Notes about Garcia Lorca, Blood Wedding, and the Spanish Theater
In the 1920’s there was widespread agreement that the Spanish theater was in a deep crisis. Books and newspaper articles deplored the mediocrity of playwrights, the ignorance of critics, actors, and audiences, and the indifference of government officials. Lorca wrote of this situation, “One must think of the theater of the future. Everything that now exists in Spain is dead. Either the theater changes radically, or it dies away forever. There is no other solution.”
Lorca’s earliest works exemplify a deep concern for social justice; by 1935 Lorca had declared himself an “enthusiastic, devoted follower of the theater of social reform.” He defined theater as:
…a school of laughter and lamentation, an open tribunal where the
people can introduce old and mistaken mores as evidence, and can use
living examples to explain eternal norms of the heart…The theater is an
extremely useful instrument for the edification of a country, and the
barometer that measures its greatness or decline. A sensitive theater,
well oriented in all its branches, from tragedy to vaudeville, can alter
a people’s sensibility in just a few years, while a decadent theater where
hooves have taken the place of wings can cheapen and lull to sleep an
entire nation.
When Lorca attacks the norms of theatrical realism and the expectations of middle-class audiences, he is questioning certain aspects of bourgeois morality: its supposed indifference to suffering, its hostility to deviant forms of behavior, its fear of death and of the forces of nature, its mistrust of fantasy, of dream, and of the artistic imagination. Blood Wedding restored tragic poetry to the Spanish stage.
There are two areas in particular in which Lorca’s theater differs radically from that of his predecessors: his idea of poetic drama and the musical nature of his works. Lorca remarked : “Theater is poetry that rises from the book and becomes human enough to talk and shout, weep and despair.” In Lorca’s work, drama and poetry seem inseparable. His poetry often has the dramatic quality that he admired in traditional Spanish songs and narrative ballads, and his drama has the metaphorical density, the attention to rhythm, the ring of “memorable speech” one normally associates with poetry. In this play, images, metaphors, and symbols form a coherent whole, a poetic system whose full meaning is difficult to paraphrase. Blood Wedding was unprecedented in Spanish theater. Few playwrights had appealed so forcefully to the poetic imagination of so many people, from such a wide cross section of society, in Spain and abroad.
Lorca once remarked that prose and verse have their own distinct functions:
Well-wrought, free prose can soar to expressive heights, freeing us from
the confinement and rigidity of meter. Let us welcome verse at
moments when the excitement and disposition of the theme demand it,
only then. You can see that, in Blood Wedding, verse does not appear
with any intensity or at any length until the wedding scene. Then, with
the scene in the forest and in the last scene in the work, it takes
complete command of the stage.
The second distinctive characteristic of Lorca’s theater is music. Both in his poems and in his plays, Lorca tries to reconcile literature and music. Lorca’s vision of theater draws upon ballet and other forms of dance, and as a director he devoted much attention to the stylization of movement. Nowhere is musical form more apparent than in Blood Wedding, where the characters’ speech is “orchestrated” in a highly stylized, rhythmic manner that sometimes borders on liturgical chant.
No less important than the rhythmical style are two other musical elements: the songs and dances performed by the characters, and the background music. The spinners’ songs in Blood Wedding are reminiscent of Spanish folk tunes. They are also meant to suggest the choruses of Greek tragedy, commenting on the action and revealing something of the psychology of the characters. Lorca also used music as a way of weaning his audiences from expectations of realism. He said: “The use of music allows me to make the scene less realistic, and do away with the audience’s impression that what is going on is “really happening,” permitting me to raise things to the level of poetry.”
For Lorca, tragedy entails certain formal elements, such as the chorus; but above all, it involves creating an illusion of fate or destiny—the suggestion that men and women are at the mercy of elemental forces which shape their lives in ways they barely comprehend. This feeling of inevitability is coupled with mystery. In his view, no tragedy can be fully explained. For him, the very essence of poetry and tragedy lies in mystery.
The central theme of all of Lorca’s work is desire—all of his characters want something; but the object of desire is invisible, shadowy. His plays suggest, not merely that society frustrates our intimate desires and instincts, but that those desires and instincts can never be clearly identified. Lorca’s characters are unhappy and tragic, not because society keeps them from attaining their object or reaching their destination, but because they cannot fully understand what it is that they want.
Beyond its appeal for justice, for freedom, and for sexual equality, Lorca’s theater is a passionate defense of poetry and of the imagination. His characters’ search for meaning parallels that of the reader.
07 October 2010
23 September 2010
Act III Questions on BLOOD WEDDING
Questions on Act III of Blood Wedding
1. Do the Moon and the Beggar Woman give an indication that Leonardo and the Bride will escape ?
2. How is the lullaby of the horse in Act I, Scene 2, a portent of what occurs in the forest ?
3. Who is the Beggar Woman ?
4. Who or what does the Moon symbolize ?
5. How is the relationship between Leonardo and the Bride different from the one between the Bridegroom and the Bride ?
6. a) In what setting does Scene I, Act II, open ? b) What does this setting represent ?
7. Summarize the comments of the three woodcutters in Scene I.
8. In the Moon’s monologue in Scene I, to what does « blood » refer ?
9. Whom is the woodcutter personified as ?
10. Who gives the Bridegroom directions to find his wayward bride and Leonardo ?
11. How do we know that the Bridegroom will not survive the encounter with Leonardo ?
12. What happens when Leonardo and the Bride realize that they are hemmed in ?
13. In Scene I, in the fifth instance from the end, where Leonardo speaks, what kind of imagery is revealed in those lines ?
14. What is the significance of the Beggar Woman opening her cloak at the end of Scene I ?
15. Why does Scene II open in a white room with arches and thick walls ?
16. How does the Beggar Woman invoke images of death in the beginning of Scene II ?
17. How does the Mother rationalize her life now that her remaining son has been killed ?
18. How does the Mother react to the Bride’s arrival in Scene II ?
19. The play begins and ends with which image?
20. Garcia Lorca creates a landscape so rustic and primitive that it virtually stands outside of time. There are no modern objects with which one can place the play in a specific era ; therefore, what object mentioned in the play can be seen as rather anachronistic ?
