ALL CLASSES:
Maintain Notebook:
Vocabulary (from 500 SAT words)
Random Oral Testing (ROT) words
American and World Authors
Handouts
Graded Papers
Miscellaneous
ADVANCED CLASSES ONLY:
20 pages of reading each night (M-F) in current work of literature
NOTE: Notebooks, term paper, and the triptych are marking-period long assignments and are therefore due ON TIME.
Friday, August 21, 2009
MR. KEANE'S CLASS EXPECTATIONS
MR. KEANE'S CLASS EXPECTATIONS (Grades 11 & 12: Regular and Advanced Classes)
This document can be found on line at http://keanesoutline.blogspot.com/
This document can be found on line at http://keanesoutline.blogspot.com/
(For Parents and Students)
Name:___________________ Doc. No. _____
PLEASE NOTE BLOG URLs:
Grade 11: Mr. Keane's American Authors: A Visual Feast
http://keanesclasses.blogspot.com (link)
Grade 12: Monsters in Literature
http://monsterliterature.blogspot.com (link)
CLASS EXPECTATIONS:
REGULAR AND ADVANCED ENGLISH
Grade 11: American Literature and Advanced American Literature
Grade 12: Advanced English
Welcome to Mr. Keane's eleventh and twelfth grade classes.. These courses emphasize reading, especially reading aloud in class. Writing will account for 30% of the semester grade. To that end students will study the thesis/exposition/recapitulation (TER) essay form, after practicing components of this form in preliminary assignments. Vocabulary development and use of the multiple intelligences will round out the course. technology is emphasized through the use of Flipcamera(s),Photo Story, Blogger, Wikispaces, and Polleverywhere.
Assignments are tailored to grade level by depth and intellectual rigor.
Assessment: The Core Standards (below)
Three types of assessment will be used to see how well you are progressing: Embedded (informal); Formative (during the process); Summative (formal). See list below (Assessments by Type) for a breakdown of these types of assessment.
ABSENCES:
Work missed is recorded as zero in the grade book.
Students may make up work for a full grade when absent. One day is allowed for make-up work for each day absent. If absent three days, the first day's make-up work is due one day after returning to class, the second day's make up work is due the second day, and so forth. Work not made-up in the allowed time period will REMAIN ZERO in the grade book.
NOTE: Marking-period-long assignments (notebook, term paper, triptych) are due on time. No extensions are granted , since preparation has been ongoing for weeks.
NOTE: Marking-period-long assignments (notebook, term paper, triptych) are due on time. No extensions are granted , since preparation has been ongoing for weeks.
IT IS THE STUDENT'S RESPONSIBILITY TO CONTACT THE TEACHER AFTER CLASS TO OBTAIN MAKE-UP WORK.
Attendance:
Attendance is crucial to successful completion of my course since students will read aloud in class several great works of literature selected from the following lists (American Literature classes):
Our Town, Death of a Salesman, A Raisin in the Sun, The Catcher in the Rye, The Crucible and Inherit the Wind. Macbeth, Moby Dick,Uncle Tom’s Cabin will be treated through a variety of learning techniques. Advanced sections will have fifteen to twenty pages of reading per night in works including Song of Solomon, Narrative of the Life of Frederick Douglass, Black Boy, The Great Gatsby, The Old Man and the Sea, etc.;
(Advanced English 12 classes): The Metamorphosis, Frankenstein, The Strange Case of Dr. Jekyl and Mr. Hyde, Heart of Darkness, Inherit the Wind, The Skin of Our Teeth, Hamlet
DAILY HOMEWORK:
Notebooks will be used for the final exam. Your daily assignment as homework is to save every paper handed out in my class, including rough drafts and notes composed during class, for inclusion in your notebook.
Complete notebooks can raise or lower a marking period average significantly depending on their quality.
Missing or incomplete notebooks can lower a marking period average drastically since this has been a daily assignment for the entire marking period.
NOTE: Students will be given time in class at the end of the marking period to assemble their notebooks with a working table of contents so that teacher can assess students’ abilities to work under pressure and to organize chaotic material.
Mr. Keane’s English 11 classes utilize and maintain a blog which connects visitors instantly with images related to the works of seventy-three American authors. (See link above: Mr. Keane's American Authors: A Visual Feast)
Detentions:
First detention = 20 minutes Second detention = 40 minutes
I have read and understand the above Class Expectations.
Attendance:
Attendance is crucial to successful completion of my course since students will read aloud in class several great works of literature selected from the following lists (American Literature classes):
Our Town, Death of a Salesman, A Raisin in the Sun, The Catcher in the Rye, The Crucible and Inherit the Wind. Macbeth, Moby Dick,Uncle Tom’s Cabin will be treated through a variety of learning techniques. Advanced sections will have fifteen to twenty pages of reading per night in works including Song of Solomon, Narrative of the Life of Frederick Douglass, Black Boy, The Great Gatsby, The Old Man and the Sea, etc.;
(Advanced English 12 classes): The Metamorphosis, Frankenstein, The Strange Case of Dr. Jekyl and Mr. Hyde, Heart of Darkness, Inherit the Wind, The Skin of Our Teeth, Hamlet
DAILY HOMEWORK:
Notebooks will be used for the final exam. Your daily assignment as homework is to save every paper handed out in my class, including rough drafts and notes composed during class, for inclusion in your notebook.
Complete notebooks can raise or lower a marking period average significantly depending on their quality.
Missing or incomplete notebooks can lower a marking period average drastically since this has been a daily assignment for the entire marking period.
NOTE: Students will be given time in class at the end of the marking period to assemble their notebooks with a working table of contents so that teacher can assess students’ abilities to work under pressure and to organize chaotic material.
Mr. Keane’s English 11 classes utilize and maintain a blog which connects visitors instantly with images related to the works of seventy-three American authors. (See link above: Mr. Keane's American Authors: A Visual Feast)
Detentions:
First detention = 20 minutes Second detention = 40 minutes
I have read and understand the above Class Expectations.
Student signature: ___________________________
Parent signature: ____________________________
_________________________________________________________________________
Eleventh Grade English
Twelfth Grade English
(Regular and Advanced sections differ in depth and length of assignments, discussion expectations, independence of reading, and analysis of literature.)
Assessment types (see list below): Embedded (informal); Formative (during the process of learning); Summative (after learning has occurred)
Note: Assignments referred to below may change in duration and/or depth as new technology opportunities present themselves for classroom use.
English Department Core Standards
Students will have the opportunity to:
1. expand their vocabulary attack skills.
WHS:3, RHS:3, RHS:5
Students transcribe from teacher’s dictation and from xeroxed handouts, 200 SAT vocabulary words. Assessment occurs through spelling and definition quiz formats of 20 words each, also in daily journals, and in writing assignments, including the term paper.
2. practice various comprehension strategies while reading literary and informational texts appropriate to high school level.
RHS:4, RHS:8, RHS:9, RHS:17, RHS:12
In harmony with, but far in advance of, the National Endowment for the Humanities’ 2007 challenge to “promote a culture of daily reading”, students in Mr. Keane’s classes have for more than 20 years (since 1987) been reading aloud daily from great works of literature, including, but not restricted to, Death of a Salesman, The Catcher in the Rye, Macbeth, A Raisin in the Sun etc.,with discussion of literary techniques and analysis as an ongoing accompaniment to the reading. Assessment occurs in daily journals, Photo Story creations, the term paper and oral and written quizzes. Readings freshly culled from the Op-ed Page of the New York Times are also read aloud and analyzed in class discussions.
3. practice making and supporting analytical and interpretive judgments about literary and informational texts appropriate to the high school level.
RHS:6,RHS:10,RHS:11,RHS:13,RHS:14, RHS:15, WHS:5,WHS:6
Students practice daily, excerpting quotations from texts read in class, demonstrating proper citation technique (parenthesis notes) in preparation for the term paper. Discussion and oral quizzing preps students for supporting analytical and interpretative judgments with evidence from the text, using primarily New Criticism techniques of mounting evidence from analysis of the text itself rather than from outside sources, techniques which are expected by the Advanced Placement Exam and SAT Exam evaluators. The term paper and final exam serve as summative assessments here.
4. learn and practice the conventions of the English language (GUM,spelling,sentence and paragraphs).
WHS:2, WHS:3, WHS:4
Daily corrections made on student journals, timed writing assignments, Photo Story
Editing, the term paper, and the final exam, provide opportunity for review and assessment of the conventions of the English language.
5. discover their writing process while writing focused essays.WHS:1, WHS:4, WHS:5, WHS:6 ,WHS:7, RHS:13 ,RHS:14, RHS:15, RHS:19
After responding to several preparatory writing prompts and editing assignments (including Photo Story script editing) students will prepare a term paper on three works of literature treated in the course, using thesis / exposition/ recapitulation essay style to mount evidence from the texts to support a thesis common to the three literary works. This summative assessment comes near the end of the semester when techniques practiced in the course can be mobilized in this universally accepted essay style, mastery of which is fundamental to all college writing challenges.
6. think about new ideas and concepts while being exposed to competing voices
differing points of view. RHS:10 ,RHS:14, RHS:15, WHS:4, WHS:7
Daily discussions of texts read; Op-ed pieces encountered; New, Traditional, Feminist, and Freudian literary criticism identified; ROT words defined and exemplified; and the use of Hyde Park free speech opportunities from behind the lectern; all conspire to give students the opportunity to think about new ideas and the competing voices behind them. Assessment occurs observationally, formatively and summatively in daily discussions, journals, writing prompts and the term paper and final exam.
________________________________________________________________________
ASSESSMENTS BY TYPE
EMBEDDED:
Observation
Habit Building
Five-Minute Drill
Question & Answer (spoken)
Computer Assisted Learning
Hit List
Brainstorming Session
Problem Solving
FORMATIVE:
Performance in Process
Peer Conference or Edit
Parent Conference or Edit
Teacher Conference or Edit
Journal
Quiz
Hit List
Interim Demonstration
Triangulation (Observe Process, Talk w/Students, Collect Products)
Cooperative Activities
Procedural Activities (Model, Shape, Internalize)
Assign an Activity to Raise a Grade
Teacher/Student Demonstrate Care about Quality Performance
Graphing of Performance
Map Criteria/Timeline
Contingency Planning
Benchmarks
Multiple Intelligence Graphing
Peer Critique (With Offer of Help)
Vision Statements
SUMMATIVE:
Term Paper
Test /Final Project Evaluation
Final Draft Notebook/Folder Assessment
Final Demonstration Rubric
Checklist Published Work
Holistic/Task Specific, Analytical/Task Specific
Compare with Exemplar Reflective Self-assessment
Multiple Choice/Right-Wrong Answer
_________________________________________________________________________
Eleventh Grade English
Twelfth Grade English
(Regular and Advanced sections differ in depth and length of assignments, discussion expectations, independence of reading, and analysis of literature.)
Assessment types (see list below): Embedded (informal); Formative (during the process of learning); Summative (after learning has occurred)
Note: Assignments referred to below may change in duration and/or depth as new technology opportunities present themselves for classroom use.
English Department Core Standards
Students will have the opportunity to:
1. expand their vocabulary attack skills.
WHS:3, RHS:3, RHS:5
Students transcribe from teacher’s dictation and from xeroxed handouts, 200 SAT vocabulary words. Assessment occurs through spelling and definition quiz formats of 20 words each, also in daily journals, and in writing assignments, including the term paper.
2. practice various comprehension strategies while reading literary and informational texts appropriate to high school level.
RHS:4, RHS:8, RHS:9, RHS:17, RHS:12
In harmony with, but far in advance of, the National Endowment for the Humanities’ 2007 challenge to “promote a culture of daily reading”, students in Mr. Keane’s classes have for more than 20 years (since 1987) been reading aloud daily from great works of literature, including, but not restricted to, Death of a Salesman, The Catcher in the Rye, Macbeth, A Raisin in the Sun etc.,with discussion of literary techniques and analysis as an ongoing accompaniment to the reading. Assessment occurs in daily journals, Photo Story creations, the term paper and oral and written quizzes. Readings freshly culled from the Op-ed Page of the New York Times are also read aloud and analyzed in class discussions.
3. practice making and supporting analytical and interpretive judgments about literary and informational texts appropriate to the high school level.
RHS:6,RHS:10,RHS:11,RHS:13,RHS:14, RHS:15, WHS:5,WHS:6
Students practice daily, excerpting quotations from texts read in class, demonstrating proper citation technique (parenthesis notes) in preparation for the term paper. Discussion and oral quizzing preps students for supporting analytical and interpretative judgments with evidence from the text, using primarily New Criticism techniques of mounting evidence from analysis of the text itself rather than from outside sources, techniques which are expected by the Advanced Placement Exam and SAT Exam evaluators. The term paper and final exam serve as summative assessments here.
