Name____________________

Summer Reading Project

Honors English 10Mr. Hansard

Goddard High School

Instructions1. Complete the Research / Pre-reading Exercises and readings (pages 1-9)

in the workbook before reading.2. Read Fahrenheit 451 from beginning to end.3. Complete all Study Guide / Quiz questions in the workbook as directed. Be

sure to read the directions for completing the study guides carefully and completely and to follow the rules for each study guide.

4. STOP AND DO NOT DO any pages after the STOP sign.5. Bring this completed packet to the first day of class in August.

GODDARD HIGH SCHOOLUNIFIED SCHOOL DISTRICT No. 265

2500 SOUTH 199TH WESTP.O. BOX 189

GODDARD, KANSAS 67052-0189PHONE: (316) 794-4100

FAX (316) 794-4130

Dear Honors 10 Student,Congratulations on your interest in an accelerated English curriculum. As noted in the GHS Academic Planning Guide, the work done in Honors English 10 will be more complex, in depth, and independent than is typical of the customary English curriculum. Throughout the year, Honors 10 students will:

Read and discuss a broad variety of literature, including occasional outside readings. Focus on important writing skills, write frequent essays, and fine-tune editing skills.

Prior to the first day of school, each student is required to read and be prepared to discuss Ray Bradbury’s novel, Fahrenheit 451. The book can likely be located for purchase at Barnes and Noble or any other local bookstore, or it can be ordered at Amazon.com (or a similar website), usually for less than $10 (plus shipping) for paperback and $15-20 for hardcover. NOTE: if a student does not wish to keep the book, he / she may donate the book to GHS for a small amount of extra credit. This also helps us to restock our books from year to year. Extra credit will be awarded according to the following criteria: 1.) Hardback books are preferable and will receive more extra credit than paperback books, 2.) Whether the book is new or used, and, 3.) Condition of book. Students can check out the book from the library, but this will obviously mean that they will not be able to turn in the book for extra credit. Students may not purchase this book as an e-book, as they must have page numbers for documentation, and some of the questions in the study guide reference specific page numbers; furthermore, some of the e-books are missing some pertinent information.The summer reading packet should also be completed before school resumes in the fall. Any assignments that are not been completed will receive no credit and scores will be entered as zeroes. A test will be given over the reading materials within the first couple of days after students arrive back at school, and students will be required to take this regardless of whether they have completed the reading or not. We will follow up with further assignments related to the summer reading once we get acquainted.

Supplies you will need to purchase for Honors English 10 -- Due no later than the THIRD DAY OF CLASS:

3-Ring Binder for English only Loose leaf paper – for each section of your 3 Ring Binder (No torn out notebook paper is allowed!) Dividers (5 tabs – 1 each for: 1. Course Policy and Procedures, 2. Bell work / vocabulary, 3.

Permanent notes, 4. Temporary notes, and 5. Journal / Pop Culture References) Several PENS, pencils, and hi-liters You must get a Google Drive Account – or - you must purchase a Flash Drive. Google Drive is EASY! A book for independent reading

I look forward to meeting each of you in August; however, if you have any questions before then, please feel free to contact me at the email listed below.Sincerely,

Ken Hansardkhansard@goddardusd.comGHS English Department Chair

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Author Notes / Context

R AY BRADBURY WAS BORN in Waukegan, Illinois, on August 22, 1920. By the time he was eleven, he had already begun writing his own stories on butcher paper. His family moved fairly frequently, and he graduated from a Los Angeles high school in 1938. He had no further formal education, but he studied on his own at the library and continued to write. For several years, he earned money by selling newspapers on street corners. His first published story was “Hollerbochen’s Dilemma,” which appeared in 1938 in Imagination!, a magazine for amateur writers. In 1942 he was published in Weird Tales, the legendary pulp science-fiction magazine that fostered such luminaries of the genre as H. P. Lovecraft. Bradbury honed his sci-fi sensibility writing for popular television shows, including Alfred Hitchcock Presents and The Twilight Zone. He also ventured into screenplay writing (he wrote the screenplay for John Huston’s 1953 film Moby Dick). His book The Martian Chronicles, published in 1950, established his reputation as a leading American writer of science fiction.

