Please use the comments function of this post to provide your reflection(s) on the question below. Your individual responses must be submitted by MONDAY, 22nd DECEMBER, 6pm.
1. STRUCTURE OF THE PLAY
In A Midsummer Night's Dream, the action moves from a state of confusion, dilemma and disequilibrium, into a state of further disorder and chaos. This then evolves into a situation where enlightenment and resolution presents itself.
In your own words and giving examples from the play itself, provide details (examples, quotes, events) to trace the progress within the play that reflects on the different states presented above.
In addition, comment on the final resolution in the play symbolised by marriage and reconcilliation - how apt is this?
Your response must be coherent and must also include specific examples and quotes from the play. Your response will be awarded a maximum of 10 marks.
Good Luck everyone! :)
Sunday, December 14, 2008
Monday, December 8, 2008
DECEMBER UPDATES (IMPT. PLS READ)
Hello everyone!
I trust that you have all had a restful and fulfilling EOY holidays so far. I have refrained from setting any new tasks for the past three weeks or so because it seems that quite a number of people were away and/or catching up on lost sleep/ undone assignments/ spring cleaning your room/ breeding your hamsters / been on overseas trips and other such like enjoyable and yet very draining endeavors. *grins*
Hence, it is only now, at the tail end of our 2008 break that I have finally decided to set some work for the Sec 4 E.Lit students of 2009. Please submit all work set from here on as they will be refresher activities and prepare you for the packed semester that we will share as you embark on your lives as 'O' Level students.
I have posted the suggetsed outline / answer scheme for the additional question set during extension week regarding the role of the craftsmen in the play. Please read the outline of the suggested answers as some of the information will relate directly / indirectly to your subsequent online tasks.
I will post new activities every Monday and Friday and a deadline will be set for all activities requiring your response. Please adhere to the deadline as I would like to grade all assignments before lessons begin for 2009.
I will also be posting a list of names of those who have yet to hand in the requsite assignments due for 2008.
Do enjoy what's left of the holidays even as you attempt to re-visit and polish up your knowledge of the intricacies of Shakespeare's A Midsummer Night's Dream in the weeks left to 2008 :)
Love to all
-Ms. Nsa-
I trust that you have all had a restful and fulfilling EOY holidays so far. I have refrained from setting any new tasks for the past three weeks or so because it seems that quite a number of people were away and/or catching up on lost sleep/ undone assignments/ spring cleaning your room/ breeding your hamsters / been on overseas trips and other such like enjoyable and yet very draining endeavors. *grins*
Hence, it is only now, at the tail end of our 2008 break that I have finally decided to set some work for the Sec 4 E.Lit students of 2009. Please submit all work set from here on as they will be refresher activities and prepare you for the packed semester that we will share as you embark on your lives as 'O' Level students.
I have posted the suggetsed outline / answer scheme for the additional question set during extension week regarding the role of the craftsmen in the play. Please read the outline of the suggested answers as some of the information will relate directly / indirectly to your subsequent online tasks.
I will post new activities every Monday and Friday and a deadline will be set for all activities requiring your response. Please adhere to the deadline as I would like to grade all assignments before lessons begin for 2009.
I will also be posting a list of names of those who have yet to hand in the requsite assignments due for 2008.
Do enjoy what's left of the holidays even as you attempt to re-visit and polish up your knowledge of the intricacies of Shakespeare's A Midsummer Night's Dream in the weeks left to 2008 :)
Love to all
-Ms. Nsa-
DECEMBER HOLIDAYS DISCUSSION QUESTIONS (TASK 1)
Please email me your individual responses to the three questions below by next MONDAY, 15th DECEMBER, 6pm.
Please email responses to: meela_useen@yahoo.com.sg
1. “The kinder we, to give them thanks for nothing.
Our sport shall be to take what they mistake;
And what poor duty cannot do, noble respect
Takes it in might, not merit.”
Does Theseus practice what he preaches where the craftsmens are concerned or does he, in Philostrate’s words, ‘find sport in their intents’? Is there any difference between the way in which Theseus responds to the play and the way in which the others react? (5marks)
2. What is the dramatic function of the craftsmen’s ‘play within a play’? How are the content and nature of the performance appropriate to the play as a whole? (5 marks)
3. The lovers find the antics of the craftsmen and content of their play absurdly amusing. What is ironic about this fact given their own behavior in Acts 2 and 3? (5 marks)
There is no word length for the task above. Please write as much as you feel is necessary.
