...Cornered in the Roundhouse “Irony is wasted on the stupid,” Oscar Wilde once said. This quote certainly applies to Arthur Miller’s The Crucible, because by carelessly reading this play, you might miss some of its genius. The author uses irony in many different ways to create different poignant emotions. Sometimes he makes a humorous little remark that might fly right over an unsuspecting head. Other times he puts his readers through pure agony as character’s fates are sealed before their eyes. True to form as a skilled author, Miller uses dramatic, verbal, and situational irony. In The Crucible, dramatic irony is used to create suspense in various situations. Dramatic irony is when the audience knows something that a character in the play does not know. When used correctly, it will significantly raise the tension of any given moment. This is exemplified by the following dialogue: ”Danforth: Answer my question! Is your husband a lecher! Elizabeth: No, sir.” (Act III). The audience knows that if Elizabeth just tells the truth, it will save her husband. However, without...
Words: 585 - Pages: 3
...The Crucible Act Three Questions Short Response Answer the following questions based on your knowledge of the drama. Write a response on a separate sheet of paper. 1. Describe one piece of evidence that Giles, Francis, or Proctor bring before the court to show that the girls are lying. 2. What does Abigail do to distract Danforth from Hale’s accusations that she is lying? 3. How does Hale show that he believes that the court is not doing the right thing? Use three details from the text in your response. 4. Danforth explains that “. . . a person is either with this court or he must be counted against it, there be no road between.” What conclusion can you draw about Danforth’s character from this line? 5. How does Hale excuse Elizabeth’s lie about Abigail’s affair with Proctor? 6. Danforth explains that witchcraft is an invisible crime and that only the victims are reliable. How does his philosophy flame the hysteria? Use details from the drama to support your response. 7. How do Hale and Parris try to thwart each other, or act as foils, in regards to Danforth and the court? Use details from the drama to support your response. 8. Describe the point at which you think the plot reaches its highest intensity, or climax. 9. After the outbreak in court, Mr. Danforth makes the following short statement to Mr. Hale: I will have nothing from you, Mr. Hale! In your own words, describe what Mr. Hale has said or done to instigate Mr. Danforth’s...
Words: 3241 - Pages: 13
...“A man may be aware that there is something...hollow in his own way of life, but still lack the power to express it in memorable language.” (Prudhoe). In the Crucible, several people notice the obvious corruption that lies in the Salem witch trials, but are unable to fight it due to lack of power. In Act three of The Crucible (1953), Arthur Miller expresses his frustration at the perpetual power grab under the façade of justice. Miller uses juxtaposition, dramatic irony, and selective dialogue in order to show how when struggling to clear one’s name, cold-hard facts are often overlooked in exchange for the promise of influence. The purpose of the act is to demonstrate that in every play for power, there must be pawns to manipulate and facts...
Words: 1247 - Pages: 5
...Arthur Miller’s “The Crucible” is a fictional account of the real life Salem witch trials, but the play has far deeper meanings than just a dramatic interpretation of the event. While it does provide an entertaining experience at face value, the true literary genius behind the work is Miller’s insight on human nature and the depravity of man. He uses the story of the witch trials to touch on hypocrisy, tendency to turn to revenge, and human weakness. Firstly, the theme of hypocrisy is found amongst the town of Salem as a whole, especially those who support the witch trials. They are supposed to have strong Christian values, yet they are extremely vindictive. More specifically, Mary Warren says that she is doing the Lord’s work, when in fact she is contributing to the deaths of people who know and love God. “I must tell you, sir, I will be gone every day now. I am amazed you do not see what weighty work we do,” (56) she says in act II. Another example is the hypocrisy within the Salem court system. Judge Danforth claims that his court reveals all truth when he says, “We burn a hot fire here:...
