufficiently threatened by whatever it is identity cards are supposed to stop, I may think it’s sometimes worth trading freedom for safety.
Your argument presupposes that infringing civil liberties is always a bad thing. Here is an assumption we don’t share.
If you identify such potential clashes you can address them by supporting your view further.
You might say, for instance, that a government with the power to infringe civil liberties is potentially more dangerous than a few crooks, however bad. Now you have a chance of winning me over. Unless you justify potentially controversial assumptions, I may fail to see the point of your argument and conclude something different than you.
Third, check your foundations. All arguments must “bottom out” somewhere. They come to rest on fundamental premises that you take for granted. These are the claims on which ultimately all your arguments rely. How solid are they?
Ask yourself on what basis you make each claim. Is it common knowledge? Expert opinion? A statistic? Your own personal knowledge or experience? Why would someone else accept it?
If, for instance, you think something is common knowledge, is it clear that it’s correct and not just a commonly held - but mistaken - opinion? Common misconceptions, such as stereotypes, are not solid grounds for rational argument.
IF IT is the opinion of an expert, what makes this person an expert? How good are their credentials? Do other experts in the relevant field agree? Could your source’s opinion be biased? Would your readers readily accept the opinion of a tobacco industry expert who says smoking is beneficial, or of a climatologist whose research was funded by a petrochemical company? What about the opinions of a politician, or of an editor or journalist? What factors might influence the views they present?
Even “factual” claims can be wrong or misleading. Statistics can be based on poor research or be misinterpreted or misused. People can choose what facts to present and not give the whole picture. This doesn’t mean you should ignore factual claims or statistics. Just be mindful that there may be another version.
If you’re writing from experience, think “big picture” then illustrate with specific detail. Anecdotes or personal touches can resonate with audiences because people can relate to them. But make me see beyond the personal. You can elicit my sympathy by describing the pain and loss of dignity suffered by a terminally ill grandparent; but, however sympathetic, I may not be convinced that euthanasia is therefore right. The leap from your personal experience to changing legislation is too great. Make me see the bigger, more universal picture, where those suffering could be “me and mine”. That thought is more likely to be compelling.
The idea is to think critically about your own argument before your audience does, so you can strengthen it before you present it. But critical thinking begins with clear thinking. The strength of an argument lies in the logical connections between thoughts. If those thoughts and the connections between them are not clearly articulated, they are impossible to evaluate. To check your argument effectively you must have a very clear idea of exactly what it is - the bare, logical bones of it. So plan your case with care: keep the language simple, unadorned and to the point, devoid of rhetorical devices and use a technique like argument mapping to clarify the connections. Argument maps show the rational relationships between your thoughts much more clearly than prose does, allowing you to check them more easily.
Have you given your argument the “all clear”? Then it’s time to choose the right language with which to present it.
Yanna Rider is a Melbourne University philosophy fellow and works with Austhink, a Melbourne-based consultancy and software firm specialising in critical thinking skills for schools, government departments and businesses.
Introduction to poetry
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A reaction to rationalism
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Organizing a Comparison/Contrast Essay
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Self Reliance Ralph Waldo Emerson-Self-Reliance
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Realism: Reading Steven Crane
Reading Study Guide
Chapters 1-2
1. Obliged
2. Despondent
3. Obscurity
4. Ominous
5. Sullen
6. Blithe
7. Dauntless
8. Indignantly
Reading Check Questions
1. What news did the tall soldier bring from the river?
2. What was the reaction of each (the tall soldier, youthful private, and loud soldier) to the news?
3. What question caused the youthful soldier great concern?
4. From whose point of view is the story written?
5. What made Henry feel like a “mental outcast”?
Chapters 3 - 5
9. Ponderous
10. Placidly
11. Formidable
12. Facetious
13. Menacing
14. Annihilated
15. Exasperation
16. Contortions
Reading Check Questions
1. Why does Henry think “it would be better to get killed directly”?
2. What did the loud soldier give the young soldier at the end of Chapter 3? What do we learn about the loud soldier in that scene?
3. [The Officers] “neglected to stand in picturesque attitudes.” What do we learn from this detail?
4. What was the outcome of the youth’s first battle?
Chapters 6 - 9
17. Vanquished
18. Orbs
19. Impending
20. Chaos
21. Perfunctory
22. Sardonic
23. Specter
24. Ague
Reading Check Questions
1. What was the youth’s opinion of himself after the first battle?
2. What “impossible thing” happened after the first battle?
3. Did the youth retreat at the second attack?
4. Why did the youth feel wronged?
5. Why did the squirrel’s running make him feel better?
6. What did the youth find deep in the woods in the “chapel”?
7. Identify the tattered man.
8. Why didn’t the youth want to talk to the tattered man?
9. The youth “wished that he, too, had a wound, a red badge of courage. “Why?
10. The youth meets Jim Conklin, the tall soldier, again in Chapter 9. What does Henry promise Jim?
11. What is the significance of
a . the location of Jim’s wounds?
b. “The red sun was pasted in the sky like a wafer?”
c. Jim’s initials?
Chapters 10 - 13
25. Imprecations
26. Sinuous
27. Malediction
28. Vindication
29. Heedless
30. Altercation
31. Audacious
32. Reproof
Reading Check Questions
1. Why did Henry leave the tattered man again?
2. Why did Henry wish he were dead?
3. What did the tattered man want from Henry? Why did he keep talking to Henry?
4. The main conflict of this chapter is Henry vs. Himself. Explain.
5. Henry is finally wounded. By whom and how?
6. How did Henry get back to his regiment?
7. Identify Wilson.
8. What was Henry’s lie?
9. Why did Henry “fumble with the buttons on his jacket”?
10. Why is it significant that Henry asks Wilson where he’s going to sleep and what he’s going to sleep in?
Chapters 14 - 17
33. Reliance
34. Disconcerted
35. Condescension
36. Denunciation
37. Abject
38. Denoted
39. Repose
Reading Check Questions
1. What change did Henry notice in Wilson?
2. What does Crane mean when he says, “Apparently the other [Wilson] had now climbed
a peak of wisdom from which he could perceive himself a very wee thing”?
3. Why does Henry say “So?” at the end of the chapter?
4. Why and how was Henry’s self-pride restored?
5. Henry thinks “he could leave much to chance.” Explain.
6. Back in Chapter 10, Henry wished he were dead. Here at the end of Chapter 15, what is his attitude?
7. Why was Henry “dumbfounded” at hearing himself say, “Well, don’t we fight like the devil . . . .”?
8. What made Henry “suddenly a modest person”?
9. “He had slept and, awakening, had found himself a knight.” Explain.
