WEEK 10

Good Morning and welcome to final exam week!

This week we'll be writing the film critical review. With this kind of essay, you'll want to keep your emphasis more on the word critical, as in think critically, and less on review or recommendation (though you're welcome to conclude your review with a recommendation to watch the film or not). You'll be analyzing the film just as you would an essay, picking something out of it that can be developed as a thesis. 

If you look again at the critical review from last week you'll notice that the first 9 of the 12 paragraphs of the essay all begin with topic sentences on deception. Lindsay is developing the thesis that he presented in the introduction paragraph. He doesn't attempt to analyze everything, just the motif of deception. It's a focused critical review. (But don't try to model the overall structure. You do NOT need 12 paragraphs. 3 to 5 body paragraphs will more likely be your structure.)

Here's your assignment:

Using the film that you watched last week, analyze a single element within it. This is literary analysis and you've been doing it all along with printed stories. This one is just on film. 

Hints, guiding principles, requirements...

1. Most of your writing needs to be analysis, but a paragraph or two of plot summary at the beginning is ok. You should keep this minimal. 

2. The same elements of analysis that you've used with the written literature is available for this essay too: character development, theme and motif, style, etc. But you've also got the uniquely film elements such as direction, editing, casting, and cinematography. Just make sure you're focusing on ONE element.

3. Take notes on the film. If you're working with an element involving character, you'll need to get the names right and to quote it accurately. If you're working with something like choreography (for a musical of course), you may need a list and the order of the dance numbers. Yes, you may need to watch the film again this week, and if you're not sure if you should take notes on something, take notes on it. 

4. 800-word minimum, 1000 maximum. That's a tight window. Stick to it, please. 

Final drafts (the only drafts) are due Friday night. You will NOT have an opportunity to revise this essay (it's your final exam!); however, if you want my input you're welcome to send me your thesis statement, an outline, or just a description of what you're planning. Don't send me an entire draft. 

Again, this is your final exam. I'll be assessing your work for such basics as organization, economy (no fluff or unnecessary repetition of ideas), and close proofing of grammar, usage, and mechanics (Yes, I'm grading this for proofing just like I would a final draft because it is a final draft). And avoid first and second person pronouns; You're analyzing not reflecting.

Have a great week!

WEEK 9

WELCOME!

Your work for week 9...


1. Revise the 2nd Generation Romantics essay.

2. We'll start working with the last form of literature -- FILM. The essay will be a critical review. 

This is American Film Institute's Top 100 list. Your job is to pick one film from the list, — Sorry, no STAR WARS or LORD OF THE RINGS. — (Be wise here; have your parents help you pick it, and pick one you haven't seen yet), view it, and do the following:

a. Write up a "credits" list: producer, director, writer (who wrote the screenplay; was it an adaptation from a book or play?), cinematographer, lead actors/actresses

b. Write a brief (one paragraph) synopsis of the plot.

c. Summarize (one paragraph) a positive review of the film (you'll have to go find one).

d. Summarize a negative review of the film (for this you may need to pull a negative part from an overall positive review; if it's in the top 100 you're not going to find many credible, negative reviews; but there are always haters out there).

e. Write a brief personal review of the film. This is not a formal piece of writing. Let's say 100-150 words. 

f. Read this critical review of an old film, and summarize the thesis and its development in a paragraph. This essay does a good job of demonstrating the form. It's more than a thumb up or thumb down review. A critical review focus in on something in the film and asks the reader to think critically about it. It works very much like a thematic essay for a novel. Yes, this is an example of what you'll write next week.

Due @ midnight Friday.

Have a great week!

Give thanks in all circumstances; for this is the will of God in Christ Jesus for you. ~1 Thes. 5:18

WEEK 8

Welcome to week 8! 

We're literally in the home stretch!

No, wait. That's wrong. We're not literally in the home stretch because we're not all on horses making the last turn before racing to the finish line. Literally doesn't work here. Some of you need to look back at your "Literally" sentences. If you lost points and want them back, you can revise them. Re-read the LBGB entry!

For the last two weeks you've been applying Romantic poetical elements to one long poem. This week you'll do the same with three shorter pieces of your choice (sort of). 

Coleridge and Wordsworth are considered the "first generation" Romantics. This week we'll take a look at the "second generation": Lord Byron, Percy Shelley, and John Keats. They did their writing in the decades following the release of Coleridge and Wordsworth's Lyrical Ballads and continued to work out the idea that poetry is "emotion recollected in tranquility." The poetry of these younger Romantics emphasized the same topics and ideals but in a bolder, more passionate way.