Words: 531 - Pages: 3
...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S MACBETH LINDA NEAL UNDERWOOD S E R I E S E D I T O R S : W. GEIGER ELLIS, ED.D., ARTHEA J. S. REED, PH.D., UNIVERSITY OF GEORGIA, EMERITUS and UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Macbeth 2 INTRODUCTION William Shakespeare developed many stories into excellent dramatizations for the Elizabethan stage. Shakespeare knew how to entertain and involve an audience with fast-paced plots, creative imagery, and multi-faceted characters. Macbeth is an action-packed, psychological thriller that has not lost its impact in nearly four hundred years. The politically ambitious character of Macbeth is as timely today as he was to Shakespeare's audience. Mary McCarthy says in her essay about Macbeth, "It is a troubling thought that Macbeth, of all Shakespeare's characters, should seem the most 'modern,' the only one you could transpose into contemporary battle dress or a sport shirt and slacks." (Signet Classic Macbeth) Audiences today quickly become interested in the plot of a blindly ambitious general with a strong-willed wife who must try to cope with the guilt engendered by their murder of an innocent king in order to further their power. The elements of superstition, ghosts, and witchcraft, though more readily a part of everyday life for the Renaissance audience, remain intriguing to modern teenagers. The action-packed...
Words: 8499 - Pages: 34
...QUESTION 1 01.) As an actor, the piece my group and I devised and performed was based on the issue of bystanders. The style of our piece was non-naturalistic and included devices such as freeze-frames. We chose to use freeze-frames to pinpoint key moments within the piece, highlighting the importance of these moments to our audience. Our piece was based on the ‘British bakeoff” in which one of our contestants cheated (me being the cheat) and somebody saw and nobody speaks up about it. The piece portrayed the importance of speaking up and not being a bystander. We also used lighting, for example a spotlight on the key moments to further highlight the important moments in the performance. The genre of out performance was Theatre in Education, and we performed it to a target audience of student’s aged 12-13, boys and girls. Therefore, we chose to set our piece in modern day as we thought it was easy for out target audience to relate to. The fact they could relate to the performance allowed them to be more involved which enhanced the performance overall. We showed this through our costume, wearing modern day clothing such as Juicy tracksuits and bright skater skirts. The performance stage was a thrust stage, creating a more intimate environment in which the whole audience was involved. 02.) When deciding how to perform our piece, we thought it would be effective to make it a comical performance as it would be beneficial as it would engage our audience whilst portraying a key...
Words: 2301 - Pages: 10
...DEATH OF A SALESMAN Study Guide for Teachers World-Class Theatre in the Heart of Vermont 703 Main Stre e t , W eston, V T 05161 www.westonplayhouse.o rg The Weston Playhouse Theatre Company The 2010 WPTC Teacher’s Workshop and the School Matinee and Touring Production is made possible in part by grants from: The Bay and Paul Foundations Mountain Room Foundation National Endowment for the Arts The Shubert Foundation The Vermont Country Store and The Orton Family Vermont Humanities Council and the National Endowment for the Humanities With additional contributions from: Black River Produce Berkshire Bank Clark’s Quality Foods Price Chopper’s Golub Foundation Ezra Jack Keats Foundation Okemo Mountain Resort Thrifty Attic …and an ever growing family of individuals who believe in the impact that the performing arts can have on its community. This Teachers Study Guide was compiled and edited by Rena Murman. Credit and thanks to the following theatres for materials used or referenced from study guides created for Death of a Salesman: Guthrie Theatre, Minneapolis, MN; Kennedy Center, Washington, DC; Lyric Theatre, London; Royal Lyceum Theatre Company, Edinburgh; Yale Repertory Theatre, New Haven, CT. © 2010 Weston Playhouse Theatre Company, a nonprofit 501(c)(3) educational and cultural institution. WPTC Performance Guides may be duplicated at no charge for educational purposes only. They may not be sold or used in other publications without the express written consent...
Words: 13575 - Pages: 55
...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF GEORGE ORWELL’S ANIMAL FARM By HAZEL K. DAVIS, Federal Hocking High School, Stewart, OH S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of George Orwell’s Animal Farm 2 INTRODUCTION Animal Farm is an excellent selection for junior and senior high students to study. Although on one level the novel is an allegory of the 1917 Russian Revolution, the story is just as applicable to the latest rebellion against dictators around the world. Young people should be able to recognize similarities between the animal leaders and politicians today. The novel also demonstrates how language can be used to control minds. Since teenagers are the target not only of the educational system itself but also of advertising, the music industry, etc., they should be interested in exploring how language can control thought and behavior. Animal Farm is short and contains few words that will hamper the reader’s understanding. The incidents in the novel allow for much interactive learning, providing opportunities for students to dramatize certain portions, to expand on speeches, and to work out alternative endings. The novel can be taught collaboratively with the history department as an allegory of the Russian Revolution, allowing students to draw parallels...
