Continuing Research Focus- Lord of the Flies

On May 15th's post, you found a research focus for Lord of the Flies by William Golding.

Today, using your focus for this research project:

1. find at least two sources that support your thesis (either reliable internet sources or sources from the      Cengage library)

2. summarize them

3. and write a work cited for each

***write this information, summaries and work cited, on piece of loose leaf paper that I will collect at the end of the period.

If you finish the work above before the end of the period, write a paragraph on how the chapters (Chapter 4: "Painted Faces and Long Hair" and Chapter 7: "Shadows and Tall Trees") that we have explored in class, through deep readings, connect to your research focus.

Including this information will add to your possible score for this activity.
Disruptive behavior will detract from you possible score for this activity and could result in a zero.

Lord of the Flies- Researching an Analysis

Now that we have explored what happens (the events, plot, literal action) in the novel, we will discover what has been discussed about the novel, in the terms of the underlying theme and historical connections.  So, our next step to explore this literary work is researching the Cengage Library or reliable sources on the internet (.edu, .org - besides wikipedia- or even .gov) for deeper connections to Lord of the Flies by William Golding.

1.  Find at least three sources on  Lord of the Flies, writing down the information from each source and the work cited information.  Find sources that express similar ideas about the text.  This time we will prove one idea about the text by finding not only outside sources that support this idea but the text itself to support the idea.  So, choose your interpretation/ analysis carefully by finding at least 3 sources that express a similar idea.
2.  After you have found information about the novel, decide what the common interpretation/ analysis is about the novel and its connection to history and reality.  Then, write the common interpretation/ analysis into your thesis and discuss the three sources where you got the information from.

Lord of the Flies Vocabulary, Plot Narration

Define, Research, Narrate!
1.  Define all the vocabulary below in the appropriate part of speech.
2. Research the plot and analysis of Lord of the Flies by William Golding; take notes on your findings- write a one page guide to the events and major points in your source.
3. Create a narration, from the point of view of an objective observer, on the novel as a whole, using at least 12 of the vocabulary words below in their appropriate part of speech.  Be sure to include the key events of the novel, in your narration.

Vocabulary Words:
impending (adj)
blatant (adj)
belligerence (n)
detritus (n)
malevolent (adj)
tirade (n)
errant (adj)
omen (n)
furtive (adj)
glamour (n)
pliant (adj)
vicissitudes (n)
effigy (n)
chasm (n)
diffidently (adv)
leviathan (n)
opaque (adj)

Research on A Midsummer Night's Dream

Research So Far
1. Blog- April 22: Summary of sources from this blog: this should have been written into your notebook  Find this work, in your notebook to use on this project.
2. April 24- Summary of a source from the Cengage Library- you will receive this (completed?) assignment today; I will hand them back to you.

Today- After locating the information above, find another source (different source) from either the Cengage Library  or the internet (the source from the internet must be a .org or .edu) and summarize it in the same manner as we have practiced already.

If you have time, find two sources to summarize- those students who locate and summarize two sources during this period will receive a higher classwork grade.

Write your information, including the work cited, on a piece of paper with your name on it to be turned in by the end of the period and graded.  You will receive this work back later to include in your research project.

Project Progress

Now that you have selected the possible vocabulary words for your character's narration of A Midsummer Night's Dream, decide on which 15 words you will integrate into the narration and start writing your narration, using the plot outline that you created last class.  Be sure that this is written in the first person from your character's point of view.

Due by the end of the period-  the beginning of your narration (at least 3 of the events listed in your plot map) with at least 6 vocabulary words used in the beginning of the narration.  This beginning will be evaluated for a classwork grade and should be written on a piece of paper with the words underlined.

HOMEWORK- due tomorrow: finish writing the project.  You must turn this in tomorrow (on time) to receive full credit.

Acts III, IV and V Comprehension Questions

Directions: 
1. Answer the questions, in complete sentences, for Acts III and IV on a piece of loose leaf paper to turn in to me by the end of this period.
2. After you have handed in your responses to the questions from Acts III and IV, write the questions for Act V into your notebook.
3. Read Act V for homework and answer the questions- be prepared to discuss your responses tomorrow.

Questions- Acts III and IV

Act III, Scene 1

What exactly are Quince, Snout, Starveling, Bottom, Flute and Snug doing out the woods?  What are some of the concerns they express in the beginning of the scene?  What particular day are they planning for?

