Friday, March 29, 2013

Groups Day 1

-Bell Work (Transition, Usurious)
-Vocab Quiz
-AP Group

  • Review Introduction
  • Read Ch 1
  • Review of AP Practice Exam
-Honors Group
  • Reading Assignments
  • Project Assignments
  • Group Reading/Planning Time

  • Read up to chapter 16 + Reading Questions
  • Revision due Wed

Thursday, March 28, 2013

Victorian Schooling & The Governess

-Victorian Childhood: Jane Discussion
-Reading Questions
-Victorian Culture: The School House Notes
-Considering JE as an autobiography:

-Read some of the correspondence between Bronte and Southey in Ch8
-AP Reading due tomorrow
-Response due tomorrow
-Revisions due Mon.
-You will be expected to have read through to chapter sixteen by Mon

Gaskell Chapter Link

Jane Eyre as autobiography?

Gaskell Writing--

Wednesday, March 27, 2013

Rich v. Poor Victorian Children

-Bell Work (Third Person Limited Omniscient, Opprobrium, Third Person Omniscient, Ignominy)
-Victorian Improv
-Discussion of Jane's Role

-Response due Fri
-Revision due Mon
-Finish reading through Chapter 11 if you have not (along with the questions)
-Journal Question:  Do you believe that Jane has a horrible childhood as she seems to claim?  Does she in light of Victorian culture?  (Please complete a semi-free write paragraph in which you cite specific plot events/key quotes).

Monday, March 25, 2013

Victorian Childhood

-Bell Work (Thesis, Bilious)
-Finish JE Notes
-Discussion about reading:

  • Questions about reading questions
  • Critical examination of Victorian childhood
Consider: Would Victorian culture label Jane Eyre as an abused child?  In what ways was her childhood ideal/not ideal?

*Read chapters 6-11 + answer questions
*Response due Fri
*AP Introduction to AP Review Book (Thurs.)
*Revision due Mon

Friday, March 22, 2013

Intro to Jane Eyre

-Bell Work (Theme, Torpid)
-Vocab Quiz
-Finish Victorian Era Slide show
-Victorian Woman Game
-Introduction to JE

-Read and answer questions for chapters 1-5 of JE
-Response to Chekhov due Wed
-Revision of chosen paper or AP paper due next Fri

Thursday, March 21, 2013

College-Level Writing Workshop

-Bell Work (Syntax, Whitewash)
-Brainstorming Tips

  • Read the Ten Commandments of AP Writing
  • Free Write: What do you agree with?  What do you think was left out?
  • Consensus as a group
-Writing at a College Level (AP)
  • Read College Board Rubric for the sample prompt to which you responded
  • Translate each section into your own language
  • Read and grade samples using said rubric
  • Share the results as a group + Compare with the AP graders' opinions

-Writing at a College Level (Honors)
  • Read additional college writing tips
  • Add to your consensus sheet
  • Read and grade sample papers (Meaning/Development/Organization/Language/Conventions) out of 6
  • Share results and compare with teachers' grading

-Guiding Tips
  • Based on the previous tips create a top ten tips list with your group

-Vocab Quiz tomorrow
-Free Response (due Wed)
-Revision of AP Response or Free Response (due Fri)

Monday, March 18, 2013

Modern Sonnets

-Bell work (extenuate; synecdoche)
-Gallery Walk of Modern Sonnets
-Hand in papers and Othello text

-Finish packet if you did not finish in class
-Free response to Chekhov Reading (due next Mon)

Friday, March 15, 2013

Short Story for Response

The Darling
by Anton Pavlovich Chekhov (1860-1904)
Word Count: 5028

Olenka, the daughter of the retired collegiate assessor, Plemyanniakov, was sitting in her back porch, lost in thought. It was hot, the flies were persistent and teasing, and it was pleasant to reflect that it would soon be evening. Dark rainclouds were gathering from the east, and bringing from time to time a breath of moisture in the air.

Kukin, who was the manager of an open-air theatre called the Tivoli, and who lived in the lodge, was standing in the middle of the garden looking at the sky.

"Again!" he observed despairingly. "It's going to rain again! Rain every day, as though to spite me. I might as well hang myself! It's ruin! Fearful losses every day."