4. learn and practice the conventions of the English language (GUM,spelling,sentence and paragraphs).
WHS:2, WHS:3, WHS:4
Daily corrections made on student journals, timed writing assignments, Photo Story
Editing, the term paper, and the final exam, provide opportunity for review and assessment of the conventions of the English language.
5. discover their writing process while writing focused essays.WHS:1, WHS:4, WHS:5, WHS:6 ,WHS:7, RHS:13 ,RHS:14, RHS:15, RHS:19
After responding to several preparatory writing prompts and editing assignments (including Photo Story script editing) students will prepare a term paper on three works of literature treated in the course, using thesis / exposition/ recapitulation essay style to mount evidence from the texts to support a thesis common to the three literary works. This summative assessment comes near the end of the semester when techniques practiced in the course can be mobilized in this universally accepted essay style, mastery of which is fundamental to all college writing challenges.
6. think about new ideas and concepts while being exposed to competing voices
differing points of view. RHS:10 ,RHS:14, RHS:15, WHS:4, WHS:7
Daily discussions of texts read; Op-ed pieces encountered; New, Traditional, Feminist, and Freudian literary criticism identified; ROT words defined and exemplified; and the use of Hyde Park free speech opportunities from behind the lectern; all conspire to give students the opportunity to think about new ideas and the competing voices behind them. Assessment occurs observationally, formatively and summatively in daily discussions, journals, writing prompts and the term paper and final exam.
________________________________________________________________________
ASSESSMENTS BY TYPE
EMBEDDED:
Observation
Habit Building
Five-Minute Drill
Question & Answer (spoken)
Computer Assisted Learning
Hit List
Brainstorming Session
Problem Solving
FORMATIVE:
Performance in Process
Peer Conference or Edit
Parent Conference or Edit
Teacher Conference or Edit
Journal
Quiz
Hit List
Interim Demonstration
Triangulation (Observe Process, Talk w/Students, Collect Products)
Cooperative Activities
Procedural Activities (Model, Shape, Internalize)
Assign an Activity to Raise a Grade
Teacher/Student Demonstrate Care about Quality Performance
Graphing of Performance
Map Criteria/Timeline
Contingency Planning
Benchmarks
Multiple Intelligence Graphing
Peer Critique (With Offer of Help)
Vision Statements
SUMMATIVE:
Term Paper
Test /Final Project Evaluation
Final Draft Notebook/Folder Assessment
Final Demonstration Rubric
Checklist Published Work
Holistic/Task Specific, Analytical/Task Specific
Compare with Exemplar Reflective Self-assessment
Multiple Choice/Right-Wrong Answer
Sunday, August 16, 2009
QUOTES to MEMORIZE
Quotes from Keane's Classes
1.) "I do not give reasons, Mr. Stubb, I give orders."
Captain Ahab, Moby Dick (Peck video, 1956) Herman Melville
2.) "I have given you my soul; leave me my name!"
John Proctor, The Crucible (Miller, p. 143.) Arthur Miller
3.) " . . . you end up worth more dead than alive."
Willy Loman, Death of a Salesman (Miller, p. 76.) Arthur Miller
4.) "There's always something left to love. And if you ain't learned that, you ain't learned nothing."
Mama Younger, A Raisin in the Sun (Hansberry, p. 145.) Lorraine Hansberry
5.) "Nobody, nobody can buy my soul."
Uncle Tom, Uncle Tom's Cabin (Brooks video, 1987) Harriet Beecher Stowe
6.) "Call no man fortunate or safe from pain, till he lies in his last, everlasting, bed, and the earth covers his head."
The Chorus. Oedipus Rex (Pennington video, 1987) Sophocles
7.) "Don't ever tell anybody anything. If you do, you start missing everybody."
Holden Caulfield, The Catcher in the Rye (Salinger, p. 214) J.D. Salinger
8.) "The dead don't stay interested in us living people for very long . . .They get weaned away from the earth --- that's the way I put it, --- weaned away."
The Stagemanager, Our Town (Wilder, p.81) Thornton Wilder
9.) "Her voice is full of money."
Jay Gatsby, The Great Gatsby (Fitzgerald, p. 127.) F. Scott Fitzgerald
10.) "Life . . . is a tale told by an idiot, full of sound and fury, signifying nothing."
Macbeth, Macbeth (V,v,17) William Shakespeare
11.) "Where'd you get a name like yours? White people name Negroes like race horses."
Circe, Song of Solomon, (Morrison, p. 243.) Toni Morrison
12.) "Yes, this man was fighting, fighting with words. He was using words as a weapon, using them as one would use a club."
Richard, Black Boy, (Wright, p. 293) Richard Wright
13.) "Mr. Auld . . . forbade Mrs. Auld to instruct me further, telling her . . . that it was unlawful, as well as unsafe, to teach a slave to read."
Frederick, Narrative of the Life of Frederick Douglass, (Douglass, p 47) Frederick Douglass
14.) "But a man is not made for defeat . . . A man can be destroyed but not defeated."
Santiago, The Old Man and the Sea, (Hemingway, p. 103) Ernest Hemingway
15.) "But the old man always thought of her [the sea] as something feminine and as something that gave or withheld great favors . . ."
Narrator , The Old Man and the Sea, (Hemingway, p.30) Ernest Hemingway
16.) " [. . .] that's the best thing a girl can be in this world, a beautiful little fool."
Daisy Buchanon, The Great Gatsby, (Fitzgerald, p. 21) F. Scott Fitzgerald
17.)"'Can't repeat the past?' he cried incredulously. 'Why of course you can!'"
Jay Gatsby, The Great Gatsby, (Fitzgerald, p 116) F. Scott Fitzgerald
1.) "I do not give reasons, Mr. Stubb, I give orders."
Captain Ahab, Moby Dick (Peck video, 1956) Herman Melville
2.) "I have given you my soul; leave me my name!"
John Proctor, The Crucible (Miller, p. 143.) Arthur Miller
3.) " . . . you end up worth more dead than alive."
Willy Loman, Death of a Salesman (Miller, p. 76.) Arthur Miller
4.) "There's always something left to love. And if you ain't learned that, you ain't learned nothing."
Mama Younger, A Raisin in the Sun (Hansberry, p. 145.) Lorraine Hansberry
5.) "Nobody, nobody can buy my soul."
Uncle Tom, Uncle Tom's Cabin (Brooks video, 1987) Harriet Beecher Stowe
6.) "Call no man fortunate or safe from pain, till he lies in his last, everlasting, bed, and the earth covers his head."
The Chorus. Oedipus Rex (Pennington video, 1987) Sophocles
7.) "Don't ever tell anybody anything. If you do, you start missing everybody."
Holden Caulfield, The Catcher in the Rye (Salinger, p. 214) J.D. Salinger
8.) "The dead don't stay interested in us living people for very long . . .They get weaned away from the earth --- that's the way I put it, --- weaned away."
The Stagemanager, Our Town (Wilder, p.81) Thornton Wilder
9.) "Her voice is full of money."
Jay Gatsby, The Great Gatsby (Fitzgerald, p. 127.) F. Scott Fitzgerald
10.) "Life . . . is a tale told by an idiot, full of sound and fury, signifying nothing."
Macbeth, Macbeth (V,v,17) William Shakespeare
11.) "Where'd you get a name like yours? White people name Negroes like race horses."
Circe, Song of Solomon, (Morrison, p. 243.) Toni Morrison
12.) "Yes, this man was fighting, fighting with words. He was using words as a weapon, using them as one would use a club."
Richard, Black Boy, (Wright, p. 293) Richard Wright
13.) "Mr. Auld . . . forbade Mrs. Auld to instruct me further, telling her . . . that it was unlawful, as well as unsafe, to teach a slave to read."
Frederick, Narrative of the Life of Frederick Douglass, (Douglass, p 47) Frederick Douglass
14.) "But a man is not made for defeat . . . A man can be destroyed but not defeated."
Santiago, The Old Man and the Sea, (Hemingway, p. 103) Ernest Hemingway
15.) "But the old man always thought of her [the sea] as something feminine and as something that gave or withheld great favors . . ."
Narrator , The Old Man and the Sea, (Hemingway, p.30) Ernest Hemingway
16.) " [. . .] that's the best thing a girl can be in this world, a beautiful little fool."
Daisy Buchanon, The Great Gatsby, (Fitzgerald, p. 21) F. Scott Fitzgerald
17.)"'Can't repeat the past?' he cried incredulously. 'Why of course you can!'"
Jay Gatsby, The Great Gatsby, (Fitzgerald, p 116) F. Scott Fitzgerald
Saturday, July 18, 2009
CHECKLIST for Term Paper (Regular and Advanced Classes)
Name ______________________ Doc. No.__________
Check-list for Term Paper (Thesis/Exposition/Recapitulation Essay Form)
(Answer "Yes" or "No")
Did not use the pronoun "I" more than TWICE (i.e., wrote with the voice of authority)______________
1000-1250 typed words (Advanced classes)_____________
450-650 typed words (Regular classes)__________________
Five paragraphs (no more;no fewer)_____________________
Signed thesis sentence (attached) ______________________
Thesis contains no more than ONE video of book NOT read in class_____________
Thesis sentence appears at END of par. 1_______________ underlined?__________
Tie-in sentence to thesis appears at END of par.2 __________ underlined?__________
Tie-in sentence to thesis appears at END of par. 3__________ underlined?__________
Tie-in sentence to thesis appears at END of par. 4__________ underlined?__________
Par. 5 has a recap sentence which includes information from paragraphs 2, 3, and 4 about the thesis _____________________underlined?__________
Paragraphs 2, 3, and 4 have at least one quotation EACH which supports thesis___________
Each of these quotes has a proper parenthesis note citation _____________
Term paper concludes with a Bibliography of ALL works read or viewed in the course, alphabetically listed by the author's last name___________________
Advanced classes only: At least ONE book from "at home reading" assignments is used in the thesis _____________
Check-list for Term Paper (Thesis/Exposition/Recapitulation Essay Form)
(Answer "Yes" or "No")
Did not use the pronoun "I" more than TWICE (i.e., wrote with the voice of authority)______________
1000-1250 typed words (Advanced classes)_____________
450-650 typed words (Regular classes)__________________
Five paragraphs (no more;no fewer)_____________________
Signed thesis sentence (attached) ______________________
Thesis contains no more than ONE video of book NOT read in class_____________
Thesis sentence appears at END of par. 1_______________ underlined?__________
Tie-in sentence to thesis appears at END of par.2 __________ underlined?__________
Tie-in sentence to thesis appears at END of par. 3__________ underlined?__________
Tie-in sentence to thesis appears at END of par. 4__________ underlined?__________
Par. 5 has a recap sentence which includes information from paragraphs 2, 3, and 4 about the thesis _____________________underlined?__________
Paragraphs 2, 3, and 4 have at least one quotation EACH which supports thesis___________
Each of these quotes has a proper parenthesis note citation _____________
Term paper concludes with a Bibliography of ALL works read or viewed in the course, alphabetically listed by the author's last name___________________
Advanced classes only: At least ONE book from "at home reading" assignments is used in the thesis _____________
DATING AND TRUTH (Sample Term Paper: Regular Classes) STP
DATING AND TRUTH IN AMERICAN LITERATURE (title of paper centered on title page)
The dating scene of America in the 1900's is where brains and hormones collide, often with comical, but sometimes with serious, results. This collision can be seen in American literature as well as in American life itself. In Death of a Salesman, The Catcher in the Rye, and A Raisin in the Sun, authors use dating scenes to unmask a character’s true values.
In the restaurant scene of Death of a Salesman, 63 -year-old Willy Loman breaks down after telling his 30-something-year old sons that he has just been fired after thirty-four years with the Wagner Company. Happy Loman has been putting the moves on a Miss Forsythe at the restaurant, and when she reappears with a girlfriend for Happy’s brother Biff, Happy abandons his father to “paint this town” (Miller, p.91 ) with the girls. Further, Happy lies to Miss Forsythe who is reluctant to leave the father upset in the bathroom, by saying to her, “That’s not my father, he’s just a guy.” (p.91) Thus, Arthur Miller has used this dating scene to unmask Happy’s true values: pleasures of the flesh over “Honor thy Father.”
If Happy Loman will stoop to any level in DOAS, Holden Caulfield in The Catcher in the Rye is unmasked as someone who has a definite code of behavior with girls in dating situations. A 16-year-old Pencey Prep student, Holden is furious that his roommate, Ward Stradlater, may have put on his “Abraham Lincoln, sincere voice” (Salinger, p.49) to con Holden’s friend, Jane Gallagher, into having sexual relations with him. When Holden describes himself as never having gone that far, he says, “The trouble with me is, [when a girl says ‘stop’] I stop.” (Salinger, p.92) Here, the author, J.D. Salinger, has Holden unmask himself as someone who is not willing to play the macho game of using a girl on a date just to prove his masculinity, whether out of ethics or out of fear. Later, admittedly, Holden has different thoughts about a prostitute than about a date.
