English 10 Final
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Transcript of English 10 Final
A theme is the main idea, moral, or message, of an essay, paragraph, movie, book or video game. The message may be about life, society, or human nature. Themes often explore timeless and universal ideas and are almost always implied rather than stated explicitly. In narrative, a motif is any recurring element that has symbolic significance in a story. Dramatic Irony is when the words and actions of the characters of a work of literature have a different meaning for the reader than they do for the characters. This is the result of the reader having a greater knowledge than the characters themselves. Situational Irony occurs in literature and in drama when persons and events come together in improbable situations, creating a tension between expected and real results. Verbal Irony is the use of words to convey something other than, and especially the opposite of the literal meaning of the words, to emphasize, aggrandize, or make light of a circumstance or subject. A conflict is an opposition of people, forces, or other entities.
Character vs. Self Character vs. Character Character vs. Society Character vs. Nature
Imagery is a collection of images. It is the usage of details and descriptions in order to create a sensory experience for the reader. Characterization is the method used by a writer to develop a character. The method includes (1) showing the character's appearance, (2) displaying the character's actions, (3) revealing the character's thoughts, (4) letting the character speak, and (5) getting the reactions of others. Foreshadowing is a literary technique used by many different authors to provide clues for the reader to be able to predict what might occur later on in the story. It is a literary device in which an author drops hints about the plot and what may come in the near future. It suggests certain plot developments will come later in the story and gives hints about what’s going to happen next. Juxtaposition is the act or instance of placing close together or side by side, esp. for comparison or contrast. Plot is a literary term for the events a story comprises, particularly as they relate to one another in a pattern, a sequence, through cause and effect, or by coincidence. In general, a climax is a point of greatest intensity or force in an ascending series. Writing style is the manner in which a writer chooses among different strategies to address an issue and an audience. An epic hero is figure from a history or legend, usually favored by or even partially descended from deities, but aligned more closely with mortal figures in popular portrayals. The hero participates in a cyclical journey or quest, faces adversaries that try to defeat him in his journey, gathers allies along his journey, and returns home significantly transformed by his journey. The epic hero illustrates traits, performs deeds, and exemplifies certain morals that are valued by the society from which the epic originates. They tend to be 'larger than life' than the ideal human.
An epitaph is a short text honoring a deceased person, strictly speaking that is inscribed on their tombstone or plaque, but also used figuratively. Invocation is the act or an instance of invoking, especially an appeal to a higher power for assistance. A homeric simile, also called epic simile, is a detailed comparison in the form of a simile that is many lines in length. Oral tradition is cultural material and traditions transmitted orally from one generation to another. An archetype is an original model of a person, ideal example, or a prototype upon which others are copied, patterned, or emulated; a symbol universally recognized by all. Archetype refers to a generic version of a personality. In this sense "mother figure" may be considered an archetype and may be identified in various characters with otherwise distinct (non-‐generic) personalities. Tragedy is a form of art based on human suffering that offers its audience pleasure. A tragic hero is the main character in a tragedy. A flashback is, in literature and dramatic media, an interjected scene that takes the narrative back in time from the current point. A paradox is a true statement or group of statements that leads to a contradiction or a situation, which defies intuition. It is used to describe situations that are ironic. Symbolism is the practice of representing things by symbols, or of investing things with a symbolic meaning or character. Realism is a theory of writing in which the ordinary, familiar, or mundane aspects of life are represented in a straightforward or matter-‐of-‐fact manner that is presumed to reflect life as it actually is. The setting is the location, and everything in which a story takes place, and initiates the main backdrop and mood for a story. Point-‐of-‐view determines through whose perspective the story is viewed Mood is the climate of feeling in a literary work. The choice of setting, objects, details, images, and words all contribute towards creating a specific mood. An author’s tone can be revealed through choice of words and details. Some possible attitudes are pessimism, optimism, earnestness, seriousness, bitterness, humorous, and joyful.