In the spring of 1950, while living with his family in a humble home in Venice, California, Bradbury began writing what was to become Fahrenheit 451 on pay-by-the-hour typewriters in the University of California at Los Angeles library basement. He finished the first draft, a shorter version called The Fireman, in just nine days. Following in the futuristic-dustpan tradition of George Orwell’s 1984, Fahrenheit 451 was published in 1953 and became Bradbury’s most popular and widely read work of fiction. He produced a stage version of the novel at the Studio Theatre Playhouse in Los Angeles. The seminal French New Wave director François Truffaut also made a critically acclaimed film adaptation in 1967.

Bradbury has received many awards for his writing and has been honored in numerous ways. Most notably, Apollo astronauts named the Dandelion Crater on the moon after his novel Dandelion Wine. In addition to his novels, screenplays, and scripts for television, Bradbury has written two musicals, co-written two “space-age cantatas,” collaborated on an Academy Award–nominated animation short called Icarus Montgolfier Wright, and started his own television series, The Ray Bradbury Theatre. Bradbury, who still lives in California, continues to write and is acknowledged as one of the masters of the science-fiction genre. Although he is recognized primarily for his ideas and sometimes denigrated for his writing style (which some find alternately dry and maudlin), Bradbury nonetheless retains his place among important literary science-fiction talents and visionaries like Jules Verne, H. P. Lovecraft, George Orwell, Arthur C. Clarke, and Philip K. Dick.

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Key FactsFULL TITLE  ·  Fahrenheit 451

AUTHOR  ·  Ray Bradbury

TYPE OF WORK  ·  Novel

GENRE  ·  Science fiction

WRITTEN  ·  1950–1953, Los Angeles, California. Ballantine Books

1ST PUBLICATION  ·  1953 (a shorter version entitled “The Fireman” was published in 1951 in Galaxy Science Fiction)

NARRATOR  ·  Third-person, limited omniscient; follows Montag’s point of view, often articulating his interior monologues

PROTAGONIST  ·  Montag

ANTAGONIST  ·  Beatty, but also society in general

SETTING (TIME) ·  Sometime in the twenty-fourth century; there have been two atomic wars since 1990

SETTING (PLACE)  ·  In and around an unspecified metropolis

POINT OF VIEW  ·  Montag’s

FALLING ACTION  ·  Montag’s trip out of the city into the country

TENSE  ·  Past, w/ few transitions into present tense during Montag’s interior monologues & stream-of-consciousness

passages

FORESHADOWING  ·  Montag’s uncanny feelings of prescience; early descriptions of the Mechanical Hound; Montag’s nervous glances

toward the ventilator shaft where he has hidden his books; discussion of the qualities of fire

TONE  ·  Foreboding and menacing, disoriented, poetic, bitterly satirical

THEMES  ·  Censorship, knowledge versus ignorance

MOTIFS  ·  Paradoxes, animals and nature, religion, TV, media, radio

SYMBOLS  ·  Fire, blood, the Electric-Eyed Snake, the hearth, the salamander, the phoenix, the sieve and the sand, P a g e

| 5 Denham’s Dentifrice, the dandelion, mirrors

Introductory Information WS for Fahrenheit 451

From the Context – Author’s Notes

1. Ray Bradbury started writing stories at the age of ________ on ___________________ paper.

2. Where did Bradbury attend college?

3. Bradbury wrote science fiction stories for the popular and critically acclaimed TV shows ____________ ________________ _______________________and ________ __________________________ _____________________.

4. Bradbury’s novel, ______________ ________________________ ______________________________ establishe him as a lead writer in the field of sci-fi.

5. Fahrenheit 451 was weitten at UCLA in the ________________________ __________________________ on _____________________-_____________-___________-__________________________ typewriters.

6. The first draft of Fahrenheit 451 was called ________________ ________________________ and was finished in __________________ _____________________ time.

7. Apollo astronauts named the ________________________ Crater on the moon after Bradbury’s novel, ______________________________ ____________________.

