10th Grade

ELA Week 5 April 27-May 1

Learning Objectives: Students will be able to: ● cite evidence from these texts, personal experience, literature, art, or history to analyze

and reflect on how loneliness and community both influence the individual.

Lessons Lesson 1: Read “Excerpt from Frankenstein: The Creature’s Request” then answer both multiple choice and short answer questions and write a response that illustrates how humans desire connection and compares how Miss Brill and Frankenstein attempt to connect to others as well as how each are affected by their communities when they attempt that connection. Lesson 2: Read “Miss Brill” then answer both multiple choice and short answer questions and write a two-three paragraph response that identifies the overall theme of the story and argues how symbolism and imagery contribute to that theme. Lesson 3: After reading both “Miss Brill” and “Excerpt from Frankenstein”, compose 3 pararaphs that illustrate how humans desire connection and compares how Miss Brill and Frankenstein attempt to connect to others as well as how each are affected by their communities when they attempt that connection. Cite evidence from the text and your own experience to support your claims.

Vocabulary abhor (verb) : to regard with disgust and hatred disdain (noun) : the feeling that someone is unworthy of one’s respect negligent (adjective) : failing to take proper care in doing something commiserate (verb) : to express or feel sympathy

Name: Class:

"Frankenstein" by Insomnia Cured Here is licensed under CC BY-SA2.0.

Excerpt from Frankenstein: The Creature’sRequestBy Mary Shelley

1818

Mary Shelley (1797-1851) was an English novelist, short story writer, and dramatist, best known for hergothic novel Frankenstein. In the novel, the brilliant scientist, Victor Frankenstein, succeeds in creating lifein his laboratory, only to be horrified by his own creation. In this excerpt, the creature demands that VictorFrankenstein listen to what he has suffered through since he was created. As you read, take notes on whatthe creature wants, and how Frankenstein responds to his requests.

As I said this I suddenly beheld the figure of aman, at some distance, advancing towards mewith superhuman speed. He bounded over thecrevices in the ice, among which I had walkedwith caution; his stature, also, as he approached,seemed to exceed that of a man. I was troubled; amist came over my eyes, and I felt a faintnessseize me; but I was quickly restored by the coldgale of the mountains. I perceived, as the shapecame nearer (sight tremendous and abhorred!)1

that it was the wretch whom I had created. Itrembled with rage and horror, resolving to waithis approach and then close with him in mortalcombat.2 He approached; his countenance3

bespoke bitter anguish, combined with disdain4

and malignity, while its unearthly uglinessrendered it almost too horrible for human eyes.But I scarcely observed this; rage and hatred hadat first deprived me of utterance, and I recoveredonly to overwhelm him with words expressive offurious detestation and contempt.

“Devil,” I exclaimed, “do you dare approach me?And do not you fear the fierce vengeance of myarm wreaked on your miserable head? Begone,vile insect! Or rather, stay that I may trample you to dust! And, oh! That I could, with the extinction ofyour miserable existence, restore those victims whom you have so diabolically murdered!”

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1. Abhor (verb): to regard with disgust and hatred2. a fight that will result in the death of the loser3. face or facial expression4. Disdain (noun): the feeling that someone is unworthy of one’s respect

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“I expected this reception,” said the daemon. “All men hate the wretched; how, then, must I be hated,who am miserable beyond all living things! Yet you, my creator, detest and spurn5 me, thy creature, towhom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me.How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and therest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if yourefuse, I will glut the maw6 of death, until it be satiated with the blood of your remaining friends.”

“Abhorred monster! Fiend that thou art! The tortures of hell are too mild a vengeance for thy crimes:Wretched devil! You reproach me with your creation; come on, then, that I may extinguish the sparkwhich I so negligently7 bestowed.”

My rage was without bounds; I sprang on him, impelled by all the feelings which can arm one beingagainst the existence of another.