Responses that show a sound understanding of the play as well as an independent train of thought and analysis will fare better than those that simply regurgitate what might have been mentioned in class.
I look forward to reading your responses. Good Luck! :)
-Ms. Nsa-
Please email responses to: meela_useen@yahoo.com.sg
1. “The kinder we, to give them thanks for nothing.
Our sport shall be to take what they mistake;
And what poor duty cannot do, noble respect
Takes it in might, not merit.”
Does Theseus practice what he preaches where the craftsmens are concerned or does he, in Philostrate’s words, ‘find sport in their intents’? Is there any difference between the way in which Theseus responds to the play and the way in which the others react? (5marks)
2. What is the dramatic function of the craftsmen’s ‘play within a play’? How are the content and nature of the performance appropriate to the play as a whole? (5 marks)
3. The lovers find the antics of the craftsmen and content of their play absurdly amusing. What is ironic about this fact given their own behavior in Acts 2 and 3? (5 marks)
There is no word length for the task above. Please write as much as you feel is necessary.
Responses that show a sound understanding of the play as well as an independent train of thought and analysis will fare better than those that simply regurgitate what might have been mentioned in class.
I look forward to reading your responses. Good Luck! :)
-Ms. Nsa-
Tuesday, November 25, 2008
SUGGESTED ANSWERS
"Shakespeare wants us to smile kindly at the craftsmen, not scorn them." Do you agree? Refer closely to the scenes in whihc the craftsmen appear and discuss Shakespeare's portrayal of them in the play.
Possible viewpoints:
YES. Shakespeare wants us to ‘smile kindly’ at them; he has them appear ridiculous, but he also shows how innocent and earnest they are
NO. Shakespeare sets them up as bumbling fools, reinforcing the stereotype that those from the lower classes are simpletons
SMILE KINDLY
- Show that the mechanicals are portrayed as earnest and sincere, trying their best to put up a good show (look for evidence to support this: their efforts at rehearsing)
- Bottom, the most outstanding of the group, is a comic figure, but he spouts wisdom at times: ‘love and reason keep little company together nowadays’. His behavior borders on arrogance, yet we cannot help but admire his positive attitude and ‘can do’ spirit (look for evidence to support this- for example, his reaction upon waking up from his night in the woods, ‘I will get Peter Quince to write a ballad of this dream.’
- Talk about their performance of the play ‘Pyramus and Thisbe’. The performance was terrible by all accounts, but Theseus’ reminder to the rest that ‘If we imagine no worse of them than they of / themselves, they may pass for excellent men’ could reflect Shakespeare’s own view, that we should not be so haughty, and appreciate the craftsmen’s play for its ‘might, not merit’. (Look for similar evidence)
- The craftsmen have a significant role in the play, especially Bottom. They are written as comical figures, but even the nobles (the four lovers) go crazy in the woods, of course aided by the love juice. It is the craftsmen who keep their composure more, persevering in the face of difficulty, when Bottom was ‘missing’. If even the nobles are ‘fools’ as Puck gleefully comments, the surely Shakespeare does not single out the craftsmen for ridicule or scorn. (Look for evidence that shows the craftsmen’s positive attitude, and the lovers’ wild, foolish behavior)
SCORN
- Show how the mechanicals are portrayed as bumbling fools (Evidence should be given to show their ignorance about the conventions of stagecraft, and the numerous errors they make in speech)
- Describe how Bottom, the group’s de-facto leader, is transformed into a lowly animal, a ‘beast’ used to humiliate the fairy Queen. There are numerous references to Bottom as an ass, whether or not he was transformed. It seems as though the lower class is being made fun of, as they are portrayed as hapless simpletons.
- The play, Pyramus and Thisbe, is performed so badly that the audience is in stitches, unable to disguise their contempt for the play. Demetrius, Lysander, Theseus and Hippolyta all interrupt the play several times, making critical comments. Once, Bottom actually ‘stopped acting’, breaking the fourth wall, and reassuring the Duke that they were on cue. There was very little respect shown to the craftsmen by their audience, although Theseus apparently is sympathetic towards them. It is worth noting though that he too makes critical comments.