8. Name five other prominent sci-fi authors.

From the Coda / Author’s Afterword: If your book does not contain this information, see me on the first day of school, and we will work it out.

9. The editors of a prominent publishing company wanted to include Bradbury’s short story “_________ ____________ _______________________” in a high school anthology, but they deleted the phrases __________________-_______________________ and ____________ _______________________ ___________________________.

10. “Shut the ______________, they’re coming through the window. Shut the _______________ they’re coming through the _________________________.

11. “Every word of more than three syllables has been ____________________.”

12. Editors at _____________________________ Books censored @ least ___________ separate sections from Bradbury’s original manuscript of Fahrenheit 451.

13. _____________________ ______________ is based on the Moby Dick mythology – a tribute to Herman ___________________________. P a g e | 6

14. Leviathan was rejected at the university as a candidate for it’s play line-up because of an anticipated backlash by the ___. ___. ___. against the drama department.

15. In one final metaphor, Bradbury compares the sanctity of his writings with the game of _________________________.

16 – 25. In a short paragraph (4-5 sentences), summarize the Coda / Author’s Afterword.

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Revisionist History: Censoring ‘Huck Finn’ is misguided

It is, perhaps, the seminal moment in American literature. Young Huck Finn, trying to get right with God and save his soul from forever of fire, sits there with the freshly written note in hand. “Miss Watson,” it says, “your runaway nigger Jim is down here two mile below Pikesville and Mr. Phelps has got him and he will give him up for the reward if you send.”

Huck knows it is a sin to steal, and he is whipped by guilt for the role he has played in helping the slave Jim steal himself from a poor old woman who never did Huck any harm. But, see, Jim has become Huck’s friend, has sacrificed for him, worried about him, laughed and sung with him, depended on him. So what, really, is the right thing to do?

“I was a-trembling,” says Huck, “because I’d got to decide, forever, betwixt two things and I knowed it. I studied a minute, sort of holding my breath, and then says to myself: ‘All right, then, I’ll GO to hell’ – and tore it up.”

When NewSouth books releases its new version of Mark Twain’s “Adventures of Huckleberry Finn” next month, that revelatory moment will contain one troubling change. Publishers Weekly reported that in this edition, edited by Twain scholar Alan Gribben of Auburn University, all 219 occurrences of the so-called N-word will be cut. Huck’s note will now call Jim a “runaway slave.” Twain’s use of the word “Injun” also will be struck.

Gribben brings good intentions to this act of literary graffiti, this attempt to impose political correctness upon the most politically incorrect of American authors. He told Publishers Weekly that many teachers feel they can’t use the book in their classrooms because children cannot get past the incendiary word. “My daughter,” he said, “went to a magnet school and one of her best friends was an African-American girl. She loathed the book, could barely read it.”

But while Gribben’s intentions are good, his fix is profoundly wrong. There are several reasons why. In the first place, any work of art represents a series of conscious choices on the part of the artist what

color to paint, what note to play, what word to use – in that artist’s attempt to share what is in his or her soul. The audience is free to accept or reject those choices; it is emphatically not free to substitute its own.

In the second place, it is never a good idea to sugarcoat the past . The past is what it is, immutable and nonnegotiable. Even a cursory glance at the historical record will show that Twain’s use of the reprehensible word was an accurate reflection of that era.

So it would be more useful to have any new edition offer students context and challenge them to ask hard questions: Why did Twain choose that word? What kind of country must this have been that it was so ubiquitous? How hardy is the weed of self-loathing that many black people rationalize and justify its use, even now?

I mean, has the black girl Gribben mentions never heard of Chris Rock or Snoop Dogg?

Finally, and in the third place, it is troubling to think the state of reading comprehension in this country has become this wretched, that we have tweeted, PlayStationed and Fox News’d so much of our intellectual capacity away that not only can our children not divine the nuances of a masterpiece, but that we will now protect them from having to even try.

Huck Finn is a funny, subversive story about a runaway white boy who comes to locate the humanity in a runaway black man and, in the process, vindicates his own. It has always, until now, been regarded as a timeless tale.