Chapters 18 - 21
40. Interminably
41. Delirium
42. Discerned
43. Dilapidated
44. Ludicrous
45. Proximity
46. Impetus
47. Smitten
Reading Check Questions
1. What information did Henry and Wilson bring back to the regiment after they had gone to look for water?
2. “The youth stared at the land in front of him. It’s foliages now seemed to veil powers and horrors. “What does that mean?
3. Henry grabs the flag. “Because no harm could come to it, he endowed it with power. He kept near, as if it could be the saver of lives . . . ."Explain how Henry can think this as he grabs the flag from the dead color sergeant.
4. “The retreat of the mule drivers was a march of shame to him . . .He presently wrapped heart in a cloak of pride and kept the flag erect.” What does this tell us about Henry’s character now?
5. After retreating, the regiment faces yet another chance battle, which it wins. What does this do for the morale?
6. This chapter ends with “And they were men.” Explain.
7. What did the officer tell Col. MacChesnay?
8. How did the men react to the conversation between the officer and the Colonel?
9. What did Thompson tell Henry and Wilson and what effect did it have on them?
Chapters 22 - 24
48. Prodigious
49. Perpetually
50. Obdurate
51. Morose
52. Incorrigible
53. Elation
54. Bedraggled
Reading Check Questions
1. In the battle in Chapter 22, Henry was “deeply absorbed as a spectator” with “serene self-confidence.” Contrast this with his attitude in earlier battles.
2. What was Henry’s goal in Chapter 23? Did he achieve it?
3. In this chapter, Henry evaluates himself. What does he decide about his public deeds in battle? His treatment of the tattered soldier?
4. “Yet gradually he mustered force to put the sin at a distance.” What is the “sin”? Why is it important for him to put it at a distance?
5. “He was a man.” Why? How is “man” defined in The Red Badge of Courage?
Printable PDF of this Study Guide
English Literature and Composition, 1970-2007
List of titles from free response questions
1970. Choose a character from a novel or play of recognized literary merit and write an essay in which you (a) briefly describe the standards of the fictional society in which the character exists and (b) show how the character is affected by and responds to those standards. In your essay do not merely summarize the plot.
1970 Also. Choose a work of recognized literary merit in which a specific inanimate object (e.g., a seashell, a handkerchief, a painting) is important, and write an essay in which you show how two or three of the purposes the object serves are related to one another.
1971. The significance of a title such as The Adventures of Huckleberry Finn is so easy to discover. However, in other works (for example, Measure for Measure) the full significance of the title becomes apparent to the reader only gradually. Choose two works and show how the significance of their respective titles is developed through the authors’ use of devices such as contrast, repetition, allusion, and point of view.
1972. In retrospect, the reader often discovers that the first chapter of a novel or the opening scene of a drama introduces some of the major themes of the work. Write an essay about the opening scene of a drama or the first chapter of a novel in which you explain how it functions in this way.
1973. An effective literary work does not merely stop or cease; it concludes. In the view of some critics, a work that does not provide the pleasure of significant closure has terminated with an artistic fault. A satisfactory ending is not, however, always conclusive in every sense; significant closure may require the reader to abide with or adjust to ambiguity and uncertainty. In an essay, discuss the ending of a novel or play of acknowledged literary merit. Explain precisely how and why the ending appropriately or inappropriately concludes the work. Do not merely summarize the plot.
1974. Choose a work of literature written before 1900. Write an essay in which you present arguments for and against the work’s relevance for a person in 1974. Your own position should emerge in the course of your essay. You may refer to works of literature written after 1900 for the purpose of contrast or comparison.
1975. Although literary critics have tended to praise the unique in literary characterizations, many authors have employed the stereotyped character successfully. Select one work of acknowledged literary merit and in a well-written essay, show how the conventional or stereotyped character or characters function to achieve the author’s purpose.
1975 Also. Unlike the novelist, the writer of a play does not use his own voice and only rarely uses a narrator’s voice to guide the audience’s responses to character and action. Select a play you have read and write an essay in which you explain the techniques the playwright uses to guide his audience’s responses to the central characters and the action. You might consider the effect on the audience of things like setting, the use of comparable and contrasting characters, and the characters’ responses to each other. Support your argument with specific references to the play. Do not give a plot summary.
1976. The conflict created when the will of an individual opposes the will of the majority is the recurring theme of many novels, plays, and essays. Select the work of an essayist who is in opposition to his or her society; or from a work of recognized literary merit, select a fictional character who is in opposition to his or her society. In a critical essay, analyze the conflict and discuss the moral and ethical implications for both the individual and the society. Do not summarize the plot or action of the work you choose.
1977. In some novels and plays certain parallel or recurring events prove to be significant. In an essay, describe the major similarities and differences in a sequence of parallel or recurring events in a novel or play and discuss the significance of such events. Do not merely summarize the plot.
1978. Choose an implausible or strikingly unrealistic incident or character in a work of fiction or drama of recognized literary merit. Write an essay that explains how the incident or character is related to the more realistic of plausible elements in the rest of the work. Avoid plot summary.
1979. Choose a complex and important character in a novel or a play of recognized literary merit who might on the basis of the character’s actions alone be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we otherwise might. Avoid plot summary.
1980. A recurring theme in literature is the classic war between a passion and responsibility. For instance, a personal cause, a love, a desire for revenge, a determination to redress a wrong, or some other emotion or drive may conflict with moral duty. Choose a literary work in which a character confronts the demands of a private passion that conflicts with his or her responsibilities. In a well-written essay show clearly the nature of the conflict, its effects upon the character, and its significance to the work.
1981. The meaning of some literary works is often enhanced by sustained allusion to myths, the Bible, or other works of literature. Select a literary work that makes use of such a sustained reference. Then write a well-organized essay in which you explain the allusion that predominates in the work and analyze how it enhances the work’s meaning.
1982. In great literature, no scene of violence exists for its own sake. Choose a work of literary merit that confronts the reader or audience with a scene or scenes of violence. In a well-organized essay, explain how the scene or scenes contribute to the meaning of the complete work. Avoid plot summary.
1983. From a novel or play of literary merit, select an important character who is a villain. Then, in a well-organized essay, analyze the nature of the character’s villainy and show how it enhances meaning in the work. Do not merely summarize the plot.
1984. Select a line or so of poetry, or a moment or scene in a novel, epic poem, or play that you find especially memorable. Write an essay in which you identify the line or the passage, explain its relationship to the work in which it is found, and analyze the reasons for its effectiveness.