If the male authors unmask Happy Loman’s and Holden Caulfield’s values in dating situations, the female playwright Lorraine Hansberry, is no exception in A Raisin in the Sun. Beneatha Younger, a struggling African American pre-med student from the ghetto of Southside Chicago, dumps George Murchison, the son of a wealthy African American real estate investor. Murchison has tried to “nuzzle in” (Hansberry, p.96) on Beneatha who is not interested in kissing at the moment and wants to talk about ideas. Murchison gives a long, angry speech about education having “nothing to do with thoughts” (p.97) and makes it clear he’s not in the mood to listen to Beneatha’s ideas. Beneatha throws George out, telling her mother, “George is a fool” (p. 97) Thus, Hansberry uses this dating situation to unmask George as a fool but also to unmask for the audience – and for Beneatha herself! – that ideas are more important to Beneatha than answering the call of hormones even if she is a girl and of dating age.
Thus, in three works of American literature, the authors use dating scenes to unmask a character’s true values: pleasures of the flesh; respecting women; and prizing ideas. Happy Loman is not just girl-happy (pun intended), he is even willing to abandon and deny his helpless father for a night on the town. Holden Caulfield is not just angry that Stradlater cons girls into having sex. He makes it clear, 40 years before the term “date rape” was coined, that when a girl says “no” he accepts her word and stops. Finally, Beneatha Younger unmasks for herself just how important ideas are for her, when she dumps her boyfriend, rich George Murchison, because he is not interested in listening to her ideas if his hormones are raging. Perhaps these authors are suggesting that in the heat of the hormonal moment, the light of truth often shows through.
A SELECTED BIBLIOGRAPHY (title centered)
(text is single spaced; entries have two lines between them)
Hansberry, Lorraine. A Raisin in the Sun. Vintage Books. (New York: 1994).
Miller, Arthur. Death of a Salesman. Penguin Books. (New York: 1976).
Salinger, J.D. The Catcher in the Rye. Little, Brown and Co. (New York: 1951).
STP
The dating scene of America in the 1900's is where brains and hormones collide, often with comical, but sometimes with serious, results. This collision can be seen in American literature as well as in American life itself. In Death of a Salesman, The Catcher in the Rye, and A Raisin in the Sun, authors use dating scenes to unmask a character’s true values.
In the restaurant scene of Death of a Salesman, 63 -year-old Willy Loman breaks down after telling his 30-something-year old sons that he has just been fired after thirty-four years with the Wagner Company. Happy Loman has been putting the moves on a Miss Forsythe at the restaurant, and when she reappears with a girlfriend for Happy’s brother Biff, Happy abandons his father to “paint this town” (Miller, p.91 ) with the girls. Further, Happy lies to Miss Forsythe who is reluctant to leave the father upset in the bathroom, by saying to her, “That’s not my father, he’s just a guy.” (p.91) Thus, Arthur Miller has used this dating scene to unmask Happy’s true values: pleasures of the flesh over “Honor thy Father.”
If Happy Loman will stoop to any level in DOAS, Holden Caulfield in The Catcher in the Rye is unmasked as someone who has a definite code of behavior with girls in dating situations. A 16-year-old Pencey Prep student, Holden is furious that his roommate, Ward Stradlater, may have put on his “Abraham Lincoln, sincere voice” (Salinger, p.49) to con Holden’s friend, Jane Gallagher, into having sexual relations with him. When Holden describes himself as never having gone that far, he says, “The trouble with me is, [when a girl says ‘stop’] I stop.” (Salinger, p.92) Here, the author, J.D. Salinger, has Holden unmask himself as someone who is not willing to play the macho game of using a girl on a date just to prove his masculinity, whether out of ethics or out of fear. Later, admittedly, Holden has different thoughts about a prostitute than about a date.
If the male authors unmask Happy Loman’s and Holden Caulfield’s values in dating situations, the female playwright Lorraine Hansberry, is no exception in A Raisin in the Sun. Beneatha Younger, a struggling African American pre-med student from the ghetto of Southside Chicago, dumps George Murchison, the son of a wealthy African American real estate investor. Murchison has tried to “nuzzle in” (Hansberry, p.96) on Beneatha who is not interested in kissing at the moment and wants to talk about ideas. Murchison gives a long, angry speech about education having “nothing to do with thoughts” (p.97) and makes it clear he’s not in the mood to listen to Beneatha’s ideas. Beneatha throws George out, telling her mother, “George is a fool” (p. 97) Thus, Hansberry uses this dating situation to unmask George as a fool but also to unmask for the audience – and for Beneatha herself! – that ideas are more important to Beneatha than answering the call of hormones even if she is a girl and of dating age.
Thus, in three works of American literature, the authors use dating scenes to unmask a character’s true values: pleasures of the flesh; respecting women; and prizing ideas. Happy Loman is not just girl-happy (pun intended), he is even willing to abandon and deny his helpless father for a night on the town. Holden Caulfield is not just angry that Stradlater cons girls into having sex. He makes it clear, 40 years before the term “date rape” was coined, that when a girl says “no” he accepts her word and stops. Finally, Beneatha Younger unmasks for herself just how important ideas are for her, when she dumps her boyfriend, rich George Murchison, because he is not interested in listening to her ideas if his hormones are raging. Perhaps these authors are suggesting that in the heat of the hormonal moment, the light of truth often shows through.
A SELECTED BIBLIOGRAPHY (title centered)
(text is single spaced; entries have two lines between them)
Hansberry, Lorraine. A Raisin in the Sun. Vintage Books. (New York: 1994).
Miller, Arthur. Death of a Salesman. Penguin Books. (New York: 1976).
Salinger, J.D. The Catcher in the Rye. Little, Brown and Co. (New York: 1951).
STP
CARS, CRISIS AND CREATIVITY (Sample Term Paper: Advanced Class) STP
CARS, CRISIS AND CREATIVITY IN AMERICAN LITERATURE (title of paper centered on title page)
The history of American transportation seems to be primarily a “male thing,” from the old days of the Wild West to the new days of outer space, even though women astronauts have made inroads in the U. S. Space program in the recent past. Even so, when most people think of a stage coach, a whale ship, an airplane or a rocket ship, they don’t automatically picture a female sitting in the driver’s seat. It isn’t surprising then that in three famous works of American literature written forty to fifty years ago and set in that time period after World War II of the late 1940's or 1950's, important events happen to males in scenes which involve the most exciting form of personal transportation, the car. Willy Loman in Death of a Salesman, Walter Lee Younger in A Raisin in the Sun, and Holden Caulfield in The Catcher in the Rye all experience a crisis which depends on the power and freedom which an automobile symbolizes.
It would be hard enough to become forgetful at age sixty-three, but to become so unable to concentrate that one couldn’t drive a car makes forgetfulness almost a crisis. When a person’s entire ability to support himself and his wife is dependent on the act of being able to drive a car as a traveling salesman in New England, 1949, then such a ‘forgetfulness’ could spell disaster. Never mind whether or not Willy Loman in Death of a Salesman can’t concentrate because he is becoming senile or because he feels guilty over his thirty-three year old son Biff never having made “the slightest mark” (Miller, p.71 ) since the moment he caught his father having an affair when he was a high school senior of seventeen. Either way, (senility or guilt) Willy can’t drive a car any more and won’t be worth anything to the Wagner Company, where his boss, Howard Wagner, reminds him, “You’re a road man Willy and we do a road business.” (p.59 ) In case the audience has any doubt that this inability to drive is more than just a problem, Willy spells it out to his son, Hap, with a metaphor: “Where are you guys? The woods are burning. I can’t drive a car.” (p.28) Willy is right. He is a trapped animal, and that becomes clear when Howard fires Willy after thirty four years with the firm because Willy asks to be taken off the road and a given a job in headquarters in New York. In 1949, Social Security was a spit in the ocean as far as helping support someone in retirement and only the wealthy had pension plans to help with retirement. People worked until they died, went to live with their children, or went to the poorhouse if they had no means of support in old age. Thus, it is the power and freedom which a car symbolizes for a male which makes Willy’s crisis of powerlessness even more vivid and intense than if Willy had simply been fired for incompetence. He can no longer captain that magic ship which transports him hundreds of miles to work at his bidding in a day: the automobile. He is figuratively shipwrecked.
Death of a Salesman was written by a male, Arthur Miller, but even the female author Lorraine Hansberry, uses the automobile to deepen a crisis for a male character. Walter Lee Younger in A Raisin in the Sun seems at first glance to have the opposite problem than the one Willy Loman has in Salesman: He drives a car for a living yes—but he hates doing so and wants to quit even though he is fully competent to drive. He tells his mother that his job as a chauffeur for the white man, Mr. Arnold, amounts to “no kind of job . . . that ain’t nothin at all.” (Hansberry, p. 73) While Willy Loman owns his own car and can drive it when and where he wants (health permitting) Walter doesn’t own a car at all, but drives Mr. Arnold’s limousine when and where Mr. Arnold tells him to drive it. In his chauffeur’s uniform, Walter’s relationship with a car is not power and freedom, but the opposite — the servant of someone who has power and freedom. When Walter’s mother won’t help him gain power and freedom by giving him part of the insurance money from her deceased husband’s life insurance policy so Walter can go into business for himself, Walter skips work for three days in anger, borrowing Willy Harris’s car: “Thursday I borrowed the car again, and I got in it and I pointed it the other way and I drove the other way for hours . . .” (p. 105), Walter tells his mother. Ironically, the freedom and power which Willy Harris’s car represents for Walter during these three days he skips work is jeopardizing the actual freedom and power he already has from the wages Mr. Arnold pays him as a chauffeur, because Mr. Arnold threatens to fire him if he doesn’t show up for work on the fourth day. Thus, as in Salesman, it is the automobile which symbolizes freedom and power for the male in A Raisin in the Sun---- and also the lack of freedom and power ---- intensifying Walter Lee Younger’s crisis. If Walter Lee had been a clerk instead of a chauffeur and Willy Loman had been a tailor instead of a salesman, they might still have faced a crisis, but an automobile wouldn’t have added the symbolic punch or zing to that crisis which it does when their jobs and lives are so bound up in the act of driving a vehicle.
If Willy Loman loses his freedom to drive wherever he wants in Salesman and Walter Lee never has that freedom and power in the first place in Raisin and can only borrow it occasionally from a friend, Holden Caulfield in The Catcher in the Rye isn’t even old enough to drive (he’s seventeen writing about when he was sixteen and flunked out of his third prep school.) In his crisis involving an automobile the car is parked in a garage and isn’t even running. This description doesn’t sound like a fit for the current thesis that as symbols of power and freedom, cars intensify a crisis for males in three works of American literature. In fact,Holden in this crisis scene is thirteen years old and has discovered that his younger brother Allie — who he loves dearly — has just died of leukemia. Holden describes for the reader how he spent the night in the garage and “broke all the goddam windows” with his fist (Salinger, p.39) losing mobility in his hand. Even more powerfully symbolic, Holden tries to break the windshield on the car with his fist and fails, but breaks his hand instead. If the car is symbolic of power and freedom, how does Holden’s trying to smash its windshield out of grief over his brother’s death make sense? Perhaps it requires the reader to think about what is behind the power and freedom a car symbolizes: Adulthood. Adults drive cars. Getting a driver’s license is a rite of passage to adulthood, known to every sixteen year old in America in 2004! By smashing this symbol of adulthood, Holden is not only expressing anger at adults who couldn’t prevent Allie’s death, but at the very idea of having to become an adult at all, since one of the great burdens of adulthood is accepting the unfairness of death and one’s powerlessness in its presence. Thus, Holden’s crisis as a male is intensified by the symbolic imagery of an automobile which he tries to smash with his fist in Catcher.
Willy Loman has his power and freedom taken from him (he can’t drive); Walter Lee Younger is in danger of losing his power and freedom when he refuses to give Mr. Arnold the power and freedom of his personal limousine for three days (he might get fired); and Holden Caulfield permanently damages his power and freedom (his hand) when he tries to smash the windshield on his family’s car and perhaps the whole idea of adulthood which has to face the powerlessness of accepting death. Thus, in three works of American literature the crisis for a male depends on the power and freedom an automobile symbolizes: the Salesman who can’t drive; the chauffeur who jeopardizes his job; the grieving brother who injures himself on a car.