What happens to Bottom?  And why is Bottom an appropriate name for him?  What is Titania’s reaction to him and why?

Act III, Scene 2

Who summarizes Scene 1, in Scene 2?

What do Oberon and Puck discover has happened?

What does Hermia believe has happened to Lysander?

Who becomes the new object of affection for both Demetrius and Lysander?  And how?

What does Helen believe is happening to her?  And who is the supposed prime culprit to this “crime?”

What is it that Oberon and Puck do, to “fix” the situation that they have created? Explain fully.

What happens to all of the lovers?

Act IV, Scene 1

Describe the beginning of Act IV, visually.  What does it look like- what characters are speaking in the beginning of the first scene and what characters are in the background?  Who are the second set of characters speaking in scene I?

What discovery do Egeus, Theseus and Hippolyta make?

What confession does Lysander make to Egeus? And how does Egeus respond?  Be specific.

What is the overall problem facing Egeus, Lysander and Hermia (from Act I)?  What or who “fixes” this problem? How? Be specific.

Is Bottom still transformed into an animal at the end of this Act?

Act IV Scene 2

What are Quince and his theatre company primarily concerned with?  And how does this concern work itself out? 

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HOMEWORK QUESTIONS FOR ACT V

Act V

What is it that Philostrate and Theseus discuss in the beginning of Act V?  Make a list of at least three different topics they discuss and their opinions on at least two of the topics.

What happens during the performance of the play within a play (“Pyramus and Thisbe”); explain with details and references to Act V?

Translate Puck’s final passage in A Midsummer Night’s Dream ; use the process that we have used while translating these passages.

Act III, scene 2: Vocabulary and Plot Research

A.  Go to the internet to find information and analysis of the plot in Act III, scene 2 of A Midsummer Night's Dream.  Focus on this particular scene.  Previously, we have completed an overview of the play as a whole. Today, "target" this scene which is our next topic of study.  After you have located this information, write it into your notes to use it for the vocabulary activity below.

B.  Using the internet or a dictionary or both, define the following words. After you have their definitions, write an original sentence for each that connects to the plot information you entered into your notebook.  Be sure that each sentence demonstrates your knowledge of the definition, uses the proper part of speech and relates to the plot information.

consecrated (v)
bower (n)
mimic (v)
confound (v)
sojourn (n)
chronicled (v)
shrewish (adj)
fray (n)
harbinger (n)

Act III, scene 1 Vocabulary and Research Sources

TASKS:
1. Research Process- scan all sources for Shakespeare's A Midsummer Night's Dream in A.  After you have read through them all, gather two aspects that is interesting to you.  Paraphrase the information in a paragraph in your notebook, write a work cited for your sources and apply in text citation to your paragraph.
2.  Vocabulary- after you have completed the task above, use 8 of the words below in B, correctly, in the proper part of speech given, in a complete and original sentence for each that connects to either the plot of Act III, scene 1 or your research.

These sentences must be turned in to me to be graded.
_______________________________________________________________________________
A.  Research Sources

1. Bottom in Midsummer Night's Dream

Shakespeare's Extrovert Actor With a Dream

• Jem Bloomfield

Nick Bottom is the most noticeable character amongst the “mechanicals” in A Midsummer Night’s Dream. Mostly because he seems to be constantly talking. At his first appearance, when Quince is giving out the parts for the play Pyramus and Thisbe, Bottom volunteers to play Pyramus, Thisbe and the lion, as well as giving an extempore example of how he would play Hercules, if he were ever called upon to do so.