1985. A critic has said that one important measure of a superior work of literature is its ability to produce in the reader a healthy confusion of pleasure and disquietude. Select a literary work that produces this “healthy confusion.” Write an essay in which you explain the sources of the “pleasure and disquietude” experienced by the readers of the work.
1986. Some works of literature use the element of time in a distinct way. The chronological sequence of events may be altered, or time may be suspended or accelerated. Choose a novel, an epic, or a play of recognized literary merit and show how the author’s manipulation of time contributes to the effectiveness of the work as a whole. Do not merely summarize the plot.
1987. Some novels and plays seem to advocate changes in social or political attitudes or in traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author apparently wishes to modify. Then analyze the techniques the author uses to influence the reader’s or audience’s views. Avoid plot summary.
1988. Choose a distinguished novel or play in which some of the most significant events are mental or psychological; for example, awakenings, discoveries, changes in consciousness. In a well-organized essay, describe how the author manages to give these internal events the sense of excitement, suspense, and climax usually associated with external action. Do not merely summarize the plot.
1989. In questioning the value of literary realism, Flannery O’Connor has written, “I am interested in making a good case for distortion because I am coming to believe that it is the only way to make people see.” Write an essay in which you “make a good case for distortion,” as distinct from literary realism. Analyze how important elements of the work you choose are “distorted” and explain how these distortions contribute to the effectiveness of the work. Avoid plot summary.
1990. Choose a novel or play that depicts a conflict between a parent (or a parental figure) and a son or daughter. Write an essay in which you analyze the sources of the conflict and explain how the conflict contributes to the meaning of the work. Avoid plot summary.
1991. Many plays and novels use contrasting places (for example, two countries, two cities or towns, two houses, or the land and the sea) to represent opposed forces or ideas that are central to the meaning of the work. Choose a novel or play that contrasts two such places. Write an essay explaining how the places differ, what each place represents, and how their contrast contributes to the meaning of the work.
1992. In a novel or play, a confidant (male) or a confidante (female) is a character, often a friend or relative of the hero or heroine, whose role is to be present when the hero or heroine needs a sympathetic listener to confide in. Frequently the result is, as Henry James remarked, that the confidant or confidante can be as much “the reader’s friend as the protagonist’s.” However, the author sometimes uses this character for other purposes as well. Choose a confidant or confidante from a novel or play of recognized literary merit and write an essay in which you discuss the various ways this character functions in the work. You may write your essay on one of the following novels or plays or on another of comparable quality. Do not write on a poem or short story.
1993. “The true test of comedy is that it shall awaken thoughtful laughter.” Choose a novel, play, or long poem in which a scene or character awakens “thoughtful laughter” in the reader. Write an essay in which you show why this laughter is “thoughtful” and how it contributes to the meaning of the work.
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.
1995. Writers often highlight the values of a culture or a society by using characters who are alienated from that culture or society because of gender, race, class, or creed. Choose a novel or a play in which such a character plays a significant role and show how that character’s alienation reveals the surrounding society’s assumptions or moral values.
1996. The British novelist Fay Weldon offers this observation about happy endings. “The writers, I do believe, who get the best and most lasting response from their readers are the writers who offer a happy ending through moral development. By a happy ending, I do not mean mere fortunate events—a marriage or a last minute rescue from death—but some kind of spiritual reassessment or moral reconciliation, even with the self, even at death.” Choose a novel or play that has the kind of ending Weldon describes. In a well-written essay, identify the “spiritual reassessment or moral reconciliation” evident in the ending and explain its significance in the work as a whole.
1997. Novels and plays often include scenes of weddings, funerals, parties, and other social occasions. Such scenes may reveal the values of the characters and the society in which they live. Select a novel or play that includes such a scene and, in a focused essay, discuss the contribution the scene makes to the meaning of the work as a whole. You may choose a work from the list below or another novel or play of literary merit.
1998. In his essay “Walking,” Henry David Thoreau offers the following assessment of literature:
In literature it is only the wild that attracts us. Dullness is but another name for tameness. It is the uncivilized free and wild thinking in Hamlet and The Iliad, in all scriptures and mythologies, not learned in schools, that delights us.
From the works that you have studied in school, choose a novel, play, or epic poem that you may initially have thought was conventional and tame but that you now value for its “uncivilized free and wild thinking.” Write an essay in which you explain what constitutes its “uncivilized free and wild thinking” and how that thinking is central to the value of the work as a whole. Support your ideas with specific references to the work you choose.
1999. The eighteenth-century British novelist Laurence Sterne wrote, “No body, but he who has felt it, can conceive what a plaguing thing it is to have a man’s mind torn asunder by two projects of equal strength, both obstinately pulling in a contrary direction at the same time.”
From a novel or play choose a character (not necessarily the protagonist) whose mind is pulled in conflicting directions by two compelling desires, ambitions, obligations, or influences. Then, in a well-organized essay, identify each of the two conflicting forces and explain how this conflict with one character illuminates the meaning of the work as a whole. You may use one of the novels or plays listed below or another novel or work of similar literary quality.
2000. Many works of literature not readily identified with the mystery or detective story genre nonetheless involve the investigation of a mystery. In these works, the solution to the mystery may be less important than the knowledge gained in the process of its investigation. Choose a novel or play in which one or more of the characters confront a mystery. Then write an essay in which you identify the mystery and explain how the investigation illuminates the meaning of the work as a whole. Do not merely summarize the plot.
2001. One definition of madness is “mental delusion or the eccentric behavior arising from it.” But Emily Dickinson wrote
Much madness is divinest Sense-
To a discerning Eye-
Novelists and playwrights have often seen madness with a “discerning Eye.” Select a novel or play in which a character’s apparent madness or irrational behavior plays an important role. Then write a well-organized essay in which you explain what this delusion or eccentric behavior consists of and how it might be judged reasonable. Explain the significance of the “madness” to the work as a whole. Do not merely summarize the plot.
2002. Morally ambiguous characters—characters whose behavior discourages readers from identifying them as purely evil or purely good—are at the heart of many works of literature. Choose a novel or play in which a morally ambiguous character plays a pivotal role. Then write an essay in which you explain how the character can be viewed as morally ambiguous and why his or her moral ambiguity is significant to the work as a whole. Avoid mere plot summary.