21. How can the locale of the forest symbolize both life and death ?
22. Why are the woodcutters a natural choice to report and comment on the pursuit and the encounter between the Bridegroom and Leonardo and the Bride ?
23. What are the allusions to Christianity in Scene III ?
24. Explain the fates of the Bridegroom, Leonardo, and the Bride.
25. With what does the playwright equate the passion of the couple ?
26. What is ironic about the Mother and the women chanting : « Sweet nails/ Sweet cross,/ Sweet Name--/ Jesus » ?
27. Give an example of cartharsis in this play.
28. In giving Leonardo Felix the only proper name in the play, how might the playwright be suggesting that social customs and the conformity they require might be a problem ?
29. Blood Wedding is not merely about a wedding but about the wedding in the blood of the antagonistic forces that together compromise the human condition. Explain this war in the blood on many levels.
30. Explain the ritual of the matador and the bull in a bull fight.
31. Explain the opening of the final scene of the play where the little girls are winding red wool.
32. In the last phase of the play, how is the Bride likened to nature ?
33. What is an irony at the end of the play ?
34. What are the five lyrical passages in the play ?
35. What symbols does Garca Lorca use to indicate the inevitability of fate in the final scene ?
36. How is the climax of Act III similar to action in Oedipus Rex ?
1. Do the Moon and the Beggar Woman give an indication that Leonardo and the Bride will escape ?
2. How is the lullaby of the horse in Act I, Scene 2, a portent of what occurs in the forest ?
3. Who is the Beggar Woman ?
4. Who or what does the Moon symbolize ?
5. How is the relationship between Leonardo and the Bride different from the one between the Bridegroom and the Bride ?
6. a) In what setting does Scene I, Act II, open ? b) What does this setting represent ?
7. Summarize the comments of the three woodcutters in Scene I.
8. In the Moon’s monologue in Scene I, to what does « blood » refer ?
9. Whom is the woodcutter personified as ?
10. Who gives the Bridegroom directions to find his wayward bride and Leonardo ?
11. How do we know that the Bridegroom will not survive the encounter with Leonardo ?
12. What happens when Leonardo and the Bride realize that they are hemmed in ?
13. In Scene I, in the fifth instance from the end, where Leonardo speaks, what kind of imagery is revealed in those lines ?
14. What is the significance of the Beggar Woman opening her cloak at the end of Scene I ?
15. Why does Scene II open in a white room with arches and thick walls ?
16. How does the Beggar Woman invoke images of death in the beginning of Scene II ?
17. How does the Mother rationalize her life now that her remaining son has been killed ?
18. How does the Mother react to the Bride’s arrival in Scene II ?
19. The play begins and ends with which image?
20. Garcia Lorca creates a landscape so rustic and primitive that it virtually stands outside of time. There are no modern objects with which one can place the play in a specific era ; therefore, what object mentioned in the play can be seen as rather anachronistic ?
21. How can the locale of the forest symbolize both life and death ?
22. Why are the woodcutters a natural choice to report and comment on the pursuit and the encounter between the Bridegroom and Leonardo and the Bride ?
23. What are the allusions to Christianity in Scene III ?
24. Explain the fates of the Bridegroom, Leonardo, and the Bride.
25. With what does the playwright equate the passion of the couple ?
26. What is ironic about the Mother and the women chanting : « Sweet nails/ Sweet cross,/ Sweet Name--/ Jesus » ?
27. Give an example of cartharsis in this play.
28. In giving Leonardo Felix the only proper name in the play, how might the playwright be suggesting that social customs and the conformity they require might be a problem ?
29. Blood Wedding is not merely about a wedding but about the wedding in the blood of the antagonistic forces that together compromise the human condition. Explain this war in the blood on many levels.
30. Explain the ritual of the matador and the bull in a bull fight.
31. Explain the opening of the final scene of the play where the little girls are winding red wool.
32. In the last phase of the play, how is the Bride likened to nature ?
33. What is an irony at the end of the play ?
34. What are the five lyrical passages in the play ?
35. What symbols does Garca Lorca use to indicate the inevitability of fate in the final scene ?
36. How is the climax of Act III similar to action in Oedipus Rex ?
Act II Questions on BLOODWEDDING
Blood Wedding : Act II Questions
1. What is a major similarity between the end of Act II, Scene 1, of Blood Wedding and the death of Jocasta and the blinding of Oedipus in Oedipus Rex ?
2. Who are the young men and girls in Act II ? What is their purpose ?
3. How does the reader know that the Bride is not a typical happy bride on her wedding day ?
4. What is the argument about between the Bride and Leonardo on her wedding day ?
5. What new information about the reason for the Bride’s acceptance of the Bridegroom’s proposal of marriage do we learn in Act II ?
6. How do the reports of the wedding given by minor characters in Act II contrast with the true attitude of the Bride ?
7. How does Leonardo’s presence at the wedding upset the traditional balance of society ?
8. Name the characters that are unhappy so far in this play and comment on why each one is.
9. What is the setting of Act II ?
10.How can Leonardo’s plight be seen by the reader as a plea for divorce reform in Catholic Spain ?
11.Why do the Bridegroom and a party of men seek out the Bride and Leonardo ?
1. What is a major similarity between the end of Act II, Scene 1, of Blood Wedding and the death of Jocasta and the blinding of Oedipus in Oedipus Rex ?
2. Who are the young men and girls in Act II ? What is their purpose ?
3. How does the reader know that the Bride is not a typical happy bride on her wedding day ?
4. What is the argument about between the Bride and Leonardo on her wedding day ?
5. What new information about the reason for the Bride’s acceptance of the Bridegroom’s proposal of marriage do we learn in Act II ?
6. How do the reports of the wedding given by minor characters in Act II contrast with the true attitude of the Bride ?
7. How does Leonardo’s presence at the wedding upset the traditional balance of society ?
8. Name the characters that are unhappy so far in this play and comment on why each one is.
9. What is the setting of Act II ?
10.How can Leonardo’s plight be seen by the reader as a plea for divorce reform in Catholic Spain ?
11.Why do the Bridegroom and a party of men seek out the Bride and Leonardo ?