__________________________________________________________
A SELECTED BIBLIOGRAPHY (title centered)
(text single spaced;entries separated by two lines)
Hansberry, Lorraine. A Raisin in the Sun. Vintage Books. (New York: 1994).
Miller, Arthur. Death of a Salesman. Penguin Books. (New York: 1976).
Salinger, J.D. The Catcher in the Rye. Little, Brown and Co. (New York: 1951).
STP
The history of American transportation seems to be primarily a “male thing,” from the old days of the Wild West to the new days of outer space, even though women astronauts have made inroads in the U. S. Space program in the recent past. Even so, when most people think of a stage coach, a whale ship, an airplane or a rocket ship, they don’t automatically picture a female sitting in the driver’s seat. It isn’t surprising then that in three famous works of American literature written forty to fifty years ago and set in that time period after World War II of the late 1940's or 1950's, important events happen to males in scenes which involve the most exciting form of personal transportation, the car. Willy Loman in Death of a Salesman, Walter Lee Younger in A Raisin in the Sun, and Holden Caulfield in The Catcher in the Rye all experience a crisis which depends on the power and freedom which an automobile symbolizes.
It would be hard enough to become forgetful at age sixty-three, but to become so unable to concentrate that one couldn’t drive a car makes forgetfulness almost a crisis. When a person’s entire ability to support himself and his wife is dependent on the act of being able to drive a car as a traveling salesman in New England, 1949, then such a ‘forgetfulness’ could spell disaster. Never mind whether or not Willy Loman in Death of a Salesman can’t concentrate because he is becoming senile or because he feels guilty over his thirty-three year old son Biff never having made “the slightest mark” (Miller, p.71 ) since the moment he caught his father having an affair when he was a high school senior of seventeen. Either way, (senility or guilt) Willy can’t drive a car any more and won’t be worth anything to the Wagner Company, where his boss, Howard Wagner, reminds him, “You’re a road man Willy and we do a road business.” (p.59 ) In case the audience has any doubt that this inability to drive is more than just a problem, Willy spells it out to his son, Hap, with a metaphor: “Where are you guys? The woods are burning. I can’t drive a car.” (p.28) Willy is right. He is a trapped animal, and that becomes clear when Howard fires Willy after thirty four years with the firm because Willy asks to be taken off the road and a given a job in headquarters in New York. In 1949, Social Security was a spit in the ocean as far as helping support someone in retirement and only the wealthy had pension plans to help with retirement. People worked until they died, went to live with their children, or went to the poorhouse if they had no means of support in old age. Thus, it is the power and freedom which a car symbolizes for a male which makes Willy’s crisis of powerlessness even more vivid and intense than if Willy had simply been fired for incompetence. He can no longer captain that magic ship which transports him hundreds of miles to work at his bidding in a day: the automobile. He is figuratively shipwrecked.
Death of a Salesman was written by a male, Arthur Miller, but even the female author Lorraine Hansberry, uses the automobile to deepen a crisis for a male character. Walter Lee Younger in A Raisin in the Sun seems at first glance to have the opposite problem than the one Willy Loman has in Salesman: He drives a car for a living yes—but he hates doing so and wants to quit even though he is fully competent to drive. He tells his mother that his job as a chauffeur for the white man, Mr. Arnold, amounts to “no kind of job . . . that ain’t nothin at all.” (Hansberry, p. 73) While Willy Loman owns his own car and can drive it when and where he wants (health permitting) Walter doesn’t own a car at all, but drives Mr. Arnold’s limousine when and where Mr. Arnold tells him to drive it. In his chauffeur’s uniform, Walter’s relationship with a car is not power and freedom, but the opposite — the servant of someone who has power and freedom. When Walter’s mother won’t help him gain power and freedom by giving him part of the insurance money from her deceased husband’s life insurance policy so Walter can go into business for himself, Walter skips work for three days in anger, borrowing Willy Harris’s car: “Thursday I borrowed the car again, and I got in it and I pointed it the other way and I drove the other way for hours . . .” (p. 105), Walter tells his mother. Ironically, the freedom and power which Willy Harris’s car represents for Walter during these three days he skips work is jeopardizing the actual freedom and power he already has from the wages Mr. Arnold pays him as a chauffeur, because Mr. Arnold threatens to fire him if he doesn’t show up for work on the fourth day. Thus, as in Salesman, it is the automobile which symbolizes freedom and power for the male in A Raisin in the Sun---- and also the lack of freedom and power ---- intensifying Walter Lee Younger’s crisis. If Walter Lee had been a clerk instead of a chauffeur and Willy Loman had been a tailor instead of a salesman, they might still have faced a crisis, but an automobile wouldn’t have added the symbolic punch or zing to that crisis which it does when their jobs and lives are so bound up in the act of driving a vehicle.
If Willy Loman loses his freedom to drive wherever he wants in Salesman and Walter Lee never has that freedom and power in the first place in Raisin and can only borrow it occasionally from a friend, Holden Caulfield in The Catcher in the Rye isn’t even old enough to drive (he’s seventeen writing about when he was sixteen and flunked out of his third prep school.) In his crisis involving an automobile the car is parked in a garage and isn’t even running. This description doesn’t sound like a fit for the current thesis that as symbols of power and freedom, cars intensify a crisis for males in three works of American literature. In fact,Holden in this crisis scene is thirteen years old and has discovered that his younger brother Allie — who he loves dearly — has just died of leukemia. Holden describes for the reader how he spent the night in the garage and “broke all the goddam windows” with his fist (Salinger, p.39) losing mobility in his hand. Even more powerfully symbolic, Holden tries to break the windshield on the car with his fist and fails, but breaks his hand instead. If the car is symbolic of power and freedom, how does Holden’s trying to smash its windshield out of grief over his brother’s death make sense? Perhaps it requires the reader to think about what is behind the power and freedom a car symbolizes: Adulthood. Adults drive cars. Getting a driver’s license is a rite of passage to adulthood, known to every sixteen year old in America in 2004! By smashing this symbol of adulthood, Holden is not only expressing anger at adults who couldn’t prevent Allie’s death, but at the very idea of having to become an adult at all, since one of the great burdens of adulthood is accepting the unfairness of death and one’s powerlessness in its presence. Thus, Holden’s crisis as a male is intensified by the symbolic imagery of an automobile which he tries to smash with his fist in Catcher.
Willy Loman has his power and freedom taken from him (he can’t drive); Walter Lee Younger is in danger of losing his power and freedom when he refuses to give Mr. Arnold the power and freedom of his personal limousine for three days (he might get fired); and Holden Caulfield permanently damages his power and freedom (his hand) when he tries to smash the windshield on his family’s car and perhaps the whole idea of adulthood which has to face the powerlessness of accepting death. Thus, in three works of American literature the crisis for a male depends on the power and freedom an automobile symbolizes: the Salesman who can’t drive; the chauffeur who jeopardizes his job; the grieving brother who injures himself on a car.
__________________________________________________________
A SELECTED BIBLIOGRAPHY (title centered)
(text single spaced;entries separated by two lines)
Hansberry, Lorraine. A Raisin in the Sun. Vintage Books. (New York: 1994).
Miller, Arthur. Death of a Salesman. Penguin Books. (New York: 1976).
Salinger, J.D. The Catcher in the Rye. Little, Brown and Co. (New York: 1951).
STP
Friday, July 17, 2009
QUOTE SHEETS (Oedipus Rex; Moby Dick; Uncle Tom's Cabin; The Crucible) QS
NAME____________________________________________ Doc. No._____________
Crucible: A metal vessel into which is poured molten metal; an experience which shapes a person or people for life (e.g. the Salem Witch Trials of 1692; the McCarthy Un-American Activities Committee Congressional investigations of the 1950's)
The Crucible
by
Arthur Miller
Setting: Salem Massachusetts, 1692
IDENTIFY THE SPEAKER
1. Uncle, the rumor of witchcraft is all about.
2. And what shall I say to them? That my daughter and my niece I discovered dancing in the forest like heathen?
3. But if you trafficked with spirits in the forest, I must know it now, for surely my enemies will, and they will ruin me with it. THEOCRACY
4. I saw Tituba waving her arms over the fire when I came on you [. . .] And I heard a screeching and gibberish coming from her mouth. She were swaying like a dumb beast over that fire.
5. Whatever abomination you have done, give me all of it now, for I dare not be taken unaware [. . .].
6. Goody Ann, it is a formidable sin to conjure up the dead!
7. I saw Indians smash my dear parents’ heads on the pillow next to mine, and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down!
8. I know how you clutched my back behind your house and sweated like a stallion whenever I come near!
9. I know you John Proctor. I know you ! (Day-Lewis video, 1998)
10. There is prodigious danger in the seeking of loose spirits. I fear it.
11. [Your grandfather] nearly willed away my north pasture but he knew I’d break his fingers before he set his name to it.
12. You permit dancing?
13. Mr. Parris’s slave has knowledge of conjurin’, sir.
14. I hope you do not think we go to Satan here.
15. Ah! The stoppage of prayer —that is strange. I’ll speak further on that with you.
16. You have said that twice, sir.
17. Adultery, John
18. But I know the children’s sickness had naught to do with witchcraft.
19. Question Abigail Williams about the Gospel, not myself.
20. What signifies a poppet, Mr. Cheever?
21. The girl is murder! She must be ripped out of the world!
22. [. . . ] but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law!
23. I will fall like an ocean on that court! Fear nothing, Elizabeth.
24. Abby’ll charge lechery on you, Mr. Proctor!
25. How do you know, then, that you are not a witch?
26. But if she say she is pregnant, then she must be! That woman will never lie, Mr. Danforth.
27. But witchcraft is ipso facto, on its face and by its nature, an invisible crime, is it not? Therefore, who may possibly be witness to it? The witch and the victim. None other. Now we cannot hope the witch will accuse herself; granted? Therefore we must rely upon her victims---and they do testify. The children certainly do testify.
28. I have known her, sir. I have known her.
29. And if she tell me child it were for harlotry, may God spread his mercy on you!
30. I say---I say---God is dead!
31. You are pulling heaven down and raising up a whore!
32. They say he give them but two words, “More weight’” he says . And died.
33. It’s not on a ship we’ll meet again Abigail, but in hell. (Day-Lewis video, 1998)
34. It needs a cold wife to prompt lechery.
35. I have given you my soul; leave me my name!
36. Who weeps for these weeps for corruption!
37. He have his goodnes
Name __________________________________________Doc. No. ___
(Fill in the speaker.)
Uncle Tom’s Cabin by Harriet Beecher Stowe (1811-1896)
UNCLE TOM’S CABIN QUOTES (Brooks video, 1987)
(Note: The repugnant “n” word is used here only as a direct quotation. It may not be used in class.)
1. You know Papa wouldn’t sell anyone here.
2. Good. I consider religion to be a valuable thing in a nigger.
3. Shelby—this child will make someone a wonderful house pet.
4. By Jupiter! There’s an article! You could make a fortune on her in New Orleans.
5. I would ask you , sir, not to take the boy from his mother.
6. Hell, it’s easy done. Give her some earrings. She won’t make no fuss.
7. Trouble with you kintucky folk is you spoil you niggers.
8. How am I supposed to tell her we have sold her child?
9. T’aint right! T’aint none of it right!
10. If I go then everybody here gets sold----and I can’t do that.
11. Sir, as Mrs. Shelby is present, I shall ask you to observe something of the decorum of a gentleman.
12. Fifty dollars down flat. I know the catchin’ trade.
13. Here now Chloe. God is still lookin’ on.
14. I assure you sir, this precaution is entirely unnecessary.
15. Q: How can you chain people up like cattle? Have you no shame?
A: Just a business.
A: A dirty business.
A: T’aint no worse than the people who sell ‘em.
16. I have found two children of God.
17. Q: Papa, why must they wear chains?
A: Oh, it’s to keep them from runnin’ away.
A: Who would blame them for tryin’?
18. Someone’s gonna buy me but I don’t know who.
19. Therefore I was wondering just how much you were prepared to cheat me?
20. And this ‘un, not only can he read but he’s got a tolerable brain.
21. Did you say thy husband’s name is George?
22. Does thee still think of going to Canada?
23. This man who may be thy husband has arrived at the settlement.
24. These slaves are the plague of my life.
25. Mammy knows I’m not sleeepin’ well. I need little attentions, almost every hour.
26. Frankly, I wouldn’t want the responsibility of having slaves for anything in the world.
27. “Course, they ought to be flogged occasionally. They get so dreadfully lazy without it..
28. Four dollars a week. Do you know how long that’s going to take you? About five years.
29. Ophelia----I brought you a present. . . She’s all your to train and educate properly.
30. This little girl has been beaten every day of her life. All she needs is a little of my New England cousin’s upbringing.
31. Q: What is your name child?
A: Topsy, missis.
