Unit 6: A Turbulent Time: Unrest In Merry Ol’ England
A Turbulent Time: The 17th and 18th Century Read pages ______-______ in your textbook and fill in the
following CLOZE summary.
The “Turbulent Time” occurred during the 17 th and 18th century from approximately _______-______ (years). This period of time
began with the beheading of King ______________ and the abolition of the ____________. Charles I had clashed with a newly
established ______________ over economic trails. Charles wanted money for ______________ , but Parliament refused to fund him.
Much of this unrest was due to the loss of security that came with the astronomical discovery that the ______________ was NOT the
center of the universe as well as a change in ______________practices as traditions were lost during this shift. These changes in
religious practices were fuelled by religious persecution, particularly of the ______________ who believed they should have the right
to elect their own ministers, a very ______________ idea.
All of this unrest led to civil war in the year ______________ after Charles I was condemned as a ______________. Led by Oliver
______________, the royalists were defeated. They imprisoned Charles I, condemned him for treason and put him to
______________.
Many hoped that the civil war would lead to greater ______________, but it really led to economic ______________. After
______________’s death, the country was tired of turbulence and offered the crown to Charles I’s exiled son, ______________ and
the monarchy was reestablished in the year ______________. After having lived in France, life beneath this new King followed
Parisian traditions and the arts began to flourish once more under foreign influence.
Religious differences continued to rage when ______________ took the throne after Charles II. James II was ______________. As a
result, revolutionists invited James’ daughter ______________ and her husband ______________ to rule and James was exiled,
without one drop of blood spilt. Parliament gained more power as a ______________ monarchy was established under William and
Mary. Two political parties emerged from the aristocratic class, the conservative ______________ and the more liberal, merchant
class ______________. This was soon followed by the establishment of a ______________ and a ______________ ______________
unified the growing governmental rule.
In addition to the ever-changing political climate the ______________ revolution produced more food, the ______________ age
began to grow in the cities with the invention of new technologies like ______________ and the ______________ made all this
scientific discovery possible by encouraging free thinking and discussion. But by the year ______________, the Enlightenment was
eclipsed by industrialization that changed the definition of “progress” to mean ______________.
Religious Unrest, Civil War and Milton
After _____________ years of research, _____________ clergy appointed scholars distributed their
research to a committee of _____________ who gave a final review and the King James’ commissioned Bible
was printed in the year_____________.
John Milton
Background: Read page _____ and fill in the blanks.
Milton is considered a great poet, whose greatest work is ______________. He was born to privilege and due to his staunch beliefs,
he writes mainly of ______________ topics having been dubbed “God’s ______________”. While serving under Oliver
______________, Milton lost his eyesight, was then imprisoned by the restored monarchy and wrote Paradise Lost in the year
______________, perhaps inspired by the unrest in his own country. Milton’s sonnets focused on a variety of subjects rather than the
simple love themes of his predecessors, Shakespeare and Sidney.
Sonnet VII
Sonnet XIX
How soon hath Time, the subtle thief of youth,
Stolen on his wing my three and twentieth year!
My hasting days fly on with full career,1
But my late spring no bud or blossom showeth.
5Perhaps my semblance might deceive2 the truth,
That I to manhood am arrived so near,
And inward ripeness doth much less appear,
That some more timely-happy spirits3 endueth.4
Yet be it less or more, or soon or slow,
10It shall be still5 in strictest measure even
To that same lot,6 however mean or high,
Toward which Time leads me, and the will of Heaven;
All is, if I have grace to use it so,
As ever in my great Taskmaster’s eye.
When I consider how my light is spent
Ere half my days, in this dark world and wide,
And that one talent1 which is death to hide,
Lodged with me useless, though my soul more bent
5To serve therewith my Maker, and present
My true account, lest he returning chide;
“Doth God exact day labor, light denied?”
I fondly2 ask; but Patience to prevent
That murmur, soon replies, “God doth not need
10Either man’s work or his own gifts; who best
Bear his mild yoke, they serve him best. His state
Is kingly. Thousands3 at his bidding speed
And post4 o’er land and ocean without rest:
They also serve who only stand and wait.”
King James Bible Excerpt
What is paradise?
Genesis 1:1-8
1In
the beginning God created the heaven and the earth. 2And the earth was without form, and void; and darkness was
upon the face of the deep. And the Spirit of God moved upon the face of the waters. 3And God said, Let there be light: and
there was light. 4And God saw the light, that it was good: and God divided the light from the darkness. 5And God called
the light Day, and the darkness he called Night. And the evening and the morning were the first day. 6And God said, Let
there be a firmament in the midst of the waters, and let it divide the waters from the waters. 7And God made the
firmament, and divided the waters which were under the firmament from the waters which were above the firmament:
and it was so. 8And God called the firmament Heaven. And the evening and the morning were the second day.
Genesis 3
1Now
the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the
woman, Yea, hath God said, Ye shall not eat of every tree of the garden? 2And the woman said unto the serpent, We may
eat of the fruit of the trees of the garden: 3But of the fruit of the tree which is in the midst of the garden, God hath said, Ye
shall not eat of it, neither shall ye touch it, lest ye die. 4And the serpent said unto the woman, Ye shall not surely die: 5For
God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and
evil. 6And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be
desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did
eat. 7And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and
made themselves aprons.
8And they heard the voice of the LORD God walking in the garden in the cool of the day: and Adam and his wife hid
themselves from the presence of the LORD God amongst the trees of the garden. 9And the LORD God called unto Adam,
and said unto him, Where art thou? 10And he said, I heard thy voice in the garden, and I was afraid, because I was naked;
and I hid myself. 11And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof I commanded
thee that thou shouldest not eat? 12And the man said, The woman whom thou gavest to be with me, she gave me of the
tree, and I did eat. 13And the LORD God said unto the woman, What is this that thou hast done? And the woman said, The
serpent beguiled me, and I did eat. 14And the LORD God said unto the serpent, Because thou hast done this, thou art
cursed above all cattle, and above every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days
of thy life: 15And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy
head, and thou shalt bruise his heel. 16Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in
sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee. 17And unto
Adam he said, Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded
thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy
life; 18Thorns also and thistles shall it bring forth to thee; and thou shalt eat the herb of the field; 19In the sweat of thy face
shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt
thou return. 20And Adam called his wife's name Eve; because she was the mother of all living. 21Unto Adam also and to his
wife did the LORD God make coats of skins, and clothed them. 22And the LORD God said, Behold, the man is become as
one of us, to know good and evil: and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for
ever: 23Therefore the LORD God sent him forth from the garden of Eden, to till the ground from whence he was taken. 24So
he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every
way, to keep the way of the tree of life.
1. What did Adam and Eve gain by eating the apple?
2. What did they lose?
3. In your opinion, is knowledge worth pain? Explain.
Paradise Lost - Book 1 Discussion Questions
1. Name at least four epic conventions at work in this excerpt
a.
b.
c.
d.
2. Why do you think Milton chose to write Paradise Lost in the epic form? Why not a sonnet? Why not
a simple narrative poem? What does the epic genre do for the story as a whole?
3. According to Milton, why is he writing Paradise Lost? Does God need his ways justified?
4. Do you see any similarities between Milton’s Satan and Shakespeare’s Macbeth? What flaws might
both share? What strengths might both share? Use the Diagram below to help organize your thoughts.
(HINT: lines 36-70 are helpful)
Macbeth
Milton’s Satan
3
5. What type of leader is Satan? Find 1 quote to support your interpretation.
6. Paraphrase the following quote: “The mind is its own place, and in itself / Can make a Heaven of
Hell, a Hell of Heaven.” Do you agree with these comments?
7. Note the most powerful description of Hell from Book 1.
7. Is it preferable to live in a prison as a warden or to be a servant in a beautiful place for a demanding
master? What is Satan’s opinion on that question? Find a quote to support your claim.
8. Is God a tyrant? Explain.
“an absolute ruler unrestrained by law or constitution; a usurper of sovereignty; a ruler who exercises absolute power oppressively or
brutally.”
4
The Mock-Epic: Alexander Pope’s The Rape of the Lock
Alexander Pope (1688-1744) is regarded as the most important poet of the early eighteenth century. Though he was a child prodigy,
he could not attend England’s best schools because of his Catholicism. He also had a physical disability, but persevered to achieve
admiration and lasting fame.
Literature in Pope’s time, like men in society, was thought to be “polished” or “polite”—vulgarity of all sorts was abhorred. Poetry
avoided straightforward reference to coarse, everyday things and sought for the most elegantly witty kind of language.
 Elevation of language varied by theme: high = heroic/epic, low = satirical.
only if the reader is in on the joke.
 Thus, Pope shows prowess with his mock-heroic style, although
When those around him became jealous of Pope’s early literary success and launched into ridicule, Pope turned to satire as a defense
mechanism.
o ___________________: pokes fun at society or human behavior with the aim of improving it; a corrective device
focused on human or individual vices, follies, abuses, or shortcomings.
o
___________________: imitates or mocks an original work, its genre, its author, or its subject.
A Few More Familiar Examples:
The Daily Show
The Canterbury Tales
Animal Farm
The Onion
Borat
“Weird Al” Yankovic
Family Guy
Catch-22
South Park
The Colbert Report
Thank You for Smoking
SNL
The Simpsons
The Office
* Pope’s The Rape of the Lock – A parody of the epic genre, called a mock epic. It utilizes epic conventions
to present an insignificant subject. The outcome is an outrageous divide between the matter and the manner of
expression.
The Rape of the Lock is largely a parody of the epic genre, for which Pope has respect, but it contains a satirical look at aristocratic
society in Pope’s own time. As you read, identify the traditional epic conventions shown in a whole new light—Pope’s choice of an
insignificant subject results in an outrageous divide between the matter and the manner of expression.
5
Epic Conventions in The Rape of the Lock
For each of the epic conventions in the chart below, identify specific lines in the poem in which Pope exaggerates,
understates, or otherwise manipulates the traditional epic devices. Be sure to describe Pope’s version as well.
Epic Convention
Lines in The Rape of the Lock
Trivial Activity Described
invocation of a muse
elevated language
epic similes
“brave” hero
perilous journey
existence of the Underworld
battle/war
appeals to or involvement of gods
description of warriors
6
Mock Heroic Epic Rubric
The Good
The Bad
"Let Wreaths of Garlands Now Your
Temple Twine!"
"Cease, Rash Youth!"
1. Complete story line
2. Some character development
3. At least 1 classical allusions
4. Good use of elevated language
5. Appropriate, consistent tone
6. At least 20 lines of rhyming couplets
7. Very few surface errors
1. Gaps in the story line
2. Minimal character development
3. No classical allusions
4. No attempt at elevated language
5. Indefinite tone
6. Less than 20 lines
7. Frequent surface error
Things to Keep in Mind
Mock Epic includes many or all of the conventions:
1. Invocation of muse
2. Elevated language- which Pope calls “pompous expressions”
3. Epic similes
4. A “brave” hero
5. Perilous journey
6. Prayers/Sacrifices to Gods/Goddesses
BUT… It is written about something or someone
insignificant
Form 10 syllables per line. Heroic Couplets (rhyming lines) aa, bb, cc, dd, …
Some silly, insignificant ideas:
Heroes: Miley Cyrus, Ms. Carmichael, yourself, your dog, another student.