He flung up his hands, and went on, addressing Olenka:

"There! that's the life we lead, Olga Semyonovna. It's enough to make one cry. One works and does one's utmost, one wears oneself out, getting no sleep at night, and racks one's brain what to do for the best. And then what happens? To begin with, one's public is ignorant, boorish. I give them the very best operetta, a dainty masque, first rate music-hall artists. But do you suppose that's what they want! They don't understand anything of that sort. They want a clown; what they ask for is vulgarity. And then look at the weather! Almost every evening it rains. It started on the tenth of May, and it's kept it up all May and June. It's simply awful! The public doesn't come, but I've to pay the rent just the same, and pay the artists."

The next evening the clouds would gather again, and Kukin would say with an hysterical laugh:

"Well, rain away, then! Flood the garden, drown me! Damn my luck in this world and the next! Let the artists have me up! Send me to prison! -- to Siberia! -- the scaffold! Ha, ha, ha!"

And next day the same thing.

Olenka listened to Kukin with silent gravity, and sometimes tears came into her eyes. In the end his misfortunes touched her; she grew to love him. He was a small thin man, with a yellow face, and curls combed forward on his forehead. He spoke in a thin tenor; as he talked his mouth worked on one side, and there was always an expression of despair on his face; yet he aroused a deep and genuine affection in her. She was always fond of some one, and could not exist without loving. In earlier days she had loved her papa, who now sat in a darkened room, breathing with difficulty; she had loved her aunt who used to come every other year from Bryansk; and before that, when she was at school, she had loved her French master. She was a gentle, soft-hearted, compassionate girl, with mild, tender eyes and very good health. At the sight of her full rosy cheeks, her soft white neck with a little dark mole on it, and the kind, naïve smile, which came into her face when she listened to anything pleasant, men thought, "Yes, not half bad," and smiled too, while lady visitors could not refrain from seizing her hand in the middle of a conversation, exclaiming in a gush of delight, "You darling!"

The house in which she had lived from her birth upwards, and which was left her in her father's will, was at the extreme end of the town, not far from the Tivoli. In the evenings and at night she could head the band playing, and the crackling and banging of fireworks, and it seemed to her that it was Kukin struggling with his destiny, storming the entrenchments of his chief foe, the indifferent public; there was a sweet thrill at her heart, she had no desire to sleep, and when he returned home at day-break, she tapped softly at her bedroom window, and showing him only her face and one shoulder through the curtain, she gave him a friendly smile …

He proposed to her, and they were married. And when he had a closer view of her neck and her plump, fine shoulders, he threw up his hands, and said:

"You darling!"

He was happy, but as it rained on the day and night of his wedding, his face still retained an expression of despair.

They got on very well together. She used to sit in his office, to look after things in the Tivoli, to put down the accounts and pay the wages. And her rosy cheeks, her sweet, naïve, radiant smile, were to be seen now at the office window, now in the refreshment bar or behind the scenes of the theatre. And already she used to say to her acquaintances that the theatre was the chief and most important thing in life and that it was only through the drama that one could derive true enjoyment and become cultivated and humane.

"But do you suppose the public understands that?" she used to say. "What they want is a clown. Yesterday we gave 'Faust Inside Out,' and almost all the boxes were empty; but if Vanitchka and I had been producing some vulgar thing, I assure you the theatre would have been packed. Tomorrow Vanitchka and I are doing 'Orpheus in Hell.' Do come."

And what Kukin said about the theatre and the actors she repeated. Like him she despised the public for their ignorance and their indifference to art; she took part in the rehearsals, she corrected the actors, she kept an eye on the behaviour of the musicians, and when there was an unfavourable notice in the local paper, she shed tears, and then went to the editor's office to set things right.

The actors were fond of her and used to call her "Vanitchka and I," and "the darling"; she was sorry for them and used to lend them small sums of money, and if they deceived her, she used to shed a few tears in private, but did not complain to her husband.

They got on well in the winter too. They took the theatre in the town for the whole winter, and let it for short terms to a Little Russian company, or to a conjurer, or to a local dramatic society. Olenka grew stouter, and was always beaming with satisfaction, while Kukin grew thinner and yellower, and continually complained of their terrible losses, although he had not done badly all the winter. He used to cough at night, and she used to give him hot raspberry tea or lime-flower water, to rub him with eau-de-Cologne and to wrap him in her warm shawls.