He easily eluded me and said, “Be calm! I entreat you to hear me before you give vent to your hatredon my devoted head. Have I not suffered enough, that you seek to increase my misery? Life, although itmay only be an accumulation of anguish, is dear to me, and I Will defend it. Remember, thou hastmade me more powerful than thyself; my height is superior to thine, my joints more supple. But I willnot be tempted to set myself in opposition to thee. I am thy creature, and I will be even mild anddocile8 to my natural lord and king if thou wilt also perform thy part, the which thou owest me. Oh,Frankenstein, be not equitable9 to every other and trample upon me alone, to whom thy justice, andeven thy clemency10 and affection, is most due. Remember that I am thy creature; I ought to be thyAdam,11 but I am rather the fallen angel, whom thou drivest from joy for no misdeed. Everywhere I seebliss, from which I alone am irrevocably excluded. I was benevolent and good; misery made me a fiend.Make me happy, and I shall again be virtuous.”

“Begone! I will not hear you. There can be no community between you and me; we are enemies.Begone, or let us try our strength in a fight, in which one must fall.”

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5. to reject with disdain6. the jaws or throat of a hungry animal7. Negligent (adjective): failing to take proper care in doing something8. submissive9. fair

10. mercy; lenience11. referring to the first man that God created, according to Christianity

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Frankenstein by Mary Shelley (1818) is in the public domain.

“How can I move thee? Will no entreaties12 cause thee to turn a favourable eye upon thy creature, whoimplores thy goodness and compassion? Believe me, Frankenstein, I was benevolent; my soul glowedwith love and humanity; but am I not alone, miserably alone? You, my creator, abhor me; what hopecan I gather from your fellow creatures, who owe me nothing? They spurn and hate me. The desertmountains and dreary glaciers are my refuge. I have wandered here many days; the caves of ice, whichI only do not fear, are a dwelling to me, and the only one which man does not grudge. These bleakskies I hail, for they are kinder to me than your fellow beings. If the multitude of mankind knew of myexistence, they would do as you do, and arm themselves for my destruction. Shall I not then hate themwho abhor me? I will keep no terms with my enemies. I am miserable, and they shall share mywretchedness. Yet it is in your power to recompense me, and deliver them from an evil which it onlyremains for you to make so great, that not only you and your family, but thousands of others, shall beswallowed up in the whirlwinds of its rage. Let your compassion be moved, and do not disdain me.Listen to my tale; when you have heard that, abandon or commiserate13 me, as you shall judge that Ideserve. But hear me. The guilty are allowed, by human laws, bloody as they are, to speak in their owndefence before they are condemned. Listen to me, Frankenstein. You accuse me of murder, and yetyou would, with a satisfied conscience, destroy your won creature. Oh, praise the eternal justice ofman! Yet I ask you not to spare me; listen to me, and then, if you can, and if you will, destroy the workof your hands.”

“Why do you call to my remembrance,” I rejoined, “circumstances of which I shudder to reflect, that Ihave been the miserable origin and author? Cursed be the day, abhorred devil, in which you first sawlight! Cursed (although I curse myself) be the hands that formed you! You have made me wretchedbeyond expression. You have left me no power to consider whether I am just to you or not. Begone!Relieve me from the sight of your detested form.”

“Thus I relieve thee, my creator,” he said, and placed his hated hands before my eyes, which I flungfrom me with violence; “thus I take from thee a sight which you abhor. Still thou canst listen to me andgrant me thy compassion. By the virtues that I once possessed, I demand this from you. Hear my tale;it is long and strange, and the temperature of this place is not fitting to your fine sensations; come tothe hut upon the mountain. The sun is yet high in the heavens; before it descends to hide itself behindyour snowy precipices and illuminate another world, you will have heard my story and can decide. Onyou it rests, whether I quit forever the neighbourhood of man and lead a harmless life, or become thescourge14 of your fellow creatures and the author of your own speedy ruin.”

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12. an earnest request13. Commiserate (verb): to express or feel sympathy14. Scourge (noun): a person or thing that causes great suffering

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Text-Dependent QuestionsDirections: For the following questions, choose the best answer or respond in complete sentences.