Here is your work for week 8:

1. Revise the RAM essay.

2. Choose THREE poems, one from each of the 2nd generation poets (you'll have to go digging), and in a well-developed and supported essay show how they share the Romantic traits of an emphasis on nature and the use of strong emotion. Consider also how the poets differ in their handling of these traits. 

a. Include the entire text of each poem at the end of your essay. (No worries about copyright laws; these are all public-domain because they're oooold).

b. Title formatting (short poems get "quotes" not italics.)

c. Use lots of quotes.

d. Organization -- you have some options. You could organize it by poem/poet or by trait. Either way, keep it balanced. If you give Byron two paragraphs (one for each trait), be sure to do the same for the other two. If you organize it the other way and write one long paragraph on the nature emphasis, don't write more than one long paragraph for strong emotion. Get it? So you can choose the organization - just cover everything (3 poets and the two Romantic traits) and keep it balanced.

d. 800 words minimum


Turn it in by Friday @ midnight. 


Have a wonderful week! 


  

WEEK 7

Good morning!

Sorry - I know it's not on the agenda, but I need to add in another two-week / catch-up post. I've decided last minute to do the men's retreat this weekend. So yes, we'll end up going a week longer.

Here's your work:

1. LBGB...

A. Read chapter 4. 

B. Explain in your own words the 5 "AVOIDS" in the Style & Usage section.

C. Write a sentence using each term in the pair correctly:

    possible / plausible

    shall / will

    who / whom

D. Write three sentences, each using the word literally in a corret way.     

2. R.A.M. essay...

 In week 6, I had you explore the Neoclassical and Romantic movements and begin tearing down Coleridge's Rime of the Ancient Mariner. It required a lot of small pieces of writing. This week will be different. You'll be writing one essay.

Samuel Taylor Coleridge is considered, along with his literary partner William Wordsworth, the primary influence in Romantic Age poetry. Together, they proposed how poetry should be approached, and for the most part, the rest of the poetry world at the time began to follow their suggestions. And we have never gone back. We have retained the Romantic ideals, though they show up primarily now in our pop culture and the mass media "arts."

Their ideas were, in part, a reaction to the neoclassical period of the previous two centuries. If we look at how specific ideas shifted between the periods, we get a good sense of what to look for in Romantic poetry:

Neoclassical emphasis   >>>   Romantic emphasis...
tradition   >>>   experiment
society   >>>   individual
urban   >>>   rural
artificial   >>>   natural/nature loving
intellect/reason   >>>   imagination/emotion
public/objective   >>>   private/subjective
clear, logical   >>>   mysterious
scientific   >>>   supernatural
aristocratic   >>>   common
cultivated   >>>   primitive
constraint   >>>   spontaneity
formal diction   >>>   natural diction

(There's nothing special or "official" about these designations. You can use your own words to describe them; for example, instead of intellect to imagination, you could say the emphasis shifted from the head to the heart.)

Rime of the Ancient Mariner represents all of these shifts, some more than others. Your job this week will be to draft an essay that proves this by showing how Coleridge relies on FIVE of these Romantic traits. I'll start the list off by saying you HAVE TO deal with nature, emotion, and the supernatural. You can pick the other two. 

Requirements / reminders for this draft...

• no plot summarizing
• author's full name and poem title in first P
• organization (intro / 5 body paragraphs / conclusion makes sense, right?)
• quote the text A LOT (more than any other literary form, poetry has to be quoted in analysis.)
• keep the quotes short (embedded quotes like Coleridge describes the specter woman as having "skin as white as leprosy" work well when writing about poetry)
• 800 words minimum

DUE NEXT FRIDAY, 3/20, AT MIDNIGHT.

Have a blessed two weeks!

WEEK 6

Good morning!

This is another catch-up opportunity. You will have TWO weeks to get this work done. Don't procrastinate. Use your time wisely.

This week, we'll be moving on to poetry. As this is not a survey course in which you would get the whole sweep of a particular classification of literature (Ancient Greek, American, British, etc.) but a course in writing about literature, we'll focus the poetry on a particular "chunk" called the Romantic movement. You might recognize the names: Blake, Wordsworth, Keats, Byron, and the one we'll start with, Coleridge. But in order to get at the Romantics, we also need to know a little bit about what came before: neoclassic poetry. 