“Two Friends” Author: Guy de Maupassant Culture: Franco-‐Prussian War Characters: The two friends – Monsieur Sauvage and Monsieur Morrisot A short story about two friends who escape the troubles of the war and the hard times by fishing. They are close friends who meet up every sunday to go fish on a little river, right by the Siene. The two friends are aware of the war and the violence going on but pay no attention to it. Through many times in the short story, the two main characters, Monsieur Sauvage and Monsieur Morissot comment on how beautiful the weather is or how amazing the sky looks that day. The two friends go into their own world while they are fishing. This shows that while the rest of the world was at war, suffering, losing loved ones, fighting for their country, Morissot and Sauvage dont pay attention. Everything else dissapears because they are fishing. Fishing in this story symbolizes an escape, freedom or some kind of peace. The war does not affect the two friends for a while. One afternoon they get the permission from the friend and go down to the river to fish. While they are sitting there fishing, the two friends discuss the war. They say how it really doesn’t matter to them, and how they know it will blow over. Morissot says: "Under a king we have foreign wars; under a republic we have civil war." This shows the two's view on the war. After fishing for a while, the two are surprised by a German soldier. He takes the two to the other side of the river to a head officer. The German Officer tells the two friends that he thinks they are spies and that he wants the password. He thinks the two have "the password" and threatens to kill the two. The two do not have a password to give him and therefore they, after their goodbyes, are shot and thrown in the river. After they are thrown in the river the German soldier took the fish they had caught and ordered for them to be cooked. The fish, as said before, symbolizes the two friends escape, freedom and peace. Once the German soldier orders for them to be cooked, it symbolizes the officer killing the two friends' freedom and peace. They are not peaceful anymore. They were innocent victims in the war.
“The Handsomest Drowned Man in the World” Author: Gabriel Garcia Marquez Culture: a small Colombian village, Aracataca Characters: Esteban -‐ the drowned man The Men -‐ The men are absent for the first half of the story while they're out trying to see if the drowned man came from a neighboring village. When they come back, they're largely skeptical of the drowned man's greatness, unlike the women, who are now completely obsessed with the drowned man. The Women -‐ They are the ones who see his physical prowess and then imagine his character. They imagine the life he would have led, and the way he might have fit into their village. And it is the women who give to the drowned man the name of Esteban. Summary: One Friday morning, the village children find a seaweed covered body on the beach. They play with it until the adults discover the corpse and decide that it must be given a small funeral and thrown off the cliff which their village rests, into the sea as they do with all dead bodies. In order to do so, however, they must clean the corpse before it can be given final rest. The village men carry the body up to the village so that the village wives can prepare it for the funeral, then go to neighboring villages to ask if the man was from there. Upon removing the sea plants from his face, they discover his handsome face. The women of the village become attached to him and dream of the wonderful villager he could have been. Eventually, they name the man Esteban, to give him some sort of identity. At once they realize his physical qualities and translate how his personality must have been. The women believe that he could perform in one night what their husbands could not in the course of their lives. This leads to a postmortem development of his character. The stranger’s body is quite tall, and his face is humble with a firm jaw. Thinking of how he must have had to stoop to enter doorways and how he must have felt uncomfortable in small chairs makes the women feel pity and sympathy for the man who had not uttered a word. They dress him in a hand-‐sewn suit of bridal linen and attach little ‘relics’ for his safety. This includes holy water jars and nails. Annoyed at the elaborate measures their wives are taking, the men of the village come to take the body. Nevertheless, they too see his face and are awed by the character they see in him. Soon the entire town begins making excessive funeral arrangements and one of the village families is chosen to pose as his relatives and grieving widow. No sooner had the villagers thrust his body from the cliff do they realize that one day he may come again. In celebration of the new life they had discovered, the village men irrigated their bleak and barren land to produce flowers, and the houses were painted in bright colors to identify Esteban’s Village and give him a home to which he could return.
“How Much Land Does a Man Need?” Author: Leo Tolstoy Culture: it is a story about Americans ���taking advantage of the Indians. Although it is set in Russia, it is about the greed that many people had at the time and the outcome of that greed. The opening scene represents the��� Europeans coming over to America. During that time, the mid-1800’s, the Europeans were rich��� and their relatives in America were poor. Characters:
Pahom -‐ The protagonist. He is a poor farmer who desires more land.
The Devil -‐ He set a trap for Pahom, and gave him more and more land until he died from his greed.
