Mon- Friday, April 5-23 The Story of an Hour by Kate Chopin

CURRENT CLASS NEWS:

The graphic organizers for The Story of an Hour were due Friday at midnight. We worked on these as a class. There was nothing you needed to complete outside of classtime. Thank you to those who shared their work. At this point, they are late. The maximum grade is a 75.  

Summary of this week's work:

Monday: Irony exercise

Tues-Friday- essay on The Story of an Hour

All material follows below

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The Story of an Hour by Kate Chopin

Learning Targets:

I can read closely to determine what the text says explicitly/implicitly and make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 

 I can determine central ideas or themes of a text and analyze their development.

 I can analyze how and why individuals, events, and ideas develop and interact over the course of a text.

Essential question: How do the connotative meanings of words reveal character development in the short story The Story of an Hour?

Over the next two weeks, we are working on the very short story  The Story of an Hour by Kate Chopin. 

1. We will start with vocabulary review, after which you will have a practice assignment. (copy follows on blog after vocabulary) (participation grade)

2. We will read the story in class; you will have a literary element chart to complete that will demonstrate your understanding of characters, setting, point of view, dialogue, plot, mood (words that define the emotions / feelings that readers get from reading the words on the page) and theme (controlling idea). (copy follows on blog, after we read the story) (participation grade)

3. As a class, we will work through the organizer. This will count as the first writing grade of the 4th quarter. Follow the directions exactly as stated in the organizer. That includes complete sentences and text where stated.

4. An important aspect of The Story of an Hour is irony. We will review the three main types, and you will complete a practice exercise. (participation grade)

5. Written response, applying the use of irony to the controlling idea or theme of The Story of an Hour. (writing grade)

The following two assignments will be the last of the 3rd quarter marking period.

There will also be several in class only bonuses this week.  

Assignments: 1. vocabulary practice...due Tuesday, April 6 by 6 pm

                       2. Literary element chart...due Wednesday, April 7 by 6p

                       3. Graphic organizer...due date by Friday, April 16.  First writing grade of the 4th marking quarter.

                        4. Irony practice participation grade 4th quarter...Due Monday, April 19

                        5. Written response on how irony contributes to the development of the theme /controlling idea  in The Story of an Hour...4th quarter writing grade, due Friday, April 23

                        

garrulous

                                          

                                           

                                           

                                 

                                                    

Please copy the following vocabulary practice onto a google doc, complete and share with my name or 2006630

Below you will find 10 sentences. From the vocabulary words associated with Kate Chopin’s The Story of an Hour, select the best fits the context of the sentence. Check the blog for the definitions that we reviewed in class. Please note that another part of speech may be substituted within the sentence. Adjust accordingly.

Vocabulary choices: laconic, throng, intrepid, to accost, reticent, hapless, furtive, irate, plethora, felonious

 

 

1.   The pop star was so famous that people would ____________________ on the street and at the supermarket to ask for her autograph.

 

2.   It is ok to be _________________________ around people you do not know very well. Who wants to be garrulous with people you just met?

 

3.   Amando quickly accepted the job, as it came with a ______________________ of opportunities and benefits.

 

4.   Most of the staff was ______________________ when speaking about the investigation and kept things hush-hush.

 

5.   The ___________________rabbit could not escape from the trap. This was clearly an unfortunate situation for the bunny.

 

6.   When the game ended, a __________________ of fans carried some of the winning players off the field.

 

7.   Although my mother was __________________about me wrecking her car, she still said she loved me

 

8.   Every  _____________________ act in the state required at least thirty days in jail and a minimum $1,000 fine.

 

9.   With great ________________________ and much courage, young people are making the trek north with the hope of making a better future for themselves.

 

10.                Because the thief was _____________________, nobody discovered that he stole thousands of dollars in merchandise

 

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audio with text for "The Story of an Hour"

The Story of an Hour 

by Kate Chopin

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will — as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.

She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for her during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him — sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg, open the door — you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.

Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.

But Richards was too late.

When the doctors came they said she had died of heart disease — of the joy that kills.

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Please find below the literary element chart for the short story The Story of an Hour.

Copy and paste onto a google doc and share with me directlythrough the down menu for my name or number:2006630.  This is due by 6 pm on Wednesday, April 7.

 

The Story of an Hour by Kate Chopin    Literary element chart.

Please reread the story to complete the literary chart.