Here's your work for the week:


1. Read the two articles below and follow the instructions for each: 

Neoclassic poetry  Write a 100+ word summary of the key ideas of this movement (You can stop reading at the "Alexander Pope" section). 

Romantic poetry. Write a one-sentence definition of romanticism using link.


2. Read this bio on... Samuel Taylor Coleridge.


3. Read Rime of the Ancient Mariner. (The notes in the margins are Coleridge's commentary; don't forget to read those!) I suggest printing out this version so you can make notes for item #4. Give yourself time for this. You might want to even break it up over a couple of days. I also suggest listening to an audio version. This one on Youtube lets you listen and see the words (It's also read by Ian McKellen which is kind of cool). 

a. For each of the poem's 7 parts, write a brief paragraph summarizing the plot.

b. Explain in a paragraph (50-100 words) how R.A.M. emphasizes or relies on nature, strong emotion, and gothic elements. 


4. Define each of the following (you'll need to look them up) and provide an example from R.A.M. for each:
a. masculine rhyme
b. feminine rhyme
c. near rhyme
d. end rhyme
e. internal rhyme
    (here's a good source for the 5 types of rhyme)
f. alliteration




TURN IN EVERYTHING BY MIDNIGHT, NEXT FRIDAY. HAVE A GREAT TWO WEEKS!

WEEK 5

Good Morning!

SOME IMPORTANT NOTES...

1. Title formatting: BIG items (books, plays, movies, etc.) get italicized. SMALLER items (chapters, short stories, poems, songs, etc.) get "quotes." And formatting is never mixed, so don't use both just because you forget which is which.

2. Quote formatting: Don't put direct quotes in italics (or bold or highlighted or any other formatting). Some of you really like doing that. I'm not sure why. Quotation marks are all you need.

3. Topic Sentences. Part of how I grade most of these literary analysis papers is to glance through the body of the essay and look at the topic sentences (the first sentence of the paragraph). I'm looking for simple, clear sentences that get right to the point of that paragraph. "Finally, Antaeus and T.J. both have to face a Hercules." Or something like that. If I can't do that, then there's a problem. While there are times when putting a topic sentence somewhere else (in the middle or at the end) is appropriate, for these kinds of essays, it's not. 


Your work for this week:

1.  You MAY have another draft to do for the "Antaeus" essay. 

2.  Watership Down essay...

I hope you enjoyed reading one of my all-time favorites. An aunt read it to me and my siblings when we were kids, so I grew up thinking it was just a silly children's story. Then for some reason I picked it up as an adult and recognized right away that there was a lot more going on than bunny rabbits getting chased around farms.

You've probably guessed correctly at our first piece of writing. You'll be discussing Hazel as a leader. This is straight-forward literary analysis of the simplest kind. You'll identify those characteristics of Hazel's that make a good leader and cite examples (with lots of quotes) from the text. Nothing tricky or nuanced here--it's meat-and-potatoes literary analysis. And for that reason, there will only be ONE draft of this essay. Keep that in mind. You have all week to draft, revise, and proof. 

So...

Write an essay in which you thoroughly discuss Hazel's leadership qualities. Here are the basics...

• Discuss FOUR leadership traits (so be thinking 4 body paragraphs with clear and simple topic sentences).
• Include at least TWO "QUOTES" PER TRAIT. (Remember, quotes don't need to be lengthy; in fact, they shouldn't be longer than 2 lines, and even that should be rare. Review the 3 ways of incorporating quotes into your writing.)
• Title and author's name in the intro paragraph
• 800 words minimum
• Absolutely no plot re-telling (I've read the story a dozen times; I know the plot. Just talk to me about Hazel's leadership. We're just talking – one expert to another.)

3.  LBGB...

• Read the "Style and Usage" section of chapter 3. 
• Look at these usage pairs and write a correct sentence using each (You may use my examples as models, but write your own):

            a. affect / effect
            b. assure / ensure / insure
            c. compose / comprise
            d. farther / further
            e. i.e. / e.g.
            f. me / myself

        

DUE FRIDAY NIGHT.

Have a wonderful week! 

WEEK 4

Hi Guys,

One business item first:

A few of you may not have read this part of the organization assignment from last week: Keep all drafts of essay assignments grouped together with the latest draft at the top of the group.

Like this:

"Antaeus" dr1

Antigone Conscience dr2

Antigone Conscience dr1

Antigone Tragedy dr2

Antigone Tragedy dr1

I need to be able to compare drafts side by side. 

