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Revenge in Western Literature
“Revenge is a dish best served cold.”
Audience: 12th Grade AP English Classes
Unit Objectives:

To analyze the theme of revenge in western literature.

To teach close readings of characters and motivations in stories.

To explore ethical questions about justice.

To be able to apply the concepts of revenge to a real-world example.

To become comfortable with acting out parts of a play.

To teach the ability to deconstruct literature and film to analyze other themes.
Unit Materials:

Dry Erase Board / Chalkboard (with Marker / Chalk)

Computer
o With Internet Access
o With a DVD player
o With a projector or SmartBoard.

Handout of texts and artifacts.
National Council of Teacher’s of English/International Reading Association
Standards:
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Standard 1: Students read a wide range of print and non-print texts to build an
understanding of texts, of themselves, and of the cultures of the United States and the
world; to acquire new information; to respond to the needs and demands of society and
the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction,
classic and contemporary works.
Standard 2: Students read a wide range of literature from many periods in many genres
to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic)
of human experience.
Standard 3: Students apply a wide range of strategies to comprehend, interpret, evaluate,
and appreciate texts. They draw on their prior experience, their interactions with other
readers and writers, their knowledge of word meaning and of other texts, their word
identification strategies, and their understanding of textual features (e.g., sound-letter
correspondence, sentence structure, context, graphics).
Standard 4: Students adjust their use of spoken, written, and visual language (e.g.,
conventions, style, vocabulary) to communicate effectively with a variety of audiences
and for different purposes.
Standard 5: Students employ a wide range of strategies as they write and use different
writing process elements appropriately to communicate with different audiences for a
variety of purposes.
Standard 6: Students apply knowledge of language structure, language conventions (e.g.,
spelling and punctuation), media techniques, figurative language, and genre to create,
critique, and discuss print and non-print texts.
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Standard 7: Students conduct research on issues and interests by generating ideas and
questions, and by posing problems. They gather, evaluate, and synthesize data from a
variety of sources (e.g., print and non-print texts, artifacts, people) to communicate their
discoveries in ways that suit their purpose and audience.
Standard 9: Students develop an understanding of and respect for diversity in language
use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social
roles.
Standard 11: Students participate as knowledgeable, reflective, creative, and critical
members of a variety of literacy communities.
Standard 12: Students use spoken, written, and visual language to accomplish their own
purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
New York State Standards:
Standard 1: Students will read, write, listen, and speak for information and
understanding. As listeners and readers, students will collect data, facts, and ideas,
discover relationships, concepts, and generalizations; and use knowledge generated from
oral, written, and electronically produced texts. As speakers and writers, they will use
oral and written language to acquire, interpret, apply, and transmit information.
Standard 2: Students will read, write, listen, and speak for literary response and
expression. Students will read and listen to oral, written and electronically produced texts
and performances, relate texts and performances to their own lives, and develop an
understanding of the diverse social, historical, and cultural dimensions the texts and
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performances represent. As speakers and writers, students will use oral and written
language for self-expression and artistic creation.
Standard 3: Students will read, write, listen, and speak for critical analysis and
evaluation. As listeners and readers, students will analyze experiences, ideas,
information, and issues presented by others using a variety of established criteria. As
speakers and writers, they will present, in oral and written language and from a variety of
perspectives, their opinions and judgments on experiences, ideas, information and issues.
Standard 4: Students will read, write, listen, and speak for social interaction.
Students will use oral and written language for effective social communication with a
wide variety of people. As readers and listeners, they will use the social communications
of others to enrich their understanding of people and their views.
Assessment Types:

Informal (and Formative) Assessment:
o Gathering consensus through questions
o Guided Practice
o Quick Writes
o Exit Tickets

Formal Assessment:
o Homework assignments
o Unit Test
o 3-4 Page Essay on a work with Revenge as a prominent theme.
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Lesson Plans:
Part 1: Revenge in Classical Literature
Lesson 1: Overview
Objectives:

To have students define the literary theme of revenge.

To improve in the area of close reading

To develop an understanding of literary themes.

To have the students apply the concept of revenge to the real world.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What is “Revenge”? Give an
example of it.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, then gives a warning
to have the students wrap it up.