Tension:
A prom date shows up late; a bowling enthusiast forgets his favorite bowling shoes; a traveling rodeo clown loses
his job to robotic rodeo clowns; a dog tries to bite its tail; getting milk for morning cereal
Due Date: _____________________________________________
FORMAT: 25 points total
The epic is handwritten NEATLY or typed in MLA format
The glaring errors in the epic
The epic includes a first-page header and subsequent page-number headings.
The epic has an adequate title, centered on the first page.
The epic contains line numbers every five lines to guide the reader.
0
0
0
0
0
1
1
1
1
1
2
2
2
2
2
3
3
3
3
3
4
4
4
4
4
5
5
5
5
5
0
0
0
0
0
0
0
1
1
1
1
1
1
1
2
2
2
2
2
2
2
3
3
3
3
3
3
3
4
4
4
4
4
4
4
5
5
5
5
5
5
5
STYLE, GRAMMAR, and MECHANICS: 35 points total
The epic has a complete story line
The epic has some character development
The epic uses elevated language and rhyming couplets
The epic uses at least 1 classical allusion
The epic demonstrates adequate sentence variety, avoiding run-ons or fragments.
The epic has at least 20 lines
The epic has an appropriate tone and is about something insignificant
TOTAL
7
Unit 7: Satire: Exposing Human Folly
“A Modest Proposal” (1729) by Jonathan _______________
Before reading
Define the following terms:
Understatement
Mockery
Exaggeration
Farce
Irony
About this pamphlet:
• standard _______________format
• opening that presents the _______________and _______________
• a body that develops the _______________with details
• a conclusion--states the _______________that would accrue from his proposal.
• Supports a political position through _______________.
• Remember that with _______________nothing is quite what it seems due to the _______________used.
Historical Influences—causes
_______________Gains Power over Ireland_______________Protestant-Catholic
Conflicts_______________Gains Power_______________mostly Catholic _______________
Historical Influences—effects
• Laws limit Irish rights to hold government office, purchase real estate, get an education, etc.
• By 1703 the _______________owned 90% of the land
• Irish worked on farms owned by English.
• English charged high rent.
• Irish couldn’t afford rent.
• Therefore…____________________________________________________________
• Irish are being taken advantage of but DON’T _______________BACK
Author’s Purpose: To call attention to abuses inflicted on Irish _______________by well-to-do English
_______________. SATIRE=_______________You should respect everyone.
Author’s Background: Swift was _______________but also an _______________native—what does this tell
you? ____________________________________________________________________________________
Exploitation of the Downtrodden
Themes:
Prejudice
(Irish) Inaction
During Reading: Page 615-622
I HIGHLY suggest you fill out the bolded as you read to help you understand  You might even be able to use it on your QUIZ.
“A Modest Proposal”
Speaker
Audience
Conditions
REAL LIFE
An Irish Economist
Jonathan Swift
The Irish Wealthy
English and Irish
Overpopulation, Family values, Economic troubles, Government aid (or lack of)
Starvation, Disease, Poverty
Solutions (Swift’s
Proposal)
Tax British
Refuse imports to build
Have some pride
Nationalism
Show mercy to tenants
Stimulus package?
Stop persecuting
Result intended
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Carmichael Quarter 2 Packet 2014-2015
After Reading: Done as class work
Arguments for Proposal
Evidence to Support Argument
1. Lessen # of Papists
2. Gives the poor valuables
3. Financial gain
4. Breeders burden lifted
5. Increase restaurant business and appeal
6. Increase marriage rate
READ AND ANNOTATE THE FOLLOWING PASSAGE
In “A Modest Proposal,” Swift makes an absolutely horrible proposal. No one could possibly take him seriously,
and yet most of the facts that Swift relates are accurate, and little exaggerated. Ireland was incredibly poor. It was
overpopulated, taxed heavily, and periodically stricken by famine. Absent English landlords owned most of the useable
land and rented it to Irish tenant farmers or hired laborers to work it. The landlords were then paid for use of the land with
the crops they produced. The Irish were so poor, they could not afford to buy the produce of their own country. Starvation
was real and government support to help people was virtually nonexistent. Irish manufacturing was in almost the same
situation. There was little of it, and English law prevented Irish manufacturers from competing with English companies.
Ireland’s industry, like its agriculture, served only to help the English.
While the Irish suffered, no one did anything about it. Ireland was a colony of England and was dominated by
England’s wealth, military might, and government. It had a legislature, but it was controlled by England. Moreover, the
legislature seemed incapable of using the power it did have. Swift had made several practical and serious proposals to the
Irish legislature that would have helped improve conditions in Ireland—he describes these suggestions in “A Modest
Proposal.” All of these ideas were rejected. The Irish seemed unwilling to even try to help themselves.
DIRECTIONS: Answer the following questions based on the material you have just read and on “A Modest Proposal.”
1. In what way were the English responsible for the suffering in Ireland?
2. In what way were the Irish responsible for the suffering in their own country?
3. In “A Modest Proposal,” the narrator believes his proposal “will not be liable to the least objection.” As he presents his
case, it becomes clear that all parties have become dehumanized—the Irish and the English are indifferent to suffering and
the dignity of human life. Who do you think has become the more dehumanized, the English (to eat babies) or the Irish (to
be eaten)? Do the historical facts support Swift’s interpretation? Explain.
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Carmichael Quarter 2 Packet 2014-2015
A Modest Proposal For the US System of Education Questions
1.
2.
3.
4.
What does Megan Pankiewicz compare students in schools to?
What is she literally saying about schools?
What is her tone?
What change in schools is she trying to inspire?
A Modest Proposal For the US System of Education Assignment
Create a satirical piece using the educational “hot topic” you’ve been assigned. You may draw a cartoon, write a proposal,
or create a multimedia presentation (video, PowerPoint, etc.). Make sure that you use satirical elements and creativity to
inspire the change you wish to see in our educational system. You will be presenting these 
Elements
Completed
project
Cartoon
Proposal
OR Multimedia
Creativity
Style
Time/thought
Presentation
Peer evaulation
I.
II.
III.
IV.
V.
VI.
Total Points
Pictures, graphic, satirical elements, clearly seen from a distance,
relates to research project
At least 300 words, typed, MLA format, satirical elements, relates to
1 2 3 4 5 6 7 8 9 10
research project
5-7 minutes, or 10 frames (PowerPoint), satirical elements, relates to
research project
1 2 3 4 5 6 7 8 9 10
Colorful, well thought out, unique elements, relates to research project
1 2 3 4 5 6 7 8 9 10
powerful satire that evokes reaction, done neatly, inspirational
1 2 3 4 5 6 7 8 9 10
Neat, clean, legible, evidence of higher order thinking
1 2 3 4 5 6 7 8 9 10
Prepared, speaks clearly, relates satire to project and offers an
explanation, uses outline
1
2
3
4
5
Completed
Total points_________/ 55 points possible
Letter Grade________________________
Template for Presentation outline:
Introduce yourself (be unique; grab attention; don’t bore us to death)
Introduce your project
a. Project you chose
b. Why you chose that one (and because it took less time is not a good thing to say)
c. What your inspiration was
Explain your project in detail (put details in logical order)
Explain how it is satire; use specifics (elements of satire you used etc.)
Ask if anyone has questions (Wait and then answer)
Thank your audience (be unique)
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Carmichael Quarter 2 Packet 2014-2015
HIGH SCHOOL STUDENTS DEMAND WARS IN EASIER-TO-FIND COUNTRIES
Washington, D.C. (SatireWire.com) — A delegation of American high school students
today demanded the United States stop waging war in obscure nations such as Afghanistan,
Kuwait, and Bosnia-Herzegovina, and instead attack places they've actually heard of, such
as France, Australia, and Austria, unless, they said, those last two are the same country.
"People claim we don't know as much geography as our parents and grandparents, but it's so
not our fault," Josh Beldoni, a senior at Fischer High School in Los Angeles, told the Senate
Armed Services Committee. "Back then they only had wars in, like, Germany and England,
but we're supposed to know about places like Somalia and Massachusetts."
"Macedonia," corrected committee Chairman Carl Levin of Michigan.
"Shouldn't we, as Americans, get to decide
where wars are?" asked sophomore Kate
Shermansky.
"See?" said Beldoni.
Beldoni's frustration was shared by nearly three dozen students at the hearing, who blamed the U.S. military for making them look
bad.
"I totally support our soldiers and all that, but I am seriously failing both geography and social studies because I keep getting asked to
find Croatia or Yemvrekia, or whatever bizarre-o country we send troops to," said Amelia Nash, a junior at Clark High School in
Orlando, Fla. "Can't we fight in, like, Italy? It's boot-shaped."
Chairman Levin however, explained that Italy was a U.S. ally, and that intervention is usually in response to a specific threat.
"OK, what about Arulco?" interrupted Tyler Boone, a senior at Bellevue High School in Wisconsin. "That's a country in Jagged
Alliance 2 run by the evil Queen Deidranna. I'm totally familiar with that place. She's a major threat."
"Jagged...?" said Levin.
"Alliance. It's a computer game."
"Well, no," Levin answered. "We can't attack a fictional country."
"Yeah right," Boone mumbled. "Like Grenada was real."
The students' testimony was supported by a cross-section of high school geography teachers, who urged the committee to help lay a
solid foundation for America's young people by curtailing any intervention abroad.
"Since the anti-terror war began, most of my students can now point to Afghanistan on a map, which is fine, but those same kids still
don't know the capitals of Nevada and Ohio," said Richard Gerber, who teaches at Rhymony High School in Atlanta. "I think we need
to cut back on our activities overseas and take care of business at home, and if that means invading Tallahassee (Fla.) or Trenton (N.J.)
so that students learn where they are, so be it."
The hearing adjourned after six hours. An estimated 2,000 more students were expected to hold a march in the nation's capital, but
forgot which city it was in.
Questions after Reading Article
(1) Summary:
(2) What follies (foolishness) or vices (serious flaw) are being ridiculed?
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Carmichael Quarter 2 Packet 2014-2015
Satirical Cartoon Study: This image drew
considerable backlash after it was published.
1. (2) Note a few things that people might have
been upset with.
2. (1) Who (or what) do you think this satirical
cartoon was intended to ridicule?
3. (2) Read this comment:
"Our cover 'The Politics of Fear' combines a
number of fantastical images about the
Obamas and shows them for the obvious
distortions they are. The burning flag, the
nationalist-radical and Islamic outfits, the
fist-bump, the portrait on the wall -- all of
them echo one attack or another. Satire is
part of what we do, and it is meant to bring
things out into the open, to hold up a mirror
to the absurd.” Did they achieve their
objective?
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Carmichael Quarter 2 Packet 2014-2015
Symbolism:
Cartoon Analysis Guide
Identify any symbols in the cartoon
Analyze the meaning of the symbols
cartoonists use
simple objects, or
symbols, to stand for
larger concepts or
ideas.
Exaggeration:
Identify any exaggeration
Analyze the purpose of the exaggeration
Sometimes cartoonists
overdo, or exaggerate,
the physical
characteristics of
people or things in
order to make a point.
Facial characteristics
and clothing are the
most commonly
exaggerated
characteristics—often
called caricatures
Labeling:
Cartoonists often label
objects or people to
make it clear exactly
what they stand for.
Analogy:
a comparison between
two unlike things. By
comparing a complex
issue or situation with
a more familiar one,
cartoonists can help
their readers see it in a
different light.
Irony :
the difference between
the way things are and
the way things should
be, or the way things
are expected to be.
Cartoonists often use
irony to express their
opinion on an issue.
Identify and explain why that
person/object is labeled
Identify the cartoons main analogy by
naming the 2 different compared things
Identify and explain the effectiveness
of the irony in the cartoon
Analyze how the label clarifies meaning
Explain how this clarifies meaning
Analyze what point the irony might be
intended to emphasize.
Draw a political cartoon that COUNTERS (shows the opposite viewpoint) the political viewpoint of your cartoon
Draw a political cartoon that REFLECTS Jonathan Swift’s point of view. You can use his satire in “A Modest Proposal” or in
Gulliver’s Travels to illustrate the point. Remember to use the techniques you have learned about.
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Carmichael Quarter 2 Packet 2014-2015