But that was before America became an intellectual backwater that would deem it necessary to censor its most celebrated author.

The one consolation is that somewhere, Mark Twain is laughing his head off. Leonard Pitts is a weekly columnist for the Miami Herald.

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The Mechanical

Hound

by Kate Rockey 2/14/2016

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Important: Read this carefully before completing study guides.

Instructions for Study Guides:

All Study Guides are short answer. You do not need to answer in complete sentences, but your answers must be thorough and complete.

For each answer on all study guides, indicate in parenthetical documentation the page number on which you obtained your answer (19).

Any direct quotes used should be properly quoted and punctuated, and should also be parenthetically documented “with the author and page number” (Bradbury 29).

Pre-Reading / ResearchA note about the use of allusions and figurative speech in Fahrenheit 451.

Bradbury uses a lot of figurative speech. He also uses many allusions – references to pop culture and other books and authors. Some you will know, and some you will not. Most of the passages from other works, such as Voltaire, Greek mythology, Shakespeare, and The Bible (among others), in Ray Bradbury’s Fahrenheit 451 appear to have been chosen for a specific reason.

If a study guide has a question and you do not understand a reference within that question, you are required to research the reference to better understand and appreciate the significance. To do this, you may need to use the book that is named (like Dante’s Inferno or Plato’s Republic), a Bible, a dictionary, or an internet search engine (like Google).

You do not need to spend a lot of time on the research. Do just enough to be sure that you can answer the question. Do not just say, “Well, I didn’t know that one.”

If you don’t know … Look it up!

ADDITIONAL NOTE: Page #’s on the study guides may not be correct for YOUR copy. Sorry!

P a g e | 10Chapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 3 – 14

LAST REMINDER…Instructions: This is short answer. You do not need to answer in complete sentences, but your answers must be thorough and complete. For each answer, indicate in parentheses the page number on which you obtained your

answer. If you quote a passage, you must use both the author and page number – parenthetical documentation (Bradbury 16).

1. Figurative Language: What is the “great python spitting venom” on page 3?

2. Figurative Language: What are the “fireflies” which are referenced on page 3 – “he strode in a storm of fireflies”?

3. Why did Montag “fall down the hole”?

4. What symbol is on Montag’s chest? On his sleeve?

5. How does Clarisse know that Montag is a fireman – even with her eyes shut?

6. How long has Guy Montag been a fireman?

7. In this reality and time, what is the job of a fireman?

8. Why do the billboards have to be made 200 feet long?

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9. Clarisse tells Montag that her Uncle has been arrested for two separate offenses. What were they?

10. Clarisse asks Montag: “Are you _______________________?”

11. Symbolism (pg. 11): Montag compares his bedroom to a m____________________ or a t__________, even though “The room was not _________________.”

12. Paradox (p 12): “The room was indeed ____________________.”

13. Why is Mildred “not there”?

14. What is the object that Montag kicked on the floor?

15. What is the significance of this object?

P a g e | 12Chapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 14 -28

1. What jobs did each of the two machines perform? (14-15).

2. Figurative Language / Imagery: What does the handyman mean when he says, “Someone else just jumped off the cap of a pillbox”? (Bradbury 16).

3. How many walls of the Montag home are actually TV screens?

4. Irony: What is ironic about Midred’s “interactive” TV script (Bradbury 20)?

5. Montag: “What do you do, go around ____________________ everything once?” (21). What is Clarisse’s reply?

6. “When I talk, you ________________ at me” (Bradbury 23).

7. Paradox: How did the Mechanical Hound “live but not live”, “sleep but not sleep” (Bradbury 24).

8. What is a proboscis – the large “needle plunged down from the proboscis of the hound” (Bradbury 25).

9. What does the Mechanical Hound do to make Montag believe it doesn’t like him?

10. Why does Montag REALLY believe the Hound dislikes him (NOT what he told Beatty!)? In other words, what is the REASON for the hound reacting aggressively towards Montag (again NOT what he told Beatty)?