- The craftsmen are brought in for comic relief, and appear to be manipulated by forces beyond their control. They are shown to be at the bottom of the food chain, subject to the whims and fancies of their ‘superiors’. Provide relevant evidence—Puck’s convenient use of Bottom in Oberon’s scheme for revenge.
It is okay to take either stand, as long as you can justify your answers with appropriate evidence.
Some other things to mention / possible observations / relevant facts
- The names of the mechanicals suggest their occupations. They are described by Puck as ‘hempen homespuns’, and by Philostrate as ‘hard-handed men who work in Athens here.’
- Philostrate’s description of the play reveals his contempt for their efforts, probably having previewed it earlier—according to him, it is ‘brief’, yet even this is ‘too long’, and ‘tedious’. It is supposed to be ‘tragical’ yet his tears were ‘merry’ tears, as he couldn’t stop laughing! He says the mechanicals ‘have never labored in their minds till now.’
- He discourages Theseus from choosing the play as it is ‘nothing, nothing in the world’, and feels that surely they do not wish to ‘find sport in their intents / extremely stretched and conned with cruel pain / To do you service.’
- Hippolyta is wary of watching the play, as she ‘love(s) not to see wretchedness
o’ercharged / And duty in his service perishing.’ She feels that perhaps that it would be cruel to choose their play and possibly put the mechanicals in a situation where they are out of their depth, or will make fools of themselves. (This could be linked to the idea of ‘scorn’ in the question). Ironically though, her comments about the play later are quite scathing.
- Theseus’ magnanimous (magnanimous= high-minded; noble: a just and magnanimous ruler. Preceding from or revealing generosity or nobility of mind, character etc.: a magnanimous gesture of forgiveness.) Comments about the play and the craftsmen seem to put things into perspective.
- For never anything can be amiss / When simpleness and duty tender it.
- The kinder we, to give them thanks for nothing / Our noble sport shall be to take what they mistake; / And what poor duty cannot do, noble respect / Takes it in might, not merit.
- Love, therefore, and tongue-tied simplicity / In least speak most, to my capacity.
- The best in this kind are but shadows, and the / worst are no worse, if imagination amend them.
- If we imagine no worse of them than they of / themselves, they may pass for excellent men.
Theseus’ words / sentiments reveal a generous attitude towards the craftsmen, and this may show that Shakespeare wants us to ‘smile kindly’ at them. After all, we witness their earnest efforts to prepare for the play, and their naïve (and ridiculous) ideas about staging a play. They are innocent in nature, however, and we forgive them their mistakes as Shakespeare makes them endearing in their errors. Bottom, with his immensely positive disposition (disposition= the predominant or prevailing tendency of one’s spirits; natural mental and emotional outlook or mood; characteristic attitude: a girl with a pleasant disposition) is an inspiration to his fellows, and to us as well. He reacts positively to any situation, and never looks back.
(Feel free to take an opposing view—you would then have to present the points above in a negative light i.e. endearing becomes ignorant etc)
Possible viewpoints:
YES. Shakespeare wants us to ‘smile kindly’ at them; he has them appear ridiculous, but he also shows how innocent and earnest they are
NO. Shakespeare sets them up as bumbling fools, reinforcing the stereotype that those from the lower classes are simpletons
SMILE KINDLY
- Show that the mechanicals are portrayed as earnest and sincere, trying their best to put up a good show (look for evidence to support this: their efforts at rehearsing)
- Bottom, the most outstanding of the group, is a comic figure, but he spouts wisdom at times: ‘love and reason keep little company together nowadays’. His behavior borders on arrogance, yet we cannot help but admire his positive attitude and ‘can do’ spirit (look for evidence to support this- for example, his reaction upon waking up from his night in the woods, ‘I will get Peter Quince to write a ballad of this dream.’
- Talk about their performance of the play ‘Pyramus and Thisbe’. The performance was terrible by all accounts, but Theseus’ reminder to the rest that ‘If we imagine no worse of them than they of / themselves, they may pass for excellent men’ could reflect Shakespeare’s own view, that we should not be so haughty, and appreciate the craftsmen’s play for its ‘might, not merit’. (Look for similar evidence)
- The craftsmen have a significant role in the play, especially Bottom. They are written as comical figures, but even the nobles (the four lovers) go crazy in the woods, of course aided by the love juice. It is the craftsmen who keep their composure more, persevering in the face of difficulty, when Bottom was ‘missing’. If even the nobles are ‘fools’ as Puck gleefully comments, the surely Shakespeare does not single out the craftsmen for ridicule or scorn. (Look for evidence that shows the craftsmen’s positive attitude, and the lovers’ wild, foolish behavior)
SCORN
- Show how the mechanicals are portrayed as bumbling fools (Evidence should be given to show their ignorance about the conventions of stagecraft, and the numerous errors they make in speech)
- Describe how Bottom, the group’s de-facto leader, is transformed into a lowly animal, a ‘beast’ used to humiliate the fairy Queen. There are numerous references to Bottom as an ass, whether or not he was transformed. It seems as though the lower class is being made fun of, as they are portrayed as hapless simpletons.