Q: Topsy, indeed!
32. They spoke of thee, Friend George, and of returning thee to thy master.
33. A driver is needed. I know the road. Do not ask for it is given.
34. I’ve seen them. The bright angels. They come in my sleep some time.
35. Q: How old are you?
A: Don’t know.
Q: Who is your mother?
A: Never had none, as I knows of.
Q: Where were you born?
A: Never was born. Was raised---by a Speculator. They buys ‘em up when they
is young.
Q: Topsy, have you ever heard about God? Do you know who made you?
A: Nobody, as I knows of.
36. If you confess, I won’t whip you this time.
37. This wicked, wicked child has stolen your red necklace.
38. Why in the world did you tell me you stole it?
39. Whoop me, ma’am!
40. I’d rather give you anything of mine then have you steal it.
41. You’re talkin’ about that demon, whiskey.
42. I’m going to have to try harder to abstain in the future.
43. We’re wastin’ time. They’re worth just as much dead as alive.
44. May I have the pleasure looking on?
45. My name is George Harris. I am a free man standing on God’s free soil and I claim my wife and my son as my own.
46. I think perhaps thee had better stay out of sight with thy speechifying, Friend George.
47. I think thee has found thy mark.
48. This wagon is thine. I shall get back on my own.
49. We’ll say our prayers for the Quakers as long as we live.
50. But why can’t we teach them all to read?
51. That’s a silly question. They haven’t the intelligence
52. But Tom can read.
53. but my darlin’ readin’ doesn’t teach them to work any better and they’re really not made for anythin’ else.
54. One day these pearls are goin’ to be yours to wear at your Comin’ Out Party.
55. I should say so! They’re worth a small fortune.
56. I wish I could have them right now.
57. So I could buy a small school, a place in the free states where we could teach the slaves to read and write.
58. Oh, my dear little Eva. Such a foolish chile! You don’t know anythin’ about these things.
59. You take care of Topsy and I’ll take care of Eva.
60. Q: Haven’t you ever had anyone to love, Topsy?
A: Me? I guess candy and sech.
61. Oh, no, Miss Pheely can’t bear me. She’d rather have a toad touch her ---Can’t
nobody love us niggers.
61. It’s true---she said that I can’t bear to have her touch me.
62. Leave it to a child. They’ll find out every time
63. Thee wilt not, sir. Bring in thy family at once!
64. Her lungs are filled with fluid. It could be very serious.
65. Oh how cruel! How very cruel! Here I am in the most wretched health and my only darlin’ daughter is goin’ down into the grave before my eyes.
66. He’s takin’ Eva out to the arbor. She wanted to see it one more time.
67. She say that she is sorry that her goin’ won’t stop our misery.
68. She’s got it, Tom. That chile’ has got the mark of the Lord on her forehead.
69. I started proceedings to grant you your enfranchisement. In other words, I’m going to make you a free man.
70. It was Eva, Tom. When she died she made me promise I’d let you go and I’d never break that promise.
71. Miss Eva was a messenger from the Lord.
72. I mean I’ve known two genuine saints in my life. I’ve lost one and I’m about to lose the other.
73. Augustine promised Tom his freedom before he died.
74. It’s absolutely impossible . . . Beside, what does he want of liberty? He’s better off as he is.
75. The servants will be sold. All of them. That’s final.
76. Topsy is mine, thank God. Augustine signed her over to me before he died.
77. That little baggage? I couldn’t care less.
78. They’re gonna sell us. The Missis gonna sell us—every last one of us.
79. Sold for $275 to Mr. Simon Legree.
80. Sold to Mr. Simon Legree for $1400.
81. This big fella here—they tell me he’s a mangin’ nigger. He’ll do real prime.
82. Used to doctor ‘em once upon a time. But it wasn’t worth the trouble. From now on when one nigger is dead I go out and buy me another.
83. I bet you never did have any earrings. Well, I’m gonna give you some.
84. You and me, we’re gonna have a fine time.
85. These here dogs would rather have you than supper.
86. See this one here? She’s yours. I told you I’d bring you one back.
87. You is my woman!
88. You want a beatin’?
89. Go ahead, beat me, kill me if you want. I wish I was dead.
90. I’m gonna make you happy. I’m gonna make you sooooo happy.
91. The lord? He don’t never visit these parts. Not that I know of.
92. Touch me! Go ahead! I’ll have you torn by those dogs and burnt alive. All I got to do is say the word.
93. I am gonna make you and overseer. You can drive all the others .
94. I want you to take that Lucy and flog her.
95. I’m not gonna raise my hand against that woman. It’s a sin.
96. The Bible says: Obey thy master. Well ain’t I your master? Didn’t I pay good money for you?
97. Nobody can buy my soul.
98. You’s in the devil’s hands and der’s no way out.
99. You lie here all beat up and you talk about Jesus?!
100.You beat up the best field hand you got in the middle of the pickin’ season!
1. I am gonna break that nigger. He will give up if I have to tear apart every bone in his body.
2. Q: Isn’t there some way we can get away from here?
A: Nowhere but the grave.
. 3. Take the brandy. It will make things easier when he comes at you again.
4. Don’t speak. Don’t look. Just keep walking.
5. We’re in Canada’Liza. We’re free! Don’t look back. Don’t ever look back.
6. We got no money. Got no roof over out head. We got plenty of fields to work and
I feel like we own the world!
7. Would you sell your soul to the devil for that?
8. All I can do is hate and cuss. That’s all I got inside me.
9. You run. You run for your life. For without faith you will not survive.
10. One night he kill someone up dere [the garrett] and ever since then he heard
voices in his head.
11. You’d steal from him?
12. He stole it, didn’t he? Off our sweat!
13. I have made up my mind that I am gonna kill you ‘lessen you tell me what happened to them.
14. I am gonna take every drop of your blood.
15. You take my blood. That is nothing. No—you can hurt me no more.
16. Well, at least it stopped his mouth from preachin’ and that is a comfort.
17. Kimbo, I done think we done a wicked thing cause I ain’t never felt like this before.
18. I understand you purchased a man named Tom. He used to belong to my father and I am here now to buy him back.
19. That nigger is the curse of the world.
20. He’s in da shanty, suh.
21. I’m here to buy you back, Tom. I’m gonna take you home.
22. Can’t do that now. Goin’ to the Glory now.
23. I’m free. I’m free.
24. Now who you gonna have as a witness?
25. What’s all the fuss about/ just one more dead nigger.
26. You put chains on all yours now. God forbid I take it from him!
NAME______________________________________DOC. NO.______________
Moby Dick by Herman Melville (1819-1891)
MOBY DICK QUOTES
(Peck Video, l956)
(Fill in the speaker.)
1. Call me Ishmael
2. The sea, where each man, as in a mirror, finds himself.
3. You ain’t no objection to sharing’ a harpooner’s bed with him?
4. The men of New Bedford; the sea is ours and the whale is ours.
5. Mind you lad, if God ever wanted to be a fish, he’d be a whale.
6. Aye, Ahab’s Ahab.
7. He’s what you might call a dark complexioned chap.
8. You no speak, I kill you.
9. Landlord! Peter Coffin! Coffin, Save me!
10. Why didn’t you tell me I was sleepin’ with a cannibal?
11. Better a sober cannibal than a drunken Christian!
12. If we would obey God, we must disobey ourselves.
13. The whale vomited out Jonah on to the sea shore.
14. Jonah did the Almighty’s bidding . . . to preach the truth to the face of falsehood.
15. I sign too. Your boat my boat. I eat same food . . . we kill same whales. We friends.
16. If ye want to know about whalin’, clap an eye on Captain Ahab. Ye’ll see a man torn apart from crown to heel and spliced back together with sperm whalebone. His looks tell more about mortality than all the church-at sermons.
17. Was not Ahab of old a very wicked king? And when he was slain did not the dogs lick his blood?
18. Sign the paper and wrong him not because he happens to have a wicked name.
19. I suspect thee art not a Christian. Doth thee attend church on Sunday? Doth thee know and obey the Ten Commandments?
20. Did they tell you how his mother birthed him, turned from him, gave him his evil name, and died?
21. At sea one day, you’ll smell land where there’ll be no land. And on that day, Ahab will go to his grave. But he will rise again within the hour. He’ll rise and beckon--- and all, all save one, shall follow.
22. Ahab come out in moonlight.
23. With the marks of some inner crucifixion and woe deep in his face.
24. All you mastheaders, now hear me: You are to look for the white whale, a whale as white and as big as a mountain of snow.
25. Whosoever of ye finds me that white whale, ye shall have this Spanish gold ounce, my boys!
26. It’s a white whale I say. Skin your eyes for him.
27. Captain Ahab, was it not Moby Dick took off thy leg?
28. Aye, it was Moby Dick who tore my soul and body till they bled into each other.
29. Go draw the great measure of grog.
30. Drink and pass, round and round . . . it’s hot as satan’s hoof.
31. That same lightning that struck me, I now strike to this iron. Does it burn, men?
32. Drink ye harpooners, drink and swear.: God hunt us all if we do not hunt Moby Dick to his death.
33. Timor Tim, New Zealand Tom, and Morkan, King of the Japan sea.
34. He is white, whiter than all the snow that ever fell. Like a great marble tombstone afloat is he.
35. All oceans: He’s been spied in different oceans a thousand miles apart at the same hour on the same day. Immortal he is they say. (UBIQUITOUS)
36. I say what I say.
37. Sleep/ That bed is a coffin and those are winding sheets. I do not sleep; I die.
38. Sea mile by sea mile, I know their hidden journeys like the blood pumping in my veins.
39. One we’ve attended to our bigger business.
What’s that, sir?
Him, Mr. Starbuck. Him.
40. I came here to hunt whales not my commander’s vengeance.
41. Money’s not the measure, man. It will fetch me a great premium, here.
42. To be enraged with a dumb brute that acted out of blind ignorance, is blasphemous. Speak not to me of blaspheme, man. I’d strike the sun if it insulted me. (HUBRIS)
43. The White whale tasks me, he heaps me. Yet he is but a pasteboard mask. Tis the thing behind the mask I chiefly hate, the malignant thing that has plagued and frightened man since time began.
44. The crew stands with me Mr. Starbuck. You heard them swear.
45. Thee needn’t fear Starbuck. Let Ahab beware Ahab. Beware thyself, my captain.
46. The sun has baked your brains!
47. Like it so much I mean to have me other arm cut off.
48. Pip! Fetch rum!
49. Aye, a whale took me arm for his breakfast. Devilish big he was. Pushed the waves in front of him like a mountain . . . Old he was, and scarred, like Jerusalem’s hills.
50. Stop the hunt! Pick up your boats. We’re setting sail.
51. Mr. Starbuck, are you opposing me? If so, I’ll have ye know there is one God that is lord over the earth and one captain over the Pequod.
52. I do not give reasons Mr. Stubb, I give orders!
53. We been killin’ sir. Tis a hard thing to stop killin’ when ye been killin.
53a. This is an evil voyage I tell thee.. If Ahab has his way, neither ye nor me nor any member of this ship’s company will ever see home again.
54. It is our task in the world to kill whales and furnish up their oil for the lamps of the world.
55. He is twisting that which is holy into something dark and purposeless. He is a champion of darkness. Ahab’s red flag challenges the heavens.
56. Wrest his command from him? Does that mean take over?
57. Captains can’t break the law. They IS the law as far as I’m concerned.
58. You’re in dangerous waters Mr. Starbuck. Helm hard over. Come about.
59. A laugh’s the best answer to all the strains in life.
60. That coin’s worth sixteen dollars! I’ll be the first to sight the white whale.
61. The sea just swallowed him up. Queer!
62. April 19, 1842. Ahab’s chart and the new moon and Moby Dick rising together; but the moon has lost its horns and there’s no sign of the white whale yet. Seven days and seven nights on deck on watch and he ain’t gone below yet.
63. Since the lookout fell into the sea the wind don’t move and the tide don’t move. Even the sun is nailed to the sky like that gold coin is nailed to the mast.
64. See tomorrow here: Bones tell everything.
65. How much you build coffin for? . . . Build coffin, 6 feet seven inch, clean wood. Make like best boat: caulk and tar seams----no water come in. Carve chief’s feather on lid.
66. Money yours. Sea chest yours. My harpoon yours. Goodbye.
67. Queequeq, I absolutely forbid you to die. Queequeg, such behavior simply isn’t Christian. In fact, it is downright pagan and heathenish.
68. I’ve seen this before lad. One day for no reason they know that death is near. They give away all their belongings and they sit down and they just wait to die.