Teacher has students volunteer definitions and examples.
o Students should speak up and be unafraid to question each other and
discuss their definitions.
Lecture (5 minutes):

The teacher should define revenge as a literary theme
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
Teacher should emphasize that the definition of revenge is not all-encompassing.

Teacher should give examples of revenge in history.
Questions? (2 minutes):

Teacher asks if there are any questions.
[Activity/Group Work] (15 minutes)

Students should break up into small groups.

These groups should think of real world examples of revenge and try to
understand each side’s motivating factors.

The teacher should try to group students together who would not normally work
together in a group. This would break up cliques and keep students focused on the
task at hand.
Regrouping (15 minutes):

The students relate their examples to the rest of the class, being sure not to give
emphasis or bias towards one side of the disagreement or the other.

Students should look at each side of the feud objectively.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
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Assignment:

Students should pick up the selected readings from Electra and read them for next
class.
Lesson 2: Electra
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What do you know about the
Trojan War? Do you know how it started? This acts as both a pre-test about the
subject, and a warm up exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, then gives a warning
to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):
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The teacher should quickly summarize the background of the Trojan War in
Greek Myth.
o The apple of discontent
o Paris and Helen
o Agamemnon sacrificing his daughter
o The Trojan Horse and the end of the war

Teacher should emphasize the different accounts of it from various different
sources, as well its legacy on modern literature.

The Teacher then introduces the Greek playwright Euripides, and the play
“Electra.”
o Introduce the 4 main characters (Electra, Orestes, Clytemnestra and
Aegisthus) and their motivations.
o Talk about the matricidal revenge, and its aftermath.
Questions? (2 minutes):

Teacher asks if there are any questions.
[Activity/Group Work] (15 minutes)

Students should break up into small groups (3-4 people).

The Students read aloud sections from Electra and try to analyze each character’s
motivations. Encourage the students to act it out if they feel comfortable doing so.
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The teacher should try to group students together who would not normally work
together in a group. This would break up cliques and keep students focused on the
task at hand.
Regrouping (15 minutes):

The students relate their examples to the rest of the class, being sure not to give
emphasis or bias towards one side of the disagreement or the other.

Students should look at each side of the feud objectively.

The teacher asks the students to contemplate the overall message that the play
conveys about revenge.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Assignment:

The students should pick up selected readings from “Medea” and read them for
next class.
Lesson 3: Medea
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading
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To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What do you know about the
Myth of Jason and the Argonauts? This acts as both a pre-test about the subject,
and a warm up exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher should quickly summarize the background of the Myth of the Golden
Fleece. This acts as a backdrop to Euripides’ play.

The teacher should then introduce the play, emphasizing the feud between Jason
and Medea.
Questions? (2 minutes):

Teacher asks if there are any questions.
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[Activity/Group Work] (20 minutes)

The Teacher has the class read parts of the play out-loud to the class.

Parts are assigned to students that volunteer. The readings should be divided up
into 2 or 3 parts, to allow the most important parts of the play to be read, and to
allow more than the same cast of students to read out loud.
Regrouping (10 minutes):

The students talk about the ending of the play, which might seem unsettling to a
modern audience. The teacher emphasizes that the students should look at this
from both sides of the conflict.
o Students should look at each side of the feud objectively.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Assignment:

The students should pick up selected readings from “Julius Caesar” and read them
for next class.
Part 3: Shakespeare
Lesson 4: Julius Caesar
Objectives:
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
To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What do you know about Julius
Caesar and the Ides of March? This acts as both a pre-test about the subject, and
a warm up exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher should quickly summarize the events that lead up to Julius Caesar’s
assassination.

The teacher should then introduce the play, emphasizing Brutus’ dilemma and
Mark Antony’s feelings.
Questions? (2 minutes):
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Teacher asks if there are any questions.
[Activity/Group Work] (20 minutes)

The teacher has the class break into small groups (3-4 people).

The Teacher has half the class analyze Mark Antony’s soliloquy after Caesar’s
death.
o The students are looking for Mark Antony’s motivations and emotions in
this soliloquy by going line-by-line and analyzing the language.

