Warm-Up : Anticipation Guide

1. Warm-Up: Anticipation Guide Pick three of the following to answer on your sheet of paper. • What are the consequences of being the victim of lies, rumors or gossip? • If you had three minutes to evacuate your home because of a fire, what would you try to save? Justify your choices. • How does home environment influence people? Give specific examples. • What is essential for happiness? Defend your choices. • Some people are lucky while others never have good fortune. True or false? Explain. • What connections does social class have with happiness or with responsibility, both personal or social?

2. Homework • Chapters 1-4 due Wednesday. • GRQs • Quiz #1 over Chapters 1-10 on Friday, 4/18.

3. Silas MarnerIntroduction • Silas Marner, the Weaver of Raveloe, published in 1861, is unique among George Eliot's writings for its brevity and its apparent allegorical clarity. • The novel is only slightly longer than the short stories that Eliot published in her first work, Scenes of Clerical Life (1858), and it is less than half as long as her other novels. • Still, it is no mere fairy tale, nor is it ultimately less weighty than the bulk of Eliot's output.

4. Silas MarnerIntroduction • The story of Marner's expulsion from society and his eventual redemption through the love of a child, Eppie, has powerful Biblical and mythic resonances. It also expresses aspects of Eliot's own life as a creative artist in several interesting ways. • In addition, the novel strikes a bargain between the realistic and the fantastic in its depiction of village life and culture in nineteenth-century England. • Although Eliot explored this blending of fantasy and realism elsewhere in her career (works like Daniel Derondaand Middlemarch), she never executed it so fully as in Silas Marner.

5. Ten-Minute Play: Objective Goals • read a novel closely and analytically to understand the relationship of the parts to the whole. • identify theme, motif, symbolism, characterization, and plot of a novel in order to integrate these elements in an original, creative theatrical adaptation of a section of the novel. • increase comprehension of a work of literature by challenging it on an imaginative level. • work collaboratively with peers in bringing a dramatic work to life by staging it in class. • participate in peer response activities to encourage critical reflection on your work, as well as that of your classmates.

6. Ten-Minute Play: Groups • Share the following with your group: • Email addresses and/or phone numbers. • Your personal organizational strategies for getting reading done on time and not procrastinating. • Your personal method of close reading: how do you note the important parts of the novel? How do you keep up with characters? • Since you will be discussing the novel tomorrow in class, decide what will you all be reading tonight? Set a group goal for reading. Make sure your group gets the reading done—remind them and check-in over the next couple days. • Begin reading Chapter 1 in class and when finished refer back to the Anticipation Guide from the beginning of class. What connections do you see between your response and the novel so far?

7. Warm-Up:Point of View Review • First-person point of view is in use when a character narrates the story with I-me-my-mine in his or her speech. The advantage of this point of view is that you get to hear the thoughts of the narrator and see the world depicted in the story through his or her eyes. • Second-person point of view, in which the author uses you and your, is rare; authors seldom speak directly to the reader. • Third-person point of view is that of an outsider looking at the action. Third-person omniscient- the thoughts of every character are open to the reader. Third-person limited- the reader enters only one character's mind, either throughout the entire work or in a specific section.

8. Eliot’s Formal Techniques Aphorism|ˈafəˌrizəm|noun • A pithy observation that contains a general truth, such as, “if it ain't broke, don't fix it.” • Synonyms: saying, maxim, axiom, adage, epigram, dictum, proverb. • Can you think of any of your own? • Why might Eliot include aphorisms? • Is there a modern day equivalent to this usage?

9. Ten-Minute Play Group Meeting • Review GRQs and discuss chapters read. • Focus on characters and setting. • Answer: Where are we? Who are we with? What’s happening? And how is it presented? • Ticket out the Door: Predictions for the major conflict in the novel?

10. Warm-Up: Metaphor and Simile Review • Find onemetaphor andonesimile from the book. • Explain what two things are being compared andhow this simile or metaphor functions in the novel; for example, to develop a character’s hamartia. • Pair-Share with a neighbor, focus on how it functions in the novel.

11. Notes on SilasMarner Developing Themes: • Individual vs. Community; • Free Will vs. Determinism (Habit/Routine); • Human Relationships (Love, Forgiveness, Betrayal, Pity-Sympathy, Outcast); • Jealousy and Greed/Miser;

12. Notes on SilasMarner Motifs: • Class, • Religion, • Rural vs. Urban, • The Strange/Other, • Superstition, • Blame

13. Notes on SilasMarner Settings: • Red House • The Stone-pits • Lantern Yard • The Rainbow

14. Ten-Minute Play Group Meeting • Review GRQs and discuss chapters. • Afterwards, discuss the themes, motifs and settings with their groups. • Which of these might you want to focus on in your ten-minute play. • Ticket out the Door:Pick one of the settings and discuss the symbolism.

15. Warm-Up: Direct and Indirect Characterization Review • Collect a copy of the Character List handout. • Direct Characterization- direct description of a character by a narrator. Usually going to include subject complements such as “He is tall, dark and handsome.” • Indirect Characterization- the reader has to draw inferences of a character’s personality from analyzing the character’s words, thoughts and actions. Dialogue and character interaction is key! • On your sheet, list direct quotes and page numbers of both direct and indirect characterization of that character.

16. Ten-Minute Play: Narrative vs. Dramatic Text • How is character revealed and developed in drama? • What would be a crucial symbol in a dramatic adaptation? • What patterns of imagery should be included for effect? • How might you need to reorganize the plot for the dramatic adaptation (e.g., begin with the last scene)? • Which scenes might work well in a dramatic setting? • How can you adapt the novel while still maintaining the integrity of the text and original intent of the author?

17. Homework: Available on Class Site http://www.readwritethink.org/files/resources/interactives/dramamap/ • As indicated on the rubric, use the ReadWriteThink Drama Map to assist your and your group in beginning the process of writing of an original adaptation of the novel by focusing on character, setting, conflict, and resolution. • Complete and print out your work and be sure to bring it to class tomorrow. • I will review each of your Drama Maps and provide necessary guidance before you move further in the writing workshop.

18. Manuscript Format and Structure • For additional guidance in preparing play manuscripts, review the Virginia Commonwealth University School of the Art's Playwriting Seminars Website (located on class website). • You can refer, in particular, to the Manuscript Format for guidance. Direct your attention to the Dialogue Pages near the bottom of the page. • Requirements: 10 pages, proper formatting. Final Draft due Monday 4/28.