69. It’s Him. Oh, it’s Him.
70. Aye, we all see it; but, that don’t mean it’s real, necessarily.
71. He’s near. He’s very near.
72. That ain’t no whale. That a great white God.
73. About! Back to the ship! We’ll tie on and row for a wind!
74. “… while the white whale swam on widening the waters between himself and Ahab’s vengeance.
75. This man has his Spanish gold ounce. You shall have yours: When Moby Dick is struck and killed on that day you shall have your share of my 10% of the profits of this entire voyage. Every ounce of Moby Dick’s blood, another Spanish doubloon.
76. Pip! Grog, all around
77. Captain Gardener, I seek the white whale, your own son’s murderer. I am losing time.
78. Time? I’ve lost my whole world.
79. Avast, touch not a rope.
80. God help you Captain Gardener.
God Forgive you, Captain Ahab.
81. What say ye, all ye men? Will ye give as much blood as is needed to temper the steel?
82. To my anger now add your own. You be the cogs that fit my wheel . . . pledge yourself , heart, soul, body, life and lung as I pledge myself: Death to Moby Dick.
83. Earn your salt!
84. Mr. Starbuck, we’re three days behind Moby Dick. This wind is heaven sent!
85. Heaven sent to destroy us!
86. Let fall, I say! I’ll run you through!
87. St Elmo’s Fire
88. Aye, men, mark it well. It lights our way to the white whale.
89. Thus, I put out the last fear.
90. Jump my hearties! Jump!
91. Where are the crew of the Pequod. There is not one I know among thirty. Look at them. He has snatched their souls. They are gloves. Ahab fills them. Ahab moves them.
92. I see a madman beget more madmen.
93. Why this madness of the chase. This boiling blood and sulking brow?
94. I feel old, Starbuck, and bowed as though I were Adam staggering under the piled centuries since Paradise.
95. Let me look into a human eye. Tis better than to gaze into sea or sky.
96. What nameless, inscrutable, unearthly thing commands me against all human lovings and longings to keep pushing and crowding and jamming . . .?
97. Is Ahab Ahab? Is it I, God, or who who lifts this arm? For if the great sun cannot move except by God’s invisible power, how can my mere heart beat my brain think thoughts unless God does that beating does that living, does that thinking and not I?
98. Look ye into its deeps and see the everlasting slaughter that goes on. Who put it into its creatures to chase and fang one another ?
99. Because I do not have the bowels to slaughter thee and save the whole ship’s company from being dragged to doom.
100. Ye are tied to me Starbuck. This act was immutably decreed. It was rehearsed by ye and me a billion years before this ocean rolled.
101. No, Pip. Stand on board. Ye be captain in my absence. Stand ye there in my place.
102. Let the men go!
103. Thunder and hell, what’s wrong with ye?
104. Oh, ye whale, ye damned whale!
105. From hell’s heart I stab at thee. For hate’s sake I spit my last breath at thee thou damned whale!
106. Ahab beckons. He’s dead but he beckons.
107. In after Him!
In after that devil?
108. Moby Dick’s no devil. A monstrous big whale, aye but a whale, no more. And we’re whalin’ men, no less.
109. The coffin, drowned Queequeg’s coffin was my lifebuoy.
110. The Rachel, who in her long, melancholy search for her missing children, found another orphan.
111. The drama’s done. All are departed away. The great shroud of the sea rolls over the Pequod, her crew and Moby Dick. I only am escaped alone to tell thee.
Name_______________________ Doc. No.________
(Fill in the speaker.)
Oedipus Rex Quotes
Author: Sophocles (496-406 BCE)
(Pennington Video, l987)
Location: Thebes, Ancient Greece
Time : circa 500 BCE
1. I am Oedipus the King; everyone knows my name.
2. This city is like a warship defeated in battle, wallowing aimlessly in a sea of blood.
3. …those deeper mysteries of life where the mind touches eternity.
4. You, a young man newly arrived here, solved the riddle of the sphinx.
5. An unmanned ship needs no captain: a city that is empty because its people are dead, has no further use for a king.
6. I’ve walked every corridor of the palace and all the secret galleries of my mind searching and searching what best to do.
7. There is something unclean in our city, born here, living here. It pollutes everything …We harbor it; we must drive it out.
8. What crisis could be greater than a murdered king? [REGICIDE]
9. With the Gods help we shall find out the truth and save our city. We must, or be destroyed. [POLYTHEISM}
10. A whole city slowly dying from an enemy no man can fight, slime and fungus on orchard and meadow, death in the womb and birth in the shadow of death.
11. Let this curse fall on him too: barren earth, barren cattle, a barren wife.
12. No murderer fears words if he can stomach murder.
13. The blind man, Tiresias: he sees into the heart of things and has solved more mysteries than any man living
14. Mine is a terrifying gift. What use is wisdom when it leads to suffering?
15. I can’t change the future, only describe it. What will happen, will happen, whatever I say.
16. You are the unclean thing, the dirt that breeds disease.
17. You are the murderer of the murdered king…I know, but you do not, that the woman you love is not the woman you love, that the relationship is taboo, disgusting, and will destroy you. [TABOO]
18. Creon isn’t your enemy, you are.
19. To his children, who he loves, he is brother and father; to the woman who bore him, lover and son; to his father, he is killer and the man who supplants him.
20. Some may see deeper, and some may not, because wisdom is a juncture shared unequally among men.
21. A reliable friend is a precious possession, worth a man’s life.
22. Time is the one incorruptible judge: one minute is long enough to accuse a man; to prove his innocence takes longer.
23. An unforgiving nature breeds misery in its own heart, not that of its enemy.
24. Set your mind at rest; no one can forecast the future.
25. When Laius was alive, an oracle told him …that he would be killed by his own son, our own child, and it didn’t happen.
26. The Gods always get their own way without anyone’s help when they’re ready.
27. Jocasta, I remember --- my brain’s a turmoil, feelings, memories.
28. Oh Zeus, what would you do to me?
29. My father, Polybus, was Corinth born and Merope, my mother, came from Doris. At a banquet one day … a man who had drunk too much jeered at me and said I was not my father’s son … I went to the Oracle at Delphi and heard a catalogue of horrors . . .I would marry my own mother and father children on her conceived incestuously and I would become notorious for it throughout the world. As if this were not enough, I would kill my own father…
30. These same hands that murdered him have fondled his wife.
31. A son of mine would kill him the oracle said and it didn’t happen. My poor little boy killed no one. He was the one who died years before any of this happened.
32. They never sleep nor decay with age as men decay. They run their courses from immortal sources.
33. The King is confused at the moment by his own nightmares and fantasies.
34. He seeks absolute power and in one foolish hour overreaches himself. [UNITIES OF TIME AND PLACE]
35. One message causing two such opposite reactions? Tell me!
36. Polybus is dead? The father of Oedipus is dead? The one man Oedipus has kept clear of for all these years for fear he should murder him and that man is dead at long last and Oedipus had nothing to do with it?!
37. Polybus is dead and so is the oracle with all its prophecies: dead and rotten!
38. Fear? Why fear? We live our lives at the mercy of chance, the purest coincidence. No one can predict the future, so why fear it?
39. As for marrying your mother, you’re not the first man to dream that dream. Every man is his mother’s lover in imagination or daydreams. It is commonplace.
40. Your ankles were drilled through and tied together. How else did you get your name? Oedipus---swollen foot--- Well, that’s what it means, isn’t it?
41. Listen to me in heaven’s name. If you want to stay alive, this search must end.
42. My God, you’re doomed. You can’t escape. I have one wish and one wish only, that you never find out who you really are.
43. Storms, hurricanes, let them come. I have traveled this far and now I am determined to discover my identity. If my birthplace was the gutter, I’ll find it out.
44. Finished. No chance now. You’re doomed. I’ve said all there is to say and my last words to you forever.
45. But who I am, that I must know and I will know it.
46. He was Laius’ servant, and honest as the day.
47. If you are that man, sir, the boy my friend took to Corinth, you were marked out for suffering from the day you were born.
48. All, all of it. I know it all now. Nothing left to find: My parenthood,a crime; my marriage, a crime; and that murder, committed on my own father. I see it all now.
49. Like a shadow blown in the dust is the short life of man.
50. We have all seen Oedipus the King brought down to misery.
51. Suffering, brief happiness, pain is mortal man’s destiny.
52. Was there ever a reversal of fortune more terrible than this?
53. Oedipus, world famous king, when you sucked and fondled at the same breast; how could the flesh keep silent so long where both son and father caressed?
54. She beat on the bed where she conceived a husband by a husband and children by a child.
55. Her fertile belly, twice it’s been harvested: Me and my children.
56. There were two golden brooches pinned on her dress. He opened them up and lifted them to arm’s length and plunged them down into his eyeballs----again and again.
57. So that all Thebes will see the father killer and mother ----, I can’t say that word in public.
58. Have any man’s eyes ever seen suffering more terrible?
59. Some destructive impulse in man prowling around you waiting its chance: I am fascinated and horrified.
60. Is that my voice looking like a ghost in front of my face?
61. This is his life now, to suffer twice over: The body’s sharp pain and the mind’s dull ache.
62. To make a prison cell of my mind in solitary confinement from the world.
63. The pain in the flesh is doubled in the mind: Ignorance made you happy the truth has made you blind.
64. Now my name will be known forever: My father’s killer, my mother’s lover.
65. Will there be any horror or shame not synonymous with Oedipus’ name?
66. …entering so joyfully the same passage that gave me exit into the world.
67. A marriage for a monster: father, brother, son, bride, wife, mother, sisters all confused, horribly mingled in a liaison too filthy to give a name to.
68. These hands are your father’s hands and your brother’s.
69. And who will marry you under these circumstances? No one. Virginity and barrenness are all you can look forward to.
70. Haven’t you of all people learned to trust the Gods?
71. Don’t give me orders. Those days are over. Your orders have brought you to this. Now you must learn to obey.
72. You have all seen Oedipus the King … overwhelmed by a tidal wave of disasters that will sweep him to his grave.
73. Judge no man’s life until he is dead.
74. Call no man fortunate or safe from pain till he lies in his last, everlasting bed and the earth covers his head.
HARMARTIA
HUBRIS
QS
Crucible: A metal vessel into which is poured molten metal; an experience which shapes a person or people for life (e.g. the Salem Witch Trials of 1692; the McCarthy Un-American Activities Committee Congressional investigations of the 1950's)
The Crucible
by
Arthur Miller
Setting: Salem Massachusetts, 1692
IDENTIFY THE SPEAKER
1. Uncle, the rumor of witchcraft is all about.
2. And what shall I say to them? That my daughter and my niece I discovered dancing in the forest like heathen?
3. But if you trafficked with spirits in the forest, I must know it now, for surely my enemies will, and they will ruin me with it. THEOCRACY
4. I saw Tituba waving her arms over the fire when I came on you [. . .] And I heard a screeching and gibberish coming from her mouth. She were swaying like a dumb beast over that fire.
5. Whatever abomination you have done, give me all of it now, for I dare not be taken unaware [. . .].
6. Goody Ann, it is a formidable sin to conjure up the dead!
7. I saw Indians smash my dear parents’ heads on the pillow next to mine, and I have seen some reddish work done at night, and I can make you wish you had never seen the sun go down!
8. I know how you clutched my back behind your house and sweated like a stallion whenever I come near!
9. I know you John Proctor. I know you ! (Day-Lewis video, 1998)
10. There is prodigious danger in the seeking of loose spirits. I fear it.
11. [Your grandfather] nearly willed away my north pasture but he knew I’d break his fingers before he set his name to it.
12. You permit dancing?
13. Mr. Parris’s slave has knowledge of conjurin’, sir.
14. I hope you do not think we go to Satan here.
15. Ah! The stoppage of prayer —that is strange. I’ll speak further on that with you.
16. You have said that twice, sir.
17. Adultery, John
18. But I know the children’s sickness had naught to do with witchcraft.
19. Question Abigail Williams about the Gospel, not myself.
20. What signifies a poppet, Mr. Cheever?
21. The girl is murder! She must be ripped out of the world!
22. [. . . ] but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law!
23. I will fall like an ocean on that court! Fear nothing, Elizabeth.
24. Abby’ll charge lechery on you, Mr. Proctor!
25. How do you know, then, that you are not a witch?
26. But if she say she is pregnant, then she must be! That woman will never lie, Mr. Danforth.
27. But witchcraft is ipso facto, on its face and by its nature, an invisible crime, is it not? Therefore, who may possibly be witness to it? The witch and the victim. None other. Now we cannot hope the witch will accuse herself; granted? Therefore we must rely upon her victims---and they do testify. The children certainly do testify.