Act 1 of BLOOD WEDDING
Questions on Act I of Blood Wedding
1. The lullaby that the Mother-in-Law and the Wife sing to the baby seems to be an omen. Why?
2. Why are the Mother-in-Law and Wife impressed by the news of the girl?
3. Why is it a bad omen when the Father says of his daughter, “She’s like my wife, in every way”?
4. What is the significance of the color of the room at the Bridegroom’s house in which the play opens?
5. Leonardo’s and the Bride’s homes are characterized by the color pink. What is the significance here?
6. Describe the Bride’s demeanor in Act I.
7. Lack of what characteristic(s) makes the Bridegroom the least compelling major character in the play?
8. Who makes up the chorus in Act I?
9. How does the motif of renewal apply to the Bride’s Father and to the Bridegroom’s Mother?
10.How does the position of Scenes 1 and 3 in Act I relate to the motif of renewal?
11.Who represents the “horse”?
12.What does marriage with the Bridegroom promise for the Bride?
13.Comment on the “lullaby” that the Mother-in-Law and the Wife sing to the baby.
14.Comment on the Mother’s role in the play.
15.Find evidence in the play to support the statement that the Mother is suspicious of the Bride.
16.Of what is “blood” symbolic?
17. What is significant about the position of the scene with the lullaby of “the big horse who didn’t like water”?
18.What does the “bull” symbolize?
19.Explain the following line: “Men, men; wheat, wheat…”
20.What do you think is implied in the Bride’s sullenness and depression in Act I?
1. The lullaby that the Mother-in-Law and the Wife sing to the baby seems to be an omen. Why?
2. Why are the Mother-in-Law and Wife impressed by the news of the girl?
3. Why is it a bad omen when the Father says of his daughter, “She’s like my wife, in every way”?
4. What is the significance of the color of the room at the Bridegroom’s house in which the play opens?
5. Leonardo’s and the Bride’s homes are characterized by the color pink. What is the significance here?
6. Describe the Bride’s demeanor in Act I.
7. Lack of what characteristic(s) makes the Bridegroom the least compelling major character in the play?
8. Who makes up the chorus in Act I?
9. How does the motif of renewal apply to the Bride’s Father and to the Bridegroom’s Mother?
10.How does the position of Scenes 1 and 3 in Act I relate to the motif of renewal?
11.Who represents the “horse”?
12.What does marriage with the Bridegroom promise for the Bride?
13.Comment on the “lullaby” that the Mother-in-Law and the Wife sing to the baby.
14.Comment on the Mother’s role in the play.
15.Find evidence in the play to support the statement that the Mother is suspicious of the Bride.
16.Of what is “blood” symbolic?
17. What is significant about the position of the scene with the lullaby of “the big horse who didn’t like water”?
18.What does the “bull” symbolize?
19.Explain the following line: “Men, men; wheat, wheat…”
20.What do you think is implied in the Bride’s sullenness and depression in Act I?
09 September 2010
Quote Project on CYRANO DE BERGERAC
Quote Project on CYRANO DE BERGERAC
QUOTES PROJECT—S. SHAW
You will collect six quotes from the play that are noteworthy from your perspective. You will also select a seventh quote which represents “The Quote of the Play.” Then you will write a REFLECTIVE LETTER about the play and your reactions to both it and the annotated passages that you assembled.
Procedure for the first 6 quotes:
First, in a well-written paragraph, explain how the passage “fits” into the play (does the passage add to the character development, the plot line, the details of the setting, and so forth). Discuss the importance of the passage to the play’s message or meaning or theme.
Then, in a well-written paragraph, react to the passage as a reader. Make me understand WHY you have selected this passage. To generate responses, you can consider the following as suggested prompts or questions:
Why does the passage impress, intrigue, horrify, or puzzle you?
Do you find the playwright’s use of language appealing or powerful? Does the passage jump off the page as a great descriptive passage?
Does it prompt a strong response from you as you read it? Does it present itself as so well crafted that you just love the sound of it? Is the language beautiful, descriptive, graphic?
Is it particularly meaningful? Is it a high point in the play?
Do you find yourself in agreement/disagreement with the ideas expressed?
Does the passage remind you of a situation you have lived as well?
Does the passage make you laugh out loud or make you melancholy or make you something else?
Does the playwright or the character raise intriguing questions or issues?
Does the passage challenge or expand your thinking?
You are not limited to the above list, nor do I expect you to answer all of the above; but, your responses to the passages should clearly explain to me WHY these passages mean something to you, WHY these passages caught your attention.
Procedure for the 7th quote:
Select ANOTHER, DIFFERENT passage as “The Quote of the Play”: that one passage or quote that captures the essence—the true meaning—of the play for you, the reader. In a well-written paragraph, explain exactly HOW this passage is the one perfect quote from the play.
REFLECTIVE LETTER
Lastly, you need to write me a REFLECTIVE LETTER about reading this play and creating your quotes paper. Write to me about the thoughts and feelings and observations and new insights you experienced while reading the play. Write to me about selecting the quotes you selected. Some things to think about for your letter may include:
Tell me what you worked on the hardest or struggled with in doing this assignment.
Share with me what you think you did well: what worked, really worked.
Show me where you were drawn into the play and where you were pulled away from it. Identify, in your opinion, the playwright’s—or the story’s—greatest strength and weakness.
Explore what value, besides entertainment, this play has.
Share your overall impressions of the play.
Discuss if you found yourself changing your mind about the play and/or the assignment.
Tell me what you as a reader and as a student need to focus on for the next assignment.
Your REFLECTIVE LETTER is your chance to “talk” with me about the play, your project, and your experiences in completing this assignment. With your letter, make me see your work—and your learning—through your eyes.
IMPORTANT STUFF
All aspects of this assignment must be typed.
Passages must be at least two sentences long. (Many will be longer.)
Passages must be from throughout the entire play, not just from a single act.
All passages must be in quotation marks—and be sure to copy the passage exactly as it appears in the play.
All passages must include the page number from which they are taken. Cite page numbers as (235), or (16), or (105).
Late penalties will be given if this project is not handed in on Friday, October 28, 2011.
The REFLECTIVE LETTER is a required component of this assignment!
THIS ASSIGNMENT IS DUE IN CLASS ON FRIDAY, 10/28/11.