Thanks!

Here's your work for week 4... 

1. Final draft for the "Antaeus" essay. 

There were a few common problems:

1.  Failing to stick to the thesis: that TJ is a modern-day Antaeus. That means showing how the two characters are alike. And that means each body paragraph tackles a specific way that the two are alike. Shoot for 3 or 4 ways. If you're not sure how to approach this, just have each topic sentence begin, "Like Antaeus, T.J....." or "In the same way that Antaeus _____ , T.J. also _____....." or  "Both Antaeus and TJ share the trait of _____...."

2. Analyze. Don't tell me what happened in the story (or in the myth), just refer to the things that help you make your points. Then support that with evidence from the text.

3.  Literary analysis relies heavily on quoting the text. The best supporting evidence of your point is the text itself. Also, there are only 3 acceptable ways of formatting the quoted text in your writing. I've posted information on this a few times. You might want to review. 


2. Watership Down - Go ahead and finish it and complete the chapter summaries. 


3. Write up a list of Hazel's leadership qualities. Find 10 examples from the text that demonstrate these qualities. 

Here's a model:  TRAIT - Hazel takes input from others in the group. EXAMPLE - We see this demonstrated when Blackberry figures out how to ride on something that is floating on water, and instead of taking credit for it or begrudging Blackberry the idea, Hazel is grateful.  

You probably won't end up with 10 separate qualities. Just try to come up with 10 total examples from the book. So if one quality has 3 or 4 examples, that's fine. Use your chapter summaries to jog your memory. 




Have a great week!

WEEK 3

Hi Guys, 

First, some reminders: 

1) You have TWO weeks to complete this week's work, so there will be no post on 2/2.

2) Revising your work is part of the course description. Look carefully at my comments. If I'm pointing out something to revise, revise it. 

3) Literary Analysis is a DIFFERENT kind of writing than just about anything we did in HSW1. Don't be discouraged if your list of revision items was long. Those were first drafts. First drafts are supposed to be messy.

4) A refresher on title formatting: BIG items (books, plays, movies, etc.) get italicized. SMALLER items (chapters, short stories, poems, songs, etc.) get "quotes." 

Here's your work for week 3 (you have TWO weeks to complete it)....

1. This first assignment is not really English work, though it will exercise the side of your brain that handles organization. Your task: Make sure your google doc is (and stays) organized...

a. I need all of your essay drafts at the top under the heading ESSAYS, and everything else in another section down lower under the heading MISC. 

b. Keep all drafts of essay assignments grouped together with the latest draft at the top of the group. 

c. Label your misc. work with dates, or "week _."

2. Turn in title/summaries through chapter 30 of WD (Add them DIRECTLY to the 20 you already have done). If you're missing any chapter summaries, do those too! 

3. Revise the Antigone essay, with one minor addition to the original assignment: Use each of the 3 methods of quote incorporation (you might want to re-watch the video from last week or look at this short blog post). So yes, you may need to add quotes. If you have quotes already, make sure they're all incorporated.

No 3rd draft for this one. The next draft will be the final. 

Some of you missed the part of the assignment that says, "500 words maximum." Read the assignments carefully, people. Cut your words if you need to.

*One more reminder for the Antigone essay: for all three characters, the conscience is saying the same thing: obey the gods and bury Polyneices. Your discussion must be about what other things are getting in the way and how these characters finally hear what their conscience has been telling them all along. (Except for Antigone, of course, who hears it clearly from the start.)

A reminder about plot-retelling: don't do it. I know the play well. This is just you and I (but mostly you) discussing the role of conscience. You don't need to introduce the characters or explain the plot. You can jump right in and analyze. I'll mention this a LOT over the next weeks because everything we do is literary analysis. We don't write book reports. 

Example...

Not OK: "Luke found out Darth Vader was his father." (That's plot retelling.)

OK: "When Luke found out Darth Vader was his father, he began a long struggle with his own identity." (That's analysis that uses a plot item, but it's not plot retelling).

See the difference? Keeping reading it until you do.

4. Read this short "bio" on the mythological Greek god Antaeus.

5. Read the short story "Antaeus" by Borden Deal. 

6. Short story theme analysis, first draft: discuss the central character T.J. as a modern-day Antaeus. If this seems like a very open-ended topic, you're right. But that's generally the way you'll approach thematic writing. Themes are general in the way they're stated (you should be able to state a story's theme in a single sentence) but very specific in the way they're developed in a story. Stating the specific development of the theme (using examples and details from the text) will be your job. 