2002, Form B. Often in literature, a character’s success in achieving goals depends on keeping a secret and divulging it only at the right moment, if at all. Choose a novel or play of literary merit that requires a character to keep a secret. In a well-organized essay, briefly explain the necessity for secrecy and how the character’s choice to reveal or keep the secret affects the plot and contributes to the meaning of the work as a whole. You may select a work from the list below, or you may choose another work of recognized literary merit suitable to the topic. Do NOT write about a short story, poem, or film.
2003. According to critic Northrop Frye, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divisive lightning.” Select a novel or play in which a tragic figure functions as an instrument of the suffering of others. Then write an essay in which you explain how the suffering brought upon others by that figure contributes to the tragic vision of the work as a whole.
2003, Form B. Novels and plays often depict characters caught between colliding cultures—national, regional, ethnic, religious, institutional. Such collisions can call a character’s sense of identity into question. Select a novel or play in which a character responds to such a cultural collison. Then write a well-organized essay in which you describe the character’s response and explain its relevance to the work as a whole.
2004. Critic Roland Barthes has said, “Literature is the question minus the answer.” Choose a novel, or play, and, considering Barthes’ observation, write an essay in which you analyze a central question the work raises and the extent to which it offers answers. Explain how the author’s treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary.
2004, Form B. The most important themes in literature are sometimes developed in scenes in which a death or deaths take place. Choose a novel or play and write a well-organized essay in which you show how a specific death scene helps to illuminate the meaning of the work as a whole. Avoid mere 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.
2005, Form B. One of the strongest human drives seems to be a desire for power. Write an essay in which you discuss how a character in a novel or a drama struggles to free himself or herself from the power of others or seeks to gain power over others. Be sure to demonstrate in your essay how the author uses this power struggle to enhance the meaning of the work.
2006. Many writers use a country setting to establish values within a work of literature. For example, the country may be a place of virtue and peace or one of primitivism and ignorance. Choose a novel or play in which such a setting plays a significant role. Then write an essay in which you analyze how the country setting functions in the work as a whole.
2006, Form B. In many works of literature, a physical journey - the literal movement from one place to another - plays a central role. Choose a novel, play, or epic poem in which a physical journey is an important element and discuss how the journey adds to the meaning of the work as a whole. Avoid mere plot summary.
2007. In many works of literature, past events can affect, positively or negatively, the present activities, attitudes, or values of a character. Choose a novel or play in which a character must contend with some aspect of the past, either personal or societal. Then write an essay in which you show how the character’s relationship to the past contributes to the meaning of the work as a whole.
2007, Form B. Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Select a novel or play that includes such acts of betrayal. Then, in a well-written essay, analyze the nature of the betrayal and show how it contributes to the meaning of the work as a whole.
2008. In a literary work, a minor character, often known as a foil, possesses traits that emphasize, by contrast or comparison, the distinctive characteristics and qualities of the main character. For example, the ideas or behavior of a minor character might be used to highlight the weaknesses or strengths of the main character. Choose a novel or play in which a minor character serves as a foil for the main character. Then write an essay in which you analyze how the relation between the minor character and the major character illuminates the meaning of the work.
2008, Form B. In some works of literature. Childhood and adolescence are portrayed as times graced by innocence and a sense of wonder; in other works, they are depicted as times of tribulation and terror. Focusing on a single novel or play, explain how its representation of childhood or adolescence shapes the meaning of the work as a whole.
Study Guide to Leaves of Grass
The Learn’d Astronomer: Analyzing a Whitman poem
Comparing Longfellow and Whitman
Structured Note Taking: Comparing Longfellow and Whitman
Guide to Leaves of Grass
Activity for “The Learn’d Astronomer” and “The Death of Abraham Lincoln”
PBS video program
15 representative poems
A Psalm of Life animated text
The Children’s Hour (text on screen)
The Arrow and the Song
I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.
I breathed a song into the air,
It fell to earth, I knew not where;
For who has sight so keen and strong,
That it can follow the flight of song?
Long, long afterward, in an oak
I found the arrow, still unbroke;
And the song, from beginning to end,
I found again in the heart of a friend.
The Arsenal at Springfield
This is the Arsenal. From floor to ceiling,
Like a huge organ, rise the burnished arms;
But front their silent pipes no anthem pealing
Startles the villages with strange alarms.
Ah! what a sound will rise, how wild and dreary,
When the death-angel touches those swift keys
What loud lament and dismal Miserere
Will mingle with their awful symphonies
I hear even now the infinite fierce chorus,
The cries of agony, the endless groan,
Which, through the ages that have gone before us,
In long reverberations reach our own.
On helm and harness rings the Saxon hammer,
Through Cimbric forest roars the Norseman’s song,
And loud, amid the universal clamor,
O’er distant deserts sounds the Tartar gong.
I hear the Florentine, who from his palace
Wheels out his battle-bell with dreadful din,
And Aztec priests upon their teocallis
Beat the wild war-drums made of serpent’s skin;
The tumult of each sacked and burning village;
The shout that every prayer for mercy drowns;
The soldiers’ revels in the midst of pillage;
The wail of famine in beleaguered towns;
The bursting shell, the gateway wrenched asunder,
The rattling musketry, the clashing blade;
And ever and anon, in tones of thunder,
The diapason of the cannonade.
Is it, O man, with such discordant noises,
With such accursed instruments as these,
Thou drownest Nature’s sweet and kindly voices,
And jarrest the celestial harmonies?
Were half the power, that fills the world with terror,
Were half the wealth, bestowed on camps and courts,
Given to redeem the human mind from error,
There were no need of arsenals or forts:
The warrior’s name would be a name abhorred!
And every nation, that should lift again
Its hand against a brother, on its forehead
Would wear forevermore the curse of Cain!
Down the dark future, through long generations,
The echoing sounds grow fainter and then cease;
And like a bell, with solemn, sweet vibrations,
I hear once more the voice of Christ say, “Peace!”
Peace! and no longer from its brazen portals
The blast of War’s great organ shakes the skies!
But beautiful as songs of the immortals,
The holy melodies of love arise.
The Cross of Snow
In the long, sleepless watches of the night,
A gentle face--the face of one long dead--
Looks at me from the wall, where round its head
The night-lamp casts a halo of pale light.
Here in this room she died, and soul more white
Never through martyrdom of fire was led
To its repose; nor can in books be read
The legend of a life more benedight.
There is a mountain in the distant West
That, sun-defying, in its deep ravines
Displays a cross of snow upon its side.
Such is the cross I wear upon my breast
These eighteen years, through all the changing scenes
And seasons, changeless since the day she died.
The Children’s Hour
Between the dark and the daylight,
When the night is beginning to lower,
Comes a pause in the day’s occupations,
That is known as the Children’s Hour.
