The Horror! The Horror!

What is the nature of the evil that pervades the story of Othello? What is the central motivating factor for Iago? Is he aware of his own monstrosity? Why has Iago been characterized as THE most chilling and evil villain ever?

It's all fun and games until someone puts his eye out

At what point does the tragedy TURN in Othello? Where does a relatively innocent and domestic drama about jealousy, cuckoldry, and personal spite suddenly turn into something much more dire and dangerous? Who propels such a bloody ending? How? When?

The Devil is in the details

Many consider Shakespeare a secular writer who avoids overt religious themes and references. Do you agree this is also the case with Othello? Where in Othello do you spy religious symbolism, characterization, allusion, and theme?  Why does Shakespeare do this with this story?  What effect do these allusions have?

"Don't look so bored. Imagine how I must feel."

After "reading" any good piece of literature (or even film, for that matter), we are often left with that memorable scene that speaks to us in some way.  Perhaps it crystallized the character or theme for you, or articulated a philosophy of life that is important to you, or even just made you laugh or cry.  What is one of those scenes from Grendel that you will probably long remember (and Why?)?

The world is but a question, inscribed in our souls

We all have particular, specific questions about the text that we ask in order to better understand the characters, plot, and message.  If you have any of these types of questions, pose them here and offer an idea or two in response -- "Reactions to Grendel" (Ex.: Why does Grendel's mother have no name? Why does Grendel meet the Dragon? Why is he fascinated with Wealtheow, Unferth, the Shaper? What is this story really about? Is this a story about the power of our democratic society or about the destructive nature of man? About Hope and a Higher Purpose or Existentialism?)  You may also respond to others' questions here.

The Horror! The Horror!

What is the meaning of Evil?  How do you define it? What makes for an evil character? What is its source? Are we all evil, and is this . . . expected . . . normal? Is it as simple as selfish, self-centered pride, as grandiose as genocide?
What was God getting at when he told Cain that Sin (e.g., Evil) crouches outside his door and desires him, but that Man must master it? Is British poet W. H. Auden in agreement when he wrote, "Evil is . . . always human and shares our bed and eats at our own table"?

OMG!

Finish one of the sentences and then elaborate on your thoughts and ideas:
"If Victor has become GOD, then . . . ."
"If Nietzsche had met Victor, and heard his tale, the philosopher might have said . . ."

Who needs Cliffs?

Cliffs notes are over-rated.  Who needs them when all of you start plying your critical reading skills to the text at hand?  So here we go . . .
What is the key, central passage in Frankenstein that works to reveal the theme of the work, or a central tenet, or a major understanding of character?  While you needn't quote the entire passage, refer to it specifically, along with the page number, and include some commentary on why you believe this passage to be so significant and indispensible to the work.

Do you remember when . . . ?

Endgame is both a dark, sordid tragedy and a witty, ironic parody of life itself; as such, it has a little something for everyone. I hope that – at the least – some parts of this story spoke to you directly. Considering this, what are some of your favorite quotes or passages from the text? Why do these excerpts resonate with you?

The tension is KILLING me!

Any worthwhile story has a source of tension that propels the characters, and usually a central protagonist who must confront the problem and overcome obstacles en route to a discovery of self or other. Endgame is a classic drama – but one which avoids some of the trappings and traditions of pre-twentieth-century literature. What is the tension at play in this work? Who is the “hero” and what is his journey and discovery?

"Did it hurt much when you fell from Heaven?"

As we compare Hero and Claudio's relationship with Benedick and Beatrice's, it may be too easy to draw the commentary that "young love is prone to failure" while "an older, mature love is grounded and real."  This may be true, and certainly something Shakespeare frequently hints at; but what else is he saying about love and relationships in MAAN? What makes for an enduring love? Is marriage the seat of contentment?  Should husbands fear their wives? Is friendship more important than love?

Who's on first? What's on second?

Where does Language and typical human behavior fail us in Much Ado? Note a specific scene or two where the characters fail to understand each other.  What is the cause or result of this misunderstanding?  With these examples in mind, what is Shakespeare noting about human nature and the facility of language?

The James Dean of his day

Shakespeare was a rebel, a mover and shaker, and an instigator who enjoyed turning convention on its ear.  With this in mind, what typical conventions does he introduce and fiddle with in Much Ado?  Consider stock characters, social rank and status, gender roles, marriage, love, cultural fears and taboos, and even the comic structure itself.

Contrasts to NOTE . . .

What contrasting images and ideas (or elements, including character) do you see at work in Much Ado?  And because we can't possibly leave our understanding at the doorstep of mere observation, What SIGNIFICANCE do these contrasting images serve?

Assessing Beloved

Does this book belong on the shelf of American epics?  What is the power of this book, and what is Morrison trying to say through it?

Jesus? Hercules? Odysseus?

Who is the most interesting character in this story? Who experiences the most development?  Is there a hero in this tale that counters the antagonism of Beloved?

(Feel free to answer any one of these questions and ignore the others.)

Enigmatic endings

Why does the book end with the one word: Beloved?

Why does Morrison suddenly switch POV in her last chapters?

Survival

Is it best to forget our troubled past?  Is this what Morrison is suggesting by Beloved’s disappearance?  What is the key to survival for slaves, or for all of us, according to Morrison?

Character motivations

Why does Paul D return to 124 at the end (after Beloved’s departure) and make another effort to save a relationship with Sethe?

Why does Sethe decide to live an isolated life apart from her neighbors? What do the effects of this suggest about part of the book’s message?

Why does Baby Suggs give up?  What does Stamp Paid realize, near the end, that forces him to reconsider her decision?

(You may answer any of these questions and ignore the others.)

Is Sethe wrong?

Do you understand Sethe’s impulse and sympathize with her, or do you see her infanticide as an inexcusable action?  If you can possibly put yourself in her place and imagine the horrors of slavery, what would you do when schoolteacher comes riding up to take you and your children back to Kentucky? What could Paul D. possibly have in mind when he told Sethe that there was another way for her to avoid slavery with Schoolteacher?

Original Student Entries for Beloved

What observations, theories, or questions are you playing with as you read Beloved and consider one of our listed ** Essential Questions?