"You're such a sweet pet!" she used to say with perfect sincerity, stroking his hair. "You're such a pretty dear!"

Towards Lent he went to Moscow to collect a new troupe, and without him she could not sleep, but sat all night at her window, looking at the stars, and she compared herself with the hens, who are awake all night and uneasy when the cock is not in the hen-house. Kukin was detained in Moscow, and wrote that he would be back at Easter, adding some instructions about the Tivoli. But on the Sunday before Easter, late in the evening, came a sudden ominous knock at the gate; some one was hammering on the gate as though on a barrel -- boom, boom, boom! The drowsy cook went flopping with her bare feet through the puddles, as she ran to open the gate.

"Please open," said some one outside in a thick bass. "There is a telegram for you."

Olenka had received telegrams from her husband before, but this time for some reason she felt numb with terror. With shaking hands she opened the telegram and read as follows:


That was how it was written in the telegram -- "fufuneral," and the utterly incomprehensible word "immate." It was signed by the stage manager of the operatic company.

"My darling!" sobbed Olenka. "Vanka, my precious, my darling! Why did I ever meet you! Why did I know you and love you! Your poor heart-broken Olenka is alone without you!"

Kukin's funeral took place on Tuesday in Moscow, Olenka returned home on Wednesday, and as soon as she got indoors, she threw herself on her bed and sobbed so loudly that it could be heard next door, and in the street.

"Poor darling!" the neighbours said, as they crossed themselves. "Olga Semyonovna, poor darling! How she does take on!"

Three months later Olenka was coming home from mass, melancholy and in deep mourning. It happened that one of her neighbours, Vassily Andreitch Pustovalov, returning home from church, walked back beside her. He was the manager at Babakayev's, the timber merchant's. He wore a straw hat, a white waistcoat, and a gold watch-chain, and looked more a country gentleman than a man in trade.

"Everything happens as it is ordained, Olga Semyonovna," he said gravely, with a sympathetic note in his voice; "and if any of our dear ones die, it must be because it is the will of God, so we ought have fortitude and bear it submissively."

After seeing Olenka to her gate, he said good-bye and went on. All day afterwards she heard his sedately dignified voice, and whenever she shut her eyes she saw his dark beard. She liked him very much. And apparently she had made an impression on him too, for not long afterwards an elderly lady, with whom she was only slightly acquainted, came to drink coffee with her, and as soon as she was seated at table began to talk about Pustovalov, saying that he was an excellent man whom one could thoroughly depend upon, and that any girl would be glad to marry him. Three days later Pustovalov came himself. He did not stay long, only about ten minutes, and he did not say much, but when he left, Olenka loved him -- loved him so much that she lay awake all night in a perfect fever, and in the morning she sent for the elderly lady. The match was quickly arranged, and then came the wedding.

Pustovalov and Olenka got on very well together when they were married.

Usually he sat in the office till dinner-time, then he went out on business, while Olenka took his place, and sat in the office till evening, making up accounts and booking orders.

"Timber gets dearer every year; the price rises twenty per cent," she would say to her customers and friends. "Only fancy we used to sell local timber, and now Vassitchka always has to go for wood to the Mogilev district. And the freight!" she would add, covering her cheeks with her hands in horror. "The freight!"

It seemed to her that she had been in the timber trade for ages and ages, and that the most important and necessary thing in life was timber; and there was something intimate and touching to her in the very sound of words such as "baulk," "post," "beam," "pole," "scantling," "batten," "lath," "plank," etc.

At night when she was asleep she dreamed of perfect mountains of planks and boards, and long strings of wagons, carting timber somewhere far away. She dreamed that a whole regiment of six-inch beams forty feet high, standing on end, was marching upon the timber-yard; that logs, beams, and boards knocked together with the resounding crash of dry wood, kept falling and getting up again, piling themselves on each other. Olenka cried out in her sleep, and Pustovalov said to her tenderly: "Olenka, what's the matter, darling? Cross yourself!"

Her husband's ideas were hers. If he thought the room was too hot, or that business was slack, she thought the same. Her husband did not care for entertainments, and on holidays he stayed at home. She did likewise.