The Teacher has the other half of the class analyze Brutus’ soliloquy about
whether he should kill Caesar or not.
o The class should be looking for Brutus’ emotions and moral dilemmas.
The question they should be asking themselves is “Was Brutus right to
have Caesar assassinated?”

The teacher should try to group students together who would not normally work
together in a group. This would break up cliques and keep students focused on the
task at hand.
Regrouping (10 minutes):

The Students come back from their group work and divide into two sides of the
room. Each side tries to justify whether it was right to have Caesar killed or if it
was wrong.

This debate will foster public speaking skills, critical thinking skills, and
rhetorical skills.
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At the end of 10 minutes, the teacher should try to see if the class has reached
some sort of consensus and address that.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Assignment:

The students should pick up selected readings from “Romeo and Juliet” and read
them for next class.

The students should write a short essay (1 page) about the differences that they
see between classical views on revenge and Shakespearean views. This will be
collected and graded.
Lesson 5: Romeo and Juliet
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

The Teacher collects the homework from the class before.
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Teacher writes a quickwrite prompt on the board: What do you know about
Romeo and Juliet? This acts as both a pre-test about the subject, and a warm up
exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher should quickly summarize the feud between the two houses (Capulet
and Montague).

The teacher should then introduce the play, emphasizing Romeo and Juliet’s place
in the blood feud between the families.
Questions? (2 minutes):

Teacher asks if there are any questions.
[Activity/Group Work] (20 minutes)

The Teacher has the class read parts of the play out-loud to the class.
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o The parts of the play should show the students a good overview of the
feud between the houses, Romeo and Juliet’s dilemma as lovers, and the
death of Benvolio.
o The students are asked to focus on the feud between the houses. How are
the characters influenced indirectly by the feud? How are they directly
influenced?

Parts are assigned to students that volunteer. The readings should be divided up
into 2 or 3 parts, to allow the most important parts of the play to be read, and to
allow more than the same cast of students to read out loud.
Regrouping (10 minutes):

The Students talk about the aftermath of the conflict. How many characters died
because of the conflict? Who were the innocent victims and who were the
instigators?
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Assignment:

The students should pick up selected readings from “Moby Dick” and read them
for next class.
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Part 3: Post-Shakespearean.
Lesson 6: Moby Dick
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What do you know about Moby
Dick? This acts as both a pre-test about the subject, and a warm up exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher should quickly summarize the events leading up to Moby Dick.

The teacher should emphasize Ahab as a tragic hero. His obsession leads him and
his crew to their downfall.
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Questions? (2 minutes):

Teacher asks if there are any questions.
[Activity/Group Work] (15 minutes)

Students should break up into small groups (3-4 people).

The Students read aloud sections from “Moby Dick” and try to analyze Ahab’s
motivation and emotions.

The teacher should try to group students together who would not normally work
together in a group. This would break up cliques and keep students focused on the
task at hand.
Regrouping (15 minutes):

The Students talk about the aftermath of Ahab’s quest.

Ask the students if they can think of any real-world examples of quests for
revenge that ended in self-destruction. If the students can’t think of (m)any from
history, then ask if they can think of any from popular culture.
o Ask them to reflect on those feuds.

Could one of the people be identified as a tragic hero?

Were either side more justified than the other?
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
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Assignment:

The students should pick up “The Cask of Amontillado” and read it for next class.
Each student should come up with 3 questions to discuss in a literature circle the
next class.

The students should write a short essay (1 page) about the differences that they
see between Shakespearean views of revenge and post-Shakespearean views. This
will be collected and graded.
Lesson 7: The Cask of Amontillado
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

The teacher collects the homework assignment from the class before.

Teacher writes a quickwrite prompt on the board: What do you think about
Montresor’s motivation? Do you think that Montresor is insane?

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.
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The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher asks the students if one of them would like to volunteer to explain the
plot. The teacher fills in any holes that the student leaves in his/her explanation.
Questions? (2 minutes):

Teacher asks if there are any questions.
[Activity/Group Work] (25 minutes)

The teacher has the class break into a literature circle, with the students raising the
questions that they wrote out the night before. The talk doesn’t need to be very
formal, and could resemble a Socratic seminar. The teacher should act only as a
guide, and not put too much opinion into the discussion, allowing the students to
learn from each other.
o The discussion should keep the theme of revenge in mind.
Regrouping (5 minutes):
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The students come back from the literature discussion and the teacher comments
on things that went well and expands upon any things that the students still
weren’t sure on.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Part 4: Revenge in Film
Lesson 8: The Princess Bride
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What other films/stories can
you think of that center on avenging one’s father?