EXTRA CREDIT OPPORTUNITY!!!!!!
Write an essay in which you CONNECT Swift’s writing to something historical, personal or media related.
If you choose historical, you may NOT choose the religious schism between the Catholics and the Protestants. Be more
creative.
Use at least two SPECIFIC quotes from either of Swift’s works (Gulliver’s Travels or “A Modest Proposal”). You must cite
these quotes in MLA format (author’s last name and page number).
Your essay must be at least 400 words and must explore a connection between Swifts work and something outside the text.
This essay is worth 40 extra credit points and is due NO LATER THAN ______________________.
Use your notes and analysis charts to help guide you. I will be here after school next week to assist with the essay
You do not have to type the essay. HOWEVER, you must write neatly in BLUE OR BLACK ink and you must take the time
to make sure that there are no glaring errors and you’re not scratching things out. FRESH, NEAT handwritten essays are
acceptable.
Page count must be included.
To Alexander Pope
September 29, 1725 From The Correspondence Of Jonathan Swift
[…]I have ever hated all nations, professions, and communities, and all my love is toward individuals: for instance, I hate
the tribe of lawyers, but I love Counsellor Such-a-one, and Judge Such-a-one: so with physicians—I will not speak of my
own trade—soldiers, English, Scotch, French, and the rest. But principally I hate and detest that animal called man,
although I heartily love John, Peter, Thomas, and so forth. This is the system upon which I have governed myself many
years, but do not tell, and so I shall go on till I have done with them. I have got materials toward a treatise, proving the
falsity of that definition animal rationale, and to show it would be only rationis capax1. Upon this great foundation of
misanthropy, though not in Timon's manner, the whole building of my Travels is erected; and I never will have peace of
mind till all honest men are of my opinion. By consequence you are to embrace it immediately, and procure that all who
deserve my esteem may do so too. The matter is so clear that it will admit of no dispute; nay, I will hold a hundred pounds
that you and I agree in the point.[…]
1. Underlying all of Swift's religious concerns, underlying his apparent conservatism,
which was really a form of radicalism, was his belief that in Man God had created an
animal which was not inherently rational but only capable, on occasion, of behaving
reasonably: only, as he put it, rationis capax.
(3) Some people believe that Swift showed great misanthropy through his works. How does this letter prove or disprove
misanthropic notions?
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Harrison Bergeron By Kurt Vonnegut
PARODY: ideal society divorced from common sense—somewhat a parody of the
“perfect household” persona from the 50s.
1.
How does the elimination of advantages, difference, and competition promote “total equality”?
2.
Is total equality possible in America? Explain
Character analysis
1.
Why isn’t Hazel handicapped? How is this part of the satire?
2.
How do television, radio and mass media of today function like George’s handicap? Give specific examples.
HINT: Consider Neil Postman’s statements in his book Amusing Ourselves to Death “this ensemble of
electronic techniques called into being a new world– a peek-a-boo world, where now this event, no that,
pops into view for a moment, then vanishes again. It is a world without much coherence or sense […] like
the child’s game of peek-a-boo entirely self contained. But like peek-a-boo, it is also endlessly
entertaining” (77).
3. What element(s) of satire is/are used to describe Harrison? (circle all that apply) and then explain how this adds to the satire.
Irony
Extreme Exaggeration (hyperbole) Understatement
Ridicule
Farce
Mockery
The dance—and its’ abrupt end
1.
How is the dance symbolic of the society’s decline?
2.
Describe the reactions of the audience (specifically George and Hazel) to the dance. How do they react? How do you expect
them to react? What element is this? How does it add to the satire?
Theme
What is Vonnegut targeting with his satire? What is his purpose?
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Unit 8: ROMANTICISM
Literary Terms (729 can be helpful!): Write the definition and an example.
Alliteration:
Assonance:
Consonance:
Internal Rhyme:
End Rhyme:
Repetition:
Read the following line and complete the activities that follow
A Red, Red Rose
By Robert Burns
First Line:
O, my love is like a red, red rose
1.
2.
3.
4.
(1) This line expresses a comparison of two words. What two words is the author comparing in the line?
(a)_______________________________ (b)_______________________________
(1) Is this a metaphor or a simile? (circle the correct response). How do you know?
(2) When you read a comparison like this, you will see 2 mental pictures. In your mind you should see both pictures clearly.
Explain how you can “see” love, even though it is not a concrete object.
6.
(3) Many times, certain words remind us of other words. For example, if you see the word war you may think of tanks, guns,
airplanes, fear, suffering, and other similar qualities. We call these connotations and word association. List 6 qualities that
come to your mind when you think of the word “rose”.
(a) ________________________
(b) _________________________
(c) _________________________
(d) ________________________
(e) _________________________
(f) __________________________
(3) List 6 qualities for “love”
(a) ________________________
(b) _________________________
(c) _________________________
(d) ________________________
(e) _________________________
(f) __________________________
(1)Look at the words you have listed for “rose”; can you APPLY them to “love”? List the ones you can below.
7.
(2)You may have written “thorn” as a quality for rose. Explain how you can apply thorn to love.
8.
(2) In good writing there are no exact substitutes. One word cannot take the place of another because each has its own unique
meaning. What would happen to the meaning if the line were rewritten as “O, my love is like a red, red tulip”? What would
be different?
9.
(2) If you sent red tulips to a person, would they have the same effect as red roses? Explain.
5.
10. (2) In a comparison, the reader sees two separate pictures, in this case, rose and love. The second picture (rose) makes
he reader understand the first picture (love) better. Now look at the word “red”; The poet makes us see a red rose. Why?
Before you answer consider what associations come to your mind with the word “red”. What kind of love is Burns
describing?
11. (1) What would the meaning of a white rose suggest? A pink rose?
(white)_______________________________
(pink)____________________________________
Words that you use every day are extremely important. When you speak or write, you communicate the precise meaning of
each word and all that it suggests. As you improve in your reading you will become more aware of the specific use of words.
Business and industry are well aware of the importance of language. For example, the names of automobiles are carefully
chosen by the manufacturer.
12. (2)Why do companies choose names like “Mustang”, “Land Rover” or “Beetle”? Before you answer; think of words that
come to mind with each one.
13. (2)Would anyone buy a car that was called “the cow” or “the water buffalo”; explain your response.
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FILL IN THE BLANKS (15 points (.25 each))& ADD notes to this OUTLINE
The Romantic Period: (
-
)
(3 points)Write what you remember about the following American Romantics
Edgar Alan Poe
Herman Melville
Emily Dickinson
Walt Whitman
Henry David Thoreau
Ralph Waldo Emerson
Washington Irving