Most people putting on a production of A Midsummer Night’s Dream will have met a Bottom in drama groups at some point – he’s a complete extrovert, bossy, energetic and quite annoying. He tells the director what to do (“Now, name the rest of the players” I.2) argues with the audience, (“No, in truth, sir, he should not.” V.1) and messes up his lines (“Thisbe, the flowers of odious savours sweet.” II.2) He’s a great character to play for someone who likes lots of stage business and mucking around.                                   However, this bumbling, noisy plebian is the only character who crosses over between the human and fairy worlds which run parallel in A Midsummer Night’s Dream. Used as a pawn in the rivalry between Oberon and Titania, Bottom has his head changed for a donkey’s, and finds himself adored by a fairy queen. (A character called Bottom becomes an “ass-head”. Sometimes Shakespeare didn’t bother with the subtle jokes.)      Bottom mostly acts the clown in the fairy kingdom: commenting that Fairy Mustardseed’s family have made his eyes water, and declaring he needs a shave as his donkey’s fur is tickling him. On his return to the human world, he decides that his sojourn with the fairies must have been “a most rare vision...a dream past the wit of man to say what dream it was.”(IV.1) This is an interesting twist on the tradition of dream visions in medieval English: a character who decides that actual events must have been a dream.                                                                                                                                     The words Bottom uses to talk about his dream are also worth considering: “man is but a patched fool if he will offer to say what methought”. The image of a “patched fool” evokes a madman in ragged clothes, such as Tom a’Bedlam in King Lear, but it also suggests the Fool in the same play. The “patches” could be the motley clothing of a jester, or for that matter the shabby clothes which actors were mocked for wearing as they trudged the provinces. This vision, which only a “patched fool” would offer to present, could be taken as an image of the theatre itself.                                                      Bottom’s comic confusion in this scene also has echoes of a more famous text. “The eye of man hath not heard, the ear of man hath not seen...” is a mangling of St. Paul’s words in Corinthians, in the Bishops’ Bible which was generally used in English churches during Shakespeare’s youth. Readers, and directors, have to decide for themselves whether this is simply a joke about an illiterate craftsman messing up a quotation, or whether the echo means that Bottom’s experience has given him some glimpse of a great vision he cannot articulate properly.

http://www.suite101.com/content/quince-and-the-mechanicals-a29081


2. Quince and the Mechanicals

The Play-Within-a-Play in A Midsummer Night's Dream

• Jem Bloomfield

The “mechanicals” in A Midsummer Night’s Dream are a group of Athenian craftsmen who have been chosen to perform a play at the wedding of Theseus and Hippolyta. Their rehearsals provide continual comedy, as they lose an actor, much of the plot, and all sense of proportion.                                                                                      Peter Quince, their leader, proclaims the mechanicals to be the men “thought fit through all Athens to play in our interlude”, but as he reads out their names, it becomes obvious that this is hardly a crack acting troupe: “”Nick Bottom the weaver”, “Francis Flute, the bellows-mender”, “Robin Starveling the tailor”, “Tom snout, the tinker” and “Snug the joiner” (I.2). There is something of the professional’s condescension to amateur bunglers in the way Shakespeare depicts their attempts to produce high drama, and Snug’s request that the lion’s part be written out for him so he can learn it properly.                       Their ambition continually makes them trip over their words, as Bottom promises to “aggravate my voice so that I will roar you as gently as any sucking dove” (I.2), and they offer a “tedious brief scene” full of “very tragical mirth” (V.1) to the Duke and his household. Typically with Shakespeare, these malapropisms are ironically apt: Bottom may well “aggravate” his voice with his attempts, and their scene could be tedious despite its brevity.                                                                                                               Egeus dismisses their dramatic attempts as “nothing, nothing at all” by “hard-handed men”, but Theseus welcomes their “tongue-tied simplicity” as proof of their honest duty to him (V.1). He later defends them with terms which he seems to apply to all actors: “The best in this kind are no more than shadows, and the worst are no worse if imagination amend them.” (V.1) The mechanicals, though clearly a terrible acting troupe, have somehow become emblematic of the dramatic arts.                                                         The play-within-a-play motif appears frequently in Renaissance drama, notably in Hamlet and The Spanish Tragedy. Of course Hamlet also contains some shoddy actors, who deliver an old-fashioned dumb-show and some ranting out-of-date tragedy. In A Midsummer Night’s Dream, it isn’t clear what the play represents or symbolizes, though their word-mangling attempt at presenting a great story seems to have some link to Bottom’s vision which “the eye of man hath not heard”.                                                     The 1999 film of A Midsummer Night’s Dream (starring Kevin Kline as Bottom) suggested that the mechanicals, amidst all of their mistakes and idiocy, touched true drama, if only briefly. Thisbe’s death scene was produced as a moment when the play-within-a-play transcended its shoddy staging conditions and awkward actors to make the “hard-handed men” who “never laboured in their minds” an embodiment of the power of drama. Whether or not one agrees with this reading of the text, it’s an intriguing moment.

http://www.suite101.com/content/quince-and-the-mechanicals-a29081

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B.  Vocabulary
brake (n)
auditor (n)
odious (adj)
knavery (n)
ouzel (n)
tawny (adj)
enamoured (v)
enthralled (v)
gleek (v)
purge (v)

Act II Plot Research and Vocabulary- A Midsummer Night's Dream

1.  Find information about the plot and/or meaning of Act II of A Midsummer Night's Dream on the internet. Write the events and aspects discussed in your internet source to guide you.