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
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o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher introduces the film, and the character Inigo Montoya.
Questions? (2 minutes):

Teacher asks if there are any questions.
Film Clips (25 minutes)

The teacher has a number of clips prepared from the DVD of the Princess Bride.
o These scenes should focus on the character Inigo Montoya and his quest to
avenge his father.

Inigo’s explanation of his quest

Inigo’s beseeching of his father’s spirit

The duel between Inigo and Count Rugen.
Regrouping (5 minutes):

The students discuss the “building blocks” of the feud and discuss its
implications. How does Inigo’s quest for revenge affect him in the long run?
Exit Ticket (5 minutes):
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Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
Lesson 9: The Godfather
Objectives:

To have students identify the theme(s) of revenge in the text.

To improve in the area of close reading

To develop an understanding of literary themes.
Introduction (10 minutes):

Teacher writes a quickwrite prompt on the board: What do you know about the
mafia? This acts as a pre-test and a warm up exercise.

The Teacher writes with the students. This modeling allows the students to
connect with the teacher too.

The Teacher allows the students to write for 5 minutes or so, and then gives a
warning to have the students wrap it up.

Teacher has students volunteer their answers.
o Students should speak up and be unafraid to question each other and
discuss their answers.
Lecture (5 minutes):

The teacher introduces the film, and the character Michael Corleone.
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Questions? (2 minutes):

Teacher asks if there are any questions.
Film Clips (25 minutes)

The teacher has a number of clips prepared from the DVD of The Godfather.
o These scenes should focus on the character Michael Corleone and his
quest to avenge his father.

Michael visiting his father in the hospital, getting attacked by
McClusky

Michael discussing the hit on the Turk.

Don Vito’s speech in the garden

The baptism scene.
Regrouping (5 minutes):

The students discuss the “building blocks” of the feud and discuss its
implications. How does Michael change as a result of his quest for revenge?

The teacher wraps up the topic of revenge. Answers any questions that remain.
Exit Ticket (5 minutes):

Students should fill out an exit ticket before leaving the class that reflects on what
they have learned today.
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Lesson 10: Unit Test
Introduction:

The teacher collects the final essays and hands out the final test.