P a g e | 13Chapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 28-40

1. Clarisse asks Montag why he never had children. What is his response?

2. How does Clarisse describe school? (29).

3. According to Clarisse, what do kids do “for fun”? Name at least three things (29-30).

4. The man “with the library” was taken “screaming off to the asylum,” even though Montag says, “’He wasn’t insane’” (33). What is Beatty’s response to this?

5. Montag is afraid he has “given himself away” by saying “’Once upon a time…’” Explain (34).

6. Irony: Ironically enough, there is a book of rules and history for the Firemen of America. Apparently, as evidenced by its existence and erroneous history (First Fireman: Benjamin Franklin), books are burned to support revisionist history –in the negative / false propaganda sense. Explain – what is revisionist history? (34).

7. Personification / Metaphor: “the orange dragon coughed to life” (35). Explain.

8. Personification / Simile: The books falling on Montag are compared to _______________________. Explain (37).

9. Allusion: Beatty says: “’None of your books agree with each other. You’ve been locked up here for years with a regular damned Tower of Babel’” (38). Explain the significance of this Biblical allusion.

10. Latimer to Ridley, as they were burnt alive for heresy: “’We shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out’” (40). Explain the significance of this quote. Hint – sparking the flames of revolution.

14 | P a g eChapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 41 - 48

1. Where does Montag put the book that he took from the woman’s house at No. 11 Elm St.?

2. Montag asks his wife, Mildred, where he and she first met. What is her response?

3. How long have Guy and Mildred Montag been married?

4. Mildred breaks some bad news to Montag about his friend Clarisse. What supposedly happened to Clarisse four days ago?

5. What does Montag believe is outside his window – out in the night?

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Chapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 48 - 63

1. Simile: Describe Mildred as Montag sees her. Include the simile (48).

2. How does Midred respond when Montag asks her to turn off the TV? Be specific (48-49).

3. How does Mildred respond when Montag told her that they torched an old woman the night before? Be specific (49-50).

4. “Whirl the man’s mind around …the centrifuge flings off all unnecessary, time-wasting __________________” (55). Explain.

5. Symbolism: “The zipper displaces the button…” (56). What’s the point?

6. What is Beatty’s point about political correctness and censorship on page 57? In other words, what role did political correctness have in the abolishment of books? See: Leonard Pitts’ column on censorship of Mark Twain’s Huck Finn (pg. 7).

7. “’The word intellectual … became the swear word it deserved to be… not everyone born equal, but everyone made equal… Each man the image of each other; then all are happy, for there are no mountains to make them cower, to judge themselves against… firemen… were given the new job, custodians of our peac e of mind, the focus of our understandable and rightful dreadof being inferior; official censors, judges, and executors. That’s you, Montag, and that’s me’” (58). What is the point?

8. “’White people don’t feel good about Uncle Tom’s Cabin. Burn it…’” Compare and contrast to the Leonard Pitts article.

9. “’She didn’t want to know how a thing was done, but why. That can be very embarrassing … and you wind up very unhappy indeed…’” (Bradbury 60). Comment.

10. What was the real reason for Beatty’s visit to Montag? What is the veiled threat left suspended between them? (62-63).

P a g e | 16Chapter 1 Study Guide / QuizThe Hearth and the Salamander – Pages 63 - 68

1. Why are there no front porches in this future world? (63).

2. How does the TV announcer know to call Mildred by her name, Mrs. Montag (64)? What is a spot-wavex-scrambler?

3. Montag says: “’Right now… I want to smash… and kill things.’” Mildred suggests that he “take the beetle”. Why? Be specific (64).

4. How does Mildred respond to Montag pulling books from the ventilator grill? Use the simile (66).

5. Why does Montag want Millie to read the books with him?

6. “’Eleven thousand persons have… suffered death rather than submit to break their eggs at the smaller end…’” (68). Compare this quote to the one by Juan Ramon Jimenez: “If they give you ruled paper, write the other way.”

P a g e | 17Chapter 2 Study Guide / QuizThe Sieve and the Sand– Pages 71 - 80

1. Figurative Language / Imagery / Simile: “’We cannot tell the precise moment when friendship is formed…’” (Bradbury 71). What is the analogy (simile) that describes friendship; i.e.: what is friendship compared to?

