DRAMPAP3.DOC (Your file will be your initials and PAP3 as last line of your first page header-)
DIRECTIONS--PAPER 3. We will talk about some of these as we discuss the plays. Select ONE from the lettered options below and write a two page minimum first draft. Whichever option you pick, you must show good comparison and contrast strategy and organization. It is essential that you quote substantially from the texts of the plays (Include at least six quotations, three from each play, with one blocked longer quotation from each). It is essential that you make close links between those the aspect/s of the two plays you choose to discuss by using point-by-point comparison. Do NOT compose an essay in which you block your observations about one play into the first half of the paper, and tack on observations on the second play at the end of the paper.
Develop a paper around a clearly stated thesis that responds to one of the questions, A, B, C. The discussion questions at end (I, II, III) can be used ONLY if you discuss your strategy with me in conference. Use quotations to support your arguments. Always list page numbers from the anthology in parenthesis after the quote, using the proper format:
quotation ending here" (Ibsen 1444). or:
quotation ending here" (Sophocles lines 51-56).
Of course, signal phrase can and should clarify with phrases such as "In the first act, Nora announces to Torvald," or During Creon's challenge to Teiresias in the fifth scene."
A Bibliography page must contain the anthology and all works within it that are consulted. If you refer to films, other translations, critical essays within Meyer, or PowerPoint shows, also list them as separate entries. No outside the textbook (Meyer anthology) critical sources are permitted. You may use definitions and definitions of terms from any dictionary, on-line or print, as long as you properly document it.
QUESTION OPTIONS FOR PAPER 3 (pick one from those lettered options):
A. Compare and contrast the concept of loyalty in the two plays. In Antigone, focus on duty to family, to gods, to country (or city state). In A Doll's House, examine loyalty in terms of the ways it defines and changes relationships: Be sure to formally define, with denotation, and if appropriate, connotation, the specific loyalties you see in conflict. Dr. Rank's loyalty to Nora, Nora's love for Torvald and how she expects her sacrifice to be reciprocated, Krogstad's and Mrs. Linde's changing loyalties in terms of what they want and what is right. Aim for a specific focus so that your thesis reshapes and narrows this issue to a close and important examination of a central aspect of the plays. You may, for instance, look at something you call the "crisis of loyalty" when the Soldiers and Creon's family and the chorus know he is making the wrong decree. Compare this to the crisis Nora or Mrs. Linde face in confronting their dilemmas. Be selective! It is possible to write a good paper focusing on the Sentry and the Nurse, or Haemon and Dr. Rank.
B. Compare and contrast the manner in which the two playwrights make use of foil characters. How are Ismene and Mrs. Linde important as foil characters? Are they more than foil characters? (note any change in their position to address this). Examine closely the motives and the actions of Kristina Linde and develop an original thesis which explains the difference in how the two characters relate to the main characters of their plays. How is it important to see Mrs. Linde in comparison to Nora? Why is Ismene necessary to demonstrate the bold stance of Antigone? Why is it important that each character change over the course of the play? (You might argue either is primarily a foil character, primarily developing, or important because she is a combination of the two.) Deal with Kristina's plan, from promising to assist Nora to keep the mail from Torvald to urging her to let Torvald know about Krogstad's letter. Why does Ismene reverse her position and stand up for Antigone? ALTERNATE: Haemon and Dr. Rank as foils.
C. Critics have applauded the way in which Ibsen handles exposition. Compare and contrast "discoveries" and plot twists in the two plays. Argue where the plays are too contrived or are suspenseful because they treat revelations and narrate off-stage action in dramatically appropriate ways. In each play, why is it important that we find out about past events in the manner we do? Particularly, why does Ibsen give certain details early, other details very late in the action? How does Nora in Act III use revelations about the past to state her case? Be selective. Organize your approach to this question around a very specific thesis which demonstrates your command of working with the facets of exposition. Pay attention to the different styles of the way the playwrights make use of off stage action.