QUOTES PROJECT—S. SHAW
You will collect six quotes from the play that are noteworthy from your perspective. You will also select a seventh quote which represents “The Quote of the Play.” Then you will write a REFLECTIVE LETTER about the play and your reactions to both it and the annotated passages that you assembled.
Procedure for the first 6 quotes:
First, in a well-written paragraph, explain how the passage “fits” into the play (does the passage add to the character development, the plot line, the details of the setting, and so forth). Discuss the importance of the passage to the play’s message or meaning or theme.
Then, in a well-written paragraph, react to the passage as a reader. Make me understand WHY you have selected this passage. To generate responses, you can consider the following as suggested prompts or questions:
Why does the passage impress, intrigue, horrify, or puzzle you?
Do you find the playwright’s use of language appealing or powerful? Does the passage jump off the page as a great descriptive passage?
Does it prompt a strong response from you as you read it? Does it present itself as so well crafted that you just love the sound of it? Is the language beautiful, descriptive, graphic?
Is it particularly meaningful? Is it a high point in the play?
Do you find yourself in agreement/disagreement with the ideas expressed?
Does the passage remind you of a situation you have lived as well?
Does the passage make you laugh out loud or make you melancholy or make you something else?
Does the playwright or the character raise intriguing questions or issues?
Does the passage challenge or expand your thinking?
You are not limited to the above list, nor do I expect you to answer all of the above; but, your responses to the passages should clearly explain to me WHY these passages mean something to you, WHY these passages caught your attention.
Procedure for the 7th quote:
Select ANOTHER, DIFFERENT passage as “The Quote of the Play”: that one passage or quote that captures the essence—the true meaning—of the play for you, the reader. In a well-written paragraph, explain exactly HOW this passage is the one perfect quote from the play.
REFLECTIVE LETTER
Lastly, you need to write me a REFLECTIVE LETTER about reading this play and creating your quotes paper. Write to me about the thoughts and feelings and observations and new insights you experienced while reading the play. Write to me about selecting the quotes you selected. Some things to think about for your letter may include:
Tell me what you worked on the hardest or struggled with in doing this assignment.
Share with me what you think you did well: what worked, really worked.
Show me where you were drawn into the play and where you were pulled away from it. Identify, in your opinion, the playwright’s—or the story’s—greatest strength and weakness.
Explore what value, besides entertainment, this play has.
Share your overall impressions of the play.
Discuss if you found yourself changing your mind about the play and/or the assignment.
Tell me what you as a reader and as a student need to focus on for the next assignment.
Your REFLECTIVE LETTER is your chance to “talk” with me about the play, your project, and your experiences in completing this assignment. With your letter, make me see your work—and your learning—through your eyes.
IMPORTANT STUFF
All aspects of this assignment must be typed.
Passages must be at least two sentences long. (Many will be longer.)
Passages must be from throughout the entire play, not just from a single act.
All passages must be in quotation marks—and be sure to copy the passage exactly as it appears in the play.
All passages must include the page number from which they are taken. Cite page numbers as (235), or (16), or (105).
Late penalties will be given if this project is not handed in on Friday, October 28, 2011.
The REFLECTIVE LETTER is a required component of this assignment!
THIS ASSIGNMENT IS DUE IN CLASS ON FRIDAY, 10/28/11.
Quote Project on A Doll’s House
QUOTES PROJECT—S. SHAW
You will collect six quotes from the play that are noteworthy from your perspective. You will also select a seventh quote which represents “The Quote of the Play.” Then you will write a REFLECTIVE LETTER about the play and your reactions to both it and the annotated passages that you assembled.
Procedure for the first 6 quotes:
First, in a well-written paragraph, explain how the passage “fits” into the play (does the passage add to the character development, the plot line, the details of the setting, and so forth). Discuss the importance of the passage to the play’s message or meaning or theme.
Then, in a well-written paragraph, react to the passage as a reader. Make me understand WHY you have selected this passage. To generate responses, you can consider the following as suggested prompts or questions:
Why does the passage impress, intrigue, horrify, or puzzle you?
Do you find the playwright’s use of language appealing or powerful? Does the passage jump off the page as a great descriptive passage?
Does it prompt a strong response from you as you read it? Does it present itself as so well crafted that you just love the sound of it? Is the language beautiful, descriptive, graphic?
Is it particularly meaningful? Is it a high point in the play?
Do you find yourself in agreement/disagreement with the ideas expressed?
Does the passage remind you of a situation you have lived as well?
Does the passage make you laugh out loud or make you melancholy or make you something else?
Does the playwright or the character raise intriguing questions or issues?
Does the passage challenge or expand your thinking?
You are not limited to the above list, nor do I expect you to answer all of the above; but, your responses to the passages should clearly explain to me WHY these passages mean something to you, WHY these passages caught your attention.
Procedure for the 7th quote:
Select ANOTHER, DIFFERENT passage as “The Quote of the Play”: that one passage or quote that captures the essence—the true meaning—of the play for you, the reader. In a well-written paragraph, explain exactly HOW this passage is the one perfect quote from the play.
REFLECTIVE LETTER
Lastly, you need to write me a REFLECTIVE LETTER about reading this play and creating your quotes paper. Write to me about the thoughts and feelings and observations and new insights you experienced while reading the play. Write to me about selecting the quotes you selected. Some things to think about for your letter may include:
Tell me what you worked on the hardest or struggled with in doing this assignment.
Share with me what you think you did well: what worked, really worked.
Show me where you were drawn into the play and where you were pulled away from it. Identify, in your opinion, the playwright’s—or the story’s—greatest strength and weakness.
Explore what value, besides entertainment, this play has.
Share your overall impressions of the play.
Discuss if you found yourself changing your mind about the play and/or the assignment.
Tell me what you as a reader and as a student need to focus on for the next assignment.
Your REFLECTIVE LETTER is your chance to “talk” with me about the play, your project, and your experiences in completing this assignment. With your letter, make me see your work—and your learning—through your eyes.
IMPORTANT STUFF
All aspects of this assignment must be typed.
Passages must be at least two sentences long. (Many will be longer.)
Passages must be from throughout the entire play, not just from a single act.