Allow for the entire period to finish the test, and then stay after to answer any
questions.
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Unit Artifacts:
1.) Revenge Defined (from Dictionary.com)
re⋅venge
rˈvɛndʒShow Spelled Pronunciation [ri-venj]
Show IPA verb, -venged, -veng⋅ing, noun
–verb (used with object)
1.
to exact punishment or expiation for a wrong on behalf of, esp. in
a resentful or vindictive spirit: He revenged his murdered brother.
2.
to take vengeance for; inflict punishment for; avenge: He
revenged his brother's murder.
–verb (used without object)
3.
to take revenge.
–noun
4.
the act of revenging; retaliation for injuries or wrongs;
vengeance.
5.
something done in vengeance.
6.
the desire to revenge; vindictiveness.
7.
an opportunity to retaliate or gain satisfaction.
Origin:
1350–1400; ME revengen (v.) < MF, OF revenger, equiv. to revenger to AVENGE < L vindicāre; see VINDICATE
Related forms:
RE-
+
re⋅venge⋅less, adjective
re⋅veng⋅er, noun
re⋅veng⋅ing⋅ly, adverb
Synonyms:
1. See AVENGE. 4. requital. REVENGE, REPRISAL, RETRIBUTION, VENGEANCE
suggest a punishment, or injury inflicted in return for one received.
REVENGE is the carrying out of a bitter desire to injure another for a
wrong done to oneself or to those who are felt to be like oneself: to
plot revenge. REPRISAL, formerly any act of retaliation, is used
specifically in warfare for retaliation upon the enemy for its (usually
unlawful) actions: to make a raid in reprisal for one by the enemy.
RETRIBUTION suggests just or deserved punishment, often without
personal motives, for some evil done: a just retribution for
wickedness. VENGEANCE is usually wrathful, vindictive, furious revenge:
implacable vengeance.
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Dictionary.com Unabridged
Based on the Random House Dictionary, © Random House, Inc. 2009.
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2.) General Grading Rubric
Dr. Sophia McClennen's
GENERAL EVALUATION RUBRIC FOR PAPERS
These are general guidelines used in assessing written work. Any grade deduction for misspelled
words is in addition to these guidelines.
The Superior Paper (A/A-)
Thesis: Easily identifiable, plausible, novel, sophisticated, insightful, crystal clear.
Connects well with paper title.
Structure: Evident, understandable, appropriate for thesis. Excellent transitions from
point to point. Paragraphs support solid topic sentences.
Use of evidence: Primary source information used to buttress every point with at least
one example. Examples support mini-thesis and fit within paragraph. Excellent
integration of quoted material into sentences. Demonstrates an in depth understanding of
the ideas in the assigned reading and critically evaluates/responds to those ideas in an
analytical, persuasive manner.
Analysis: Author clearly relates evidence to "mini-thesis" (topic sentence); analysis is
fresh and exciting, posing new ways to think of the material. Work displays critical
thinking and avoids simplistic description or summary of information.
Logic and argumentation: All ideas in the paper flow logically; the argument is
identifiable, reasonable, and sound. Author anticipates and successfully defuses counterarguments; makes novel connections to outside material (from other parts of the class, or
other classes), which illuminate thesis. Creates appropriate college level, academic tone.
Mechanics: Sentence structure, grammar, and diction excellent; correct use of
punctuation and citation style; minimal to no spelling errors; absolutely no run-on
sentences or comma splices. Conforms in every way to format requirements.
The Good Paper (B+/B)
Thesis: Promising, but may be slightly unclear, or lacking in insight or originality.
Paper title does not connect as well with thesis or is not as interesting.
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Ian Carney
3/3/2016
Structure: Generally clear and appropriate, though may wander occasionally. May have
a few unclear transitions, or a few paragraphs without strong topic sentences.
Use of evidence: Examples used to support most points. Some evidence does not
support point, or may appear where inappropriate. Quotes well integrated into sentences.
Demonstrates a solid understanding of the ideas in the assigned reading and critically
evaluates/responds to those ideas in an analytical, persuasive manner.
Analysis: Evidence often related to mini-thesis, though links perhaps not very clear.
Some description, but more critical thinking.
Logic and argumentation: Argument of paper is clear, usually flows logically and
makes sense. Some evidence that counter-arguments acknowledged, though perhaps not
addressed. Occasional insightful connections to outside material made. Mostly creates
appropriate college level, academic tone.
Mechanics: Sentence structure, grammar, and diction strong despite occasional lapses;
punctuation and citation style often used correctly. Some (minor) spelling errors; may
have one run-on sentence or comma splice. Conforms in every way to format
requirements.
The Borderline Paper (B-/C+)
Thesis: May be unclear (contain many vague terms), appear unoriginal, or offer