"You are always at home or in the office," her friends said to her. "You should go to the theatre, darling, or to the circus."

"Vassitchka and I have no time to go to theatres," she would answer sedately. "We have no time for nonsense. What's the use of these theatres?"

On Saturdays Pustovalov and she used to go to the evening service; on holidays to early mass, and they walked side by side with softened faces as they came home from church. There was a pleasant fragrance about them both, and her silk dress rustled agreeably. At home they drank tea, with fancy bread and jams of various kinds, and afterwards they ate pie. Every day at twelve o'clock there was a savoury smell of beet-root soup and of mutton or duck in their yard, and on fast-days of fish, and no one could pass the gate without feeling hungry. In the office the samovar was always boiling, and customers were regaled with tea and cracknels. Once a week the couple went to the baths and returned side by side, both red in the face.

"Yes, we have nothing to complain of, thank God," Olenka used to say to her acquaintances. "I wish every one were as well off as Vassitchka and I."

When Pustovalov went away to buy wood in the Mogilev district, she missed him dreadfully, lay awake and cried. A young veterinary surgeon in the army, called Smirnin, to whom they had let their lodge, used sometimes to come in in the evening. He used to talk to her and play cards with her, and this entertained her in her husband's absence. She was particularly interested in what he told her of his home life. He was married and had a little boy, but was separated from his wife because she had been unfaithful to him, and now he hated her and used to send her forty roubles a month for the maintenance of their son. And hearing of all this, Olenka sighed and shook her head. She was sorry for him.

"Well, God keep you," she used to say to him at parting, as she lighted him down the stairs with a candle. "Thank you for coming to cheer me up, and may the Mother of God give you health."

And she always expressed herself with the same sedateness and dignity, the same reasonableness, in imitation of her husband. As the veterinary surgeon was disappearing behind the door below, she would say:

"You know, Vladimir Platonitch, you'd better make it up with your wife. You should forgive her for the sake of your son. You may be sure the little fellow understands."

And when Pustovalov came back, she told him in a low voice about the veterinary surgeon and his unhappy home life, and both sighed and shook their heads and talked about the boy, who, no doubt, missed his father, and by some strange connection of ideas, they went up to the holy ikons, bowed to the ground before them and prayed that God would give them children.

And so the Pustovalovs lived for six years quietly and peaceably in love and complete harmony.

But behold! one winter day after drinking hot tea in the office, Vassily Andreitch went out into the yard without his cap on to see about sending off some timber, caught cold and was taken ill. He had the best doctors, but he grew worse and died after four months' illness. And Olenka was a widow once more.

"I've nobody, now you've left me, my darling," she sobbed, after her husband's funeral. "How can I live without you, in wretchedness and misery! Pity me, good people, all alone in the world!"

She went about dressed in black with long "weepers," and gave up wearing hat and gloves for good. She hardly ever went out, except to church, or to her husband's grave, and led the life of a nun. It was not till six months later that she took off the weepers and opened the shutters of the windows. She was sometimes seen in the mornings, going with her cook to market for provisions, but what went on in her house and how she lived now could only be surmised. People guessed, from seeing her drinking tea in her garden with the veterinary surgeon, who read the newspaper aloud to her, and from the fact that, meeting a lady she knew at the post-office, she said to her:

"There is no proper veterinary inspection in our town, and that's the cause of all sorts of epidemics. One is always hearing of people's getting infection from the milk supply, or catching diseases from horses and cows. The health of domestic animals ought to be as well cared for as the health of human beings."

She repeated the veterinary surgeon's words, and was of the same opinion as he about everything. It was evident that she could not live a year without some attachment, and had found new happiness in the lodge. In any one else this would have been censured, but no one could think ill of Olenka; everything she did was so natural. Neither she nor the veterinary surgeon said anything to other people of the change in their relations, and tried, indeed, to conceal it, but without success, for Olenka could not keep a secret. When he had visitors, men serving in his regiment, and she poured out tea or served the supper, she would begin talking of the cattle plague, of the foot and mouth disease, and of the municipal slaughterhouses. He was dreadfully embarrassed, and when the guests had gone, he would seize her by the hand and hiss angrily:

"I've asked you before not to talk about what you don't understand. When we veterinary surgeons are talking among ourselves, please don't put your word in. It's really annoying."