2. Who (what) is scratching at the door, and why did the door-voice announce its presence”? (72).

3. Irony: What is ironic about Mildred’s protests about how books say nothing – that she wants her TV “family”? (73).

4. When Mildred asks Montag what is so important about reading, what does Montag tell her? (73).

5. Montag proposes that just maybe reading books might save them from a third atomic war. Explain how (74).

6. Who is Faber? Tell in detail (74-75).

7. Faber: “’I don’t talk _________________ sir. I talk the ____________________ of things. I sit here and ________________ I’m alive’” (75). Explain what Faber is trying to say.

8. Despite knowing, and maybe because he knew, that Montag is a fireman, what did Faber hand Montag at the end of their meeting (“for your files…”)?

9. What three books did Montag ask Faber about? (Bradbury 76).

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10. Irony: What is ironic about Mildred asking Montag, “’What is more important, me or the Bible?’” (Bradbury 76).

11. What question does Montag ask Mildred about the White Clown and “the family”? (77).

12. Simile: “The night I kicked the pill bottle, like kicking ______________________________________” (77).

13. Explain the title “The Sieve and the Sand.” What relevance does it have to Montag & his predicament with the Bible? (78).

14. “Consider the lilies of the field…” Matthew 6:28: “And why are you anxious about clothing? Consider the lilies of the field, how they grow: they neither toil nor spin.” This quote basically means the same as Matthew 6:27: “Who of you by worrying can add a single hour to his life?” What does this mean, and what does it have to do with Montag’s current predicament?

15. Personification: “The train’s radio vomited on Montag’s… (Denham’s Dandy Dentrifice Dental Detergent…)” (79). Explain.

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Chapter 2 Study Guide / QuizThe Sieve and the Sand– Pages 80-91

1. How does Montag respond when Faber calls him brave? (Bradbury 81).

2. How is Jesus Christ different in the “parlors” in Montag’s reality? (81)

3. Why does Faber call himself a coward? (82).

4. Faber tells Montag that it’s not books that he needs. Explain (82, 83).

5. What are the three things that Faber says are missing in their society? (83-85).

6. Montag says, “’My wife says books aren’t real”’ Faber responds, “’Thank God for that.”’ Explain (84).

7. What is the “interesting thing” that Montag says to Faber?

8. What is it that Faber jokingly suggests to Montag they do to save their society? (85,86).

9. Faber to Montag: “’Do your own bit of saving, and if you drown, at least die knowing you were headed for shore”’ (86). Explain.

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10. Why, does Faber suggest, were Pirandello, Shaw, and Shakespeare banned? (87).

11. Why does Faber say “’The skeleton needs melting and reshaping”’? (87).

12. Why does Montag begin ripping up the Bible? (88).

13. What does Montag really fear will happen when he talks to Captain Beatty? What is his metaphor to explain this? (89).

14. What invention of his does Faber give to Montag, and for what purpose? (90).

P a g e | 21Chapter 2 Study Guide / QuizThe Sieve and the Sand– Pages 91-100

1. The radio says that one million men have been mobilized for the war. What does Faber have to say about this? (92).

2. Montag says: “’I don’t want to change sides and be told what to do. There’s no reason to change if I do that.’” Faber replied: “’You are wise already!’” Explain (92).

3. Symbolism / Allusion: Faber offers Montag his “arm to hold onto.” He reads to him from the Book of Job. Explain the symbolic nature of this allusion (92-93).

4. Allusion: Explain the metaphor about the Cheshire Cat grin (92).

5. Compare the series of events on the “parlor” TV – short attention span / specific brand of entertainment– to the movie Idiocracy… (93). NOTE: You don’t have to watch the movie. Just look up a synopsis of the movie.

6. When Montag asks the women about their husbands being shipped off to war, how do they respond (94-95)?

7. What is the women’s attitude toward children? Compare their “parenting “to a household appliance using a simile, as Mrs. Bowles does (96).