relatively little that is new; provides little around which to structure the paper. Paper title
and thesis do not connect well or title is unimaginative.
Structure: Generally unclear, often wanders or jumps around. Few or weak transitions,
many paragraphs without topic sentences.
Use of evidence: Examples used to support some points. Points often lack supporting
evidence, or evidence used where inappropriate (often because there may be no clear
point). Quotes may be poorly integrated into sentences. Demonstrates a general
understanding of the ideas in the assigned reading and only occasionally critically
evaluates/responds to those ideas in an analytical, persuasive manner.
Analysis: Quotes appear often without analysis relating them to mini-thesis (or there is a
weak mini-thesis to support), or analysis offers nothing beyond the quote. Even balance
between critical thinking and description.
Logic and argumentation: Logic may often fail, or argument may often be unclear.
May not address counter-arguments or make any outside connections. Occasionally
creates appropriate college level, academic tone, but has some informal language or
inappropriate slang.
Mechanics: Problems in sentence structure, grammar, and diction (usually not major).
Some errors in punctuation, citation style, and spelling. May have some run-on sentences
or comma splices. Conforms in almost every way to format requirements.
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Ian Carney
3/3/2016
The "Needs Help" Paper (C/C-)
Thesis: Difficult to identify at all, may be bland restatement of obvious point.
Structure: Unclear, often because thesis is weak or non-existent. Transitions confusing
and unclear. Few topic sentences.
Use of evidence: Very few or very weak examples. General failure to support
statements, or evidence seems to support no statement. Quotes not integrated into
sentences; "plopped in" in improper manner. Demonstrates a little understanding of (or
occasionally misreads) the ideas in the assigned reading and does not critically
evaluates/responds to those ideas in an analytical, persuasive manner.
Analysis: Very little or very weak attempt to relate evidence to argument; may be no
identifiable argument, or no evidence to relate it to. More description than critical
thinking.
Logic and argumentation: Ideas do not flow at all, usually because there is no
argument to support. Simplistic view of topic; no effort to grasp possible alternative
views. Does not create appropriate college level, academic tone, and has informal
language or inappropriate slang.
Mechanics: Big problems in sentence structure, grammar, and diction. Frequent major
errors in citation style, punctuation, and spelling. May have many run-on sentences and
comma splices. Does not conform to format requirements.
The "Really Needs Help" Paper (D+/D)
Is like The "Needs Help" Paper but the problems are more serious or more frequent.
The Failing Paper
Shows obviously minimal lack of effort or comprehension of the assignment. Very difficult to
understand owing to major problems with mechanics, structure, and analysis. Has no identifiable
thesis, or utterly incompetent thesis. Does not follow paper guidelines for length and format.
Plagiarizes.
http://www.personal.psu.edu/users/s/a/sam50/rubric.htm
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Ian Carney
3/3/2016
3.) Medea Selection
When the children twain whom thou didst bear came with their father and entered the palace of the bride,
right glad were we thralls who had shared thy griefs, for instantly from ear to ear a rumour spread that thou
and thy lord had made up your former quarrel. One kissed thy children's hands, another their golden hair,
while I for very joy went with them in person to the women's chambers. Our mistress, whom now we do
revere in thy room, cast a longing glance at Jason, ere she saw thy children twain; but then she veiled her
eyes and turned her blanching cheek away, disgusted at their coming; but thy husband tried to check his
young bride's angry humour with these words: "O, be not angered 'gainst thy friends; cease from wrath and
turn once more thy face this way, counting as friends whomso thy husband counts, and accept these gifts,
and for my sake crave thy sire to remit these children's exile." Soon as she saw the ornaments, no longer
she held out, but yielded to her lord in all; and ere the father and his sons were far from the palace gone, she
took the broidered robe and put it on, and set the golden crown about her tresses, arranging her hair at her
bright mirror, with many a happy smile at her breathless counterfeit. Then rising from her seat she passed
across the chamber, tripping lightly on her fair white foot, exulting in the gift, with many a glance at her
uplifted ankle. When lo! a scene of awful horror did ensue. In a moment she turned pale, reeled backwards,
trembling in every limb, and sinks upon a seat scarce soon enough to save herself from falling to the
ground. An aged dame, one of her company, thinking belike it was a fit from Pan or some god sent, raised a