I hear in the chamber above me
The patter of little feet,
The sound of a door that is opened,
And voices soft and sweet.
From my study I see in the lamplight,
Descending the broad hall stair,
Grave Alice, and laughing Allegra,
And Edith with golden hair.
A whisper, and then a silence:
Yet I know by their merry eyes
They are plotting and planning together
To take me by surprise.
A sudden rush from the stairway,
A sudden raid from the hall!
By three doors left unguarded
They enter my castle wall!
They climb up into my turret
O’er the arms and back of my chair;
If I try to escape, they surround me;
They seem to be everywhere.
They almost devour me with kisses,
Their arms about me entwine,
Till I think of the Bishop of Bingen
In his Mouse-Tower on the Rhine!
Do you think, O blue-eyed banditti,
Because you have scaled the wall,
Such an old mustache as I am
Is not a match for you all!
I have you fast in my fortress,
And will not let you depart,
But put you down into the dungeon
In the round-tower of my heart.
And there will I keep you forever,
Yes, forever and a day,
Till the walls shall crumble to ruin,
And moulder in dust away!
The Day is Done
The day is done, and the darkness
Falls from the wings of Night,
As a feather is wafted downward
From an eagle in his flight.
I see the lights of the village
Gleam through the rain and the mist,
And a feeling of sadness comes o’er me
That my soul cannot resist:
A feeling of sadness and longing,
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain.
Come, read to me some poem,
Some simple and heartfelt lay,
That shall soothe this restless feeling,
And banish the thoughts of day.
Not from the grand old masters,
Not from the bards sublime,
Whose distant footsteps echo
Through the corridors of Time.
For, like strains of martial music,
Their mighty thoughts suggest
Life’s endless toil and endeavor;
And to-night I long for rest.
Read from some humbler poet,
Whose songs gushed from his heart,
As showers from the clouds of summer,
Or tears from the eyelids start;
Who, through long days of labor,
And nights devoid of ease,
Still heard in his soul the music
Of wonderful melodies.
Such songs have power to quiet
The restless pulse of care,
And come like the benediction
That follows after prayer.
Then read from the treasured volume
The poem of thy choice,
And lend to the rhyme of the poet
The beauty of thy voice.
And the night shall be filled with music
And the cares, that infest the day,
Shall fold their tents, like the Arabs,
And as silently steal away.
The Fire of Driftwood
Devereux Farm, near Marblehead
We sat within the farm-house old,
Whose windows, looking o’er the bay,
Gave to the sea-breeze damp and cold,
An easy entrance, night and day.
Not far away we saw the port,
The strange, old-fashioned, silent town,
The lighthouse, the dismantled fort,
The wooden houses, quaint and brown.
We sat and talked until the night,
Descending, filled the little room;
Our faces faded from the sight,
Our voices only broke the gloom.
We spake of many a vanished scene,
Of what we once had thought and said,
Of what had been, and might have been,
And who was changed, and who was dead;
And all that fills the hearts of friends,
When first they feel, with secret pain,
Their lives thenceforth have separate ends,
And never can be one again;
The first slight swerving of the heart,
That words are powerless to express,
And leave it still unsaid in part,
Or say it in too great excess.
The very tones in which we spake
Had something strange, I could but mark;
The leaves of memory seemed to make
A mournful rustling in the dark.
Oft died the words upon our lips,
As suddenly, from out the fire
Built of the wreck of stranded ships,
The flames would leap and then expire.
And, as their splendor flashed and failed,
We thought of wrecks upon the main,
Of ships dismasted, that were hailed
And sent no answer back again.
The windows, rattling in their frames,
The ocean, roaring up the beach,
The gusty blast, the bickering flames,
All mingled vaguely in our speech;
Until they made themselves a part
Of fancies floating through the brain,
The long-lost ventures of the heart,
That send no answers back again.
O flames that glowed! O hearts that yearned!
They were indeed too much akin,
The drift-wood fire without that burned,
The thoughts that burned and glowed within.
The Landlord’s Tale (Paul Revere’s Ride)
Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light, --
One, if by land, and two, if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm.”
Then he said, “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend, through alley and street,
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.
Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade, --
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay, --
A line of black that bends and floats
On the rising tide, like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry-tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!
A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock,
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river fog,
That rises after the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.
You know the rest. In the books you have read,
How the British Regulars fired and fled, --
How the farmers gave them ball for ball,
From behind each fence and farm-yard wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm, --
A cry of defiance and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.
The Village Blacksmith
Under a spreading chestnut-tree
The village smithy stands;
The smith, a mighty man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.
His hair is crisp, and black, and long,
His face is like the tan;
His brow is wet with honest sweat,
He earns whate’er he can,
And looks the whole world in the face,
For he owes not any man.
Week in, week out, from morn till night,
You can hear his bellows blow;
You can hear him swing his heavy sledge,
With measured beat and slow,
Like a sexton ringing the village bell,
When the evening sun is low.
And children coming home from school
Look in at the open door;
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a threshing-floor.
He goes on Sunday to the church,
And sits among his boys;
He hears the parson pray and preach,
He hears his daughter’s voice,
Singing in the village choir,
And it makes his heart rejoice.
It sounds to him like her mother’s voice,
Singing in Paradise!
He needs must think of her once more,
How in the grave she lies;
And with his haul, rough hand he wipes
A tear out of his eyes.
Toiling,--rejoicing,--sorrowing,
Onward through life he goes;
Each morning sees some task begin,
Each evening sees it close
Something attempted, something done,
Has earned a night’s repose.
Thanks, thanks to thee, my worthy friend,
For the lesson thou hast taught!
Thus at the flaming forge of life
Our fortunes must be wrought;
Thus on its sounding anvil shaped
Each burning deed and thought.
My Lost Youth
Often I think of the beautiful town
That is seated by the sea;
Often in thought go up and down
The pleasant streets of that dear old town,
And my youth comes back to me.
And a verse of a Lapland song
Is haunting my memory still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I can see the shadowy lines of its trees,
And catch, in sudden gleams,
The sheen of the far-surrounding seas,
And islands that were the Hesperides
Of all my boyish dreams.
And the burden of that old song,
It murmurs and whispers still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I remember the black wharves and the slips,
And the sea-tides tossing free;
And Spanish sailors with bearded lips,
And the beauty and mystery of the ships,
And the magic of the sea.
And the voice of that wayward song
Is singing and saying still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I remember the bulwarks by the shore,
And the fort upon the hill;
The sunrise gun with its hollow roar,
The drum-beat repeated o’er and o’er,
And the bugle wild and shrill.