All passages must be in quotation marks—and be sure to copy the passage exactly as it appears in the play.
All passages must include the page number from which they are taken. Cite page numbers as (235), or (16), or (105).
Late penalties will be given if this project is not handed in on Friday, September 17, 2010.
The REFLECTIVE LETTER is a required component of this assignment!
THIS ASSIGNMENT IS DUE IN CLASS ON FRIDAY, 9/17/10.
QUOTES PROJECT—S. SHAW
You will collect six quotes from the play that are noteworthy from your perspective. You will also select a seventh quote which represents “The Quote of the Play.” Then you will write a REFLECTIVE LETTER about the play and your reactions to both it and the annotated passages that you assembled.
Procedure for the first 6 quotes:
First, in a well-written paragraph, explain how the passage “fits” into the play (does the passage add to the character development, the plot line, the details of the setting, and so forth). Discuss the importance of the passage to the play’s message or meaning or theme.
Then, in a well-written paragraph, react to the passage as a reader. Make me understand WHY you have selected this passage. To generate responses, you can consider the following as suggested prompts or questions:
Why does the passage impress, intrigue, horrify, or puzzle you?
Do you find the playwright’s use of language appealing or powerful? Does the passage jump off the page as a great descriptive passage?
Does it prompt a strong response from you as you read it? Does it present itself as so well crafted that you just love the sound of it? Is the language beautiful, descriptive, graphic?
Is it particularly meaningful? Is it a high point in the play?
Do you find yourself in agreement/disagreement with the ideas expressed?
Does the passage remind you of a situation you have lived as well?
Does the passage make you laugh out loud or make you melancholy or make you something else?
Does the playwright or the character raise intriguing questions or issues?
Does the passage challenge or expand your thinking?
You are not limited to the above list, nor do I expect you to answer all of the above; but, your responses to the passages should clearly explain to me WHY these passages mean something to you, WHY these passages caught your attention.
Procedure for the 7th quote:
Select ANOTHER, DIFFERENT passage as “The Quote of the Play”: that one passage or quote that captures the essence—the true meaning—of the play for you, the reader. In a well-written paragraph, explain exactly HOW this passage is the one perfect quote from the play.
REFLECTIVE LETTER
Lastly, you need to write me a REFLECTIVE LETTER about reading this play and creating your quotes paper. Write to me about the thoughts and feelings and observations and new insights you experienced while reading the play. Write to me about selecting the quotes you selected. Some things to think about for your letter may include:
Tell me what you worked on the hardest or struggled with in doing this assignment.
Share with me what you think you did well: what worked, really worked.
Show me where you were drawn into the play and where you were pulled away from it. Identify, in your opinion, the playwright’s—or the story’s—greatest strength and weakness.
Explore what value, besides entertainment, this play has.
Share your overall impressions of the play.
Discuss if you found yourself changing your mind about the play and/or the assignment.
Tell me what you as a reader and as a student need to focus on for the next assignment.
Your REFLECTIVE LETTER is your chance to “talk” with me about the play, your project, and your experiences in completing this assignment. With your letter, make me see your work—and your learning—through your eyes.
IMPORTANT STUFF
All aspects of this assignment must be typed.
Passages must be at least two sentences long. (Many will be longer.)
Passages must be from throughout the entire play, not just from a single act.
All passages must be in quotation marks—and be sure to copy the passage exactly as it appears in the play.
All passages must include the page number from which they are taken. Cite page numbers as (235), or (16), or (105).
Late penalties will be given if this project is not handed in on Friday, September 17, 2010.
The REFLECTIVE LETTER is a required component of this assignment!
THIS ASSIGNMENT IS DUE IN CLASS ON FRIDAY, 9/17/10.
Model Parenthetical Documentation Examples
Model Parenthetical Citations
MLA (Modern Language Association) format follows the author-page method of citation. This means that the author's last name and the page number(s) from which the quotation is taken must appear in the text, and a complete reference should appear in your works cited list (see Your Works Cited Page, below). The author's name may appear either in the sentence itself or in parentheses following the quotation or paraphrase, but the page number(s) should always appear in the parentheses, not in the text of your sentence.
Examples:
Direct Quotation with author’s name appearing in the sentence: Wordsworth stated that Romantic poetry was marked by a "spontaneous overflow of powerful feelings" (263).
Direct Quotation without author’s name appearing in the sentence: Romantic poetry is characterized by the "spontaneous overflow of powerful feelings" (Wordsworth 263).
Paraphrase with author’s name appearing in the sentence: Wordsworth extensively explored the role of emotion in the creative process (263).
No author’s name given: An anonymous Wordsworth critic once argued that his poems were too emotional ("Wordsworth Is A Loser" 100).
MLA (Modern Language Association) format follows the author-page method of citation. This means that the author's last name and the page number(s) from which the quotation is taken must appear in the text, and a complete reference should appear in your works cited list (see Your Works Cited Page, below). The author's name may appear either in the sentence itself or in parentheses following the quotation or paraphrase, but the page number(s) should always appear in the parentheses, not in the text of your sentence.
Examples:
Direct Quotation with author’s name appearing in the sentence: Wordsworth stated that Romantic poetry was marked by a "spontaneous overflow of powerful feelings" (263).
Direct Quotation without author’s name appearing in the sentence: Romantic poetry is characterized by the "spontaneous overflow of powerful feelings" (Wordsworth 263).
Paraphrase with author’s name appearing in the sentence: Wordsworth extensively explored the role of emotion in the creative process (263).
No author’s name given: An anonymous Wordsworth critic once argued that his poems were too emotional ("Wordsworth Is A Loser" 100).
CITATION FOR WORKS CITED PAGE--MLA FORMAT
Please go to the following website for information on how to properly cite sources for your Works Cited page:
http://www.studyguide.org/MLAdocumentation.htm
http://www.studyguide.org/MLAdocumentation.htm
Guidelines for writing a Works Cited page in MLA format
GENERAL GUIDLINES FOR WRITING A WORKS CITED PAGE IN MLA FORMAT
Type your paper on a computer and print it out on standard, white 8.5 x 11-inch paper.
Double-space the text of your paper, and use a legible font (e.g. Times New Roman). Whatever font you choose, MLA recommends that the regular and italics type styles contrast enough that they are recognizable one from another. The font size should be 12 pt.
