Teaching 11 Regents, Shakespeare, AP Language & Composition

FLW Analysis 4, Chapter 50

Chapter 50, pages 380-381

The first reference made in this excerpt is the fireplace. The sexual affair between Sarah and Charles began near a fireplace which it represented lust, passion, and the growth of the sexual tension. Now, this fireplace represents shame and dishonesty. Fowles uses immense imagery and precise diction to suggest the contrast between Ernestina and Charles (in regards to honesty) and to create a painfully, uncomfortably open atmosphere. As the passage continues, the reader follows Charles in his attempt to be honest. He begins with his back to Ernestina, as the text states, which already closes himself off. He is hiding his emotions from both Ernestina and himself. On the other hand, Ernestina is direct with her feelings from the start when “she was weeping openly, with her eyes on him”. “Weeping” illustrates much more than just crying. It comes with devestation and helplessness. While Charles remains distant, Ernestina is in a vulnerable position.

Fowles associates Ernestina with a “terrified, lost child” after Charles glances at her. She has thrown her pride out the window because of her feelings for Charles. Right now the most important thing to her is to keep her relationship with him and she is willing to be truthful in order to do so. Fowles is representing two extremes. On one end, Charles is closed off and keeping secrets and on the other end, Ernestina is so open about her feelings it comes across as desparation. The reader then sees Ernestina, “with her hands towards him”, fall “to her knees”. This gives the image of begging (more proof that she disregards pride). Following this action, Charles feels a “sharp revulsion”. Both words add a violent touch to the pain. The causes for these feelings are “his half-truths, his hiding of the essential”. He blames himself and his own reluctance to tell Ernestina the truth about Sarah, while Ernestina blames herself for the faults in their relationship.

FLW Chapter 22 Analysis

Pages 188-189

John Fowles uses rhetorical question, diction and syntax to create a paragraph with consistency in theme and imagery. The excerpt begins with the rhetorical question, “And how should he have blamed himself very deeply?”. The narrator immediately questions the reader and sets up the general theme for the rest of the passage. What is the right choice for Charles to make? Then, the idea of purity is maintained throughout the next sentence. “From the outset his motives had been of the purest; he had cured her of her madness; and if something impure had for a moment threatened to infiltrate his defenses, it been but mint sauce to the wholesome lamb.” His intentions with Sarah are described as honest. The metaphor suggests that anything not of the same characterstics would corrupt his innocent, true emotions.

In the previous paragraph, an image of fire is presented. This passage contains the sentence, “He would be to blame, of course, if he did not now remove himself, and for good, from the fire.” Once again, fire is presented to represent the new lustful emotions, curiosity, and possible danger. Although Charles claims to have “pure motives”, the narrator suggests that they will inevitably get him into trouble.

“After all, he was not a moth infatuated by a candle; he was highly intelligent being…”: The light, fire imagery is portrayed yet again. This time however, it contradicts any accusation that Charles is a man who is being lured in by foolish emotions. Finally Folwes writes, “If he had not been sure of that latter safeguard, would he ever have risked himself in such dangerous waters?”. He then apologizes for “mixing metaphors- but that was how Charles’s mind worked”. The water and fire images were intertwined within this paragraph to highten Charles’s inner conflict about Sarah.

My friend from another high school is discussing subjectivity in his English class and his teacher showed them this video. This is real footage of a Ukranian girl who was left in a dog kennel when she was a baby. It’s extremely interesting. Thought I’d bring it up for discussion.

http://www.youtube.com/watch?v=ljVd6XS-J0s

page 96

Chapter 13 is a very strong example of the book’s genre- metafiction. Fowles directly comments on his beliefs, with the use of the three appeals and parallel structure, about fiction’s purpose and the process of constructing a novel (and characters).  The excerpt begins with both ethical and logical appeal: “You may think novelists always have fixed plans to which they work, so that the future predicted by Chapter One is always inexorably the actuality of Chapter Thirteen.” While this may be an assumption, it is logical and specific. In addition, Fowles connects to the reader by stating a common belief that he is aware of. He then refutes the statement with logical evidence (examples of authors’ reasons for writing)- “for money, for fame, for reviewers, for parents, for friends, for loved ones…”. The parallel structure (repetition of “for”), within the logical appeal (by example), emphasizes the countless occassions for writing a book. Fowles suggests that the individual can also have multiple purposes for constructing a piece of literary work. Most significantly, he unifies all authors in that they “wish to create words as real as, but other than the world that is.” Fiction should be believable and realistically detailed, but with a touch of imagination that creates a desirable or appealing environment. Fowles disagrees with planning a story. He claims that the characters should be so strongly developed that they can make their own choices. If the written world is “independent of its creator”, the story will be natural and living. Finally, Fowles ties his claim into the story. “When Charles left Sarah on her cliff edge, I ordered him to walk straight back to Lyme Regis. But he did not.” This logical appeal and pathetic appeal proves Charles’ deep, living character. This evidence of the claim exemplifies Charles’ dire, emotional need to go back to the Dairy, not the author’s need to add exciting plot points.

This is my word document. I’m sorry, it took me a little while to understand how to upload this.

lang-flw-page-9-10-lindsey-s.doc

The last passage on page 9 (continues to the top of page 10).

John Fowles’ syntax and diction illustrates beautifully detailed imagery and a mysterious tone. The narrator’s description of the French lieutenant’s woman is carefully constructed, but the sentence’s movement maintains the enchanting tone. “Her hair was pulled tight back inside the collar of the black coat – which was bizarre, more like a man’s riding coat…”. He uses the word “bizarre” to recall the woman’s unorthodox characterstics- having to do with the style of the time period and in relation to Ernestina’s clothing and appearance. Charles’ fascination with the woman increases as this one passage continues. “Charles made some trite and loud remark, to warn her that she was no longer alone, but she did not turn.” The diction and syntax within this phrase is more concise with the author’s use of shorter words (”trite” and “loud”) and a more straight forward statement. This emphasizes the woman’s lack of interest to communicate with Charles, or Ernestina, and there is no explained reason for her disinterest. Therefore, her mystery hightens. Fowles mixes his strong, almost harsh sounding diction with flowing, natural imagery, “…and how her stare was aimed like a rifle at the farthest horizon”. While a rifle is a piece of dangerous weaponry, the woman appears to be dreaming and admiring a lovely view (a more light hearted, wistful action). The nature details are continued in the next sentence, “There came a stronger gust of wind…”. The sentence order creates the feeling that the woman created the wind with her stare and the passage (and the woman) becomes even more mystical.

Journalist, A.J. Jacobs, partakes in social experiments regularly. In order for him to write an article he must completely immerse himself in the topic. He sees himself as a guinea pig and tests social boundaries and human reactions.

His introduction to the main portion of his speach explains a month in which he was completely honest and a few of his other shorter trials. Mostly, the speach describes his experience with following the Bible word for word. He attempted to live exactly by the bible. He did not do this for religious purposes, but to simply see how his life would change and what kind of person he would have to become.

http://www.ted.org/index.php/talks/a_j_jacobs_year_of_living_biblically.html

Journalist, A.J. Jacobs, partakes in social experiments regularly. In order for him to write an article he must completely immerse himself in the topic. He sees himself as a guinea pig and tests social boundaries and human reactions.

His introduction to the main portion of his speach explains a month in which he was completely honest and a few of his other shorter trials. Mostly, the speach describes his experience with following the Bible word for word. He attempted to live exactly by the bible. He did not do this for religious purposes, but to simply see how his life would change and what kind of person he would have to become.

http://www.ted.org/index.php/talks/a_j_jacobs_year_of_living_biblically.html