1. PART A: What is the meaning of “dissoluble” as it is used in paragraph 3 of the passage?A. obtainableB. impossibleC. reasonableD. breakable

2. PART B: Which phrase in paragraph 3 supports the answer to Part A?A. “‘miserable beyond all living things!’”B. “‘detest and spurn me’”C. “‘bound by ties’”D. “‘comply with my conditions’”

3. PART A: What is the meaning of “recompense” as it is used in paragraph 8 of the passage?A. make amends toB. pay tribute toC. bring shame onD. show understanding of

4. PART B: Which phrase from paragraph 8 supports the answer to Part A?A. “I will keep no terms with my enemies.”B. “Let your compassion be moved”C. “they shall share my wretchedness.”D. “I ask you not to spare me”

5. PART A: What primary tone is established by the words Dr. Frankenstein’s creature uses?A. emotional distressB. stern disapprovalC. taunting mockeryD. callous indifference

6. PART B: Of the following seven phrases from the passage, select THREE that convey thetone identified in Part A.

A. “‘detest and spurn me’” (Paragraph 3)B. “‘If you will comply with my conditions’” (Paragraph 3)C. “‘I will defend it’” (Paragraph 6)D. “‘whom thou drivest from joy’” (Paragraph 6)E. “‘How can I move thee?’” (Paragraph 8)F. “‘caves of ice’” (Paragraph 8)G. “‘The sun is yet high in the heavens’” (Paragraph 10)

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7. PART A: How does the interaction between the characters advance the plot in the passage?A. The emotions each character displays create an opportunity for a flashback to

show the reason Dr. Frankenstein created the man.B. The verbal dispute between the characters gives the man the opportunity to

explain his experiences to Dr. Frankenstein.C. The fear expressed by the characters establishes the reasons for their conflicts.D. The threats each makes against the other initiate rising action.

8. PART B: Which phrase from the passage supports the answer to Part A?A. “I perceived, as the shape came nearer (sight tremendous and abhorred!) that it

was the wretch whom I had created.” (Paragraph 1)B. “‘Begone, or let us try our strength in a fight, in which one must fall.’” (Paragraph

7)C. “‘The sun is yet high in the heavens; before it descends to hide itself behind your

snowy precipices and illuminate another world, you will have heard my storyand can decide.” (Paragraph 10)

D. “‘become the scourge of your fellow creatures and the author of your ownspeedy ruin.’” (Paragraph 10)

9. PART A: Which interaction is most like the one between Dr. Frankenstein and his creature?A. A parent tries to reason with a child who continues to disobey him.B. A judge dismisses someone who continues to make a plea.C. A detective questions a suspect who offers only evasive answers.D. A person trusts someone who goes on to betray him repeatedly.

10. PART B: Which TWO phrases or sentences support the answer to Part A?A. “I was troubled” (Paragraph 1)B. “He approached; his countenance bespoke bitter anguish, combined with

disdain and malignity” (Paragraph 1)C. “‘I expected this reception” (Paragraph 3)D. “‘I entreat you to hear me’” (Paragraph 6)E. “‘Oh, praise the eternal justice of man!’” (Paragraph 8)F. “‘Begone! Relieve me from the sight of your detested form.’” (Paragraph 9)

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Discussion QuestionsDirections: Brainstorm your answers to the following questions in the space provided. Be prepared toshare your original ideas in a class discussion.

1. Why do you think humans have rejected the creature? How have his interactions withhumans corrupted his originally kind character?

2. In the context of the text, how does this excerpt from Frankenstein explore the limits ofwhat humans can and should create? What should humans avoid attempting to control orcreate? Cite examples from the text, your own experience, and other literature, art, orhistory in your answer.

3. Did Frankenstein overstep certain ethical boundaries as a scientist? Why or why not? Canyou think of any real world examples where scientists take part in questionable research orexperiments? Cite examples from the text, your own experience, and other literature, art,or history in your answer.

4. Why does Frankenstein’s creature feel lonely? How has mankind contributed to thecreature’s feelings of loneliness? Have you ever felt lonely like the creature? Cite examplesfrom the text, your own experience, and other literature, art, or history in your answer.

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Name: Class:

"Untitled" by Artsy Vibes is licensed under CC0

Miss BrillBy Katherine Mansfield

1920

Katherine Mansfield (1888-1923) was a prominent Modernist writer of short fiction, born and raised incolonial New Zealand. In the following short story, a woman’s day in the park has unexpected emotionalconsequences. The story begins as she decides to wear her fur. As you read, take notes on how Mansfield’suse of imagery and symbolism contributes to the story's theme.