- The play, Pyramus and Thisbe, is performed so badly that the audience is in stitches, unable to disguise their contempt for the play. Demetrius, Lysander, Theseus and Hippolyta all interrupt the play several times, making critical comments. Once, Bottom actually ‘stopped acting’, breaking the fourth wall, and reassuring the Duke that they were on cue. There was very little respect shown to the craftsmen by their audience, although Theseus apparently is sympathetic towards them. It is worth noting though that he too makes critical comments.
- The craftsmen are brought in for comic relief, and appear to be manipulated by forces beyond their control. They are shown to be at the bottom of the food chain, subject to the whims and fancies of their ‘superiors’. Provide relevant evidence—Puck’s convenient use of Bottom in Oberon’s scheme for revenge.
It is okay to take either stand, as long as you can justify your answers with appropriate evidence.
Some other things to mention / possible observations / relevant facts
- The names of the mechanicals suggest their occupations. They are described by Puck as ‘hempen homespuns’, and by Philostrate as ‘hard-handed men who work in Athens here.’
- Philostrate’s description of the play reveals his contempt for their efforts, probably having previewed it earlier—according to him, it is ‘brief’, yet even this is ‘too long’, and ‘tedious’. It is supposed to be ‘tragical’ yet his tears were ‘merry’ tears, as he couldn’t stop laughing! He says the mechanicals ‘have never labored in their minds till now.’
- He discourages Theseus from choosing the play as it is ‘nothing, nothing in the world’, and feels that surely they do not wish to ‘find sport in their intents / extremely stretched and conned with cruel pain / To do you service.’
- Hippolyta is wary of watching the play, as she ‘love(s) not to see wretchedness
o’ercharged / And duty in his service perishing.’ She feels that perhaps that it would be cruel to choose their play and possibly put the mechanicals in a situation where they are out of their depth, or will make fools of themselves. (This could be linked to the idea of ‘scorn’ in the question). Ironically though, her comments about the play later are quite scathing.
- Theseus’ magnanimous (magnanimous= high-minded; noble: a just and magnanimous ruler. Preceding from or revealing generosity or nobility of mind, character etc.: a magnanimous gesture of forgiveness.) Comments about the play and the craftsmen seem to put things into perspective.
- For never anything can be amiss / When simpleness and duty tender it.
- The kinder we, to give them thanks for nothing / Our noble sport shall be to take what they mistake; / And what poor duty cannot do, noble respect / Takes it in might, not merit.
- Love, therefore, and tongue-tied simplicity / In least speak most, to my capacity.
- The best in this kind are but shadows, and the / worst are no worse, if imagination amend them.
- If we imagine no worse of them than they of / themselves, they may pass for excellent men.
Theseus’ words / sentiments reveal a generous attitude towards the craftsmen, and this may show that Shakespeare wants us to ‘smile kindly’ at them. After all, we witness their earnest efforts to prepare for the play, and their naïve (and ridiculous) ideas about staging a play. They are innocent in nature, however, and we forgive them their mistakes as Shakespeare makes them endearing in their errors. Bottom, with his immensely positive disposition (disposition= the predominant or prevailing tendency of one’s spirits; natural mental and emotional outlook or mood; characteristic attitude: a girl with a pleasant disposition) is an inspiration to his fellows, and to us as well. He reacts positively to any situation, and never looks back.
(Feel free to take an opposing view—you would then have to present the points above in a negative light i.e. endearing becomes ignorant etc)
Monday, October 20, 2008
EXTENSION WEEK (ANNOUNCEMENT 1)
Hi all,
Just a friendly reminder of the things you are to prepare for lessons during extension week:)
EOY EXAMINATIONS 2008 ENGLISH LITERATURE
Instructions:
Write your full response to Paper 1 Section 2, as corrections. (ALL THREE QUESTIONS)
The corrections are due on the FIRST Literature lesson during the EXTENSION WEEK.