 

Characters	1.   2.   3.   4.
Point of view First person limited First person omniscient Third person limited Third person omniscient
Setting Pull out text
Theme or controlling idea
Dialogue examples	1.   2.   3.
Mood ((words / phrases that define the emotions / feelings that readers get from reading the words on the page)	1.   2.   3.   4.   5.
Plot summary (synopsis) minimum 50 words

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The Story of an Hour by Kate Chopin graphic organizer

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.	How might heart trouble be more than a physical ailment? Note that this is the first thing we are told about her and how other people respond to her. Evidently this is--at least for those around her--an important part of who she is. Respond in a complete sentence.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.	2..   Why is she tantalizing* her with hints? (complete, well-written sentence)  *adjective       tormenting or teasing with the sight or promise of something unobtainable.     From the story about Tantalus, who is a figure from Greek mythology who was the rich but wicked king of Sipylus. For attempting to serve his own son at a feast with the gods, he was punished by Zeus to forever go thirsty and hungry in Hades, despite being stood in a pool of water and almost within reach of a fruit tree.       3.     What does this suggest about how the family views Mrs. M.?     4.   What does this paragraph suggest about Richards' feelings for Mrs. M?  5.         Why is he in such a hurry? Is the code of the "southern gentleman"* at work here, or could there be more to his concern than that? *The southern code addressed the behaviors of both men and women.Gentlemen must be courteous, truthful and honorable. chivalric chivalry
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her	6.       Why are we first told how she does NOT hear the news? What does this reaction suggest about her? about how "ladies" were expected to react?   7. What does this passionate response tell us about her? This is our first real clue as to what sort of person she is--aside from her reported state of health.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.	8.       How are the window and chair descriptions suggestive of longing or desire? What do they imply about her ordinary life?     9.      What does this very dramatic (even melodramatic) statement suggest about her psychological state?
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves.	10.       Note the contrast of motion and stillness. Why is the time of year so important?       11.       Delicious ordinarily refers to taste. Who is "tasting" here?     12..       She too has been "crying." What does this detail, as well as the other sensory images, tell you about what she is experiencing?
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.	13.       How does this picture represent symbolically what she sees about her situation?
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.	14..       Why is she compared to a dreaming child?
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.	15       What does her face tell you about her life?         16..       What sort of emotional state is she in?
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.	17..       In your first reading, what do you guess that "something" might be?
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will --as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.	18.       What does this description of her hands suggest?         19..       What is happening to her? Why does she repeat "free?         20..       Note how the sensuality of what she sees has been tranferred to her body. Why might she react this way?
She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.	21.       Who would consider this joy "monstrous"? oxymoron           22.       There seems to be no question whether her husband loved her, is there? What clues are there of HOW he loved her?
There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.	23.       What cherished domestic and 19th century myth does Chopin challenge here?             24.       Here Chopin--or is it Mrs. Mallard?-- is making a very general statement about relationships, particularly between men and women. How does it apply to this case?
And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being! "Free! Body and soul free!" she kept whispering. Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open the door! I beg; open the door-- you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."	25..       Again, body and soul are connected. How does this anticipate  (foreshadow) the end?               25.b..       What does Josephine's plea say about the expectations of those around Louise (now given a name)? vestigial appendage
"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long. She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.	26..       elixir (from Middle English, a substance of transmutative properties) 1. a sweetened aromatic solution of alcohol and water, used as a vehicle for medicine. 2. a medicine regarded as a cure for all ills. 3. the philosophers' stone. 4. the quintessence or underlying principle. How do these different definitions shed light on her revelation?               27.       Just what is coming through an "open window"?         28..       What has she conquered that would make her seem victorious?
Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife. But Richards was too late. When the doctors came they said she had died of heart disease --of the joy that kills.	29..       Why is he stained by travel if he was not on the train?           30.       It is a "grip-sack," not a "briefcase" or "suitcase"; what does this word suggest?

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What is Irony?

Irony is a literary device where the chosen words are intentionally used to indicate a meaning other than the literal one. Irony is often mistaken for sarcasm. Sarcasm is actually a form of verbal irony, but sarcasm is intentionally insulting. When you say, "Oh, great" after your drink has spilled all over your expensive new clothes, you don't actually mean that the incident is positive. Here, using the word 'great' ironically indicates a higher negative implication, even though the wording is positive.