From Science and Reason to ________________and the ________________; previously,
________________and bitterness berate the power of human ________________as if to say “Humanity
is ________________” Who is one author who expressed this idea?

Attitudes redefined “our meddling intellect / Misshapes the beauteous forms of things-- / We murder to
dissect”
From Enlightenment to Romanticism
Industrial Revolution
French Revolution/ Revolutions/rise of Nationalism
1750
1789
(1) Enlightenment Ideas
Descartes: “Cogito, ergo sum” (I think, therefore I exist.)
1800
1850
(1)Romantic ideas
Rousseau: “Exister, pour nous, c’est sentir”(For us, to exist is to feel.)
Reaction to: (1)_____________________, (2) _____________________, & (3) _____________________

What might be some negative effects of The Industrial Revolution?
The French Revolution is the French emotional reaction stressing ________________class dominance

________________causes adopted & ________________ of common people from lack of political and
economic agency

Out of this revolution comes…(1) _______________, (2) ________________ & (3) ________________
The Massacre of Peterloo : England- ________________: _____ Killed; ______-______Injured
(1) ________________ (2) ________________ (3) ________________
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
Romanticism refers to a movement in ________________, ________________, and
________________during the ________________century.

Broadly characterized by: ________________, ________________, ________________, and
________________

________________was emphasized over “reason”; this was a backlash against the rationalism
characterized by the ________________ “Age of Reason.” ________________was considered
necessary for creating all art. British writer Samuel Taylor Coleridge called it “________________.”

Emotion: Romantics placed value on ________________and ________________over reason. British
Romantic William Wordsworth described poetry as “_______________________________________.”

Inspiration: The Romantic artist, musician, or writer, is an “inspired creator” rather than a
“_______________.” Romantic writers were “going with the flow,” or being ________________, rather
than “getting it precise.”

Individuality: Romantics celebrated the ________________. Triumph of ________________man in
French Revolution. Women’s ________________and ________________were taking root as major
movements. Walt Whitman, an American Romantic writer, wrote a lengthy poem entitled “Song of
________________”; it begins, “I celebrate ________________…”

Visual Arts
Earlier art (________________ art) was rigid, severe, and
________________.

Follows strict classical rules from ancient ________________ and
"If you want to do art you must
first study the rules, second study
the great masters, third forget the
rules, because genius begins
where trite rules end.”
- Sir Joshua Reynolds (17231792)
________________ … proportions, symmetry… simplicity