28. I have known her, sir. I have known her.
29. And if she tell me child it were for harlotry, may God spread his mercy on you!
30. I say---I say---God is dead!
31. You are pulling heaven down and raising up a whore!
32. They say he give them but two words, “More weight’” he says . And died.
33. It’s not on a ship we’ll meet again Abigail, but in hell. (Day-Lewis video, 1998)
34. It needs a cold wife to prompt lechery.
35. I have given you my soul; leave me my name!
36. Who weeps for these weeps for corruption!
37. He have his goodnes
Name __________________________________________Doc. No. ___
(Fill in the speaker.)
Uncle Tom’s Cabin by Harriet Beecher Stowe (1811-1896)
UNCLE TOM’S CABIN QUOTES (Brooks video, 1987)
(Note: The repugnant “n” word is used here only as a direct quotation. It may not be used in class.)
1. You know Papa wouldn’t sell anyone here.
2. Good. I consider religion to be a valuable thing in a nigger.
3. Shelby—this child will make someone a wonderful house pet.
4. By Jupiter! There’s an article! You could make a fortune on her in New Orleans.
5. I would ask you , sir, not to take the boy from his mother.
6. Hell, it’s easy done. Give her some earrings. She won’t make no fuss.
7. Trouble with you kintucky folk is you spoil you niggers.
8. How am I supposed to tell her we have sold her child?
9. T’aint right! T’aint none of it right!
10. If I go then everybody here gets sold----and I can’t do that.
11. Sir, as Mrs. Shelby is present, I shall ask you to observe something of the decorum of a gentleman.
12. Fifty dollars down flat. I know the catchin’ trade.
13. Here now Chloe. God is still lookin’ on.
14. I assure you sir, this precaution is entirely unnecessary.
15. Q: How can you chain people up like cattle? Have you no shame?
A: Just a business.
A: A dirty business.
A: T’aint no worse than the people who sell ‘em.
16. I have found two children of God.
17. Q: Papa, why must they wear chains?
A: Oh, it’s to keep them from runnin’ away.
A: Who would blame them for tryin’?
18. Someone’s gonna buy me but I don’t know who.
19. Therefore I was wondering just how much you were prepared to cheat me?
20. And this ‘un, not only can he read but he’s got a tolerable brain.
21. Did you say thy husband’s name is George?
22. Does thee still think of going to Canada?
23. This man who may be thy husband has arrived at the settlement.
24. These slaves are the plague of my life.
25. Mammy knows I’m not sleeepin’ well. I need little attentions, almost every hour.
26. Frankly, I wouldn’t want the responsibility of having slaves for anything in the world.
27. “Course, they ought to be flogged occasionally. They get so dreadfully lazy without it..
28. Four dollars a week. Do you know how long that’s going to take you? About five years.
29. Ophelia----I brought you a present. . . She’s all your to train and educate properly.
30. This little girl has been beaten every day of her life. All she needs is a little of my New England cousin’s upbringing.
31. Q: What is your name child?
A: Topsy, missis.
Q: Topsy, indeed!
32. They spoke of thee, Friend George, and of returning thee to thy master.
33. A driver is needed. I know the road. Do not ask for it is given.
34. I’ve seen them. The bright angels. They come in my sleep some time.
35. Q: How old are you?
A: Don’t know.
Q: Who is your mother?
A: Never had none, as I knows of.
Q: Where were you born?
A: Never was born. Was raised---by a Speculator. They buys ‘em up when they
is young.
Q: Topsy, have you ever heard about God? Do you know who made you?
A: Nobody, as I knows of.
36. If you confess, I won’t whip you this time.
37. This wicked, wicked child has stolen your red necklace.
38. Why in the world did you tell me you stole it?
39. Whoop me, ma’am!
40. I’d rather give you anything of mine then have you steal it.
41. You’re talkin’ about that demon, whiskey.
42. I’m going to have to try harder to abstain in the future.
43. We’re wastin’ time. They’re worth just as much dead as alive.
44. May I have the pleasure looking on?
45. My name is George Harris. I am a free man standing on God’s free soil and I claim my wife and my son as my own.
46. I think perhaps thee had better stay out of sight with thy speechifying, Friend George.
47. I think thee has found thy mark.
48. This wagon is thine. I shall get back on my own.
49. We’ll say our prayers for the Quakers as long as we live.
50. But why can’t we teach them all to read?
51. That’s a silly question. They haven’t the intelligence
52. But Tom can read.
53. but my darlin’ readin’ doesn’t teach them to work any better and they’re really not made for anythin’ else.
54. One day these pearls are goin’ to be yours to wear at your Comin’ Out Party.
55. I should say so! They’re worth a small fortune.
56. I wish I could have them right now.
57. So I could buy a small school, a place in the free states where we could teach the slaves to read and write.
58. Oh, my dear little Eva. Such a foolish chile! You don’t know anythin’ about these things.
59. You take care of Topsy and I’ll take care of Eva.
60. Q: Haven’t you ever had anyone to love, Topsy?
A: Me? I guess candy and sech.
61. Oh, no, Miss Pheely can’t bear me. She’d rather have a toad touch her ---Can’t
nobody love us niggers.
61. It’s true---she said that I can’t bear to have her touch me.
62. Leave it to a child. They’ll find out every time
63. Thee wilt not, sir. Bring in thy family at once!
64. Her lungs are filled with fluid. It could be very serious.
65. Oh how cruel! How very cruel! Here I am in the most wretched health and my only darlin’ daughter is goin’ down into the grave before my eyes.
66. He’s takin’ Eva out to the arbor. She wanted to see it one more time.
67. She say that she is sorry that her goin’ won’t stop our misery.
68. She’s got it, Tom. That chile’ has got the mark of the Lord on her forehead.
69. I started proceedings to grant you your enfranchisement. In other words, I’m going to make you a free man.
70. It was Eva, Tom. When she died she made me promise I’d let you go and I’d never break that promise.
71. Miss Eva was a messenger from the Lord.
72. I mean I’ve known two genuine saints in my life. I’ve lost one and I’m about to lose the other.
73. Augustine promised Tom his freedom before he died.
74. It’s absolutely impossible . . . Beside, what does he want of liberty? He’s better off as he is.
75. The servants will be sold. All of them. That’s final.
76. Topsy is mine, thank God. Augustine signed her over to me before he died.
77. That little baggage? I couldn’t care less.
78. They’re gonna sell us. The Missis gonna sell us—every last one of us.
79. Sold for $275 to Mr. Simon Legree.
80. Sold to Mr. Simon Legree for $1400.
81. This big fella here—they tell me he’s a mangin’ nigger. He’ll do real prime.
82. Used to doctor ‘em once upon a time. But it wasn’t worth the trouble. From now on when one nigger is dead I go out and buy me another.
83. I bet you never did have any earrings. Well, I’m gonna give you some.
84. You and me, we’re gonna have a fine time.
85. These here dogs would rather have you than supper.
86. See this one here? She’s yours. I told you I’d bring you one back.
87. You is my woman!
88. You want a beatin’?
89. Go ahead, beat me, kill me if you want. I wish I was dead.
90. I’m gonna make you happy. I’m gonna make you sooooo happy.
91. The lord? He don’t never visit these parts. Not that I know of.
92. Touch me! Go ahead! I’ll have you torn by those dogs and burnt alive. All I got to do is say the word.
93. I am gonna make you and overseer. You can drive all the others .
94. I want you to take that Lucy and flog her.
95. I’m not gonna raise my hand against that woman. It’s a sin.
96. The Bible says: Obey thy master. Well ain’t I your master? Didn’t I pay good money for you?
97. Nobody can buy my soul.
98. You’s in the devil’s hands and der’s no way out.
99. You lie here all beat up and you talk about Jesus?!
100.You beat up the best field hand you got in the middle of the pickin’ season!
1. I am gonna break that nigger. He will give up if I have to tear apart every bone in his body.
2. Q: Isn’t there some way we can get away from here?
A: Nowhere but the grave.
. 3. Take the brandy. It will make things easier when he comes at you again.
4. Don’t speak. Don’t look. Just keep walking.
5. We’re in Canada’Liza. We’re free! Don’t look back. Don’t ever look back.
6. We got no money. Got no roof over out head. We got plenty of fields to work and
I feel like we own the world!
7. Would you sell your soul to the devil for that?
8. All I can do is hate and cuss. That’s all I got inside me.
9. You run. You run for your life. For without faith you will not survive.
10. One night he kill someone up dere [the garrett] and ever since then he heard
voices in his head.
11. You’d steal from him?
12. He stole it, didn’t he? Off our sweat!
13. I have made up my mind that I am gonna kill you ‘lessen you tell me what happened to them.
14. I am gonna take every drop of your blood.
15. You take my blood. That is nothing. No—you can hurt me no more.
16. Well, at least it stopped his mouth from preachin’ and that is a comfort.
17. Kimbo, I done think we done a wicked thing cause I ain’t never felt like this before.
18. I understand you purchased a man named Tom. He used to belong to my father and I am here now to buy him back.
19. That nigger is the curse of the world.
20. He’s in da shanty, suh.
21. I’m here to buy you back, Tom. I’m gonna take you home.
22. Can’t do that now. Goin’ to the Glory now.
23. I’m free. I’m free.
24. Now who you gonna have as a witness?
25. What’s all the fuss about/ just one more dead nigger.
26. You put chains on all yours now. God forbid I take it from him!
NAME______________________________________DOC. NO.______________
Moby Dick by Herman Melville (1819-1891)
MOBY DICK QUOTES
(Peck Video, l956)
(Fill in the speaker.)
1. Call me Ishmael
2. The sea, where each man, as in a mirror, finds himself.
3. You ain’t no objection to sharing’ a harpooner’s bed with him?
4. The men of New Bedford; the sea is ours and the whale is ours.
5. Mind you lad, if God ever wanted to be a fish, he’d be a whale.
6. Aye, Ahab’s Ahab.
7. He’s what you might call a dark complexioned chap.
8. You no speak, I kill you.
9. Landlord! Peter Coffin! Coffin, Save me!
10. Why didn’t you tell me I was sleepin’ with a cannibal?
11. Better a sober cannibal than a drunken Christian!
12. If we would obey God, we must disobey ourselves.
13. The whale vomited out Jonah on to the sea shore.
14. Jonah did the Almighty’s bidding . . . to preach the truth to the face of falsehood.
15. I sign too. Your boat my boat. I eat same food . . . we kill same whales. We friends.
16. If ye want to know about whalin’, clap an eye on Captain Ahab. Ye’ll see a man torn apart from crown to heel and spliced back together with sperm whalebone. His looks tell more about mortality than all the church-at sermons.
17. Was not Ahab of old a very wicked king? And when he was slain did not the dogs lick his blood?
18. Sign the paper and wrong him not because he happens to have a wicked name.
19. I suspect thee art not a Christian. Doth thee attend church on Sunday? Doth thee know and obey the Ten Commandments?
20. Did they tell you how his mother birthed him, turned from him, gave him his evil name, and died?
21. At sea one day, you’ll smell land where there’ll be no land. And on that day, Ahab will go to his grave. But he will rise again within the hour. He’ll rise and beckon--- and all, all save one, shall follow.
22. Ahab come out in moonlight.
23. With the marks of some inner crucifixion and woe deep in his face.
24. All you mastheaders, now hear me: You are to look for the white whale, a whale as white and as big as a mountain of snow.
25. Whosoever of ye finds me that white whale, ye shall have this Spanish gold ounce, my boys!
26. It’s a white whale I say. Skin your eyes for him.
27. Captain Ahab, was it not Moby Dick took off thy leg?
28. Aye, it was Moby Dick who tore my soul and body till they bled into each other.
29. Go draw the great measure of grog.
30. Drink and pass, round and round . . . it’s hot as satan’s hoof.
31. That same lightning that struck me, I now strike to this iron. Does it burn, men?
32. Drink ye harpooners, drink and swear.: God hunt us all if we do not hunt Moby Dick to his death.
33. Timor Tim, New Zealand Tom, and Morkan, King of the Japan sea.
34. He is white, whiter than all the snow that ever fell. Like a great marble tombstone afloat is he.
35. All oceans: He’s been spied in different oceans a thousand miles apart at the same hour on the same day. Immortal he is they say. (UBIQUITOUS)
36. I say what I say.
37. Sleep/ That bed is a coffin and those are winding sheets. I do not sleep; I die.
38. Sea mile by sea mile, I know their hidden journeys like the blood pumping in my veins.
39. One we’ve attended to our bigger business.
What’s that, sir?
Him, Mr. Starbuck. Him.
40. I came here to hunt whales not my commander’s vengeance.
41. Money’s not the measure, man. It will fetch me a great premium, here.
42. To be enraged with a dumb brute that acted out of blind ignorance, is blasphemous. Speak not to me of blaspheme, man. I’d strike the sun if it insulted me. (HUBRIS)
43. The White whale tasks me, he heaps me. Yet he is but a pasteboard mask. Tis the thing behind the mask I chiefly hate, the malignant thing that has plagued and frightened man since time began.