Although it was so brilliantly fine — the blue skypowdered with gold and great spots of light likewhite wine splashed over the Jardins Publiques1 —Miss Brill was glad that she had decided on herfur. The air was motionless, but when youopened your mouth there was just a faint chill,like a chill from a glass of iced water before yousip, and now and again a leaf came drifting —from nowhere, from the sky. Miss Brill put up herhand and touched her fur. Dear little thing! It wasnice to feel it again. She had taken it out of its boxthat afternoon, shaken out the moth-powder,given it a good brush, and rubbed the life backinto the dim little eyes. “What has beenhappening to me?” said the sad little eyes. Oh, how sweet it was to see them snap at her again fromthe red eiderdown!... But the nose, which was of some black composition, wasn’t at all firm. It musthave had a knock, somehow. Never mind — a little dab of black sealing-wax when the time came —when it was absolutely necessary... Little rogue!2 Yes, she really felt like that about it. Little rogue bitingits tail just by her left ear. She could have taken it off and laid it on her lap and stroked it. She felt atingling in her hands and arms, but that came from walking, she supposed. And when she breathed,something light and sad — no, not sad, exactly — something gentle seemed to move in her bosom.

There were a number of people out this afternoon, far more than last Sunday. And the band soundedlouder and gayer. That was because the Season had begun. For although the band played all the yearround on Sundays, out of season it was never the same. It was like someone playing with only thefamily to listen; it didn’t care how it played if there weren’t any strangers present. Wasn’t the conductorwearing a new coat, too? She was sure it was new. He scraped with his foot and flapped his arms like arooster about to crow, and the bandsmen sitting in the green rotunda blew out their cheeks and glaredat the music. Now there came a little “flutey” bit — very pretty! — a little chain of bright drops. She wassure it would be repeated. It was; she lifted her head and smiled.

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1. French for “public gardens”2. a playfully mischievous individual

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Only two people shared her “special” seat: a fine old man in a velvet coat, his hands clasped over ahuge carved walking-stick, and a big old woman, sitting upright, with a roll of knitting on herembroidered apron. They did not speak. This was disappointing, for Miss Brill always looked forward tothe conversation. She had become really quite expert, she thought, at listening as though she didn’tlisten, at sitting in other people’s lives just for a minute while they talked round her.

She glanced, sideways, at the old couple. Perhaps they would go soon. Last Sunday, too, hadn’t been asinteresting as usual. An Englishman and his wife, he wearing a dreadful Panama hat and she buttonboots. And she’d gone on the whole time about how she ought to wear spectacles; she knew sheneeded them; but that it was no good getting any; they’d be sure to break and they’d never keep on.And he’d been so patient. He’d suggested everything — gold rims, the kind that curved round yourears, little pads inside the bridge. No, nothing would please her. “They’ll always be sliding down mynose!” Miss Brill had wanted to shake her.

The old people sat on the bench, still as statues. Never mind, there was always the crowd to watch. Toand fro, in front of the flower-beds and the band rotunda,3 the couples and groups paraded, stoppedto talk, to greet, to buy a handful of flowers from the old beggar who had his tray fixed to the railings.Little children ran among them, swooping and laughing; little boys with big white silk bows under theirchins, little girls, little French dolls, dressed up in velvet and lace. And sometimes a tiny staggerer camesuddenly rocking into the open from under the trees, stopped, stared, as suddenly sat down “flop,”until its small high-stepping mother, like a young hen, rushed scolding to its rescue. Other people saton the benches and green chairs, but they were nearly always the same, Sunday after Sunday, and —Miss Brill had often noticed — there was something funny about nearly all of them. They were odd,silent, nearly all old, and from the way they stared they looked as though they’d just come from darklittle rooms or even — even cupboards!

Behind the rotunda the slender trees with yellow leaves down drooping, and through them just a lineof sea, and beyond the blue sky with gold-veined clouds.

Tum-tum-tum tiddle-um! tiddle-um! tum tiddley-um tum ta! blew the band.