Leave only one space after periods or other punctuation marks (unless otherwise instructed by your instructor).
Set the margins of your document to 1 inch on all sides.
Indent the first line of paragraphs one half-inch from the left margin. MLA recommends that you use the Tab key as opposed to pushing the Space Bar five times.
Create a header that numbers all pages consecutively in the upper right-hand corner, one-half inch from the top and flush with the right margin. (Note: Your instructor may ask that you omit the number on your first page. Always follow your instructor's guidelines.)
Use italics throughout your essay for the titles of longer works and, only when absolutely necessary, providing emphasis.
If you have any endnotes, include them on a separate page before your Works Cited page. Entitle the section Notes (centered, unformatted).
Type your paper on a computer and print it out on standard, white 8.5 x 11-inch paper.
Double-space the text of your paper, and use a legible font (e.g. Times New Roman). Whatever font you choose, MLA recommends that the regular and italics type styles contrast enough that they are recognizable one from another. The font size should be 12 pt.
Leave only one space after periods or other punctuation marks (unless otherwise instructed by your instructor).
Set the margins of your document to 1 inch on all sides.
Indent the first line of paragraphs one half-inch from the left margin. MLA recommends that you use the Tab key as opposed to pushing the Space Bar five times.
Create a header that numbers all pages consecutively in the upper right-hand corner, one-half inch from the top and flush with the right margin. (Note: Your instructor may ask that you omit the number on your first page. Always follow your instructor's guidelines.)
Use italics throughout your essay for the titles of longer works and, only when absolutely necessary, providing emphasis.
If you have any endnotes, include them on a separate page before your Works Cited page. Entitle the section Notes (centered, unformatted).
20 August 2010
Writing a Thesis Statement
Writing a Thesis Statement.
What is a Thesis Statement?A thesis statement usually consists of one or two sentences, and normally comes at the very end of the introduction to a paper or essay. Its purpose is to explain in a few words the topic area of your paper, but more than this, it clarifies the stand you are going to take on a particular subject. In other words, it gives your interpretation of the topic. Your thesis statement can thus be viewed as a map (and a promise) for your reader of how the essay will develop. The rest of the essay (main body) will be devoted to arguing for, supporting and proving the claim made in the thesis statement.What is a thesis statement?* Usually a single sentence somewhere in your introduction (often at the end.)*Gives, briefly, the subject to be discussed, and also your interpretation of that subject.* Makes clear at the start the argument, idea or analysis that you are going to take up: in fact, it is your answer to the question taken up by your paper.* Is not a simple obvious statement everyone can agree on without discussion.* Can be viewed as a map (and a promise) for your reader of how the essay will develop.Good Thesis Statements:• Make a knowledge claim that purports to offer a new approach or idea in a particular field, and to explain why it is new. The purpose of any academic thesis is to add to the existing pool of knowledge in a particular area, or to “fill in the gaps of knowledge.” As such, your knowledge claim should clearly state why the information/knowledge that you have to offer is new within your field, and should also convince the reader that your claim is likely to be true based on the evidence provided• Make an argumentative assertion that summarizes the conclusions you have reached about your topic after reviewing the literature. This assertion should be focused and specific enough to be “proven” within the boundaries of your paper. It should also identify the relationships between the pieces of evidence that you are providing.• Outline the scope, purpose and direction of your paper. After finishing your thesis statement, the reader should clearly know the essence of your intended project, and also the boundaries you intend to place on it. Your thesis statement should not make the reader expect more than you are prepared to present in your final document.
SCENE 4 Qs. on Oedipus Rex; EXODOS Qs.
Questions on Scene 4/Choral Ode
1. How does the messenger’s well-meaning effort to jog the old herdsman’s memory remind us of the way a cross-examiner might try to get a recalcitrant witness to « remember » in court ?
2. Why is the old man (herdsman) reluctant to answer ?
3. What does Oedipus threaten to do to make the herdsman talk ?
4. Why does the herdsman shrink from saying what he’s been forced to tell ?
5. Why does Oedipus feel compelled to hear the truth uttered aloud ?
6. The rapid-fire dialogue between Oedipus and the herdsman is an example of what ?
7. Why does Oedipus want never again to see the light of sun now that the truth has been clearly revealed ?
8. Do the Chorus’ words suggest that Oedipus did anything to deserve his fate ?
9. Oedipus’ fall from grace is an example of what ?
10. Explain the metaphor of « Time » in Antistrophe 2.
11. Choruses frequently meditate on the ways in which affection brings suffering. Why ?
Questions on the Exodos
1. Describe the prelude to Jocasta’s death.
2. How did Jocasta die ?
3. What was Oedipus’ reaction to Jocasta’s suicide ?
4. Whay did Oedipus commit this act ?
5. Whom does Oedipus curse ?
6. What does Oedipus mean when he says that Apollo was the curse, but he himself is the agent of his own blinding ?
7. Is it reasonable that Oedipus feels he cannot bear to look on anything in the world anymore ?
8. What ironies are involved in Oedipus’ curse on the man who saved him ?
9. Why is he disturbed that his friends pity him and feel pain for him ?
10. Do you agree or disagree witgh the Chorus that Oedipus would be better off dead than blind and banished ?
11. What might Oedipus’ decision to go on living in blindness, exile, and suffering say about his heroic statue ?
12. Why does Oedipus say that he deserves worse punishment than hanging ?
13. Now that Oedipus is blind, where is his inner vision turned ?
14. How are Creon’s tone and remarks reminiscent of Jocasta ?
15. Is there evidence that Creon is cool and impatient with Oedipus ?
16. Analyze lines 222-242.
17. How is Oedipus’ speech like a funeral lament ?
18. Is Creon’s admonition about Oedipus’ children mean-spirited, kindly, justified ? Why ?
1. How does the messenger’s well-meaning effort to jog the old herdsman’s memory remind us of the way a cross-examiner might try to get a recalcitrant witness to « remember » in court ?