44. The crew stands with me Mr. Starbuck. You heard them swear.
45. Thee needn’t fear Starbuck. Let Ahab beware Ahab. Beware thyself, my captain.
46. The sun has baked your brains!
47. Like it so much I mean to have me other arm cut off.
48. Pip! Fetch rum!
49. Aye, a whale took me arm for his breakfast. Devilish big he was. Pushed the waves in front of him like a mountain . . . Old he was, and scarred, like Jerusalem’s hills.
50. Stop the hunt! Pick up your boats. We’re setting sail.
51. Mr. Starbuck, are you opposing me? If so, I’ll have ye know there is one God that is lord over the earth and one captain over the Pequod.
52. I do not give reasons Mr. Stubb, I give orders!
53. We been killin’ sir. Tis a hard thing to stop killin’ when ye been killin.
53a. This is an evil voyage I tell thee.. If Ahab has his way, neither ye nor me nor any member of this ship’s company will ever see home again.
54. It is our task in the world to kill whales and furnish up their oil for the lamps of the world.
55. He is twisting that which is holy into something dark and purposeless. He is a champion of darkness. Ahab’s red flag challenges the heavens.
56. Wrest his command from him? Does that mean take over?
57. Captains can’t break the law. They IS the law as far as I’m concerned.
58. You’re in dangerous waters Mr. Starbuck. Helm hard over. Come about.
59. A laugh’s the best answer to all the strains in life.
60. That coin’s worth sixteen dollars! I’ll be the first to sight the white whale.
61. The sea just swallowed him up. Queer!
62. April 19, 1842. Ahab’s chart and the new moon and Moby Dick rising together; but the moon has lost its horns and there’s no sign of the white whale yet. Seven days and seven nights on deck on watch and he ain’t gone below yet.
63. Since the lookout fell into the sea the wind don’t move and the tide don’t move. Even the sun is nailed to the sky like that gold coin is nailed to the mast.
64. See tomorrow here: Bones tell everything.
65. How much you build coffin for? . . . Build coffin, 6 feet seven inch, clean wood. Make like best boat: caulk and tar seams----no water come in. Carve chief’s feather on lid.
66. Money yours. Sea chest yours. My harpoon yours. Goodbye.
67. Queequeq, I absolutely forbid you to die. Queequeg, such behavior simply isn’t Christian. In fact, it is downright pagan and heathenish.
68. I’ve seen this before lad. One day for no reason they know that death is near. They give away all their belongings and they sit down and they just wait to die.
69. It’s Him. Oh, it’s Him.
70. Aye, we all see it; but, that don’t mean it’s real, necessarily.
71. He’s near. He’s very near.
72. That ain’t no whale. That a great white God.
73. About! Back to the ship! We’ll tie on and row for a wind!
74. “… while the white whale swam on widening the waters between himself and Ahab’s vengeance.
75. This man has his Spanish gold ounce. You shall have yours: When Moby Dick is struck and killed on that day you shall have your share of my 10% of the profits of this entire voyage. Every ounce of Moby Dick’s blood, another Spanish doubloon.
76. Pip! Grog, all around
77. Captain Gardener, I seek the white whale, your own son’s murderer. I am losing time.
78. Time? I’ve lost my whole world.
79. Avast, touch not a rope.
80. God help you Captain Gardener.
God Forgive you, Captain Ahab.
81. What say ye, all ye men? Will ye give as much blood as is needed to temper the steel?
82. To my anger now add your own. You be the cogs that fit my wheel . . . pledge yourself , heart, soul, body, life and lung as I pledge myself: Death to Moby Dick.
83. Earn your salt!
84. Mr. Starbuck, we’re three days behind Moby Dick. This wind is heaven sent!
85. Heaven sent to destroy us!
86. Let fall, I say! I’ll run you through!
87. St Elmo’s Fire
88. Aye, men, mark it well. It lights our way to the white whale.
89. Thus, I put out the last fear.
90. Jump my hearties! Jump!
91. Where are the crew of the Pequod. There is not one I know among thirty. Look at them. He has snatched their souls. They are gloves. Ahab fills them. Ahab moves them.
92. I see a madman beget more madmen.
93. Why this madness of the chase. This boiling blood and sulking brow?
94. I feel old, Starbuck, and bowed as though I were Adam staggering under the piled centuries since Paradise.
95. Let me look into a human eye. Tis better than to gaze into sea or sky.
96. What nameless, inscrutable, unearthly thing commands me against all human lovings and longings to keep pushing and crowding and jamming . . .?
97. Is Ahab Ahab? Is it I, God, or who who lifts this arm? For if the great sun cannot move except by God’s invisible power, how can my mere heart beat my brain think thoughts unless God does that beating does that living, does that thinking and not I?
98. Look ye into its deeps and see the everlasting slaughter that goes on. Who put it into its creatures to chase and fang one another ?
99. Because I do not have the bowels to slaughter thee and save the whole ship’s company from being dragged to doom.
100. Ye are tied to me Starbuck. This act was immutably decreed. It was rehearsed by ye and me a billion years before this ocean rolled.
101. No, Pip. Stand on board. Ye be captain in my absence. Stand ye there in my place.
102. Let the men go!
103. Thunder and hell, what’s wrong with ye?
104. Oh, ye whale, ye damned whale!
105. From hell’s heart I stab at thee. For hate’s sake I spit my last breath at thee thou damned whale!
106. Ahab beckons. He’s dead but he beckons.
107. In after Him!
In after that devil?
108. Moby Dick’s no devil. A monstrous big whale, aye but a whale, no more. And we’re whalin’ men, no less.
109. The coffin, drowned Queequeg’s coffin was my lifebuoy.
110. The Rachel, who in her long, melancholy search for her missing children, found another orphan.
111. The drama’s done. All are departed away. The great shroud of the sea rolls over the Pequod, her crew and Moby Dick. I only am escaped alone to tell thee.
Name_______________________ Doc. No.________
(Fill in the speaker.)
Oedipus Rex Quotes
Author: Sophocles (496-406 BCE)
(Pennington Video, l987)
Location: Thebes, Ancient Greece
Time : circa 500 BCE
1. I am Oedipus the King; everyone knows my name.
2. This city is like a warship defeated in battle, wallowing aimlessly in a sea of blood.
3. …those deeper mysteries of life where the mind touches eternity.
4. You, a young man newly arrived here, solved the riddle of the sphinx.
5. An unmanned ship needs no captain: a city that is empty because its people are dead, has no further use for a king.
6. I’ve walked every corridor of the palace and all the secret galleries of my mind searching and searching what best to do.
7. There is something unclean in our city, born here, living here. It pollutes everything …We harbor it; we must drive it out.
8. What crisis could be greater than a murdered king? [REGICIDE]
9. With the Gods help we shall find out the truth and save our city. We must, or be destroyed. [POLYTHEISM}
10. A whole city slowly dying from an enemy no man can fight, slime and fungus on orchard and meadow, death in the womb and birth in the shadow of death.
11. Let this curse fall on him too: barren earth, barren cattle, a barren wife.
12. No murderer fears words if he can stomach murder.
13. The blind man, Tiresias: he sees into the heart of things and has solved more mysteries than any man living
14. Mine is a terrifying gift. What use is wisdom when it leads to suffering?
15. I can’t change the future, only describe it. What will happen, will happen, whatever I say.
16. You are the unclean thing, the dirt that breeds disease.
17. You are the murderer of the murdered king…I know, but you do not, that the woman you love is not the woman you love, that the relationship is taboo, disgusting, and will destroy you. [TABOO]
18. Creon isn’t your enemy, you are.
19. To his children, who he loves, he is brother and father; to the woman who bore him, lover and son; to his father, he is killer and the man who supplants him.
20. Some may see deeper, and some may not, because wisdom is a juncture shared unequally among men.
21. A reliable friend is a precious possession, worth a man’s life.
22. Time is the one incorruptible judge: one minute is long enough to accuse a man; to prove his innocence takes longer.
23. An unforgiving nature breeds misery in its own heart, not that of its enemy.
24. Set your mind at rest; no one can forecast the future.
25. When Laius was alive, an oracle told him …that he would be killed by his own son, our own child, and it didn’t happen.
26. The Gods always get their own way without anyone’s help when they’re ready.
27. Jocasta, I remember --- my brain’s a turmoil, feelings, memories.
28. Oh Zeus, what would you do to me?
29. My father, Polybus, was Corinth born and Merope, my mother, came from Doris. At a banquet one day … a man who had drunk too much jeered at me and said I was not my father’s son … I went to the Oracle at Delphi and heard a catalogue of horrors . . .I would marry my own mother and father children on her conceived incestuously and I would become notorious for it throughout the world. As if this were not enough, I would kill my own father…
30. These same hands that murdered him have fondled his wife.
31. A son of mine would kill him the oracle said and it didn’t happen. My poor little boy killed no one. He was the one who died years before any of this happened.
32. They never sleep nor decay with age as men decay. They run their courses from immortal sources.
33. The King is confused at the moment by his own nightmares and fantasies.
34. He seeks absolute power and in one foolish hour overreaches himself. [UNITIES OF TIME AND PLACE]
35. One message causing two such opposite reactions? Tell me!
36. Polybus is dead? The father of Oedipus is dead? The one man Oedipus has kept clear of for all these years for fear he should murder him and that man is dead at long last and Oedipus had nothing to do with it?!
37. Polybus is dead and so is the oracle with all its prophecies: dead and rotten!
38. Fear? Why fear? We live our lives at the mercy of chance, the purest coincidence. No one can predict the future, so why fear it?
39. As for marrying your mother, you’re not the first man to dream that dream. Every man is his mother’s lover in imagination or daydreams. It is commonplace.
40. Your ankles were drilled through and tied together. How else did you get your name? Oedipus---swollen foot--- Well, that’s what it means, isn’t it?
41. Listen to me in heaven’s name. If you want to stay alive, this search must end.
42. My God, you’re doomed. You can’t escape. I have one wish and one wish only, that you never find out who you really are.
43. Storms, hurricanes, let them come. I have traveled this far and now I am determined to discover my identity. If my birthplace was the gutter, I’ll find it out.
44. Finished. No chance now. You’re doomed. I’ve said all there is to say and my last words to you forever.
45. But who I am, that I must know and I will know it.
46. He was Laius’ servant, and honest as the day.
47. If you are that man, sir, the boy my friend took to Corinth, you were marked out for suffering from the day you were born.
48. All, all of it. I know it all now. Nothing left to find: My parenthood,a crime; my marriage, a crime; and that murder, committed on my own father. I see it all now.
49. Like a shadow blown in the dust is the short life of man.
50. We have all seen Oedipus the King brought down to misery.
51. Suffering, brief happiness, pain is mortal man’s destiny.
52. Was there ever a reversal of fortune more terrible than this?
53. Oedipus, world famous king, when you sucked and fondled at the same breast; how could the flesh keep silent so long where both son and father caressed?
54. She beat on the bed where she conceived a husband by a husband and children by a child.
55. Her fertile belly, twice it’s been harvested: Me and my children.
56. There were two golden brooches pinned on her dress. He opened them up and lifted them to arm’s length and plunged them down into his eyeballs----again and again.
57. So that all Thebes will see the father killer and mother ----, I can’t say that word in public.
58. Have any man’s eyes ever seen suffering more terrible?
59. Some destructive impulse in man prowling around you waiting its chance: I am fascinated and horrified.
60. Is that my voice looking like a ghost in front of my face?
61. This is his life now, to suffer twice over: The body’s sharp pain and the mind’s dull ache.
62. To make a prison cell of my mind in solitary confinement from the world.
63. The pain in the flesh is doubled in the mind: Ignorance made you happy the truth has made you blind.
64. Now my name will be known forever: My father’s killer, my mother’s lover.
65. Will there be any horror or shame not synonymous with Oedipus’ name?
66. …entering so joyfully the same passage that gave me exit into the world.
67. A marriage for a monster: father, brother, son, bride, wife, mother, sisters all confused, horribly mingled in a liaison too filthy to give a name to.
68. These hands are your father’s hands and your brother’s.
69. And who will marry you under these circumstances? No one. Virginity and barrenness are all you can look forward to.
70. Haven’t you of all people learned to trust the Gods?
71. Don’t give me orders. Those days are over. Your orders have brought you to this. Now you must learn to obey.
72. You have all seen Oedipus the King … overwhelmed by a tidal wave of disasters that will sweep him to his grave.
73. Judge no man’s life until he is dead.
74. Call no man fortunate or safe from pain till he lies in his last, everlasting bed and the earth covers his head.
HARMARTIA
HUBRIS
QS
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