Words: 9582 - Pages: 39
...G U I D E T E A C H E R’S A TEACHER’S GUIDE TO TWELVE YEARS A SLAVE BY SOLOMON NORTHUP bY Jeanne M. McGlInn anD JaMes e. McGlInn 2 A Teacher’s Guide to Twelve Years a Slave by Solomon Northup Table of Contents SYNOPSIS......................................................................................................................................3 ABOUT THE AUTHOR...............................................................................................................3 INTRODUCTION TO THE STUDY GUIDE............................................................................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES.....................................................................................
Words: 7281 - Pages: 30
...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
Words: 11837 - Pages: 48
...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
Words: 239932 - Pages: 960
...Ben Jonson (1572–1637). The Alchemist. The Harvard Classics. 1909–14. | | | | |Introductory Note | | | | | |BEN JONSON was born of poor parents at Westminster in 1573. Through the influence of Camden, the antiquary, he got a good | 1| |education at Westminster School; but he does not seem to have gone to a University, though later both Oxford and Cambridge gave | | |him degrees. In his youth he practised for a time his stepfather’s trade of bricklaying, and he served as a soldier in Flanders. | | | It was probably about 1595 that he began to write for the stage, and within a few years he was recognized as a distinguished | 2| |playwright. His comedy of “Every Man in His Humour” was not only a great immediate success, but founded a school of satirical | | |drama in England. “Sejanus” and “Catiline” were less popular, but are impressive pictures of Roman life, less interesting but more| | |accurate than the Roman plays of Shakespeare. ...
Words: 30021 - Pages: 121
...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
Words: 78100 - Pages: 313
...A Preface of Quotations Whoever desires for his writings or himself, what none can reasonably condemn,the favor of mankind, must add grace to strength, and make his thoughts agreeable as well as useful. Many complain of neglect who never tried to attract regard. It cannot be expected that the patrons of science or virtue should be solicitous to discover excellencies which they who possess them shade and disguise. Few have abilities so much needed by the rest of the world as to be caressed on their own terms; and he that will not condescend to recommend himself by external embellishments must submit to the fate of just sentiments meanly expressed, and be ridiculed and forgotten before he is understood. --Samuel Johnson Men must be taught as if you taught them not; And things unknown propos'd as things forgot. --Alexander Pope Style in painting is the same as in writing, a power over materials, whether words or colors, by which conceptions or sentiments are conveyed. --Sir Joshua Reynolds Whereas, if after some preparatory grounds of speech by their certain forms got into memory, they were led to the praxis thereof in some chosen short book lessoned thoroughly to them, they might then forthwith proceed to learn the substance of good things, and arts in due order, which would bring the whole language quickly into their power. --John Milton Introduction Good writing depends upon more than making a collection of statements worthy of belief, because writing is intended to...
Words: 21397 - Pages: 86
...INTRODUCTION The plays and prefaces of Bernard Shaw deal with many and diverse themes. At least four, however, concern themselves with evolutionary themes and ideas: Man and Superman, Back to Methusalah, The Simpleton of the Unexpected Isles, and Far-fetched Fables. In Man and Superman, especially the third act, the preface, and The Revolutionist's Handbook and Pocket Companion, Shaw touches on two main themes: the pursuit of man by woman and the direction of evolution, which Shaw sees as leading towards the development of the mind and brain. In Back to Methusalah, Shaw carries forward his vision of evolution as proceeding in the direction of mental development but introduces a seemingly new idea in the last play of the cycle, the antithesis of mind and body. Shaw's dualism receives its most explicit statement in the last play of the cycle although there may be indications of it in the earlier plays. The mind-body antithesis, however, derives as a philosophical problem from Descartes,1 although the antithesis also appeared in the Manichean and Gnostic heresies, the spirit, or mind, being regarded as good and the body as evil. Although the antithesis of body and mind makes its first open appearance in the Methusalah cycle, it is present, at least as an implicit assumption in Man and Superman. Don Juan continually expresses his longing for the life of contemplation, a life which is to be achieved at the expense of the body. We will deal with the presence of the mind body antithesis...
Words: 49397 - Pages: 198