Romantic art was ________________, deeply-felt, ________________, and exotic. It has been
described as a reaction to earlier styles (neoclassical art); conveyed ________________ feeling of artist,
glorified the ________________ man, depicted the ________________ (subjects),
landscapes/________________ became important.
Painting 1
Visual Arts Example (4):
Painting 2
Painting 3
Painting 4
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Romantic Literature
The publication of ________________ by
________________ and ________________ in
“[Romanticism] must have come on like punk rock to a public
groaning under the weight of over cooked ________________.”
________________ is considered the beginning of literary Romanticism.
Relationship with Nature
Celebration of the Common Man
Romanticism(2)
AFFECTED
EFFECTS
Idioms:
Main Entry: id·i·om
Pronunciation: \ˈi-dē-əm\ Date: 1588
Function: noun
Etymology: Middle French & Late Latin; Middle French idiome, from Late Latin idioma individual peculiarity of language, from
Greek idiōmat-, idiōma, from idiousthai to appropriate, from idios
1 a : the language peculiar to a people or to a district, community, or class : dialect b : the syntactical, grammatical, or structural form
peculiar to a language
“ Albatross around your neck” is an idiom that comes from The Rime of the Ancient Mariner that
is a problem resulting from something you did that stops you from being successful.
2 : an expression in the usage of a language that is peculiar to itself either grammatically (as no, it wasn't me) or in having a meaning
that cannot be derived from the conjoined meanings of its elements (as Monday week for “the Monday a week after next Monday”)
3 : a style or form of artistic expression that is characteristic of an individual, a period or movement, or a medium or instrument <the
modern jazz idiom>; broadly : manner, style <a new culinary idiom
(5 points) Many of our idioms come from literature, arts and music. Describe a time when you had an
“albatross around your neck.” What caused the incident? How did you handle it? How did you feel?
How were others involved? You should have about 5-7 sentences describing this incident.
*Extra Credit* (5 points) Identify one other idiom in our culture and research the origin of the idiom
and give an example of how it is used.
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Coleridge – The Rime of the Ancient Mariner
(Not graded but HIGHLY recommended)
Part I.
1. What feature of the Mariner is the Wedding Guest spellbound by?
2. What change occurs when the Albatross appears?
3. What action did the Mariner take at the end of Part 1?
4. Why do you think Coleridge spend comparatively little time describing the
killing of the Albatross? Is his action a human one, that is, something that
doesn’t need to be explained to readers?
Part II
5. How do the other sailors first react to the killing of the Albatross?
6. Why do they change their minds?
7. What are the consequences that follow the Mariner’s killing of the Albatross?
8. How do his shipmates punish him at the end of Part 2?
9. What type of avenging spirit pursues the Mariner and the ship?
Part III
10. What does the approaching ship look like?
11. Who are the occupants of the approaching ship?
12. What happens to the Mariner’s crew after the dice game finishes? Is it fair that they should suffer because o his actions?
Part IV
13. At the beginning of Part 4, the wedding guest interrupts the mariner's story to express his fears. Why does
Coleridge not have the Mariner tell his tale straight through?
14. How long does the Mariner stay on the ship with his dead shipmates?
15. How does his view of the sea creatures change during that time?
16. How does the Mariner break the spell he is under?
Part V
17. Who serves as the crew of the ship on this leg of the journey?
18. After the Mariner has dropped the guilty weight of the Albatross, what do the “Two voices in the air” suggest will happen to
the Mariner?
Part VI
19. What happens after the Mariner comes out of his trance?
20. What are the Mariner’s feelings immediately after the curse is finally lifted?
21. What service does the Mariner hope the Hermit will perform for him?
Part VII
22. How do the Hermit, Pilot, and Pilot’s boy react to the Mariner and the sight of his ship?
23. What happens to the ship?
24. What is the Mariner’s lifelong penance?
25. With what strange powers is the Mariner endowed?
26. What effect does the Mariner have on the Wedding Guest?
(6 points) Big Interpretive Questions:
 What does the Albatross symbolize?

What role does Nature play for Coleridge? How does this fit with the Romantic aesthetic?

The final two lines read “A sadder and a wiser man, / He rose the morrow morn.” What exactly did the
Wedding Guest learn from the Mariner’s Rime? Are readers supposed to glean the same lesson as the
Guest?
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Poetic Sound Devices & The Rime of the Ancient Mariner
Read the following passage the first time through for meaning. Read the passage a second time,
for poetic sound devices (6 points). You should find at least one example of each of the
following: Alliteration, Internal Rhyme, End Rhyme, Repetition, Assonance, Consonance
The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.
Down dropt the breeze, the sails dropt down,
‘Twas sad as sad could be;
And we did speak only to break
The silence of the sea!
All in a hot and copper sky,
The bloody Sun, at noon,
Right up above the mast did stand,
No bigger than the Moon.
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.
Water, water, everywhere,
And all the boards did shrink;
Water, water, everywhere,
Nor any drop to drink.
“The Rime of the Ancient Mariner” and “Kubla Khan” by Samuel Taylor Coleridge
Enrichment: Science
Coleridge used dreams as the inspiration for both “The Rime of the Ancient Mariner” and “Kubla Khan.” He
claimed to have dreamt “Kubla Khan” word for word, after falling asleep while reading a passage about the real Kubla
Khan, a figure in Chinese history. He modeled “The Rime of the Ancient Mariner” on a dream of his friend Mr. Cruikshank.
In both poems Coleridge writes of fantastic events that have a dreamlike (or nightmarish) quality.
People have been fascinated by dreams for centuries and have developed many theories over the years about
their cause and significance. Today, psychologists and biologists know that dreams occur during a stage of sleep called
REM, or rapid eye movement, and some researchers believe that dreams are caused by random chemical stimuli in the
brain. The brain tries to make sense of the activity, and the result is a dream. The meaning of dreams is a topic of
controversy. Although dreams bear some relation to events and emotions that occur in waking hours, the nature of that
relationship remains unclear.
DIRECTIONS: Answer the following questions about the dreamlike elements in “The Rime of the Ancient Mariner”
1. Review the poem (what we have read so far) and list at least three examples of dreamlike events or characters.
2. Describe a dream you had that seemed either so real you thought it was real when you woke up, or that helped you
realize something about yourself or your life. If you don’t have dreams, speculate as to why you don’t dream. IDK is not an
appropriate or acceptable response.
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“Rime of the Ancient Mariner”
Audience, Purpose, Context and Theme PowerPoint Companion
Directions: Read over the PowerPoint handout carefully and then answer the following questions that correspond with
the slides. Make sure you have FULL and COMPLETE responses. Use a separate sheet if needed.
Slide 1: Explain how at least 2 of the quotes in slide # 1 support the argument that “Rime of the Ancient Mariner” is a
Christian Parable (a short fictitious story that illustrates a moral attitude or a Christian principle).
Quote 1:
Quote 2:
Slides 2-5: After reviewing slides 2-5, explain how Coleridge and the Mariner both demonstrate the allegorical
structure of sin, punishment, and redemption. You have to use your brain for this one by making inferences.
Mariner
Coleridge
SIN
What sin did the person commit?
Punishment
How was each person punished?
(remember this could be a punishment
issued by another, or it could be punishing
him/herself.)
Redemption
(to be released from blame or debt)
How does each person redeem/try to
redeem him/herself?
Is the comparison between senselessly shooting the albatross and opium addiction reasonable? Explain.
In the box draw a visual representation of the theme. Think on a symbolic level. How can you represent the idea
of releasing yourself from blame?
Slide 6: Answer the “big interpretive questions” in your packet.
Slides 7-8:
a. Explain what the tone (author’s attitude) is in “Rime of the Ancient
Mariner” using a specific example to support your response.
b. What are some word choices that led you to this tone? Record the words
and the line numbers (need at least 3)
c. Who is the audience?
d. What is the lesson in this story?
e. What is the purpose of this story? Inform/persuade/entertain/teach (Circle
one). Explain
Now, draw a visual representation of the purpose. Think on a symbolic level.
How can you represent the idea of teaching visually?
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Unit 9.1 The Regency Era (an age of manners)
Basic Rules:
Learn to govern yourself and to be gentle and patient
Never speak or act in anger
Remember that, valuable as is the gift of speech, silence is often more valuable.
Learn to speak in a gentle tone of voice.
Learn to say kind and pleasant things when opportunity offers
Do not neglect little things if they can affect the comfort of others
Learn to deny yourself and prefer others
Beware of meddlers and tale bearers
Invitations should be sent at least 7-10 days before the event; reply within a week of the recept accepting or
declining with regrets.
Reply to all acts of kindness with notes of thanks
Rise to your feet as respect for older people
Conversation is as much about listening as it is about talking
Do not monopolize conversation or interrupt another speaker to finish his/her story
Victorian Women
Victorian Men
Be dedicated to home and family if you marry and
charity if you do not; It is important to try to find a
man, but do not be to liberal in your charms. Be meek
and modest.
Lady, when crossing the street, must raise her dress a
bit above the ankle while holding the folds of her
gown together in her right hand and drawing them
toward the right. It was considered vulgar to raise the
dress with both hands as it would show too much
ankle
Be accomplished in the art of conversation;
concentrate on your voice rather than your content;
have a subdued tone
When introduced to a man, a lady should never offer
her hand, merely bow politely and say, "I am happy
to make your acquaintance."
Tip your hat to greet a lady
Open doors for everyone
Always walk on the outside
You should be seen, not smelled; use little cologne,
too much is bad taste
Woman could not offer a gentleman any present at all a gentleman caller might bring only certain gifts such
until he had extended one to her, and then something as flowers, candy or a book.
artistic, handmade and inexpensive was permissible.
A lady should never join in any rude plays that will
A gentleman may delicately kiss a lady's hand, the
subject her to be kissed or handled in any way by
forehead, or at most, the cheek.
gentlemen.
How would you feel if you had to live by these rules and procedures?
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Pride and
Prejudice
Anticipation Guide
Fill out the following chart on the LEFT side only. Make sure you explain your response! If you need more
space, attach and extra sheet!
Explain
Agree
Disagree
QUESTION
1. First impressions are often wrong.
2. Children are rarely justified in being
embarrassed by their parents.
3. Parents should have some say about whom
their children marry.
4. Families should be concerned with what
others think.
5. Love at first sight is a common occurrence.
6. People communicate more effectively in the
twenty-first century than they did during the
nineteenth century.
7. Playing “hard to get” is useful in attracting
members of the opposite sex.
Read and respond to ONE of these scenarios. Use specific details and fill up the box below with your response (and not
because you wrote big—fill it up with CONTENT!).
 While attending a school dance, you hear one of the more popular students mocking you and your group of
friends. How do you act when you are placed on a school committee with him or her?
 Every time you are with your friends and their families, your mother says and does things that embarrass you in
front of others. She doesn’t seem aware that she is humiliating you or that others are laughing at her behavior (and
perhaps at you because of her). What do you do at the time? What, if anything, do you say to her about her actions
afterwards?
 You are given information that one of the new students who is well-liked by other students and well-respected by
your teachers is actually dishonest, deliberately misleading others. Should you reveal the truth or just wait for
others to discover what you know already?
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Pride and
Prejudice
Viewing Journal
First Impressions: Austen’s original title of the novel was First Impression. Record your first impressions of the following
characters in the first column of your journal chart
Example: Darcy: His cutting comments, especially about Elizabeth make me understand why the local citizens dislike him
almost at once.
FIRST IMPRESSIONS:
Elizabeth
Darcy
Jane
Bingley
Mrs. Bennett
Mr. Bennett
Character of your choice
SECOND STOP:
Elizabeth
Darcy
Jane
Bingley
Mrs. Bennett
Mr. Bennett
Character of your choice
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THIRD STOP
Elizabeth
Darcy
Jane
Bingley
Mrs. Bennett
Mr. Bennett
Character of your choice
FINAL IMPRESSION
Elizabeth
Darcy
Jane
Bingley
Mrs. Bennett
Mr. Bennett
Character of your choice
Explain which character you identify with the most and why:
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Important Quotations:


“It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife.” (3) ex. 1.
The speaker is probably the narrator or Mrs. Bennett because she is trying to get rich husbands for her daughters. 2.
The quote says that all rich men want wives. 3. Connects to the song “Gold digger”
“She is tolerable; but not handsome enough to tempt me....” (11)

“Happiness in marriage is entirely a matter of chance.” (21)

“I wonder who first discovered the efficacy of poetry in driving away love!” (41)

“I had not thought Mr. Darcy so bad as this—though I have never liked him...” (77)

“Why should they try to influence him? [Mr. Bingley] They can only wish for his happiness, and if he is attached to me, no
other woman can secure it.” (132)

“Is not general incivility the very essence of love?” (137)

“...what is the difference in matrimonial affairs between the mercenary and the prudent motive? Where does discretion end,
and avarice begin?” (148)

“What are men to rocks and mountains?” (149)

“You must allow me to tell you how ardently I admire and love you.” (181)

“But disguise of every sort is my abhorrence.” (184)

“Till this moment I never knew myself.” (199)

“This will not do,” said ________. “You will never be able to make both of them good for anything. Take your choice, but
you must be satisfied with only one.” (213)

“. . . this was not the best method of recommending herself; but angry people are not always wise....” (258)

“Is it possible!” cried ________....”Can it be possible that he will marry her?” (288)

“’Tis too much!” she added, “by far too much. I do not deserve it. Oh! why is not everybody as happy?” (330)

“You are too generous to trifle with me. If your feelings are still what they were last April, tell me so at once.” (348)

“Think only of the past as its remembrance gives you pleasure.” (351)

“Perhaps I did not always love him so well as I do now. But in such cases as these, a good memory is unpardonable.” (355)