2. Why is the old man (herdsman) reluctant to answer ?
3. What does Oedipus threaten to do to make the herdsman talk ?
4. Why does the herdsman shrink from saying what he’s been forced to tell ?
5. Why does Oedipus feel compelled to hear the truth uttered aloud ?
6. The rapid-fire dialogue between Oedipus and the herdsman is an example of what ?
7. Why does Oedipus want never again to see the light of sun now that the truth has been clearly revealed ?
8. Do the Chorus’ words suggest that Oedipus did anything to deserve his fate ?
9. Oedipus’ fall from grace is an example of what ?
10. Explain the metaphor of « Time » in Antistrophe 2.
11. Choruses frequently meditate on the ways in which affection brings suffering. Why ?
Questions on the Exodos
1. Describe the prelude to Jocasta’s death.
2. How did Jocasta die ?
3. What was Oedipus’ reaction to Jocasta’s suicide ?
4. Whay did Oedipus commit this act ?
5. Whom does Oedipus curse ?
6. What does Oedipus mean when he says that Apollo was the curse, but he himself is the agent of his own blinding ?
7. Is it reasonable that Oedipus feels he cannot bear to look on anything in the world anymore ?
8. What ironies are involved in Oedipus’ curse on the man who saved him ?
9. Why is he disturbed that his friends pity him and feel pain for him ?
10. Do you agree or disagree witgh the Chorus that Oedipus would be better off dead than blind and banished ?
11. What might Oedipus’ decision to go on living in blindness, exile, and suffering say about his heroic statue ?
12. Why does Oedipus say that he deserves worse punishment than hanging ?
13. Now that Oedipus is blind, where is his inner vision turned ?
14. How are Creon’s tone and remarks reminiscent of Jocasta ?
15. Is there evidence that Creon is cool and impatient with Oedipus ?
16. Analyze lines 222-242.
17. How is Oedipus’ speech like a funeral lament ?
18. Is Creon’s admonition about Oedipus’ children mean-spirited, kindly, justified ? Why ?
SCENE 3 Qs. on Oedipus Rex
Questions on Scene 3/Choral Ode
1. Discuss how the messenger’s arrival makes us feel that the plot has been tied into a « knot » that needs to be undone.
2. Look up the Greek word « philos. » How is this ironic when Oedipus uses this word in speaking to Jocasta ?
3. How do you respond to Oedipus’ reaction of relief to the messenger’s message ? Why ?
4. How does the fact that Oedipus should derive comfort from what ought to be bad news highlight the way in which everything is turned upside down in this legend ?
5. By refusing to go near his parents, and thus, theoretically, eliminating the chance of fulfilling the oracle, what is Oedepus really avoiding ?
6. Who is « Liaus’ man »?
7. What does Jocasta mean in lines 140-142 ?
8. Why do you think Jocasta does not want the truth about Oedipus’ birth revealed ?
9. How is Oedipus being unfair to Jocasta in lines 158-162 ?
10.What is Oedipus’ reaction to his being a foundling ?
11.What is the Chorus’ reaction to this news ?
1. Discuss how the messenger’s arrival makes us feel that the plot has been tied into a « knot » that needs to be undone.
2. Look up the Greek word « philos. » How is this ironic when Oedipus uses this word in speaking to Jocasta ?
3. How do you respond to Oedipus’ reaction of relief to the messenger’s message ? Why ?
4. How does the fact that Oedipus should derive comfort from what ought to be bad news highlight the way in which everything is turned upside down in this legend ?
5. By refusing to go near his parents, and thus, theoretically, eliminating the chance of fulfilling the oracle, what is Oedepus really avoiding ?
6. Who is « Liaus’ man »?
7. What does Jocasta mean in lines 140-142 ?
8. Why do you think Jocasta does not want the truth about Oedipus’ birth revealed ?
9. How is Oedipus being unfair to Jocasta in lines 158-162 ?
10.What is Oedipus’ reaction to his being a foundling ?
11.What is the Chorus’ reaction to this news ?
SCENE 2 Qs. on Oedipus Rex
Questions on Scene 2/Ode of Oedipus Rex
1. How do you react to Oedipus’ outburst ? How has Oedipus moved from conjecture to certainty ? Is he justified ?
2. What is the irony of Oedipus’ use of hunting images to describe Creon’s supposed ambition ?
3. What does the exchange between Oedipus and Creon remind you of ?
4. What does Creon mean when he says that he doesn’t want to be king ?
5. What is Oedipus really saying to the Chorus in lines 137-138 ?
6. Is there a metaphor in lines 169-170 ? If so, what is it ?
7. What is Jocasta’s view of prophets ? Is it similar to Oedipus’ view ?
8. How does Oedipus interpret Jocasta’s speech ?
9. Discuss Oedipus’ reaction to Apollo’s prophecy when he heard it (p. 1242).
10. What do you feel about Oedipus’ attempt to take action rather than submit passively to his fate ?
11. React to the gods’ malevolence.
12. Why does Oedipus seem less certain that he’s the murderer ?
13. Analyze Jocasta’s speech.
14. Who is the « I/me » in Strophe 1 ?
15. Summarize the Antistrophe.
16. Why might it be less frightening to believe that there is some divine plan or unuversal order, even if it is terrible, rather than thinking good and bad fortune are purely random ?
17. Of what does the Chorus try to convince Oedipus about knowledge ?
18. What role does the Chorus play in heightening the dramatic tension of this play ?
1. How do you react to Oedipus’ outburst ? How has Oedipus moved from conjecture to certainty ? Is he justified ?
2. What is the irony of Oedipus’ use of hunting images to describe Creon’s supposed ambition ?
3. What does the exchange between Oedipus and Creon remind you of ?
4. What does Creon mean when he says that he doesn’t want to be king ?
5. What is Oedipus really saying to the Chorus in lines 137-138 ?
6. Is there a metaphor in lines 169-170 ? If so, what is it ?
7. What is Jocasta’s view of prophets ? Is it similar to Oedipus’ view ?
8. How does Oedipus interpret Jocasta’s speech ?
9. Discuss Oedipus’ reaction to Apollo’s prophecy when he heard it (p. 1242).
10. What do you feel about Oedipus’ attempt to take action rather than submit passively to his fate ?
11. React to the gods’ malevolence.
12. Why does Oedipus seem less certain that he’s the murderer ?
13. Analyze Jocasta’s speech.
14. Who is the « I/me » in Strophe 1 ?
15. Summarize the Antistrophe.
16. Why might it be less frightening to believe that there is some divine plan or unuversal order, even if it is terrible, rather than thinking good and bad fortune are purely random ?