And she would look at him with astonishment and dismay, and ask him in alarm: "But, Voloditchka, what am I to talk about?"

And with tears in her eyes she would embrace him, begging him not to be angry, and they were both happy.

But this happiness did not last long. The veterinary surgeon departed, departed for ever with his regiment, when it was transferred to a distant place -- to Siberia, it may be. And Olenka was left alone.

Now she was absolutely alone. Her father had long been dead, and his armchair lay in the attic, covered with dust and lame of one leg. She got thinner and plainer, and when people met her in the street they did not look at her as they used to, and did not smile to her; evidently her best years were over and left behind, and now a new sort of life had begun for her, which did not bear thinking about. In the evening Olenka sat in the porch, and heard the band playing and the fireworks popping in the Tivoli, but now the sound stirred no response. She looked into her yard without interest, thought of nothing, wished for nothing, and afterwards, when night came on she went to bed and dreamed of her empty yard. She ate and drank as it were unwillingly.

And what was worst of all, she had no opinions of any sort. She saw the objects about her and understood what she saw, but could not form any opinion about them, and did not know what to talk about. And how awful it is not to have any opinions! One sees a bottle, for instance, or the rain, or a peasant driving in his cart, but what the bottle is for, or the rain, or the peasant, and what is the meaning of it, one can't say, and could not even for a thousand roubles. When she had Kukin, or Pustovalov, or the veterinary surgeon, Olenka could explain everything, and give her opinion about anything you like, but now there was the same emptiness in her brain and in her heart as there was in her yard outside. And it was as harsh and as bitter as wormwood in the mouth.

Little by little the town grew in all directions. The road became a street, and where the Tivoli and the timber-yard had been, there were new turnings and houses. How rapidly time passes! Olenka's house grew dingy, the roof got rusty, the shed sank on one side, and the whole yard was overgrown with docks and stinging-nettles. Olenka herself had grown plain and elderly; in summer she sat in the porch, and her soul, as before, was empty and dreary and full of bitterness. In winter she sat at her window and looked at the snow. When she caught the scent of spring, or heard the chime of the church bells, a sudden rush of memories from the past came over her, there was a tender ache in her heart, and her eyes brimmed over with tears; but this was only for a minute, and then came emptiness again and the sense of the futility of life. The black kitten, Briska, rubbed against her and purred softly, but Olenka was not touched by these feline caresses. That was not what she needed. She wanted a love that would absorb her whole being, her whole soul and reason -- that would give her ideas and an object in life, and would warm her old blood. And she would shake the kitten off her skirt and say with vexation:

"Get along; I don't want you!"

And so it was, day after day and year after year, and no joy, and no opinions. Whatever Mavra, the cook, said she accepted.

One hot July day, towards evening, just as the cattle were being driven away, and the whole yard was full of dust, some one suddenly knocked at the gate. Olenka went to open it herself and was dumbfounded when she looked out: she saw Smirnin, the veterinary surgeon, grey-headed, and dressed as a civilian. She suddenly remembered everything. She could not help crying and letting her head fall on his breast without uttering a word, and in the violence of her feeling she did not notice how they both walked into the house and sat down to tea.

"My dear Vladimir Platonitch! What fate has brought you?" she muttered, trembling with joy.

"I want to settle here for good, Olga Semyonovna," he told her. "I have resigned my post, and have come to settle down and try my luck on my own account. Besides, it's time for my boy to go to school. He's a big boy. I am reconciled with my wife, you know."

"Where is she?' asked Olenka.

"She's at the hotel with the boy, and I'm looking for lodgings."

"Good gracious, my dear soul! Lodgings? Why not have my house? Why shouldn't that suit you? Why, my goodness, I wouldn't take any rent!" cried Olenka in a flutter, beginning to cry again. "You live here, and the lodge will do nicely for me. Oh dear! how glad I am!"

Next day the roof was painted and the walls were whitewashed, and Olenka, with her arms akimbo walked about the yard giving directions. Her face was beaming with her old smile, and she was brisk and alert as though she had waked from a long sleep. The veterinary's wife arrived -- a thin, plain lady, with short hair and a peevish expression. With her was her little Sasha, a boy of ten, small for his age, blue-eyed, chubby, with dimples in his cheeks. And scarcely had the boy walked into the yard when he ran after the cat, and at once there was the sound of his gay, joyous laugh.