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3. a building with a circular ground plan that is covered by a dome

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Two young girls in red came by and two young soldiers in blue met them, and they laughed and pairedand went off arm-in-arm. Two peasant women with funny straw hats passed, gravely, leading beautifulsmoke-coloured donkeys. A cold, pale nun hurried by. A beautiful woman came along and dropped herbunch of violets, and a little boy ran after to hand them to her, and she took them and threw themaway as if they’d been poisoned. Dear me! Miss Brill didn’t know whether to admire that or not! Andnow an ermine toque4 and a gentleman in grey met just in front of her. He was tall, stiff, dignified, andshe was wearing the ermine toque she’d bought when her hair was yellow. Now everything, her hair,her face, even her eyes, was the same colour as the shabby ermine, and her hand, in its cleaned glove,lifted to dab her lips, was a tiny yellowish paw. Oh, she was so pleased to see him — delighted! Sherather thought they were going to meet that afternoon. She described where she’d been —everywhere, here, there, along by the sea. The day was so charming — didn’t he agree? And wouldn’the, perhaps?... But he shook his head, lighted a cigarette, slowly breathed a great deep puff into herface, and even while she was still talking and laughing, flicked the match away and walked on. Theermine toque was alone; she smiled more brightly than ever. But even the band seemed to know whatshe was feeling and played more softly, played tenderly, and the drum beat, “The Brute! The Brute!”over and over. What would she do? What was going to happen now? But as Miss Brill wondered, theermine toque turned, raised her hand as though she’d seen someone else, much nicer, just over there,and pattered away. And the band changed again and played more quickly, more gayly than ever, andthe old couple on Miss Brill’s seat got up and marched away, and such a funny old man with longwhiskers hobbled along in time to the music and was nearly knocked over by four girls walking abreast.

Oh, how fascinating it was! How she enjoyed it! How she loved sitting here, watching it all! It was like aplay. It was exactly like a play. Who could believe the sky at the back wasn’t painted? But it wasn’t till alittle brown dog trotted on solemn and then slowly trotted off, like a little “theatre” dog, a little dog thathad been drugged, that Miss Brill discovered what it was that made it so exciting. They were all on thestage. They weren’t only the audience, not only looking on; they were acting. Even she had a part andcame every Sunday. No doubt somebody would have noticed if she hadn’t been there; she was part ofthe performance after all. How strange she’d never thought of it like that before! And yet it explainedwhy she made such a point of starting from home at just the same time each week — so as not to belate for the performance — and it also explained why she had quite a queer,5 shy feeling at telling herEnglish pupils how she spent her Sunday afternoons. No wonder! Miss Brill nearly laughed out loud.She was on the stage. She thought of the old invalid gentleman to whom she read the newspaper fourafternoons a week while he slept in the garden. She had got quite used to the frail head on the cottonpillow, the hollowed eyes, the open mouth and the high pinched nose. If he’d been dead she mightn’thave noticed for weeks; she wouldn’t have minded. But suddenly he knew he was having the paperread to him by an actress! “An actress!” The old head lifted; two points of light quivered in the old eyes.“An actress — are ye?” And Miss Brill smoothed the newspaper as though it were the manuscript of herpart and said gently; “Yes, I have been an actress for a long time.”

4. a type of small hat decorated with fur5. strange or odd

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“Miss Brill” by Katherine Mansfield (1920) is in the public domain.

The band had been having a rest. Now they started again. And what they played was warm, sunny, yetthere was just a faint chill — a something, what was it? — not sadness — no, not sadness — asomething that made you want to sing. The tune lifted, lifted, the light shone; and it seemed to MissBrill that in another moment all of them, all the whole company, would begin singing. The young ones,the laughing ones who were moving together, they would begin, and the men’s voices, very resoluteand brave, would join them. And then she too, she too, and the others on the benches — they wouldcome in with a kind of accompaniment — something low, that scarcely rose or fell, something sobeautiful — moving... And Miss Brill’s eyes filled with tears and she looked smiling at all the othermembers of the company. Yes, we understand, we understand, she thought — though what theyunderstood she didn’t know.

Just at that moment a boy and girl came and sat down where the old couple had been. They werebeautifully dressed; they were in love. The hero and heroine, of course, just arrived from his father’syacht. And still soundlessly singing, still with that trembling smile, Miss Brill prepared to listen.

“No, not now,” said the girl. “Not here, I can’t.”