The Bashkirs -‐ They were giving out land to anyone who wanted it -‐ provided they could walk the perimeter of it in one day. They indubitably set many traps for greedy people, so they could get more money. They took advantage of the greed of others, and in a sense it gives them what they deserve. Summary:
The protagonist of the story is a peasant named Pahom, who at the beginning can be heard complaining that he does not own enough land to satisfy him. He states "if I had plenty of land, I shouldn't fear the Devil himself!" But unbeknownst to him is that the devil is present sitting behind the stove and listening. A short amount of time later, a landlady in the village decides to sell her estate, and the peasants of the village buy as much of that land as they can. Pahom himself purchases some land, and by working off the extra land is able to repay his debts and live a more comfortable life. However, Pahom then becomes very possessive of his land, and this causes arguments with his neighbors. "Threats to burn his building began to be uttered." Later, he moves to a larger area of land at another Commune. Here, he can grow even more crops and amass a small fortune, but he has to grow the crops on rented land, which irritates him. Finally, he is introduced to the Bashkirs, and is told that they are simple-‐minded people who own a huge amount of land. Pahom goes to them to take as much of their land for as low a price as he can negotiate. Their offer is very unusual: for a sum of one thousand rubles, Pahom can walk around as large an area as he wants, starting at daybreak, marking his route with a spade along the way. If he reaches his starting point by sunset that day, the entire area of land his route encloses will be his. He is delighted as he believes that he can cover a great distance and has chanced upon the bargain of a lifetime. That night, Pahom experiences a surreal dream in which he sees himself lying dead by the feet of the Devil, who is laughing. His journey across the land illustrates his greed. He stays out as late as possible, marking out land until just before the sun sets. Toward the end, he realizes he is far from the starting point and runs back as fast as he can to the waiting Bashkirs. He finally arrives at the starting point just as the sun sets. The Bashkirs cheer his good fortune, but exhausted from the run, Pahóm drops dead. His servant buries him in an ordinary grave only six feet long, thus ironically answering the question posed in the title of the story.
Night
Author: Elie Wiesel
Culture: Jewish Holocaust
Characters:
Elie (Eliezer): The main character and narrator of the story, Elie is fifteen years old when he is taken to the Nazi concentration camps. Elie and his father support each other throughout their internment. Elie's father dies before the liberation, but Elie becomes a survivor and witness of the death camps. Elie's narrative recounts the horrors of his nightmarish Holocaust experience.
Elie's father (Shlomo): A storeowner and a well-‐respected Jewish community leader in Sighet before the deportation of the Jews. Elie develops a strong bond with his father as they go through the unforgettable journey through the death camps. He manages to survive the internment until the very end, where he dies of dysentery before the liberation of the camps.
Moshe the Beadle: A poor Jewish mystic in the town of Sighet who becomes Elie's spiritual mentor and friend. In 1942, Moshe is deported to Poland where he witnesses the mass extermination of the Jews. He manages to escape and goes back to Sighet to warn them of danger. No one listens to him.
Dr. Mengele: Described as a typical SS officer (a cruel face, but not devoid of intelligence, and wearing a monocle), he uses a baton during the selection process. He decides who lives to work another day and who is sent to their deaths at the crematory. Cold, unaffected, and authoritative, he is the prototypical Nazi officer.
young pipel: A young assistant under the Dutch Oberkapo (head overseer) at Buna, he is sentenced to death for being involved in sabotage. Described as having the face of angel, he struggles on the gallows for more than half an hour before he dies. Elie is deeply affected by witnessing the boy's death.
Elie's mother: Separated from Elie and her husband at Birkenau, she and Elie's younger sister, Tzipora, die in the crematory at Birkenau.
Tzipora: Elie's younger sister. She dies, along with Elie's mother at Birkenau.
Madame Schachter: A woman of about fifty with a ten year old child. On the train ride to Auschwitz, she starts to lose her mind. She constantly warns the passengers of the fire, flame, and furnace. Her words prove prophetic, as the other Jews witness the flames of the crematory and the smell of burning flesh upon arrival of Birkenau.
Stein of Antwerp: A relative of the Wiesels, he questions Elie's father about the whereabouts of his wife and two little boys. Elie lies and tells them that he has heard of them, which makes Stein happy. He brings Elie extra rations of food until he hears the truth about his family. Elie does not hear from him again.
Akiba Drumer: A fellow prisoner with a deep solemn voice, he sings Hasidic melodies at Birkenau. Deeply religious, he is optimistic that their imprisonment will not last long. As time passes, he loses faith.