"Is that your puss, auntie?" he asked Olenka. "When she has little ones, do give us a kitten. Mamma is awfully afraid of mice."

Olenka talked to him, and gave him tea. Her heart warmed and there was a sweet ache in her bosom, as though the boy had been her own child. And when he sat at the table in the evening, going over his lessons, she looked at him with deep tenderness and pity as she murmured to herself:

"You pretty pet! ... my precious! ... Such a fair little thing, and so clever."

" 'An island is a piece of land which is entirely surrounded by water,' " he read aloud.

"An island is a piece of land," she repeated, and this was the first opinion to which she gave utterance with positive conviction after so many years of silence and dearth of ideas.

Now she had opinions of her own, and at supper she talked to Sasha's parents, saying how difficult the lessons were at the high schools, but that yet the high school was better than a commercial one, since with a high-school education all careers were open to one, such as being a doctor or an engineer.

Sasha began going to the high school. His mother departed to Harkov to her sister's and did not return; his father used to go off every day to inspect cattle, and would often be away from home for three days together, and it seemed to Olenka as though Sasha was entirely abandoned, that he was not wanted at home, that he was being starved, and she carried him off to her lodge and gave him a little room there.

And for six months Sasha had lived in the lodge with her. Every morning Olenka came into his bedroom and found him fast asleep, sleeping noiselessly with his hand under his cheek. She was sorry to wake him.

"Sashenka," she would say mournfully, "get up, darling. It's time for school."

He would get up, dress and say his prayers, and then sit down to breakfast, drink three glasses of tea, and eat two large cracknels and a half a buttered roll. All this time he was hardly awake and a little ill-humoured in consequence.

"You don't quite know your fable, Sashenka," Olenka would say, looking at him as though he were about to set off on a long journey. "What a lot of trouble I have with you! You must work and do your best, darling, and obey your teachers."

"Oh, do leave me alone!" Sasha would say.

Then he would go down the street to school, a little figure, wearing a big cap and carrying a satchel on his shoulder. Olenka would follow him noiselessly.

"Sashenka!" she would call after him, and she would pop into his hand a date or a caramel. When he reached the street where the school was, he would feel ashamed of being followed by a tall, stout woman, he would turn round and say:

"You'd better go home, auntie. I can go the rest of the way alone."

She would stand still and look after him fixedly till he had disappeared at the school-gate.

Ah, how she loved him! Of her former attachments not one had been so deep; never had her soul surrendered to any feeling so spontaneously, so disinterestedly, and so joyously as now that her maternal instincts were aroused. For this little boy with the dimple in his cheek and the big school cap, she would have given her whole life, she would have given it with joy and tears of tenderness. Why? Who can tell why?

When she had seen the last of Sasha, she returned home, contented and serene, brimming over with love; her face, which had grown younger during the last six months, smiled and beamed; people meeting her looked at her with pleasure.

"Good-morning, Olga Semyonovna, darling. How are you, darling?"

"The lessons at the high school are very difficult now," she would relate at the market. "It's too much; in the first class yesterday they gave him a fable to learn by heart, and a Latin translation and a problem. You know it's too much for a little chap."

And she would begin talking about the teachers, the lessons, and the school books, saying just what Sasha said.

At three o'clock they had dinner together: in the evening they learned their lessons together and cried. When she put him to bed, she would stay a long time making the Cross over him and murmuring a prayer; then she would go to bed and dream of that far-away misty future when Sasha would finish his studies and become a doctor or an engineer, would have a big house of his own with horses and a carriage, would get married and have children ... She would fall asleep still thinking of the same thing, and tears would run down her cheeks from her closed eyes, while the black cat lay purring beside her: "Mrr, mrr, mrr."

Suddenly there would come a loud knock at the gate.

Olenka would wake up breathless with alarm, her heart throbbing. Half a minute later would come another knock.

"It must be a telegram from Harkov," she would think, beginning to tremble from head to foot. "Sasha's mother is sending for him from Harkov ... Oh, mercy on us!"

She was in despair. Her head, her hands, and her feet would turn chill, and she would feel that she was the most unhappy woman in the world. But another minute would pass, voices would be heard: it would turn out to be the veterinary surgeon coming home from the club.