“But why? Because of that stupid old thing at the end there?” asked the boy. “Why does she come hereat all — who wants her? Why doesn’t she keep her silly old mug6 at home?”

“It’s her fu-ur which is so funny,” giggled the girl. “It’s exactly like a fried whiting.”7

“Ah, be off with you!” said the boy in an angry whisper. Then: “Tell me, ma petite chère — ”8

“No, not here,” said the girl. “Not yet.”

On her way home, she usually bought a slice of honey-cake at the baker’s. It was her Sunday treat.Sometimes there was an almond in her slice, sometimes not. It made a great difference. If there wasan almond it was like carrying home a tiny present — a surprise — something that might very well nothave been there. She hurried on the almond Sundays and struck the match for the kettle in quite adashing way.

But today she passed the baker’s by, climbed the stairs, went into the little dark room — her room likea cupboard — and sat down on the red eiderdown. She sat there for a long time. The box that the furcame out of was on the bed. She unclasped the necklet quickly; quickly, without looking, laid it inside.But when she put the lid on she thought she heard something crying.

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[15]

6. referring to a person's face, usually in a derogatory manner7. a type of fish8. French for "my little darling"

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Text-Dependent QuestionsDirections: For the following questions, choose the best answer or respond in complete sentences.

1. PART A: Which of the following describes the theme of the short story?A. Despite our desire to feel a connection with others, we often are alone.B. It is difficult to connect with others, as many people wish to be alone.C. It's important not to let the opinions or judgments of others have an effect on

you.D. The close relationships that people rely on are often more shallow than they

realize.

2. PART B: Which TWO quotes from the text best support the answer to Part A?A. “Miss Brill put up her hand and touched her fur. Dear little thing! It was nice to

feel it again.” (Paragraph 1)B. “She glanced, sideways, at the old couple. Perhaps they would go soon. Last

Sunday, too, hadn't been as interesting as usual.” (Paragraph 4)C. “Even she had a part and came every Sunday. No doubt somebody would have

noticed if she hadn't been there; she was part of the performance after all.”(Paragraph 9)

D. “And Miss Brill smoothed the newspaper as though it were the manuscript ofher part and said gently; ‘Yes, I have been an actress for a long time.’”(Paragraph 9)

E. “Just at that moment a boy and girl came and sat down where the old couplehad been. They were beautifully dressed; they were in love.” (Paragraph 11)

F. “‘Why does she come here at all — who wants her? Why doesn't she keep hersilly old mug at home?’” (Paragraph 13)

3. How does the author most develop Miss Brill's character over the course of the story?A. The author develops Miss Brill's character through her interactions and

conversations with the people in the park.B. The author develops Miss Brill's character through other characters'

observations and commentary on her.C. The author develops Miss Brill's character by contrasting what she thinks about

people with what she says to them.D. The author develops Miss Brill's character by revealing her internal thoughts and

reflections on the other people in the park.

4. How are the details of Miss Brill's thoughts important to the development of the story'stheme?

A. They emphasize how alone Miss Brill often feels at the park.B. They reveal how Miss Brill feels connected to everyone at the park.C. They show how hard it is for Miss Brill to make friends with others.D. They stress how positively Miss Brill views everyone at the park.

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5. How does hearing the conversation between the boy and girl affect Miss Brill (Paragraphs11-16)?

A. Their conversation causes Miss Brill to feel like her presence is unwanted at thepark.

B. Their conversation makes Miss Brill realize that she has a high opinion ofherself.

C. Their conversation leads Miss Brill to feel unattractive and self-conscious.D. Their conversation makes Miss Brill sad that she doesn't have a romantic

partner.

6. How does the fur contribute to the theme of the story?

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Discussion QuestionsDirections: Brainstorm your answers to the following questions in the space provided. Be prepared toshare your original ideas in a class discussion.

1. In the context of this story, what does it mean to feel alone? How do people deal withloneliness? Cite evidence from this text, your own experience, and other literature or art inyour answer.

2. How does Miss Brill depict older and/or elderly people in the text? Is this a positive,negative, or typical view? How does it compare to the words of the “hero and heroine”about her?

3. Why should we value our youth? Do we value youth over old age and why? Cite evidencefrom this text, your own experience, and other literature, art, or history in your answer.

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