2.  Define the following words.  After you have found the meaning of the word, write a sentence for each word that not only

a. demonstrates your understanding of the meaning, in the proper part of speech, but also                        
b. connects to the information that you found in your internet research.

Write these sentences on a piece of loose leaf paper to hand in for a grade.

Heed (v)
Beguile (v)
Forsworn (v)
Wanton (adj)
Amorous (adj)
Brawls (n)
Progeny (n)
Dissension (n)
Amend (v)
Conceive (v)
Chide (v)
Render (v)
Fawn (v)
Spurn (v)

Act III- A Doll's House

Mrs. Linde and Krogstad

1.  How did Linde’s and Krogstad’s previous relationship end? Why?

2.  What metaphor does Krogstad use to describe himself at the present moment?

3.  What kind of mutual deal do they, Linde and Krogstad, reach?

4. What do they decide to do about the letter?  Which one is behind the decision?

Linde, Nora and Helmer

1.  Where have they just come from?

2.  What comment about Nora’s appearance does Helmer make?

3.  What foreshadowing promise does Nora make to Helmer about taking her away from the dance?

4.  What is the reason that Helmer gives for taking her away so soon?

5.  What does Linde tell Nora she must do? Why?

6.  What does Helmer say about Mrs. Linde, after she has gone?

Nora, Rank and Helmer

1.  What does Helmer confess to Nora about his imagination?  What does Helmer “make believe to himself”?

2.  What is Nora’s overall response to Torvald?

3.  Who interrupts Nora and Torvald and what do they want?

4.  What message do Nora and Torvald receive in their mailbox from Dr. Rank?

5.  Explain fully the reason why Helmer will miss Dr. Rank?

Nora and Helmer

1.  What does Helmer call Nora’s proclamation of love?

2.  What realization does Nora come up with besides the knowledge of her crime, during Torvald’s tirade?

3.  Who does Torvald blame for Nora’s behavior, besides Nora?

4.  What conditions does Helmer put on their relationship?

5.  What is the most important thing that is important to Helmer?

6.  What does the new letter, given to the maid, mean for Helmer?

7.  Why is Nora not as relieved as Helmer?

8.  What does Helmer conclude about Nora’s sense of responsibility?

9.  What decision does Nora make, in response to the above question and the last two Acts?

10.  Why does she plan to take the action explained above- what reasons does she give?

11.  What odd aspect of their relationship does Nora point out to Helmer?

12.  Who does Nora believe she has been “wronged” by? And why? List them in order.

13.  What is the significance of the title of the play, as summarized by Nora’s character?

14.  What does Nora plan to achieve by her course of action?

15.  For what reasons is this irresponsible, according to Helmer?

16.  Why would it be irresponsible for her to stay, according to Nora?

17.  What ideas does Nora call into question?  List at least three ideas.

18.  What is “the wonderful thing [that] did not happen”?

19.  What do Helmer and Nora exchange?

20.  What does Nora refer to Torvald Helmer as?

Act II- A Doll's House

Nora/Nurse

1.  Before the nurse comes in, what is it that Nora is carrying on about?  Who is the “someone”?  What is the “thing”?

2.  What did the nurse do with her children, that Nora asks about?  And why?

3.  How often does the nurse daughter see her?

4.  What does Nora hint at to her nurse?

Nora and Mrs. Linde

1.  Why has Nora called Christine back to the house?

2.  What are Nora and Christine’s differing opinions of the day before and why?

3.  What does Christine notice about Doctor Rank?

4.  What does Doctor Rank suffer from and why?

5.  What advice does Christine give to Nora and why?

6.  On the top of page 33, who is it that Nora refers to as “the other one” that “she must make an end of it with”?

7.  What does Nora conceal from Christine?

Nora and Helmer

1.  What does Nora ask of Helmer?

2.  What reason does Nora give Helmer for sparing Krogstad (concerning her father)?

3.  What difference doe Helmer point out between Nora’s father and himself?  How is his statement ironic?  Which kind of irony?