cry of prayer, till from her mouth she saw the foam-flakes issue, her eyeballs rolling in their sockets, and all
the blood her face desert; then did she raise a loud scream far different from her former cry. Forthwith one
handmaid rushed to her father's house, another to her new bridegroom to tell his bride's sad fate, and the
whole house echoed with their running to and fro. By this time would a quick walker have made the turn in
a course of six plethra and reached the goal, when she with one awful shriek awoke, poor sufferer, from her
speechless trance and oped her closed eyes, for against her a twofold anguish was warring. The chaplet of
gold about her head was sending forth a wondrous stream of ravening flame, while the fine raiment, thy
children's gift, was preying on the hapless maiden's fair white flesh; and she starts from her seat in a blaze
and seeks to fly, shaking her hair and head this way and that, to cast the crown therefrom; but the gold held
firm to its fastenings, and the flame, as she shook her locks, blazed forth the more with double fury. Then
to the earth she sinks, by the cruel blow o'ercome; past all recognition now save to a father's eye; for her
eyes had lost their tranquil gaze, her face no more its natural look preserved, and from the crown of her
head blood and fire in mingled stream ran down; and from her bones the flesh kept peeling off beneath the
gnawing of those secret drugs, e'en as when the pine-tree weeps its tears of pitch, a fearsome sight to see.
And all were afraid to touch the corpse, for we were warned by what had chanced. Anon came her haples
father unto the house, all unwitting of her doom, and stumbles o'er the dead, and loud he cried, and folding
his arms about her kissed her, with words like these the while, "O my poor, poor child, which of the gods
hath destroyed thee thus foully? Who is robbing me of thee, old as I am and ripe for death? O my child,
alas! would I could die with thee!" He ceased his sad lament, and would have raised his aged frame, but
found himself held fast by the fine-spun robe as ivy that clings to the branches of the bay, and then ensued
a fearful struggle. He strove to rise, but she still held him back; and if ever he pulled with all his might,
from off his bones his aged flesh he tore. At last he gave it up, and breathed forth his soul in awful
suffering; for he could no longer master the pain. So there they lie, daughter and aged sire, dead side by
side, a grievous sight that calls for tears. And as for thee, I leave thee out of my consideration, for thyself
must discover a means to escape punishment. Not now for the first time I think this human life a shadow;
yea, and without shrinking I will say that they amongst men who pretend to wisdom and expend deep
thought on words do incur a serious charge of folly; for amongst mortals no man is happy; wealth may pour
in and make one luckier than another, but none can happy be.
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Ian Carney
3/3/2016
4.) Princess Bride Script Selection:
INIGO
I do not mean to pry, but you don't by any chance happen to have six fingers on your right hand?
He glances up -- the question clearly baffles him.
MAN IN BLACK
Do you always begin conversations this way?
INIGO
My father was slaughtered by a six- fingered man. He was a great swordmaker, my father. And
when the six-fingered man appeared and requested a special sword, my father took the job. He
slaved a year before he was done.
He hands his sword to the Man In Black.
MAN IN BLACK
(fondling it-impressed)
I have never seen its equal.
CUT TO:
CLOSE UP - INIGO.
Even now, this still brings pain.
INIGO
The six-fingered man returned and demanded it, but at one-tenth his promised price. My father
refused. Without a word, the six-fingered man slashed him through the heart. I loved my father,
so, naturally, challenged his murderer to a duel ... I failed ... the six-fingered man did leave me
alive with the six-fingered sword, but he gave me these.
(He touches his scars.)
CUT TO:
THE MAN IN BLACK,
looking up at Inigo.
MAN IN BLACK
How old were you?
INIGO
I was eleven years old. When I was strong enough, I dedicated my life to the study of fencing. So
the next time we meet, I will not fail. I will go up to the six-fingered man and say, "Hello, my
name is Inigo Montoya. You killed my father. Prepare to die."
MAN IN BLACK
You've done nothing but study swordplay?
INIGO
More pursuit than study lately. You see, I cannot find him. It's been twenty years now. I am
starting to lose confidence. I just work for Vizzini to pay the bills. There's not a lot of money in
revenge.
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Ian Carney
3/3/2016
5.) The Godfather Script Selection:
MICHAEL (who's seated with his arms on the chair's arms)
We can't wait. I don't care what Sollozzo says about a deal, he's gonna kill Pop, that's it.
That's the key for him. Gotta get Sollozzo.
CLEMENZA
Mike is right...
SONNY
Lemme ask you something, Professor, I mean -- what about McCluskey? Huh? What do we
do with this -- cop here?
MICHAEL
They wanna have a meeting with me, right? It will be me -- McCluskey -- and Sollozzo.