"Well, thank God!" she would think.

And gradually the load in her heart would pass off, and she would feel at ease. She would go back to bed thinking of Sasha, who lay sound asleep in the next room, sometimes crying out in his sleep:

"I'll give it you! Get away! Shut up!"

Taken from:

Wednesday, March 13, 2013

Work Day

Since most of you will be gone for the UVM Math exam, today's class day will be an open work day.  You will have the chance to work on either your Othello essays (due Monday) or your sonnets (due TODAY).

Monday, March 11, 2013

Sonnet Day II

-Essay Discussion: Due Date pushed back to Monday!  This essay should be the result of quality work!
-Sonnet Workshop (Revised)
-Revised Instructions

  1. Choose a scenario from the blog
  2. Each person should choose 1 role from the scenario
  3. Each person should write a sonnet from the POV of the assigned person.  You should use the tone of the poem to decide whether or not to write petrarchan (serious) or Shakespearean (complicated somehow or making fun of the situation).
  4. The type of sonnet that you choose will dictate the rhyme scheme as well as the conventions that you use.  Refer to your notes if you are stuck.  You should label the conventions no matter which type you choose.  All should ideally be in iambic pentameter, but I really only care about seeing the 10 syllables per line.  
  5. Trade sonnets with your partner and read your partner's writing.
  6. Write a meshed sonnet--similar to the excerpt from Romeo and Juliet.  This sonnet should be structured like a dialogue between the two characters.  If you take lines from each of your sonnets, they should mesh together in a way that makes sense as a dialogue.  If you are feeling creative, you may want to start another sonnet sequence that then gets interrupted (in terms of rhyme/by another character) as their next sequence gets interrupted by the nurse.  

-Sonnet Packet due Wednesday

Sonnet Scenarios

Sonnet Scenarios
  1. You (A) and your partner (B) are a part of an 80s hair band.  You have been singing power ballads to sold-out stadium arenas for decades.  You have become so close that you are like siblings.  However, you recently got into a fight over your love for the same roadie.  In the end, the roadie chose to pursue a relationship with B.  B wants to reconcile with A, but A is feeling the pain of love and wants to break up the band.
  2. You (A) and your partner (B) have been married for 25 years.  A wants a divorce so that she can find herself as she travels across the country as a bearded lady in the circus.  B also wants a divorce, of which A is unaware, because he can no longer stand his wife's unsightly body hair. 
  3. Sarah and Mike have been dating for about a year.  It is their last year of college, and Mike plans to propose to Sarah so that he does not lose her after their graduation/she moves back home.  However Sarah, who grew up in foster homes, recently found out that her "real" mother also is Mike's mother.  Sarah plans to break the news to Mike and to break off their relationship the next time she sees them.  
  4. Chuck has been looking for love in all of the wrong places for years.  Sick of his bad luck in love, he decided to go onto to find himself a gal pal.  After only a week, it seemed as though his luck changed, and he met Lena.  Lena responded to his message, and they immediately clicked.  Chuck plans to ask Lena to meet him next week.  However, Chuck does not realize that Lena is a Ukrainian scam artist who only is in love with the idea of getting a green card to live in the US.
  5. Pam is completely in love with Tony.  She is hoping that they can take their relationship a step further soon.  Unfortunately, Tony has no clue that he is in a relationship with Pam.  To him, Pam is an elderly shut-in, and he is her friendly, neighborhood telemarketer for an insurance company.  

Friday, March 8, 2013

Sonnets: Meaning & Structure

-Vocab Quiz
-Romeo and Juliet excerpt analysis
-Sonnet Writing

-Work on your essays
-Do not work on your sonnets, we will be doing something slightly different with them on Wednesday

Thursday, March 7, 2013

Spenser and the Blazon

-Bell Work (stream-of-conciousness, cozen)
-Acting Presentations
-Review of Spenser
-Defining a Blazon and Reviewing Spenser's work as such
-Shakespeare's Sonnet 130
-In-class free write on Sonnet 138

  1. To whom is the poet speaking?
  2. How would you describe relationships in this poem?
  3. Look up the archaic definitions of the following
  4. What is the pun in the couplet?
  5. How does this poem compare to sonnet 130?  Do you believe both are about the same woman?