Non-submission = ZERO
Please include the following points in your corrections.
1. What do you find most memorable and attractive about the character of Oberon?
Remember to refer closely to key moments when he appears in the play.
Points may overlap BUT substantiation (elaboration & explanation) MUST be made
Memorable
1. Amorous / Flirtatious
2. Possessive / Patriarchal / Chauvinist
3. Stubborn / Hard headed
4. Sly / shrewd / cunning
5. Well-versed/ knowledgeable in the uses of plants (herbology)
Attractive
1. Able to sympathize with others /Wishes to help those in need / Magnanimous
2. Benevolent
3. Practical
4. Soft-hearted
5. Responsible
2. Describe the transitory and deceptive nature of love in the relationship between the four lovers Hermia, Lysander, Helena, and Demetrius. Substantiate your answer with evidence from relevant parts of the play.
Should ideally define or limit the scope/focus of the two key words:
1. Transitory
- does not last long (transient), changes rather quickly (almost mercurial) and once change
has taken place, no one remembers what happened prior to that (events/feelings are
forgotten).
2. Deceptive
- love that is ‘faked’ or brought about by the use of deception and trickery
- the illusions or tricks that being in Love makes you susceptible to
- being blinded by the notion of love and reacting in an inexplicable manner (acting out of
character) because of Love
- being misled into believing things that are not really there (the mirage that Love creates)
Transitory
1. Demetrius & Helena
2. Lysander & Hermia
3. Lysander & Demetrius
Deceptive
1. Egeus & Lysander
2. Lysander & Hermia
3. Helena & Demetrius
4. Demetrius & Helena
5. Lysander & Hermia
PASSAGE BASED QUESTION
THESEUS:
What say you, Hermia? be advised fair maid:
To you your father should be as a god;
One that composed your beauties, yea, and one
To whom you are but as a form in wax
By him imprinted and within his power
To leave the figure or disfigure it.
Demetrius is a worthy gentleman.
HERMIA:
So is Lysander.
THESEUS:
In himself he is;
But in this kind, wanting your father's voice,
The other must be held the worthier.
HERMIA:
I would my father look'd but with my eyes.
THESEUS:
Rather your eyes must with his judgment look.
HERMIA:
I do entreat your grace to pardon me.
I know not by what power I am made bold,
Nor how it may concern my modesty,
In such a presence here to plead my thoughts;
But I beseech your grace that I may know
The worst that may befall me in this case,
If I refuse to wed Demetrius.
THESEUS:
Either to die the death or to abjure
For ever the society of men.
Therefore, fair Hermia, question your desires;
Know of your youth, examine well your blood,
Whether, if you yield not to your father's choice,
You can endure the livery of a nun,
For aye to be in shady cloister mew'd,
To live a barren sister all your life,
Chanting faint hymns to the cold fruitless moon.
Thrice-blessed they that master so their blood,
To undergo such maiden pilgrimage;
But earthlier happy is the rose distill'd,
Than that which withering on the virgin thorn
Grows, lives and dies in single blessedness.
3. i) What aspect of Theseus’s character is revealed through his lines in this passage and how is his stand here different from his stand at the end of the play?
- Firm / unwavering / decisive (Example?)
- Patient /placating (Example?)
- Patriarchal (Example?)
- Law-abiding/ upholds the law (Example?)
Difference: Lies in his decision making.
ii) Describe how this exchange between Hermia and Theseus is a turning point in the play? Support your answer with close reference to subsequent events in the play.
Turning point:
- Ultimatum forces Hermia and Lysander to think of ways in which to remain true to their oaths and vows of love to each other.
- To escape the ‘harsh Athenian laws’, Lysander proposes that they elope to his aunt’s place which is seven leagues away from Athens.
Impact on the play:
- How does the decision to elope impact subsequent events.
- Outline the necessary events and substantiate how the events were brought about by the event in the passage.
- Relate the events (in passage and elsewhere) to the overall themes in the play.
Elaborate with specific examples from the play.
Submission of corrections is compulsory. Sample essays will be distributed to those who submit their EOY corrections. Thank you!