This is a first draft, so I won't be looking too closely at grammar, usage, and mechanics. I'll save that for the final draft. However, I do find with my own writing that if I can catch errors early, I'm more likely to end up with a clean final draft. I've tried waiting until the very end to do all editing, but it just never turns out as well. That's just me. You may NEED to worry about editing last. Find out the method that works best for you.

There is no word count requirement, but in order to prove the thesis you'll have to handle the whole story. You should also be thinking (automatically by now) about supporting details and how you'll quote the text. 

I think you'll enjoy "Antaeus." It's one of my favorites.

7. LBGB... [Here's a link to the book as a google doc if you'd rather read it on a screen. It's an older version so the page #s may not line up exactly the same, but everything you need is there.]

Read chapter 2 and do the following: 

a) Read the outlined BOX on page 27. What are Mr. Beals' thoughts on pronouns? I bring this up here because I use a pronoun this way on page 26. Find the reference (there are actually a few) and write the sentence out.

b) Read "Active and Passive Voice" on pages 34-37. What are the two advantages to active voice? What are the three appropriate times to use the passive voice?

c)  Write correct sentences using each of these (you may model my examples):

i. less

ii. fewer

iii. amount

iv. rise

v. raise

vi. sit

vii. set

viii. lie

ix. lay 

Have a great two weeks! 

WEEK 2

Good morning!

I hope you all had a great weekend with lots of rest on the Lord's Day.



Now it's time to work. Let's look at Antigone.

In a way, this is a very simple story. You have one static character (static means fixed, not changing) surrounded by several dynamic (changing, developing) characters. What's a little strange in this story is that the static character is also the main character. The Antigone we meet at the beginning of the play is the same Antigone we get at the end. I don't think that detracts from the story--it's just unusual. The other characters run up against her (her conviction, her stubbornness, her unwavering conscience) and are then challenged to change. 

But in another way, this play has a lot going on that we might not see. Aristotle considered the tragedies by Sophocles, as well as those of other Greek playwrights, and made a set of observations about the tragic character. He noticed that the typical tragic character had these qualifications:

1. He is neither entirely good nor bad. He is like any one of us.

2. He must come from a place of elevation (an honored family, a high social status, often royalty). 

3. The hero's fall is (partly, at least) due to a moral failing or weakness (usually pride). We should also note that the gods are in some sense responsible.  

4. The consequences of the moral failing or weakness must seem to be beyond what is strictly just. (In other words, the punishment seems too much for the crime.) 

5. The hero must recognize his own error and take responsibility for it (or at least attempt to).


These five characteristics, together, are what make a tragedy Aristotelian.

Your work for the week (due at the usual time):

1. 

A. Read my comments on your character paragraphs from last week. You may need to revise, one or more of them. This is not optional. If I gave you less than 100/100, then revise them according to my comments (probably something about discussing the Greek idea of conscience in the 4 paragraphs). 

B. Write a short essay* (500 max for this one too) that discusses the role of conscience on the characters of Antigone. [REMEMBER that all characters are hearing the same message: OBEY THE GODS. Your discussion, for most characters, needs to focus on what gets in the way of that message.] Discuss Antigone, Ismene, and Creon. There's just not enough going on with Haemon to add him to the discussion. This is also literary analysis, so you can assume the basics: stick to analysis (no plot retelling), use quotes, and organize it well. Organization for this one is straight-forward: intro, 3 body paragraphs, conclusion. You might want to review this VIDEO from last term on incorporating quotes.


2. Read through chapter 20 of Watership Down. For each chapter (yes, you'll need to go back and look those first 8 chapters from last week again) provide a short explanation of the chapter's title. A couple of sentences should do it. Eventually you'll have the whole book at a glance when we're ready to write about it. 

3. LBGB work. Our work in LBGB for this course will involve 1) Review: we'll review the big ideas, but I won't make you re-read entire chapters; and 2) practicing the definitions and Style & Usage items that we skipped in HSW1. This week we'll look at chapter 1. Here's your work:

A. Conjunctions: define the three types and write an original sentence for each. 

B. Define conjunctive adverb. Write three sentences (note the punctuation pattern in my examples!) using three different CAs. Here are a few to choose from: 

in addition, accordingly, furthermore, moreover, on the other hand, similarly, also, hence, namely, still, anyway, however, nevertheless, then, in fact, besides, incidentally, next, thereafter, certainly, indeed, nonetheless, therefore, consequently, instead, now, thus, finally, likewise, otherwise, undoubtedly, further, meanwhile

Make sure the word you're using is WORKING as a conjunctive adverb. Many of the words in this list can be used as other parts of speech.