And the music of that old song
Throbs in my memory still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I remember the sea-fight far away,
How it thunder’d o’er the tide!
And the dead sea-captains, as they lay
In their graves o’erlooking the tranquil bay
Where they in battle died.
And the sound of that mournful song
Goes through me with a thrill:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I can see the breezy dome of groves,
The shadows of Deering’s woods;
And the friendships old and the early loves
Come back with a Sabbath sound, as of doves
In quiet neighbourhoods.
And the verse of that sweet old song,
It flutters and murmurs still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
I remember the gleams and glooms that dart
Across the schoolboy’s brain;
The song and the silence in the heart,
That in part are prophecies, and in part
Are longings wild and vain.
And the voice of that fitful song
Sings on, and is never still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
There are things of which I may not speak;
There are dreams that cannot die;
There are thoughts that make the strong heart weak,
And bring a pallor into the cheek,
And a mist before the eye.
And the words of that fatal song
Come over me like a chill:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
Strange to me now are the forms I meet
When I visit the dear old town;
But the native air is pure and sweet,
And the trees that o’ershadow each well-known street,
As they balance up and down,
Are singing the beautiful song,
Are sighing and whispering still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
And Deering’s woods are fresh and fair,
And with joy that is almost pain
My heart goes back to wander there,
And among the dreams of the days that were
I find my lost youth again.
And the strange and beautiful song,
The groves are repeating it still:
‘A boy’s will is the wind’s will,
And the thoughts of youth are long, long thoughts.’
Nature
As a fond mother, when the day is o’er,
Leads by the hand her little child to bed,
Half willing, half reluctant to be led,
And leave his broken playthings on the floor,
Still gazing at them through the open door,
Nor wholly reassured and comforted
By promises of others in their stead,
Which, though more splendid, may not please him more;
So Nature deals with us, and takes away
Our playthings one by one, and by the hand
Leads us to rest so gently, that we go
Scarce knowing if we wish to go or stay,
Being too full of sleep to understand
How far the unknown transcends the what we know.
A Psalm of Life
Tell me not, in mournful numbers,
Life is but an empty dream! --
For the soul is dead that slumbers,
And things are not what they seem.
Life is real! Life is earnest!
And the grave is not its goal;
Dust thou art, to dust returnest,
Was not spoken of the soul.
Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each to-morrow
Find us farther than to-day.
Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.
In the world’s broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!
Trust no Future, howe’er pleasant!
Let the dead Past bury its dead!
Act,—act in the living Present!
Heart within, and God o’erhead!
Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time;
Footprints, that perhaps another,
Sailing o’er life’s solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.
Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.
There Was a Little Girl
There was a little girl,
Who had a little curl,
Right in the middle of her forehead.
When she was good,
She was very good indeed,
But when she was bad she was horrid.
The Tide Rises, the Tide Falls
The tide rises, the tide falls,
The twilight darkens, the curlew calls;
Along the sea-sands damp and brown
The traveller hastens toward the town,
And the tide rises, the tide falls.
Darkness settles on roofs and walls,
But the sea, the sea in the darkness calls;
The little waves, with their soft, white hands,
Efface the footprints in the sands,
And the tide rises, the tide falls.
The morning breaks; the steeds in their stalls
Stamp and neigh, as the hostler calls;
The day returns, but nevermore
Returns the traveller to the shore,
And the tide rises, the tide falls.
The Witnesses
In Ocean’s wide domains,
Half buried in the sands,
Lie skeletons in chains,
With shackled feet and hands.
Beyond the fall of dews,
Deeper than plummet lies,
Float ships, with all their crews,
No more to sink nor rise.
There the black Slave-ship swims,
Freighted with human forms,
Whose fettered, fleshless limbs
Are not the sport of storms.
These are the bones of Slaves;
They gleam from the abyss;
They cry, from yawning waves,
“We are the Witnesses!”
Within Earth’s wide domains
Are markets for men’s lives;
Their necks are galled with chains,
Their wrists are cramped with gyves.
Dead bodies, that the kite
In deserts makes its prey;
Murders, that with affright
Scare school-boys from their play!
All evil thoughts and deeds;
Anger, and lust, and pride;
The foulest, rankest weeds,
That choke Life’s groaning tide!
These are the woes of Slaves;
They glare from the abyss;
They cry, from unknown graves,
“We are the Witnesses!Ӕ
The Wreck of the Hesperus
It was the schooner Hesperus,
That sailed the wintry sea;
And the skipper had taken his little daughtr,
To bear him company.
Blue were her eyes as the fairy-flax,
Her cheeks like the dawn of day,
And her bosom white as the hawthorn buds,
That ope in the month of May.
The skipper he stood beside the helm,
His pipe was in his mouth,
And he watched how the veering flaw did blow
The smoke now West, now South.
Then up and spake an old Sailr,
Had sailed to the Spanish Main,
“I pray thee, put into yonder port,
For I fear a hurricane.
“Last night, the moon had a golden ring,
And to-night no moon we see!”
The skipper, he blew a whiff from his pipe,
And a scornful laugh laughed he.
Colder and louder blew the wind,
A gale from the Northeast,
The snow fell hissing in the brine,
And the billows frothed like yeast.
Down came the storm, and smote amain
The vessel in its strength;
She shuddered and paused, like a frighted steed,
Then leaped her cable’s length.
“Come hither! come hither! my little daughtԨҨr,
And do not tremble so;
For I can weather the roughest gale
That ever wind did blow.”
He wrapped her warm in his seaman’s coat
Against the stinging blast;
He cut a rope from a broken spar,
And bound her to the mast.
“O father! I hear the church-bells ring,
Oh say, what may it be?”
“‘T is a fog-bell on a rock-bound coast!” --
And he steered for the open sea.
“O father! I hear the sound of guns,
Oh say, what may it be?”
“Some ship in distress, that cannot live
In such an angry sea!”
“O father! I see a gleaming light,
Oh say, what may it be?”
But the father answered never a word,
A frozen corpse was he.
Lashed to the helm, all stiff and stark,
With his face turned to the skies,
The lantern gleamed through the gleaming snow
On his fixed and glassy eyes.
Then the maiden clasped her hands and prayed
That savd she might be;
And she thought of Christ, who stilled the wave
On the Lake of Galilee.
And fast through the midnight dark and drear,
Through the whistling sleet and snow,
Like a sheeted ghost, the vessel swept
Tow’rds the reef of Norman’s Woe.