Just a friendly reminder of the things you are to prepare for lessons during extension week:)
EOY EXAMINATIONS 2008 ENGLISH LITERATURE
Instructions:
Write your full response to Paper 1 Section 2, as corrections. (ALL THREE QUESTIONS)
The corrections are due on the FIRST Literature lesson during the EXTENSION WEEK.
Non-submission = ZERO
Please include the following points in your corrections.
1. What do you find most memorable and attractive about the character of Oberon?
Remember to refer closely to key moments when he appears in the play.
Points may overlap BUT substantiation (elaboration & explanation) MUST be made
Memorable
1. Amorous / Flirtatious
2. Possessive / Patriarchal / Chauvinist
3. Stubborn / Hard headed
4. Sly / shrewd / cunning
5. Well-versed/ knowledgeable in the uses of plants (herbology)
Attractive
1. Able to sympathize with others /Wishes to help those in need / Magnanimous
2. Benevolent
3. Practical
4. Soft-hearted
5. Responsible
2. Describe the transitory and deceptive nature of love in the relationship between the four lovers Hermia, Lysander, Helena, and Demetrius. Substantiate your answer with evidence from relevant parts of the play.
Should ideally define or limit the scope/focus of the two key words:
1. Transitory
- does not last long (transient), changes rather quickly (almost mercurial) and once change
has taken place, no one remembers what happened prior to that (events/feelings are
forgotten).
2. Deceptive
- love that is ‘faked’ or brought about by the use of deception and trickery
- the illusions or tricks that being in Love makes you susceptible to
- being blinded by the notion of love and reacting in an inexplicable manner (acting out of
character) because of Love
- being misled into believing things that are not really there (the mirage that Love creates)
Transitory
1. Demetrius & Helena
2. Lysander & Hermia
3. Lysander & Demetrius
Deceptive
1. Egeus & Lysander
2. Lysander & Hermia
3. Helena & Demetrius
4. Demetrius & Helena
5. Lysander & Hermia
PASSAGE BASED QUESTION
THESEUS:
What say you, Hermia? be advised fair maid:
To you your father should be as a god;
One that composed your beauties, yea, and one
To whom you are but as a form in wax
By him imprinted and within his power
To leave the figure or disfigure it.
Demetrius is a worthy gentleman.
HERMIA:
So is Lysander.
THESEUS:
In himself he is;
But in this kind, wanting your father's voice,
The other must be held the worthier.
HERMIA:
I would my father look'd but with my eyes.
THESEUS:
Rather your eyes must with his judgment look.
HERMIA:
I do entreat your grace to pardon me.
I know not by what power I am made bold,
Nor how it may concern my modesty,
In such a presence here to plead my thoughts;
But I beseech your grace that I may know
The worst that may befall me in this case,
If I refuse to wed Demetrius.
THESEUS:
Either to die the death or to abjure
For ever the society of men.
Therefore, fair Hermia, question your desires;
Know of your youth, examine well your blood,
Whether, if you yield not to your father's choice,
You can endure the livery of a nun,
For aye to be in shady cloister mew'd,
To live a barren sister all your life,
Chanting faint hymns to the cold fruitless moon.
Thrice-blessed they that master so their blood,
To undergo such maiden pilgrimage;
But earthlier happy is the rose distill'd,
Than that which withering on the virgin thorn
Grows, lives and dies in single blessedness.
3. i) What aspect of Theseus’s character is revealed through his lines in this passage and how is his stand here different from his stand at the end of the play?
- Firm / unwavering / decisive (Example?)
- Patient /placating (Example?)
- Patriarchal (Example?)
- Law-abiding/ upholds the law (Example?)
Difference: Lies in his decision making.
ii) Describe how this exchange between Hermia and Theseus is a turning point in the play? Support your answer with close reference to subsequent events in the play.
Turning point:
- Ultimatum forces Hermia and Lysander to think of ways in which to remain true to their oaths and vows of love to each other.
- To escape the ‘harsh Athenian laws’, Lysander proposes that they elope to his aunt’s place which is seven leagues away from Athens.
Impact on the play:
- How does the decision to elope impact subsequent events.
- Outline the necessary events and substantiate how the events were brought about by the event in the passage.
- Relate the events (in passage and elsewhere) to the overall themes in the play.
Elaborate with specific examples from the play.
Submission of corrections is compulsory. Sample essays will be distributed to those who submit their EOY corrections. Thank you!
Subscribe to:
Posts (Atom)