C. Explain the difference between these pairs and use each correctly in a sentence: 

    all together / altogether

    ___ and I  / ___ and me. 

4. Did you catch that this week's essay is 500 words MAXIMUM? Just thought I'd point that out again. 

* As with all of our writing, you will probably be revising every first draft. And maybe the second...maybe even the third...


HAVE A GREAT WEEK!

WEEK 1

Hi guys!

Read this first (even if you think you know it already; there's new info here):

GOOGLE DOCS REVIEW...

There are three parts to your doc: the spreadsheet at the top, a section to keep essay drafts, and a section for other work. Let's look at each one:

SPREADSHEET. This where I'll put your grade for essays and weekly work. Keep an eye on this. I update it every week. And read my comments! 

ESSAYS. This section is for essays only. Paragraphs are not essays. Keep the essay assignments together (if you have three drafts on the Helmet Law essay, they should all be next to each other with the latest one on top). LABEL the essay with title and draft #, like this: "Helmet Law draft 2". Keep the most recent assignment at the top of the section.

MISC. WORK. Anything that's not a full essay goes here. Labels are even more important for this section, so include the week and a title, like this: "WEEK 3, Watership Down c10-15 questions". Keep the most recent assignments at the top of the section.  

LATE WORK...

If you need more time, you can ask for an extension by Wednesday midnight. After that I'll grade it at half credit. I'll let you do that TWICE. We'll have two "catch-up" weeks, so that should help you stay on top of things. 

In this course we'll pick up where we left off in HSW1.

We covered a number of essay types last term, but they all worked toward the overall objective, which was to beat into your heads these two ideas: 1) that an essay needs to have a point and 2) that good organization helps you make it. 

Over these next ten weeks we'll apply those same ideas to literary analysis as you read and write about various pieces in various literature forms.

Literary Analysis.

In college (especially if you go the liberal arts route) you will need to be able to speak and write intelligently about what you're reading. You'll recall the essay you wrote on the short story themes from "The Necklace." That was literary analysis. You were analyzing something literary, in this case the theme. 

Of course, literature is a wide field: novels, plays, poems, short stories, and essays are all forms of literature. And analysis is even wider: you could analyze theme, motif, plot, subplot, character, setting, historical context, and those are just the big-category, obvious ones. You could write a doctoral dissertation (i.e., a really long literary analysis) on Shakespeare's use of cross-dressing in his comedies. Seriously. 

So we'll be working with lots of literature, including a novel, a Greek tragic play, short stories, poems (long and short), and a film. Some of the analysis will be prescribed by me. Some will be chosen by you.

This week's work...

1. Get a copy of Watership Down by Richard Adams and read the first 8 chapters (they're short). We won't be writing about this text until mid-way through the course, but next Monday I'll assign a few comprehension questions to keep you on track (and accountable).

2.  Read this bio on Sophocles.

3. Read the first part of this summary of the Oedipus story. Don't read "The Aftermath" or anything beyond that, because there are spoilers. The play we'll be reading this week involves the children of Oedipus, so it's important we have this background knowledge.

4. Read the play Antigone by Sophocles. (If the link doesn't work, just search "Antigone full text" and pick a readable translation.) Our first literary analysis will be focus on this play, but more on that next week. 

5. For each of the 7 sections of the play (Prologue, 5 scenes, and the Exodus), write a short summary. A few sentences for each is plenty. 

6. For each of these characters -- Antigone, Ismene, Creon, and Haimon -- write one paragraph (50-75 words) that discusses the role that conscience plays for that particular character. Be sure to have clear topic sentences. Keep this in mind: the Greeks believed that the conscience of all people carried one message: obey the gods! Assuming that was true for these characters, think about (you don't have to write anything; just think) how well they followed their consciences by obeying or not obeying the gods? One more time: the consciences of these characters DON'T CHANGE. It's the same message for all of them, but other stuff gets in the way of their hearing it. That's what we'll be writing about next week.

*TURN IT IN BY FRIDAY, MIDNIGHT.  

Have a great week!