4.  What is it that Helmer explains is the reason he must dismiss Krogstad?  Include two reasons why.

5.   What is Helmer’s response to Nora’s “obstinacy”?

6.  What promise does Helmer make to Nora about “sharing” a burden?

7.  What happens in the stage direction that informs the audience about Nora’s mood and Dr. Rank’s future?

Dr. Rank and Nora

1.  What does Dr. Rank inform Nora of?

2.  Who is Doctor Rank jealous of, taking his place?

3.  What else does Dr. rank admit to Nora?

4.  What does Nora admit about love and companionship? 

5. Who does Nora compare Torvald with?

Nora and Krogstad

1.  Why has Krogstad come to speak with Nora?

2.  What does he explain he will do?

3.  What are Krogstad’s long term plans for Helmer and the bank?

4.  What does Krogstad leave in the letterbox?

Nora and Christine

1.  What does Nora explain to Christine?

2.  What is the “wonderful thing” that is going to happen, according to Nora?

3.  What do Christine and Nora plan to do to divert disaster?

The Tarantella

1.  What observation does Helmer make about Nora?

2.  What does Nora request of Helmer? Why?

3.  What does Helmer discover?

4.  Who plays the piano?  Who’s first, second and third?

5.  For what reason is Nora dancing so wildly?

6. “What is it that you are waiting for?”  Mrs. Christine Linde asks this question of Nora.  What do you think she is waiting for?  What “wonderful” thing?

Act I A Doll's House

A Doll’s House by Henrik Ibsen

As we read and discuss the full length play A Doll’s House, complete these questions below and those that will follow.  

Act I

Helmer and Nora

1.  What is Helmer’s new job?

2. Why is Helmer so concerned about “spend[ing] money recklessly”?

3.  On page 2, what does Helmer say is “like a woman”?

4. What does Nora buy Ivar?

5.  What does Nora buy for Bob?

6.  What does Nora buy for Emmy?

7. Who are Ivar, Bob and Emmy?

8.  What do Nora and Torvald agree will be Nora’s Christmas present?

9.  What is a person called who is always spending money? From the play?

10.  What has Nora given her word that she will not do?

Mrs. Christine Linde and Nora

1.  How has Mrs. Linde changed since Nora and she last met?

2.  Does Christine Linde have any children?  And how did she feel about her deceased husband, before his death?

3.  What kind of jobs has Nora taken up to ‘make ends meet,’ during her marriage to Helmer?

4. Why did Nora and Helmer go to Italy, according to the conversation?

5.  Whose death happened right around the same time as the trip to Italy?

6.  What is Christine Linde’s reason for marrying her late husband?

7.  What is it specifically that Nora has  “to be proud and glad of”?

8.  Who “procured the money” for the trip to Italy? And how?

9.  What is Nora’s “great secret”?  Explain your answer.

10. What does Nora spend her money on, mostly?

11.  What is that Nora states is “like being a man”?

12.  From the stage directions, how does Mrs. Linde feel about Krogstad?

13.  What is it that Krogstad has to discuss with Helmer?

14.  What is Krogstad’s marital situation?

Dr. Rank

1.  Why can’t Mrs. Linde “manage stairs very well”?

2.  What illness does Rank believe Krogstad to suffer from?

3.  What subject do Linde and Rank get into an argument about?

4.  What exactly is Nora laughing about that breaks up the argument?

5.  For what purpose does Nora introduce Christine Linde to Helmer?

6.  What is it that Christine has accomplished by her visit?

Krogstad and Nora

1.  For what purpose does Krogstad come to speak with Nora?

2.  What is Christine Linde’s and Krogstad’s prior relationship?

3.  How did Nora become associated with Krogstad?

4.  How, exactly, does Krogstad plan to “compel” Nora to “plead his cause”?

5.  What legal indiscretion is Nora guilty of- what does she confess to Krogstad?

Nora and Helmer

1.  What lie does Helmer catch Nora in?

2.  What is  Torvald responsible for at the bank, after New Years?

3.  What is it that Torvald Helmer supposes is the root of  ‘criminal’ behavior- “those who have gone to the bad”?

4.  Why does Nora’s temperature rise, at this point in the Act?

5.  Why won’t she see her children?

Summarizing Tales

Our Text

Access the link below.  Sign on to the Pearson website for our textbook with the user names and passwords that I have given you in class.

1.  After you have signed on to your home page for the textbook, go to My Account to change your password through "edit profile".  Be sure to do this- I am tracking user activity and taking a grade for your completion of this.  And yes, I will be able to see if you have changed your password.