17. Of what does the Chorus try to convince Oedipus about knowledge ?
18. What role does the Chorus play in heightening the dramatic tension of this play ?
SCENE 1 Qs.on Oedipus Rex
Oedipus Rex : Questions on Scene 1/Ode
1. Summarize Oedipus’s first speech in Scene 1.
2. How do you respond to Oedipus’s curse ? What does it say about human knowledge that Oedipus, renowned for his intelligence, cannot see what is plain to us, with our hindsight ?
3. Oedipus thinks of himself as a « stranger » to the city and to the royal house. Why is this a tragic mistake ?
4. Does Teiresias sound reasonable ? Is Oedipus justified in feeling infuriated ?
5. What do you think is revealed in Scene 1 as one of Oedipus’s flaws ?
6. Is Oedipus’s suspiciousness based on reasonable (even if ultimately false) conjecture ?
7. What does Teiresias imply about the role of seer ?
8. What does Oedipus accuse Teiresias of ? Why do you think he does this ?
9. How does the audience understand Teiresias in a way Oedipus does not ?
10. Give specific examples of Oedipus’s arrogance in this scene.
11. Summarize Teiresias’s prophecy in this scene.
12. One of the ironies of the play is that the structure of its plot is essentially comic, that is suited to a story with a happy ending. Normally, the stranger who proves to be a citizen gains rewards. What does Teiresias say will happen to this « stranger » ?
13. What does the metaphor « a fellow sower in his father’s bed » mean ?
14. Why does the Chorus seem not to understand Teriesias’s prophecy, which to us seems quite explicit ?
15. Oedipus has represented himself as a « tracker. » What is the effect of the Chorus speaking of itself now as a tracker, or a pack of hunting hounds ?
16. Why is the Chorus reluctant to believe Teiresias ? On what is the Thebans’ allegiance to Oedipus based ?
1. Summarize Oedipus’s first speech in Scene 1.
2. How do you respond to Oedipus’s curse ? What does it say about human knowledge that Oedipus, renowned for his intelligence, cannot see what is plain to us, with our hindsight ?
3. Oedipus thinks of himself as a « stranger » to the city and to the royal house. Why is this a tragic mistake ?
4. Does Teiresias sound reasonable ? Is Oedipus justified in feeling infuriated ?
5. What do you think is revealed in Scene 1 as one of Oedipus’s flaws ?
6. Is Oedipus’s suspiciousness based on reasonable (even if ultimately false) conjecture ?
7. What does Teiresias imply about the role of seer ?
8. What does Oedipus accuse Teiresias of ? Why do you think he does this ?
9. How does the audience understand Teiresias in a way Oedipus does not ?
10. Give specific examples of Oedipus’s arrogance in this scene.
11. Summarize Teiresias’s prophecy in this scene.
12. One of the ironies of the play is that the structure of its plot is essentially comic, that is suited to a story with a happy ending. Normally, the stranger who proves to be a citizen gains rewards. What does Teiresias say will happen to this « stranger » ?
13. What does the metaphor « a fellow sower in his father’s bed » mean ?
14. Why does the Chorus seem not to understand Teriesias’s prophecy, which to us seems quite explicit ?
15. Oedipus has represented himself as a « tracker. » What is the effect of the Chorus speaking of itself now as a tracker, or a pack of hunting hounds ?
16. Why is the Chorus reluctant to believe Teiresias ? On what is the Thebans’ allegiance to Oedipus based ?
19 August 2010
More Questions on the Prologue from Oedipus Rex
More Questions on the Prologue/Parodos
1. Why is Oedipus thought to be a “tyrannos”?
2. How can we say that Oedipus is described as a pilot whose duty it is to guide his ship through treacherous waters?
3. Consider the effect of contrast between the house of Cadmus, emptied, and the house of Hades, filled?
4. How do Oedipus’s subjects view him? Explain the irony that Oedipus came to Thebes as the city’s savior with the gods’ assistance?
5. When Sophocles wrote this play, Athens was reeling from recent war and a severe plague which killed many people and undermined faith in the law and religious customs. What do you think that the biggest fear of most play-goers was? ( as well as the citizens of Thebes in the play?)
6. How does Oedipus’s claim to be even more affected by the sickness than his subjects mean something different to us who know he’s polluted and is the cause of the plague?
7. Oedipus projects himself as a sort of hunter or tracker, hunting down his prey. Explain how he is also the hunter whose arrow will hit the true mark but miss the target he thinks he sees.
8. If only one man killed Liaus, why does the slave who came home say that the king’s party was surrounded by robbers rather than a single man was involved?
9. As the Chorus reminds the gods that they have helped Thebes before, of what are we reminded?
10. Why does the Chorus focus on children and women of childbearing age as victims of the plague?
1. Why is Oedipus thought to be a “tyrannos”?
2. How can we say that Oedipus is described as a pilot whose duty it is to guide his ship through treacherous waters?
3. Consider the effect of contrast between the house of Cadmus, emptied, and the house of Hades, filled?
4. How do Oedipus’s subjects view him? Explain the irony that Oedipus came to Thebes as the city’s savior with the gods’ assistance?
5. When Sophocles wrote this play, Athens was reeling from recent war and a severe plague which killed many people and undermined faith in the law and religious customs. What do you think that the biggest fear of most play-goers was? ( as well as the citizens of Thebes in the play?)
6. How does Oedipus’s claim to be even more affected by the sickness than his subjects mean something different to us who know he’s polluted and is the cause of the plague?
7. Oedipus projects himself as a sort of hunter or tracker, hunting down his prey. Explain how he is also the hunter whose arrow will hit the true mark but miss the target he thinks he sees.
8. If only one man killed Liaus, why does the slave who came home say that the king’s party was surrounded by robbers rather than a single man was involved?
9. As the Chorus reminds the gods that they have helped Thebes before, of what are we reminded?
10. Why does the Chorus focus on children and women of childbearing age as victims of the plague?
11 August 2010
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