-Finish the freewrite
-Continue to work on your Othello essays

Late Post: English Sonnets

*Bell Work (situational irony, strumpet)
*Review of Drayton's Sonnet
*Notes on Shakespearean Conventions
*Acting out Petrarchan Conventions

*Read Spenser's Sonnet
*What do you believe or does the media believe that ideal beauty is?

Monday, March 4, 2013

Introduction to Sonnets

-Bell Work (Semantics, venial)
-Journal: What is the "pain of love"?  Why is it still a relevant topic today?  Consider music and film examples.
-Notes: Petrarchan Sonnets
-Sample Sonnet CIV

  • Read
  • Mark the rhyme scheme
  • Mark the parts: Octave, sestet, volta
  • Mark the Petrarchan conventions that you notice
-Othello essays due next week
-Read Michael Drayton's "The Parting"
  • Mark the rhyme scheme
  • Mark the Petrarchan conventions

Friday, March 1, 2013

A Discourse on Wiving and Othello

-Bell Work (Satire, Arraign)
-Vocab Quiz
-Reading "A Discourse of Marriage & Wiving & The Mystery Therein" (1614)

  1. Read the handout
          These may be a bit easier to read:
  1. Circle at least 3 precepts that apply to the marriage of Desdemona and Othello
  2. Find textual evidence that supports these three (write them out on a separate sheet)
  3. Write a paragraph-long reflection: Are these precepts still applicable today?  Which precepts would you delete?  Are there any that you would add?

-Complete what you did not finish in class
-Work on your essays (due Wednesday, March 13th)

Othello Essay Directions and Prompts

AP/Honors English
Ms. Hoffmann
Othello Essay Assignment
*Choose one of the prompts below to respond to in a well-written, proofread, four to six page paper.

*In responding to your chosen prompt, support it with specific textual evidence.

*Neither your paper nor your introduction should not be all plot summary. 

*Neither your introduction nor your conclusion should be “filler.”

*Make sure that you include a thesis at the end of your introduction.  Remember that this statement is telling the reader what you are going to prove in your paper. 

*As with your summer assignment, feel free to include illustrative quotes.  However, make sure that these add meaning to your paper (in other words, they should not be there to take up space).  They also should be properly introduced, as we discussed in class. 

*When appropriate, refer to the literary techniques that Shakespeare uses to craft Othello and the effect that they have in responding to your chosen prompt. 

*Your paper should be in the following format: Times New Roman, 12 pt. font, 1 inch margins all around, and double spaced.

*Follow MLA format (Works Cited, in-text citations).  If you need help visit

*Follow the standard conventions of written English.  Avoid contractions and the use of the first-person point of view. 

Prompt Choices:
1.       In class, we discussed how the Leo Africanus text may have been a source of inspiration for Shakespeare as he developed the character of Othello.  Do you believe that was the case?  Is Othello a reflection of seventeenth-century scholarship (or stereotypes depending upon your interpretation of the text)?  Or do you believe that Othello is made up of other character traits and/or is more well-rounded than the Africanus descriptions?  In answering this question, cite material from both Othello and Leo Africanus’ The History and Description of Africa

2.      In the seventeenth century, ideas surrounding the institution of marriage were different from what they are now.  Using Alex Niccholes’ A Discourse of Marriage and Wiving: and of the Great Mystery Therein Contained: How to Choose a Good Wife from a Bad, reflect on the marriage of Othello and Desdemona.  Do you believe that there are any key percepts that they failed to follow, which so quickly led to the destruction of their marital bliss?  You may refer to other issues that you believe led to their downfall, but you should refer to both texts in this essay. 
3.      What are Iago’s motives?  Is Iago an instance of allegorical evil, or does Iago have more complex psychological motives?  (If you choose to write about Iago as an allegorical character, please do not spend your introduction defining what an allegory is). 

4.      How do words function in Othello and help to drive its plot?  You may want to look back at the video posted on the blog from the Folger site—the one discussing words as power, words as character, and words as conversation with the audience—to help you formulate some ideas for this prompt. 

5.      Prompt of your choice.  (You should run this by me to make sure that it is a suitable topic for a 4-6 page paper).

Due Date: Wednesday, March 13th, 2013