And ever the fitful gusts between
A sound came from the land;
It was the sound of the trampling surf
On the rocks and the hard sea-sand.
The breakers were right beneath her bows,
She drifted a dreary wreck,
And a whooping billow swept the crew
Like icicles from her deck.
She struck where the white and fleecy waves
Looked soft as carded wool,
But the cruel rocks, they gored her side
Like the horns of an angry bull.
Her rattling shrouds, all sheathed in ice,
With the masts went by the board;
Like a vessel of glass, she stove and sank,
Ho! ho! the breakers roared!
At daybreak, on the bleak sea-beach,
A fisherman stood aghast,
To see the form of a maiden fair,
Lashed close to a drifting mast.
The salt sea was frozen on her breast,
The salt tears in her eyes;
And he saw her hair, like the brown sea-weed,
On the billows fall and rise.
Such was the wreck of the Hesperus,
In the midnight and the snow!
Christ save us all from a death like this,
On the reef of Norman’s Woe!
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Readings •
What matters most to you?
1. Who is someone that you admire? List three qualities that you admire about that person.
2. Describe an incident or event from which you learned a lesson the hard way.
3. What could you change about yourself to become a better person?
4. What three qualities do you value in a friend; a teacher; a parent?
5. Describe a situation in which you went out of your way to help someone else.
6. Has life been good to you? Explain.
7. Describe a situation in your life in which someone went out of his or her way to help you.
8. Name three things for which you are thankful.
9. Who has been most important in your life in helping you establish your values? Explain.
10. Do you have a responsibility to help those who are less fortunate? Explain.
11. When you become a parent, what are the three most important values that you hope your children will have?
What ideals do I believe in?
For this assignment, identify one virtue that you think is important to living a good life. Also, write or find an aphorism that expresses that virtue. (An easy way to do this is to search google with a virtue and the word “quotation” to get a list of quotes related to the virtue you’ve chosen. For example searching “honesty quotation” yields such things as this:
“If it is not right do not do it; if it is not true do not say it.” Marcus Aurelias
“To be persuasive we must be believable; to be believable we must be credible; credible we must be truthful.” Edward R. Murrow
Give your essay a title that includes the virtue you are writing about.
Put your quotation in italics below the title, as an epigraph to the essay. (Epigraph: a quotation set at the beginning of a literary work or one of its divisions to suggest its theme).
Write an essay that draws on an experience you have had that illustrates what the virtue looks like in practice and why the ideal is important to you.
Read this background information before you begin:
Benjamin Franklin identified thirteen virtues he knew he had to develop if he wanted to be successful. Virtues are character strengths, such as courage or generosity. There are some virtues we need to practice if we are to move toward our ideals. For example, if we want to be trusted we need to tell the truth. Our ideals are the standards we set for ourselves--such as “I will always be honest with my friends” or “I will always be kind to my grandparents.”
Franklin’s thirteen virtues can be categorized as personal and social character traits.
Personal
The eight personal virtues relate to your attitudes toward activities and their challenges. Good personal character traits will better your chances of success in achieving your goals.
Temperance: Eat not to dullness; drink not to elevation.
Order: Let all your things have their places; let each part of your business have its time.
Resolution: Resolve to perform what you ought; perform without fail what you resolve.
Frugality: Make no expense but to do good to others or yourself; i.e., waste nothing.
Moderation: Avoid extremes; forbear resenting injuries so much as you think they deserve.
Industry: Lose no time; be always employed in something useful; cut off all unnecessary actions.
Cleanliness: Tolerate no uncleanliness in body, clothes, or habitation.
Tranquility: Be not disturbed at trifles, or at accidents common or unavoidable.
Social
These five social virtues that Franklin stated concern your attitudes toward people with whom you have dealings. Good social character traits result in other people wanting to do business with you or to have relationships with you.
Silence: Speak not but what may benefit others or yourself; avoid trifling conversation.
Sincerity: Use no hurtful deceit; think innocently and justly, and, if you speak, speak accordingly.
Justice: Wrong none by doing injuries, or omitting the benefits that are your duty.
Chastity: Rarely use venery but for health or offspring, never to dullness, weakness, or the injury of your own or another’s peace or reputation.
Humility: Imitate Jesus and Socrates.
Franklin’s application
Ben Franklin tried to lead his life following these virtues. He placed each one of the virtues on a separate page in a small book that he kept with him for most of his life. He would evaluate his performance with regard to each of them on a daily basis. He would also select one of the virtues to focus on for full week.
Franklin often emphasized these virtues in his Poor Richard’s Almanack. Later, In a letter to his son William, he gave the list of virtues, recommending that William follow them too.
Although Franklin tried to follow them himself, he sometimes went astray from his good intentions. For example, in his Almanack, Poor Richard (Franklin) gave the advice:
“Be temperate in wine, in eating, girls, and cloth, or the Gout will seize you and plague you both.”
Meanwhile, Franklin was known to relish his food, to flirt and sometimes to dress to impress people. His food and wine-drinking habits led him to be plagued with the gout for much of his life. But still, the positive intentions were there.
The Laws of Life
Ideals, along with the virtues needed to move toward them, may be thought of as the “laws of life.” Franklin was trying to articulate the “laws of life"--the rules he and others had to live by if they wanted certain blessings, such as health and wealth. All cultures believe there are “Laws of Life”—universal ideals—and these are often expressed in aphorisms (brief, wise sayings). Here are some common aphorisms:
You are only as good as your word.
You must be the change you wish to see in the world.
Let peace begin with me.
To have a friend, be one.
Never give up, never give up, never give up.
Essays that deal with the “laws of life”
A weekend with grandma
Halfway through high school, I realized that the most important part of the week was the weekend. Of course the weekends were the best; there was no school, we could sleep-in, and hang out with our friends. The weekends were precious, If anything messed up the plans, the whole weekend was officially ruined. It was a Saturday afternoon, and I just woke up. The weekend was so far perfect. My dad, a hard-working, can’t-stop-working man, was leaving to go to my grandma’s house. He suggested that Laura and I go with him to help out, oo. I knew this was the right thing to do, it just was not the usual weekend plans. We decided to go because we knew it would be fun. I always enjoy visiting my grandma. She is one of those people you can never get bored talking to. She can always give you a good laugh and is one of the kindest people I know. When we arrived, my cousin Brian was already there. Grandma informed us that we were going to help her with the Christmas tree. I was excited. Christmas is my favorite time of year because it brings my family together.
Brian, Laura and I went to collect the pieces of the tree in her garage. We pulled the branches from the torn, yellow garbage bags and helped Grandma place them in the tiny holes. We were talking and laughing together as we worked and the time seemed to fly by.