Let's set the meeting. Get our informers to find out where it's gonna be held. Now, we insist
it's a public place -- a bar, a restaurant -- some place where there's people so I feel safe.
They're gonna search me when I first meet them, right, so I can't have a weapon on me then.
But if Clemenza can figure a way -- to have a weapon planted there for me -- then I'll kill
'em both.
[Clemenza, Tessio and Sonny laugh. Tom shrugs]
SONNY
Hey, whataya gonna do, nice college boy, eh? Didn't want to get mixed up in the Family
business, huh? Now you wanna gun down a police captain, why, because he slapped ya in
the face a little bit? Hah? What do you think this is the Army, where you shoot'em a mile
away? You've gotta get up close like this and bada-bing! you blow their brains all over your
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Ian Carney
3/3/2016
nice Ivy League suit. Come're...
MICHAEL (as Sonny kisses his head)
Sonny...
SONNY
You're taking this very personal. Tom, this is business and this man is taking it very very
personal.
MICHAEL
Where does it say that you can't kill a cop?
HAGEN
Come on, Mikey...
MICHAEL
Tom, wait a minute. I'm talking about a cop -- that's mixed up in drugs. I'm talking about ah
- ah - a dishonest cop -- a crooked cop who got mixed up in the rackets and got what was
coming to him. That's a terrific story. And we have newspaper people on the payroll, don't
we, Tom?
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Ian Carney
3/3/2016
6.) Selected Quotes from Moby Dick. To be written on the board or highlighted in
class.
Towards thee I roll, thou all-destroying but unconquering whale; to the last I
grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last
breath at thee.
And he piled upon the whale’s white hump the sum of all the rage and hate felt by his
whole race. If his chest had been a cannon, he would have shot his heart upon it.
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Ian Carney
3/3/2016
8.) Selection from “the Cask of Amontillado”
"Ha ! ha ! ha ! - he ! he ! - a very good joke indeed - an excellent jest. We will have many a
rich laugh about it at the palazzo - he ! he ! he ! - over our wine - he ! he ! he !"
"The Amontillado !" I said.
"He ! he ! he ! - he ! he ! he ! - yes, the Amontillado. But is it not getting late ? Will not they
be awaiting us at the palazzo, the Lady Fortunato and the rest ? Let us be gone."
"Yes," I said, "let us be gone."
" For the love of God, Montressor ! "
"Yes," I said, "for the love of God !"
But to these words I hearkened in vain for a reply. I grew impatient. I called aloud "Fortunato !"
No answer. I called again "Fortunato !"
No answer still. I thrust a torch through the remaining aperture and let it fall within. There
came forth in return only a jingling of the bells. My heart grew sick - on account of the
dampness of the catacombs. I hastened to make an end of my labor. I forced the last stone
into its position ; I plastered it up. Against the new masonry I re-erected the old rampart of
bones. For the half of a century no mortal has disturbed them. In pace requiescat !
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Ian Carney
3/3/2016
9.) Selection from Julius Caeser
ANTONY
O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these butchers!
Thou art the ruins of the noblest man
That ever lived in the tide of times.
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy,-Which, like dumb mouths, do ope their ruby lips,
To beg the voice and utterance of my tongue-A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
Blood and destruction shall be so in use
And dreadful objects so familiar
That mothers shall but smile when they behold
Their infants quarter'd with the hands of war;
All pity choked with custom of fell deeds:
And Caesar's spirit, ranging for revenge,
With Ate by his side come hot from hell,
Shall in these confines with a monarch's voice
Cry 'Havoc,' and let slip the dogs of war;
That this foul deed shall smell above the earth
With carrion men, groaning for burial.
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Ian Carney
3/3/2016
10.) Selection from Romeo and Juliet
MERCUTIO
I am hurt.
A plague o' both your houses! I am sped.
Is he gone, and hath nothing?
BENVOLIO
What, art thou hurt?
MERCUTIO
Ay, ay, a scratch, a scratch; marry, 'tis enough.
Where is my page? Go, villain, fetch a surgeon.
Exit Page
ROMEO
Courage, man; the hurt cannot be much.
MERCUTIO
No, 'tis not so deep as a well, nor so wide as a
church-door; but 'tis enough,'twill serve: ask for
me to-morrow, and you shall find me a grave man. I
am peppered, I warrant, for this world. A plague o'
both your houses! 'Zounds, a dog, a rat, a mouse, a
cat, to scratch a man to death! a braggart, a
rogue, a villain, that fights by the book of
arithmetic! Why the devil came you between us? I
was hurt under your arm.
ROMEO
I thought all for the best.
MERCUTIO
Help me into some house, Benvolio,
Or I shall faint. A plague o' both your houses!
They have made worms' meat of me: I have it,
And soundly too: your houses!
exeunt MERCUTIO and BENVOLIO
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