Juliek: A bespectacled Polish Jew, he is a violinist in the orchestra at Buna. At Gleiwitz, amidst a barrack full of dying men, Elie hears Juliek play his violin one last time. In the morning, Elie finds him dead, his violin crushed.
Idek the Kapo: An overseer at Buna, he is described as having fits of madness. He beats Elie and his father on different occasions. In one incident, Elie discovers him with a girl. As punishment, Idek gives him 25 strokes of the whip.
Yossi and Tibi: Two Czech brothers whose parents are exterminated at Birkenau. They become friends with Elie at Buna. Together with Elie, they plan to go to Palestine after the war.
Franek: A Pole and former student from Warsaw, he is the foreman at Buna. He forces Elie to give up the gold crown on his tooth by tormenting Elie's father.
Alphonse: A German Jew and head of the block at Buna, he is kind and generous to the members of his block.
French girl (Jewess): A girl with whom Elie works next to at a warehouse at Buna. When Elie is beaten by Idek the Kapo, the French girl helps him and tells him to keep his anger for another day. Years later in Paris, Elie Wiesel runs into her in the Metro. After reminiscing about the past, Elie finds out that she is, as he had thought, Jewish.
youth from Warsaw: Elie's first witness of a hanging, the Polish boy is hanged for stealing during an alert. All the prisoners are made to stare at the face of the hanged body.
Dutch Oberkapo: A kind and beloved overseer at Buna, he is accused of sabotage and stocking arms. He is transferred to Auschwitz and never seen again. His assistant, the pipel, is hanged.
Zalman: A Polish lad, who works with Elie at the electrical warehouse at Buna, he falls behind during the winter march to Gleiwitz. Elie believes the other prisoners trampled Zalman.
Rabbi Eliahou: A rabbi of a small Polish community, he is described as beloved by everyone in the camp, including the Kapos. Known to shine with inner purity, his words always bring comfort to the people. As he goes around looking for his son, Elie remembers how he had seen the rabbi's son abandon him during the winter march. Elie prays that he does not become like the rabbi's son.
Meir Katz: A friend of Elie's father, he is one of the strongest in the camp. Elie's father calls for Meir's help when Elie is choked during the night. Near the end of the trip to Buchenwald, Meir starts to lose hope and tells Elie's father that he cannot make it. He dies as they arrive at Buchenwald.
Summary:
Night begins in 1941, when, the narrator of the story, Elie, is twelve years old. Having grown up in a little town called Sighet in Transylvania, Elie is a studious, deeply religious boy with a loving family consisting of his parents and three sisters. One day, Moshe the Beadle, a Jew from Sighet, deported in 1942, with whom Elie had once studied the cabbala, comes back and warns the town of the impending dangers of the German army. No one listens and years pass by. But by 1944, Germans are already in the town of Sighet and they set up ghettos for the Jews. After a while, the Germans begin the deportation of the Jews to the concentration camp in Auschwitz.
The Jews of Sighet are forced into crowded cattle wagons, each car consisting of eighty people. The conditions of the train ride are horrific; they are treated no better than animals. A woman named Madame Schachter starts to go mad. She yells, "Fire! I can see a fire!" (Chapter 2, pg. 22) Periodically, throughout the train ride, she yells about fire, flames, and the furnace. At first, the others try to quiet her. When that does not work, they merely ignore her. When the train arrives at its destination, they are at Birkenau, the reception center for Auschwitz. The air smells of burning flesh. At Birkenau, Elie is separated from his mother and sisters. Realizing the importance of being together, Elie and his father lie about their age. As they prepare to enter the camp, they see a ditch where babies are thrown into a burning flame. Elie cannot imagine that this is actually happening. It feels like a nightmare that he can never forget. The male Jews are shaved, showered, and given work clothes. After a long march, they enter Auschwitz, where Elie becomes number A-‐7713. After a brief stay at Auschwitz, they are moved to a new camp, Buna. At Buna, Elie goes through the dehumanizing process of the concentration camps. Both he and his father experience severe beatings at the hand of the kapos (overseers). In one instance, Elie receives twenty-‐five strokes of the whip from Idek the Kapo for walking in on him while he is with a girl. All the prisoners are overworked and undernourished. Many lose faith in God, including Elie. He witnesses several hangings, one of a boy with an angelic face, and sees him struggle for over thirty minutes fighting for his life. To a stranger's cry of "Where is God now?" Elie answers: "He is hanging here on this gallows...."