There is always another tree glowing in this lonely hose during the holidays. The tree stood in the basement, where every year on Christmas Eve my family and I sat around to exchange gifts. The three of us received the honor of putting up this tree.
It was a special tree. The tree is silver from when my father, aunt, and uncle were younger. We got to work on this old tree while my grandma was searching to find the bow for the top. She returned later with a box. She explained that the box was from a turkey shoot her grandfather went to. Inside the box were about two-dozen aluminum ornaments form when my grandma was a child. Grandma smiled as she remembered the times when she placed these on her own tree years ago.
We placed the ornaments on the tree. Grandma’s smile got larger by the second. When we finished, she stood back and stared and the tree. Her face was glowing and she was so proud of her old, silver tree. As I looked at the tree, I realized how awesome it was to have spent this day with my grandma. When we sit around the tree this Christmas Eve and the ornaments are shining in the light, the tree will mean so much more to us four than it ever has before. I cannot wait until the next weekend when I get to spend a day laughing and talking with my Grandma.
The Girl In The Mirror
Five minutes, I think to myself. I tap my foot impatiently, with a heap of clothes in my arms. And then a curtain pulls open in the very back. I grab Laurens arm and dash to the only open dressing room. Finally, I think to myself with a sigh of relief. Now I can have some fun. I pull a small spaghetti strap shirt over my head and look in the mirror and turn away in an instant, not wanting to look at the image of a little stomach pudge and my chest that wont fit into the top. I try on a pair of jeans and could barely fasten the buckle. I use to fit in this size last year.
“Let me try on that shirt,” Lauren says. I hand over the shirt and look in envy as it fits perfectly. Why can’t I be just a little skinnier?
All my life I’ve been the “bigger” child in the family. I was never overweight by any means, but looking back at my old family photos all I see is the image of my smaller gymnast of a sister with a flat stomach. Back then I felt huge compared to her and that’s how I still feel today. I’d stand in front of the mirror at night and suck in my stomach, wishing I looked like one of the models in the fashion magazines: tall and skinny.
Then it happened. My sister has been a gymnast since the age of two and a pretty good one at that. This barely five foot girl has won more medals and trophies than I can count. She seemed almost impossible to beat and as a child I would watch her thinking she was the goddess of gymnastics, graceful and poised at everything she did. The only problem with this little pro was she was barely seventy pounds at the age of fifteen. Why she did this to herself is something I cannot explain. All I know is that this problem cost her the dream of a future career in gymnastics.
My parents finally addressed my sister’s weight issue when she broke her tibia while at a competition in Chicago. After taking her to a doctor she was diagnosed with anorexia. She was sent to a nutritionist and a doctor specializing in eating disorders. When she was then diagnosed with osteopenia, my parents realized that she had to quit her life’s hard work to get better.
Living with a sister who is half your size is not an easy thing for a young teen to grow up with. But looking at what my sister had done to herself to be skinny makes me think twice about myself. At 5:30, I may not be the skinniest girl, but at least I know that I am healthy for my size. Going to the mall now and seeing these young girls getting smaller by the minute, I think in disgust at the message that girls must be a size zero and 95 lbs to be considered beautiful in today’s society. Every now and then when I hear a friend or even a stranger say, “Im too fat,” I tell them that they are beautiful the way they are and they don’t need to lose an ounce of weight, because they don’t know the things I know about wanting to be skinny.
Note taking
Notetaking
1. Note-taking enables you to stay engaged. If you dont take notes, your mind wanders. You daydream. As they say, the lights are on, but no one is home. However, when you take notes, you may find that you stay more alert, focused, and actively involved.
2. Note-taking provides a mechanism for capturing your ideas, questions, and commitments. Some ideas require incubation. Questions require further research. Commitments require follow-up that cannot be done until later. Regardless, note-taking provides a way to capture content so that you can processes it later.
3. Note-taking communicates the right things to the other attendees. When someone takes notes, it communicates to everyone else that they are actively listening. It also communicates that what others are saying is importantit is worth making the effort to record their insights. If you are in a leadership position, it also subtly establishes accountability. Your people think, If the boss is writing it down, he probably intends to follow-up. I better pay attention. As a leader, your example speaks volumes. If you take notes, your people will likely take notes. If you dont, it is likely they wont.
But how can you more effectively take notes?
1. Use a journal-formatted notebook. If you have something else that is working, great. Stick with it. If not, I recommend one of the Moleskine notebooks. The name (officially pronounced mol-a-skeen-a, although it can vary) comes from the French spelling of moleskin, which the oilcloth covering resembles. I use the Large Ruled Journal and never go anywhere without it.
2. Keep your notes as a running journal. I give each new meeting (or topic) its own heading, along with the current date. The notes run continuously until I fill up the journal. Then I begin a new one.
3. Use symbols so you can quickly scan your notes later. I indent my notes from the left edge of the paper about half an inch. This allows me to put my symbols in the left margin. I use four:
1. If an item is particularly important or insightful, I put a star next to it.
2. If an item requires further research or resolution, I put a question mark next to it.
3. If an item requires follow-up, I put a ballot box (open square) next to it. When the item is completed, I check it off.
4. If I have assigned a follow-up item to someone, I put an open circle next to it (similar to the ballot box but a circle rather than a square). In the notes, I indicate who is responsible. When the item is completed, I check it off.
4. Schedule time to review your notes. This is the secret. I scan my notes immediately after the meeting if possible. If that is not possible, then I do it at the end of my workday. If I miss several days, I do it during my weekly review. Regardless, I take action on those items that I can do in less than two-minutes. Those that will take longer I enter into Entourage (or Outlook for you PC users) either as a task or an appointment.
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Today's Assignments
Advanced English 11:
Thu, Jan 08
Assignment: Eng11: Draft a compare/contrast paragraph
Write a paragraph either comparing or contrasting a Longfellow poem with a Whitman poem
First, fill out a Paragraph Frame
Use these two poems.
English 11:
Thu, Jan 08Assignment: Eng11: Draft a compare/contrast paragraph
Write a paragraph either comparing or contrasting a Longfellow poem with a Whitman poem
First, fill out a Paragraph Frame
Use these two poems.
English 11 Cohort:
Thu, Jan 08
Assignment: Eng11: Draft a compare/contrast paragraph
>
Write a paragraph either comparing or contrasting a Longfellow poem with a Whitman poem
First, fill out a Paragraph Frame
Use these two poems.
Montana Literature:
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