8. Describe the physical differences between the two presidential candidates, Winston Noble and Hubert Hoag (96-97).

9. Describe their political differences. In other words, what are their opposing views. Kind of a trick question!

10. What is the political party that Hubert Hoag represents?

11. List the quote on page 99 that is paradoxical.

P a g e | 22Chapter 2 Study Guide / QuizThe Sieve and the Sand– Pages 100-110

1. How does Montag respond to Mrs. Bowles’ threat to leave and never come back? Be specific – what does he tell her to go home to? (101).

2. Faber assures Montag that someday Montag and he would no longer be “Montag-plus-Faber, fire plus water” but … what? Explain (103).

3. How has Faber become “honed to a fine cutting point”? (104).

4. Personification: In what ways does the author personify the orange Salamander – the “fire” truck? (104).

5. Metaphor: How does the author describe Faber at the end of the paragraph that begins, “The Mechanical Hound was gone”? (104).

6. Beatty quotes these lines by Alexander Pope: “’A little learning is a dangerous thing. Drink deep or taste not the Pierian spring; There shallow draughts intoxicate the brain and drinking largely sobers us again’” (106). Explain what the Pierian Spring is, what the quote means, and what Beatty means when he says this to Montag.

7. Metaphor: “’A dwarf on a giant’s shoulders sees the farthest of the two’” (George Herbert). Explain – who is the dwarf and who / what is the giant (107)?

8. Simile: On page 109, Montag uses a simile to try and explain his futile attempts to “educate” his wife’s friends in his “parlor.” List (quote) the simile and explain.

9. What is Montag’s new assignment (110)?

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Chapter 3 Study Guide / QuizBurning Bright– Pages 113-125

1. Allusion: “’Old Montag wanted to fly near the sun and … he’s burnt his damned wings…’” (113). Explain the allusion.

2. 114 – What are Mildred’s last words to(ward) Montag?

3. 116 – “The twin beds went up with more heat and passion… than (Montag) would have supposed them to contain.” Explain.

4. Simile: Explain – what did the books look like as they went up in flames (117)?

5. How does Beatty discover the shell in Montag’s ear and what clued him that it was there? (118).

6. Why does Montag murder (burn) Beatty, and what did he mean when he said, “’We never burned right…’”? (119).

7. Why did the Mechanical Hound not kill Montag? (120).

8. What caused Montag’s leg to become just a dead stump of wood – paraphrased? (120).

9. To where does Montag instinctively flee? (124).

P a g e | 24Chapter 3 Study Guide / QuizBurning Bright– Pages 139 - 154

1. What is “the vast bowling alley” – the “arena…before the appearance of… victims … and killers”? (126).

2. Why did Montag force himself to walk – not run – across the Boulevard? (126-127).

3. Why did the car full of kids in the beetle not run down Montag? (128).

4. What did the beetle do immediately after passing and missing Montag? (129).

5. Montag says on page 130: “’Goodnight, Mrs. Black.’” Explain.

6. What are “walking camps”? And why are they walking camps? (132).

7. Why do Montag and Faber drink the whiskey? (133).

8. Paradox: How is the Mechanical Hound described on page 135?

9. Where does Faber plan to go after leaving his home – what city? (136).

10. Immediately before Montag leaves, Faber packs him a box of ________________. Why? (137).

11. Montag witnessed the Mechanical Hound’s brief stop at Faber’s home. How did he witness this? (138).

12. What new strategy for catching Montag do the police suggest to the people of Elm Terrace (on the count of 10)? (139).

P a g e | 25Chapter 3 Study Guide / QuizBurning Bright– Pages 139 - 154

1. Montag dreams of peace and tranquility. Who is at the window of his metaphorical farmhouse? (142)

2. What are some of the details that Montag is noticing, perhaps for the first time in his life? (142-44).

3. Montag believed, was certain, that _______________________ had once walked these tracks (145).

4. What is different about the fire that Montag sees in the woods as opposed to those he is used to? (145).

5. What are the voices around the fire talking about? (146).

6. What is the colorless liquid that Granger gives to Montag supposed to do? (147).

7. How does Granger know who Montag is even before they are introduced? (147).

8. Why, according to Granger, do the police need to find a “new Montag”? (148).

9. How do the police find their “new Montag”? (148).

10. Who are the men around the fire? What do they have in common? (150).

11. Explain – How can Montag be the book of Ecclesiastes?

12. Why must the men “store” their books in this manner? A few reasons – not just one!

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Chapter 3 Study Guide / Quiz: Burning Bright– Pages 154 - 165