Elie and his father manage to survive through the selection process, where the unfit are condemned to the crematory. Elie suffers from a foot injury that places him in a hospital. After the surgery, the Germans decide to relocate the prisoners because of the advancement of the Russian army. The prisoners begin a long trek in the dead of winter. Many do not make it. Elie and his father support each other through the grueling march. The march leads to a train ride where Elie witnesses a boy kill his father for a morsel of bread. Elie is horrified at the very thought, but he realizes that he too has become callous-‐that he is beginning to care only about his own survival. By the end of the winter trek to Buchenwald, out of a hundred prisoners, only a dozen survive, including Elie and his father. Although Elie's father survives the trip, he later falls ill. Elie witnesses the slow deterioration of his father's health and his eventual death. At Buchenweld, the Germans try in desperation to exterminate all the remaining Jews. But by this time, the Germans are close to defeat. Before the Germans can carry out Hitler's plan to exterminate the Jews, there is a successful uprising in the camp by the resistance. On April 11, 1945, American
tanks arrive at Buchenweld. As Elie recuperates in a hospital, he looks into a mirror and sees a corpse gaze back at him.
Oedipus the King Auhtor: Sophocles
Oedipus: Oedipus is the central figure and tragic hero of Sophocles' play. Though he is initially the majestic king of Thebes, he soon becomes a dejected man, humbled by his horrible fate. As the oracle predicts, Oedipus kills his father and sleeps with his mother. When Oedipus learns what he has done, he chooses exile, leaving Creon to be king.
Creon: Creon is the brother of Jocasta and therefore brother-‐in-‐law of Oedipus. At first, Oedipus accuses Creon of trying to unseat him as king, but Creon is eventually exonerated when Oedipus realizes his own guilt in the murder of Laius. When the dejected Oedipus leaves Thebes at the end of the play, Creon becomes king.
Tiresias: Tiresias is the old, blind prophet/seer who tells Oedipus his fate. Tiresias has the special gift of foresight and prophecy, which he learns from the gods. In many ways, he is the gods' messenger. Though Oedipus accuses him, too, of treason, Tiresias is proved right in the end.
Jocasta: Jocasta is the queen of Thebes. She is first married to Laius, but after Laius is murdered and Oedipus becomes the new king, she marries him. Eventually she realizes that Oedipus is her son and that the tragic oracle has been fulfilled.
Chorus and Leader: The Chorus and their leader are seen throughout the play. The Chorus usually represents the townspeople as a whole as they respond to the new twists in the plot. The Chorus is also a way for Sophocles to reveal the major themes of his tragedy.
Shepherd: The shepherd confirms Oedipus' tragic fate by telling the king that Jocasta and Laius are his true parents. This shepherd sends Oedipus, then an infant, to Corinth to live as the son of Polybus.
Summary:
A plague has stricken Thebes. The citizens gather outside the palace of their king, Oedipus, asking him to take action. Oedipus replies that he already sent his brother-‐in-‐law, Creon, to the oracle at Delphi to learn how to help the city. Creon returns with a message from the oracle: the plague will end when the murderer of Laius, former king of Thebes, is caught and expelled; the murderer is within the city. Oedipus questions Creon about the murder of Laius, who was killed by thieves on his way to consult an oracle. Only one of his fellow travelers escaped alive. Oedipus promises to solve the mystery of Laius’s death, vowing to
curse and drive out the murderer.
Oedipus sends for Tiresias, the blind prophet, and asks him what he knows about the murder. Tiresias responds cryptically, lamenting his ability to see the truth when the truth brings nothing but pain. At first he refuses to tell Oedipus what he knows. Oedipus curses and insults the old man, going so far as to accuse him of the murder. These taunts provoke Tiresias into revealing that Oedipus himself is the murderer. Oedipus naturally refuses to believe Tiresias’s accusation. He accuses Creon and Tiresias of conspiring against his life, and charges Tiresias with insanity. He asks why Tiresias did nothing when Thebes suffered under a plague once before. At that time, a Sphinx held the city captive and refused to leave until someone answered her riddle. Oedipus brags that he alone was able to solve the puzzle. Tiresias defends his skills as a prophet, noting that Oedipus’s parents found him trustworthy. At this mention of his parents, Oedipus, who grew up in the distant city of Corinth, asks how Tiresias knew his parents. But Tiresias answers enigmatically. Then, before leaving the stage, Tiresias puts forth one last riddle, saying that the murderer of Laius will turn out to be both father and brother to his own children, and the son of his own wife.