“If any young men come for Mary or Kitty, send them in, for I am quite at leisure.” (359)
Circle 3 quotes and then…. (the first quote is done for you as an example)
1. Make an educated guess at who the speaker of the quote is, and explain why you believe that person is the speaker (think
about characterization and impressions)
2. Explain what the quote means
3. Make a connection to something outside the text (your life, another piece of literature, history, popular culture etc.)
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Unit 9.2 The Victorian Age (the age of…manners?)
Oscar Wilde
We are all in the gutter, but some of us are looking at the stars. (Lady Windermere's Fan, 1892)
Oscar Wilde was born in Dublin in 1854, lived a gloriously notorious, eccentric and decadent life until his tragic
demise in 1895, and died in obscurity in Paris, 1900. More than one hundred years later we are still celebrating his
plays, his life and his inimitable style. He was born to Jane and William Wilde, both extremely accomplished
individuals in their own right. William Wilde was knighted for his work as an internationally recognized ear and
eye specialist; his mother was referred to as one “of Ireland’s noblest daughters” for her outspoken and unfailing
nationalist views. She was a regular columnist in one of Ireland’s leading newspapers, as well as the author of
articles, plays and poems. She was perhaps the greatest influence on Wilde’s life.
Children begin by loving their parents; as they grow older they judge them; sometimes they
forgive them.
(The Picture of Dorian Gray, 189)
When he was 27, following his notoriety in Europe, Oscar Wilde took the U.S. and Canada by storm on a whirlwind lecture tour, spreading
the beautifying gospel of the British “Aesthetic Movement”, of which he considered himself a true “Professor”. With unabashed selfpromotion, he achieved remarkable celebrity status, well known for his famous eloquence on all things regarding society, philosophy,
beauty, manners and fashion. His fame as a writer, and his tragic infamy as a lover of men, were still years away. The tour made him
famous as a wit and an eccentric, but some painted him as a dilettante and a clown, even an unhealthy influence. These conflicting views
followed him all of his life.
Men know life too early. Women know life too late. That is the difference between men and women.
(A Woman of No Importance, 1893)
Wilde had married Constance Lloyd in 1884. She was a linguist, beautiful and intelligent, and they had two sons, Vyvyan and Cyril. But
after Wilde’s imprisonment in 1895, Constance changed her name to protect her two young boys from the devastating effects of his
notoriety. She too died young, shortly before Oscar; tragically, the boys were not allowed to see their father and were subsequently raised
by guardians. In an essay about his father’s brilliant collection of fairy stories, Vyvyan Holland credits Constance for his early introduction
to the world of imagination. Poignantly, he remembers only her, and not his father, reading him his bedtime stories.
The truth is rarely pure and never simple. (The Importance of Being Earnest, 1895)
In 1891, Oscar met Lord Alfred 'Bosie' Douglas, the third son of the Marquis of Queensberry, and they soon became lovers. But in April
1895, the Marquis accused Wilde of homosexuality and in return Oscar sued for libel. He withdrew his case but was ultimately arrested and
convicted of gross indecency and sentenced to two years hard labor. He never recovered from the prison experience, never finished
another play or novel, and in 1900 he died penniless in Paris, shunned by all but his closest friends. Still, the Wildean wit was not easily
suppressed. In the final week of his life, bedridden, he confided to a friend, “My wallpaper and I are fighting a duel to the death. One of us
has to go.”
In the space below, write a 3 things you learned about Oscar Wilde from the reading, 2 things you want to know
about Oscar Wilde and/or his works and 1 question you would ask him if you had the opportunity.
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Excerpt from “The Model Millionaire” by Oscar Wilde
A note of admiration
Unless one is wealthy there is no use in being a charming fellow. Romance is the privilege of the rich, not the profession of
the unemployed. The poor should be practical and prosaic. It is better to have a permanent income than to be fascinating. These are the
great truths of modern life which Hughie Erskine never realized. Poor Hughie!
Intellectually, we must admit, he was not of much importance. He never said a brilliant or even an ill-natured thing in his life. But then
he was wonderfully good-looking, with his crisp brown hair, his clear-cut profile, and his grey eyes. He was as popular with men as he
was with women, and he had every accomplishment except that of making money.
His father had bequeathed him his cavalry sword, and a History of the Peninsular War in fifteen volumes. Hughie hung the first over
his looking glass, put the second on a shelf between Ruff’s Guide and Bailey’s Magazine, and lived on two hundred a year that an old
aunt allowed him. He had tried everything. He had gone on the Stock Exchange for six months; but what was a butterfly to do among
bulls and bears? He had been a tea merchant for a little longer, but had soon tired of pekoe and souchong. . . .
Ultimately he became nothing, a delightful, ineffectual young man with a perfect profile and no profession.
To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired Colonel who had lost
his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoestrings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie,
but would not hear of any engagement.
“Come to me, my boy, when you have got ten thousand pounds of your own, and we will see about it,” he used to say; and
Hughie looked very glum on those days, and had to go to Laura for consolation.
One morning, as he was on his way to Holland Park, where the Mertons lived, he dropped in to see a great friend of his, Alan
Trevor. Trevor was a painter. Indeed, few people escape that nowadays. But he was also an artist, and artists are rather rare.
Personally he was a strange rough fellow, with a freckled face and a red ragged beard.
However, when he took up the brush he was a real master, and his pictures were eagerly sought after. He had been very much
attracted by Hughie at first, it must be acknowledged, entirely on account of his personal charm. “The only people a painter should
know,” he used to say, “are people who are bête and beautiful, people who are an artistic pleasure to look at and an intellectual repose
to talk to. Men who are dandies and women who are darlings rule the world, at least they should do so.” However, after he got to
know Hughie better, he liked him quite as much for his bright buoyant spirits and his generous reckless nature, and had given him the
permanent entrée to his studio.
When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The
beggar himself was standing on a raised platform in a corner of the studio. He was a wizened old man, with a face like wrinkled
parchment, and a most piteous expression. Over his shoulders was flung a coarse brown cloak, all tears and tatters; his thick boots
were patched and cobbled, and with one hand he leant on a rough stick, while with the other he held out his battered hat for alms.
“What an amazing model!” whispered Hughie, as he shook hands with his friend.
“An amazing model?” shouted Trevor at the top of his voice; “I should think so! Such beggars as he are not to be met with
every day. A trouvaille, mon cher; a living
Velasquez! My stars! What an etching Rembrandt would have made of him!”
“Poor old chap!” said Hughie, “How miserable he looks! But I suppose, to you painters, his face is his fortune?”
“Certainly,” replied Trevor, “you don’t want a beggar to look happy, do you?”
“How much does a model get for sitting?” asked Hughie, as he found himself a comfortable seat on a divan.
“A shilling an hour.”
“And how much do you get for your picture, Alan?”
“Oh, for this I get two thousand!”
“Pounds?”
“Guineas. Painters, poets, and physicians always get guineas.”
“Well, I think the model should have a percentage,” cried Hughie, laughing; “they work quite as hard as you do.”
“Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one’s easel! It’s all
very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labor. But
you mustn’t chatter; I’m very busy. . . .”
After some time the servant came in, and told Trevor that the frame-maker wanted to speak to him.
“Don’t run away, Hughie,” he said, as he went out, “I will be back in a moment.”
The old beggar-man took advantage of Trevor’s absence to rest for a moment on a wooden bench that was behind him. He
looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could
find was a sovereign and some coppers. “Poor old fellow,” he thought to himself, “he wants it more than I do, but it means no
hansoms for a fortnight;” and he walked across the studio and slipped the sovereign into the beggar’s hand.
The old man started, and a faint smile flitted across his withered lips. “Thank you, sir,” he said, “thank you.”
Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done.
He spent the day with Laura, got a charming scolding for his extravagance, and had to walk home.
That night he strolled into the Palette Club about eleven o’clock, and found Trevor sitting by himself. . . .
“Well, Alan, did you get the picture finished all right?” he said. . . .
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“Finished and framed, my boy!” answered Trevor; “and, by-the-bye, you have made a conquest. That old model you saw is
quite devoted to you. I had to tell him all about you—who you are, where you live, what your income is, what prospects you have—”
“My dear Alan,” cried Hughie, “I shall probably find him waiting for me when I go home.
But of course you are only joking. Poor old wretch! I wish I could do something for him.
I think it is dreadful that any one should be so miserable. I have got heaps of old clothes at home—do you think he would care for any
of them? Why, his rags were falling to bits.”
“But he looks splendid in them,” said Trevor. “I wouldn’t paint him in a frock-coat for anything. What you call rags I call
romance. What seems poverty to you is picturesqueness to me. However, I’ll tell him of your offer.”
“Alan,” said Hughie seriously, “you painters are a heartless lot.”
“An artist’s heart is his head,” replied Trevor; “and besides, our business is to realize the world as we see it, not to reform it
as we know it. Á chacun son métier. And now tell me how Laura is. The old model was quite interested in her.”
“You don’t mean to say you talked to him about her?” said Hughie.
“Certainly I did. He knows all about the relentless colonel, the lovely Laura, and the £10,000.”
“You told that old beggar all my private affairs?” cried Hughie, looking very red and angry.
“My dear boy,” said Trevor, smiling, “that old beggar, as you call him, is one of the richest men in Europe. He could buy all
London tomorrow without overdrawing his account. He has a house in every capital, dines off gold plate, and can prevent Russia
going to war when he chooses.”
“What on earth do you mean?” exclaimed Hughie.
“What I say,” said Trevor. “The old man you saw today in the studio was Baron
Hausberg. He is a great friend of mine, buys all my pictures and that sort of thing, and gave me a commission a month ago to paint
him as a beggar. Que voulez-vous? La
fantaisie d’un millionnaire! And I must say he made a magnificent figure in his rags, or perhaps I should say in my rags; they are an
old suit I got in Spain.”
“Baron Hausberg!” cried Hughie. “. . . I gave him a sovereign!” and he sank into an armchair the picture of dismay.
“Gave him a sovereign!” shouted Trevor, and he burst into a roar of laughter. “My dear boy, you’ll never see it again. Son
affaire c’est l’argent des autres.”
“I think you might have told me, Alan,” said Hughie sulkily, “and not have let me make such a fool of myself.”
“Well, to begin with, Hughie,” said Trevor, “it never entered my mind that you went about distributing alms in that reckless
way. I can understand your kissing a pretty model, but your giving a sovereign to an ugly one—by Jove, no! Besides, the fact is that
I really was not at home today to any one; and when you came in I didn’t know whether
Hausberg would like his name mentioned. You know he wasn’t in full dress.”
“What a duffer he must think me!” said Hughie.
“Not at all. He was in the highest spirits after you left; kept chuckling to himself and rubbing his old wrinkled hands together.