2.  Go back to Home.  Click on the "Open Book" icon.  Find the Table of Contents to the left.  Access Unit 4, Poetry Collection 6, "Tell the Truth but tell it slant" by Emily Dickinson (728).  Read the poem and take notes to discuss this poem in class tomorrow.

If you have a difficulty with this, that you are unable to resolve yourself, e mail me at buyce@bishopmaginn.org.  If you cannot access the text through the internet, you will have to lug our giant textbook home with you.

https://www.pearsonsuccessnet.com

Vocabulary Review for Midterm

Vocabulary Story 

                                                                         

Task-choose 20 from the 30 words below to use in a brief story that makes logical sense.  

You must use each word appropriately, in its proper form- noun, verb, adj, adverb, etc, and demonstrate your knowledge of the word’s definition to receive full credit. 

Underline each word that you use in the text-body- of the story.   Of course, use proper grammar and punctuation in your story.

Anticipation (n)

Culprit (n)

Sequence (n)

Revelation (n)

Yearning (n)

Crucial (adj)

Emerged (v)

Refrain (v)

Philosophy (n)

Sufficiently (adv)

Astray (n)

Emphatic (adj)

Indifferent (adj)

Frenzy (n)

Wavered (v)

Civilly (adv)

Quarreled (v)

Communal (adj)

Envious (adj)

Suite (v)

Grotesque (adj)

Indulge (v)

Optimism (n)

Mysticism (n)

Abstraction (n)

Automatons (n)

Apathy (n)

Entity (n)

Semblance (n)

Vigilance (n)

1. Choose your words.  Brainstorm; write the story: individually.
2. Share your story with a partner.  Read and analyze each other's stories for appropriate use of the word and fulfillment of the assignment criteria.
3.  Choose one story to read out loud to the class.  The writer of the story does not read their story- their partner does.
4. Presentation of Vocabulary Stories to the class for a grade.

End of Night

 A.  Explain completely the process of “selection” as it happens to Eli, his father and the rest of the prisoners.  What are the specific steps?  Refer to specific details from the novel.

B.  Questions

1.       What reason does the narrator of Night give for Akiba Drumer being “selected” against?  Why does he become unable to work?

2.       What does he, Akiba Drumer, ask of his friends?

3.       For what reason does Eliezer have to go see a doctor?  What happens to him as a consequence of this?

4.       What does the Hungarian Jew explain to him?

5.       What is it like in the hospital?

6.       How long does Eliezer have to stay in the hospital?

7.       What ‘rumor’ starts to circulate “two days after” Eliezer’s operation?

8.       What fact does Hitler make “very clear”?

9.       Where will the inhabitants of the camp be moved to?  What will happen to the ‘invalids’?

10.    What major decision are Eli and his father faced with?

11.    What decision do they make and why?

12.    Give two reasons why Eli cannot sleep?

13.    How are people dressed for the evacuation?  What special item does Eli try to find for himself and his condition?

14.    What are the four prisoners ordered to do before they leave the camp? Why?

C.  Define the following words.

automatons                                                                           entity

parched                                                                                  famished

petrified                                                                 bewildered

stupefied                                                                                bereaved

privations                                                                              semblance

apathy                                                                                    vigilance

embarkation

4. Answer the following questions

1.       As the prisoners of the camp set out from Buna, they are not allowed to stop or slow down.  What is the consequence of a prisoner stopping?  What will happen to them?

2.       What does the narrator explain as the only thing that kept him from stopping or slowing down?

3.       Where do they stop at first?

4.       Why is Eliezer warned not to fall asleep?  What do Eliezer and his father do instead/ where do they end up?

5.       What or who is Rabbi Eliahou looking for?  What has happened?  What does Eli realize?

6.       What destination do they finally reach?

7.       Who does Eli find as they enter the new camp?  What is he worried about and what eventually happens to him?

8.       What new threat do Eli and his father face in the new camp?  

9.       How long do they stay at the new camp and what are they made to do?

10.    “On the third day, at dawn”, what happens?  What is the possible reason for this occurrence?

11.    Explain fully how Eli escapes being separated from his father?

12.    What do the prisoners do to quench their thirst?

E.  Write a short paragraph on the difference between Eli’s devotion to his father and Rabbi Eliahou’s son’s devotion.  Briefly comment on how this explains the stress put upon a son’s responsibility to his father.  Overall, answer the question of why Eliahou’s son would do such a thing?  Why are Eliahou’s son’s actions rational but still unacceptable?