After Tiresias leaves, Oedipus threatens Creon with death or exile for conspiring with the prophet. Oedipus’s wife, Jocasta (also the widow of King Laius), enters and asks why the men shout at one another. Oedipus explains to Jocasta that the prophet has charged him with Laius’s murder, and Jocasta replies that all prophecies are false. As proof, she notes that the Delphic oracle once told Laius he would be murdered by his son, when in fact his son was cast out of Thebes as a baby, and Laius was murdered by a band of thieves. Her description of Laius’s murder, however, sounds familiar to Oedipus, and he asks further questions. Jocasta tells him that Laius was killed at a three-‐way crossroads, just before Oedipus arrived in Thebes. Oedipus, stunned, tells his wife that he may be the one who murdered Laius. He tells Jocasta that, long ago, when he was the prince of Corinth, he overheard someone mention at a banquet that he was not really the son of the king and queen. He therefore traveled to the oracle of Delphi, who did not answer him but did tell him he would murder his father and sleep with his mother. Hearing this, Oedipus fled his home, never to return. It was then, on the journey that would take him to Thebes, that Oedipus was confronted and harassed by a group of travelers, whom he killed in self-‐defense. This skirmish occurred at the very crossroads where Laius was killed.
Oedipus sends for the man who survived the attack, a shepherd, in the hope that he will not be identified as the murderer. Outside the palace, a messenger approaches Jocasta and tells her that he has come from Corinth to inform Oedipus that his father, Polybus, is dead, and that Corinth has asked Oedipus to come and rule there in his place. Jocasta rejoices, convinced that Polybus’s death from natural causes has disproved the prophecy that Oedipus would murder his father. At Jocasta’s summons, Oedipus comes outside, hears the news, and rejoices with her. He now feels much more inclined to agree with the queen in deeming prophecies worthless and viewing chance as the principle governing the world. But while Oedipus finds great comfort in the fact that one-‐half of the prophecy has been disproved, he still fears the other half—the half that claimed he would sleep with his mother.
The messenger remarks that Oedipus need not worry, because Polybus and his wife, Merope, are not Oedipus’s biological parents. The messenger, a shepherd by profession, knows firsthand that Oedipus came to Corinth as an orphan. One day long ago, he was tending his sheep when another shepherd approached him carrying a baby, its ankles pinned together. The messenger took the baby to the royal family of Corinth, and they raised him as their own. That baby was Oedipus. Oedipus asks who the other shepherd was, and the messenger answers that he was a servant of Laius.
Oedipus asks that this shepherd be brought forth to testify, but Jocasta, beginning to suspect the truth, begs her husband not to seek more information. She runs back into the palace. The shepherd then enters. Oedipus interrogates him, asking who gave him the baby. The shepherd refuses to disclose anything, and Oedipus threatens him with torture. Finally, he answers that the child came from the house of Laius. Questioned further, he answers that the baby was in fact the child of Laius himself, and that it was Jocasta who gave him the infant, ordering him to kill it, as it had been prophesied that the child would kill his parents. But the shepherd pitied the child, and decided that the prophecy could be avoided just as well if the child were to grow up in a foreign city, far from his true parents. The shepherd therefore passed the boy on to the shepherd in Corinth.
Realizing who he is and who his parents are, Oedipus screams that he sees the truth and flees back into the palace. The shepherd and the messenger slowly exit the stage. A second messenger enters and describes scenes of suffering. Jocasta has hanged herself, and Oedipus, finding her dead, has pulled the pins from her robe and stabbed out his own eyes. Oedipus now emerges from the palace, bleeding and begging to be exiled. He asks Creon to send him away from Thebes and to look after his daughters, Antigone and Ismene. Creon, covetous of royal power, is all too happy to oblige.