Types of irony

1. Dramatic irony

Dramatic irony occurs when readers are informed of significant information that key characters are unaware of — basically, where we know what will happen before they do. 

Why dramatic irony?

1. To create sympathy for a character

2. To create a comical situation

Examples:

1. .We all know the ending of Titanic — that ship is going down. But everyone on board thinks that it’s “unsinkable”!

2. Disney’s Mulan is pretty much entirely based on dramatic irony. We know that Mulan is a woman who has disguised herself as a man and joined the army. But the other characters around her have no idea, and there are almost constant jokes based on this deception

2. Situational irony

When the truth contradicts an expected outcome, it's situational irony — also known as “the irony of events.” Just to clarify, irony is not the same as "coincidence" and "bad luck." If you buy a new car and then accidentally drive it into a tree, that is both coincidence and bad luck. However, if a professional stunt driver crashes into a tree on their way home from receiving a “best driver” award, that is situationally ironic.

Examples:

1. Jacob wakes up late and thinks he is going to be late to school. After rushing around to get dressed, he realizes it is Saturday.

2. The fire station burns down while the firemen are out on a call.

3. Mercedes is trying to avoid a water gun fight that her brothers are having and she falls into a puddle.

 

3. Verbal Irony 

What is verbal irony? Here’s a quick and simple definition:

Verbal irony occurs when the literal meaning of what someone says is different from—and often opposite to—what they actually mean

  Verbal irony can be sarcasm, overstatements and undertatements

examples:     

sarcasm (saying “Oh, fantastic!” when the situation is actually very bad)

understatement (saying "We don't get along" after having a huge fight with someone)

overstatement (saying "I'll die if I can't go to the concert!")

Irony practice. Reread the definitions and examples of the three basic types of irony: dramatic, situational and verbal.  Copy and paste the following irony practice, and for each, identify the type of irony. When you have finished, share the document. 

Class participation grade.

 

1.    _______________________ An ambulance driver speeds to the scene of a road accident. The victim isn't badly hurt. As the driver arrives at the scene, another car smashes into the ambulance causing it to hit the victim’s car and deploy the airbag, which causes more injury to her than the first accident.

2.     ______________________ I just love watching the same cartoon five times every afternoon. It’s such a delight.

 

3.     _______________________ A woman’s giant dog insists on sitting on her when she relaxes on the sofa. The dog climbs on her and she says, “I’m so glad I have such a tiny little lap dog.”

4.     _______________________ A novel's heroine visits her favorite café every day from 11am to 1pm. Her brother's best friend knows this and is trying to find a way to ask her out on a date. The day he gets up the courage to go to the café she's not there. The reader knows she is ill, but he doesn’t.

5.     _______________________ In Animal Farm, the animals believe Boxer was sent to the hospital while readers know all along that the pigs actually sold him to the slaughter house.

6.     ______________In The Wonderful Wizard of Oz, all the characters turn out to already possess the traits they seek—courage, love, and so on.

7.     ______________________ In Twilight, Edward is convinced that he is putting Bella in danger when readers know that she is actually in grave danger from others that only Edward can protect her from.

8.     ______________________  “Oh no, I couldn’t possibly eat another piece of cake.” That’s what my aunt said as she picked up another piece of cake and started eating it.

9.      

10._______________________ The Gift of the Magi

In this short story by O. Henry, a wife sells her hair to buy her husband a watch chain, and her husband sells his watch to buy her combs for her hair. Both have made sacrifices in order to buy gifts for one another, but in the end, the gifts are useless. The real gift is how much they are willing to give up to show their love for one another.I

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The Story of an Hour by Kate Chopin and irony.

Due by Friday, April 23 by midnight.

In a minimum of 300 words, select how irony contributes to the controlling idea or theme  in the short story The Story of an Hour. Be specific as to the type of irony Make sure to include textual evidence.

Begin with your MLA heading

The title of the asssignment: Irony in The Story of an Hour

Remember:

MLA heading

Size 12, Times New Roman font

One or two paragraphs

Hook to start your essay and engage the reader

Thesis statement that includes title, author and genre

Weave in text to support your thesis. This is how irony is used to develop the theme / controlling idea  of the story. (You decide on the theme) Make a statement and then support with an analysis; that is why is what you said important or significant.

Conclude with a universal statement that ties in your theme / controlling idea with irony.