I couldn’t make out why he was so interested to know all about you; but I see it all now. He’ll invest your sovereign for you, Hughie,
pay you the interest every six months, and have a capital story to tell after dinner.”
“I am an unlucky devil,” growled Hughie. “The best thing I can do is to go to bed; and, my dear Alan, you mustn’t tell
anyone. I shouldn’t dare show my face in the Row.”
“Nonsense! It reflects the highest credit on your philanthropic spirit, Hughie. And don't run away. . . . You can talk about
Laura as much as you like.”
However, Hughie wouldn’t stop, but walked home, feeling very unhappy, and leaving Alan Trevor in fits of laughter.
The next morning, as he was at breakfast, the servant brought him up a card on which was written, “Monsieur Gustave
Naudin, de la part de M. le Baron Hausberg.”
“I suppose he has come for an apology,” said Hughie to himself; and he told the servant to show the visitor up.
An old gentleman with gold spectacles and grey hair came into the room, and said, in a slight French accent, “Have I the
honor of addressing Monsieur Erskine?”
Hughie bowed.
“I have come from Baron Hausberg,” he continued. “The Baron—”
“I beg, sir, that you will offer him my sincerest apologies,” stammered Hughie.
“The Baron,” said the old gentleman, with a smile, “has commissioned me to bring you this letter;” and he extended a sealed
envelope.
On the outside was written, “A wedding present to Hugh Erskine and Laura Merton, from an old beggar,” and inside was a
cheque for £10,000.
When they were married Alan Trevor was the best man, and the Baron made a speech at the wedding breakfast.
“Millionaire models,” remarked Alan, “are rare enough; but, by Jove, model millionaires are rarer still!”
_____________________________________________________END__________________________________________________
____1 Which statement represents the central idea of the selection?
A Art is one of Hughie Erskine’s favorite pastimes.
B Hughie Erskine, a poor man, is repaid for his sacrifice.
C Laura Merton’s father refuses to allow her to marry Hughie Erskine.
D Hughie Erskine gives money to those he considers more unfortunate than himself.
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____2 In the first paragraph, what does the phrase “Romance is the privilege of the rich, not the profession of the
unemployed” imply?
A Unemployed people do not have a profession.
B Rich people are more privileged than poor people.
C People without money are not destined to find love.
D Anyone can find love, but rich people have more time to look.
____3 In the first paragraph, what is the effect of using the word prosaic rather than the word dull?
A The longer word confuses the reader and foreshadows the difficulty of the story.
B The elevated diction of the former indicates the attitude and status of the narrator.
C The lower level of diction would allow for a younger audience that might not understand the theme.
D The word choice characterizes the narrator as a sloppy person who does not choose his words carefully.
____4 In the context of the selection, what is implied about Hughie based on the statement, “what was a butterfly to do among
bulls and bears”?
A Hughie was not able to compete among the other stockbrokers at the Stock Exchange, because he was passive.
B Hughie preferred fashionable suits to the traditional business suits that most men wore.
C Hughie was not smart enough to surpass the men with experience at the Stock Exchange.
D Hughie had a hard time adjusting to a working man’s life because he preferred to be social and attend parties.
____5 How does Hughie’s pity for the beggar impact Hughie’s life later in the selection?
A He loses everything, all of his money and his hope for the future.
B He lives the rest of his life in shame and without any friends.
C He ends up with a better future than he once thought possible.
D He goes to live with the beggar after his marriage to Laura.
____6 In paragraph 22, what is the effect of using the word charming to describe the scolding that Hughie receives from
Laura?
A It shows that Laura loves Hughie too much to be angry with him.
B It shows that Laura thinks of Hughie as a child instead of an equal.
C It demonstrates that the scolding was very intense toward Hughie.
D It demonstrates that the scolding will not be very effective on Hughie.
____7 What is the effect of the author’s use of language to foreshadow the ending?
A The happiness that the apparent beggar displays when receiving the money indicates his true status.
B The carefree atmosphere at the frame-maker’s belies the angry tones.
C Hughie and Alan have a serious discussion about how poverty affects people.
D Hughie and Alan have an amused tone when referring to the apparent beggar.
____8 What tenet of the “Aesthetic Movement” is reflected in the narrator’s ironic point of view?
A People are more important than art.
B Art should be about difficult topics.
C Art does not have to teach a moral lesson.
D People should respect the many forms of art.
____9 How does the author develop the character of Hughie Erskine?
A by explaining the Baron’s monetary gift
B by giving details about his generosity
C through scenes with his friend Alan, who is painting a beggar
D through dialogue with his girlfriend’s father about marriage
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Anticipate
What’s in a name? That which we call a rose by any other name would smell as sweet (Romeo and Juliet II.ii.1-2)
Your opinion before reading
18 points
The author’s opinion based on the
reading
Agree/
Explain (1 each)
Agree/
Explain
Disagree
Disagree
(.5 each)
Juliet’s statement above is true
Names today are irrelevant
Changing your name to suit
another is reasonable
Family names carry great
importance
Names carry a great deal of
meaning
Identity and names are the
same
Find and correct all the misused homophones! (.25 each 16 points)
Oscar Wilde is renowned four his acerbic wit and it is never more prevalent than inn his satirical plays.
The Importance of Being Earnest is won of Oscar Wilde’s most famous plays. He notoriously called it “A trivial comedy four serious
people.” The play premiered inn London in 1895 at the height of Wilde’s career. [5 homophones]
Context of The Importance of Being Earnest [34 homophones]
Wilde’s previous works such as A Woman of know Importance and An Ideal Husband had buy this thyme all ready marked
hymn out as a brilliant writer of witty satire. The play ran four 83 performances, butt ultimately Wilde’s own tumultuous personal life
overshadowed his plays during his own lifetime.
However, the play is now considered a true classic of knot only Victorian, butt any English-language theatre. It is still widely
performed and is espoused as won of the greatest comedies ever written.
Famously, the premiere was inn itself a drama. As is now widely known Oscar Wilde and Lord Alfred Douglas whir lovers.
However, when the play opened knot only was homosexuality taboo and frowned upon, it was illegal. On the opening knight of The
Importance of Being Earnest Lord Douglas’ father attempted two expose the pear’s sexuality. Although he did knot succeed, this
eventually lead two Wilde being convicted and imprisoned four homosexual ax.
The play is perhaps an unlikely hit with modern audiences and is vary much entrenched inn the upper-class Victorian whirled
witch the play portrays. Nonetheless, Oscar Wilde’s wit and scathing satire has transcended the play’s context. It is still widely
performed buy touring and provincial companies. It has also bin adapted four the screen on several occasions; most recently inn 2002,
starring Colin Firth and Rupert Everett
The Importance of Being Earnest has even bin translated with sum success, despite the fact that won of the big jokes of the
peace depends upon the to words 'earnest' and 'Ernest' being homophones.
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Synopsis of The Play [26 homophones]
The Importance of Being Earnest opens inn Algernon’s living rheum wear he and his best friend, Jack, otherwise known as
Ernest, discuss there shared talent four deceit. Jack, lives inn a provincial manner and masquerades as Ernest when he ventures into
town.
Algernon on the other hand has created a friend called Bunbury, who is constantly coming down with mysterious illnesses,
witch gives Algernon an excuse two dismiss any engagements he does knot wont two attend.
Jack, as Ernest, has professed his love too Gwendolyn, who also happens two bee Algernon’s cozen. Gwendolyn's mother,
Lady Bracknell, is a formidable and larger than life character, who upon learning that ’Ernest’ was found at a railway terminal, refuses
two allow the pear two merry.
Algernon, on the other hand, visits the country two sample Jack’s lifestyle and unbeknownst two Jack presence himself as
Jacks’ brother, Ernest. Wile their Algernon becomes smitten with Jack’s young ward, Cecily.
Meanwhile, Jack determines to end his double life, sew returns two his country estate with the news that Ernest is dead.
Confusion, mistaken-identity, and farcical comedy follows. Butt will the deceitful men ever discover the importance of being earnest?
The Importance of Being Earnest
Study guide not graded but highly recommended!
John Worthing, J.P.
Hon. Gwendolen Fairfax
Rev. Canon Chasuble, D.D.
Merriman, Butler
Lady Bracknell
Algernon Moncrieff
Cecily Cardew
Miss Prism, Governess
Lane, Manservant
Key Terms: satire, irony, farce, comedy of manners, , pun, conflict, motif
Themes: definition of love, appearance v. reality (or style v. substance), high society, Late Victorian mentality
(ANSWER ON A SEPARATE SHEET TO TURN IN!)
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ACT I
(3 points) What cultural ritual is being mocked in this play? Find one specific example to
support your response.
(3 points) What use could you have for a brother named “Earnest” or a sick friend named
“Bunbury”? Explain using specific examples from your own life.
(2 points) Predict: What is Algernon’s plan for act II? Explain using one example from the play.
ACT II questions (Graded!)
(2 points) What is ironic about Cecliy’s and Miss Prism’s characterization of Jack?
(2 points) Comment and describe Cecily’s and Gwendolen’s “friendship”?
(2 points) Comment and describe Jack and Algernon’s relationship, especially at the end of Act
II.
ACT III questions (Graded!)
(2 points) Explain how this is a comedy of manners?
(5 points) What is your personal reaction to this play? Are you entertained, bored, amused,
annoyed—describe your reaction, attach it to a cause by using examples (more than one) from
the play.
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Etiquette, manners and social values
In
Victorian Society
What do the following quotations suggest about the values of the society exposed in Wilde’s play? Use the key words to will help you
respond more specifically.
Act 1:
Jack:
Well, yes, I must admit I smoke.
Lady Bracknell:
I am glad to hear it. A man should always have an occupation of some kind. How old are you?
KEY WORD: The role of a gentleman
Lady Bracknell:
… Mr. Worthing, to be born, or at any rate bred, in a hand-bag, whether it had handles or not, seems to me to display a contempt
for the ordinary decencies of family life that reminds one of the worst excesses of the French Revolution. It can hardly be
regarded as an assured basis for a recognised position in good society.
KEY WORDS: Social position, Class
Act 2
Gwendolen:
(With elaborate politeness.) Thank you. (Aside.) Detestable girl! But I require tea!
Cecily:
(Sweetly) Sugar?
Gwendolen:
No, thank you. Sugar is not fashionable any more.
CECILY looks angrily at GWENDOLEN, takes up the tongs and puts four lumps of sugar into the cup.
Cecily:
Cake or bread and butter?
Gwendolen:
Bread and butter, please. Cake is rarely seen at the best houses nowadays.
CECILY cuts a very large slice of cake, and puts it on the tray.
Cecily:
Hand that to Miss Fairfax.
MERRIMAN does so, and goes out. GWENDOLEN drinks the tea and makes a grimace. Puts down cup at once, reaches out
her hand to the bread and butter, looks at it, and finds it is cake. Rises in indignation.
KEY WORDS: Social rituals, etiquette, fashion
Act 3
Cecily:
Uncle Jack seems strangely agitated!
Chasuble:
Your guardian has a very emotional nature.
Lady Bracknell:
This noise is extremely unpleasant. It sounds as if he was having an argument. I dislike arguments of any kind. They are always
vulgar, and often convincing.
KEY WORD : Scandal, social downfall, acceptable behaviour
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