1. Why did the men from the campfire trust Montag? (154).

2. “’Don’t judge a book by its cover,”‘seems to echo Montag’s thoughts. Explain. (155)

3. Granger suggests a theory as to why Montag won’t miss Mildred. What is it? (155-156).

4. “’I hate a Roman named Status Quo.”’ What does this mean? (157). Why “a Roman”?

5. “And the war began and ended in that instant” (158). What did Montag and the men see?

6. Irony: knowledge saved Montag’s soul. Ironically Beatty and the mechanical hound saved his life. How? (159).

7. Montag finally remembers where he met Millie. Where was it? (160).

8. Irony: What is ironic about the firemen’s use of the phoenix as a symbol for their organization, as evidenced by Granger’s speech? (163).

9. METAPHOR / Symbolism: “’We went right on insulting the dead…spitting on (their) grave.’” Explain (164).

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10. Symbolism: Granger says: “’We are going to build a mirror factory first.’” Why? Explain the significance of this statement (164).

11. METAPHOR: What “city” are Montag and the others walking towards?

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We're surrendering our civil libertiesBy Leonard Pitts, Miami Herald

Wednesday, June 12, 2013 5:30am

It will not be with guns.

If ever tyranny overtakes this land of the sometimes free and home of the intermittently brave, it probably won't, contrary to the fever dreams of gun rights

extremists, involve jackbooted government thugs rappelling down from black helicopters. Rather, it will involve changes to words on paper many have forgotten or never knew, changes that chip away until they strip away precious American freedoms.

It will involve a trade of sorts, an inducement to give up the reality of freedom for the illusion of security. Indeed, the bargain has already been struck.

That is the takeaway from the latest controversy to embroil the Obama administration. Yes, it is troubling to learn the National Security Agency has been running a secret program that reputedly gives it access to Americans' web activity — emails, chats, pictures, video uploads — on such Internet behemoths as Google, Facebook and Apple. Yes, it is troubling to hear that "George W." Obama has routinely renewed a Bush-era program allowing the feds to more easily graze the "metadata" of phone activity of millions of Verizon customers.

But what is most troubling is that Americans are not particularly troubled by any of it. According to a new poll by the Pew Research Center and the Washington Post, most of us — 56 percent — are okay with the monitoring of metadata, a process then-Sen. Joe Biden called "very, very intrusive" back in 2006.According to the same poll, nearly half — 45 percent — also approve allowing the government to track email content and other online activity. And 62 percent feel it is more important to investigate terrorist threats than to safeguard the right to privacy. That approval is consistent across party lines.

We are at war against terror, the thinking goes, so certain liberties must be sacrificed. It's the same thing people said when similar issues arose under the Bush regime. It doesn't seem to matter to them that the "war" is open-ended and mostly metaphorical, meaning that we can anticipate no formal surrender point at which our rights will be restored.

For what it's worth, we've seen similar ambivalence toward the excess of another open-ended metaphorical conflict, the war on drugs. It has also played havoc with basic civil rights, the courts essentially giving police free rein to stop whomever, whenever without needing a warrant or a reason.

And never mind that this violates those words on paper many of us have forgotten or never knew — the Fourth Amendment to the Constitution. Never mind that it was designed specifically to bar government from peeking through the blinds or snatching you up on a whim. Never mind that it's a bulwark against the unfettered power of the state.

People think tyranny will be imposed at the point of a gun. Paranoids look up in search of black helicopters. Meanwhile, the architecture of totalitarianism is put into place all around them, a surveillance apparatus so intrusive as to stagger the imagination of George Orwell himself.

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The point is not that one has nothing to hide. The point is that whatever you have is none of the government's business absent probable cause and a warrant. The point is that one should never repose unfettered power with the state.

We should know this, yet we fall for the same seductive con every time: We are afraid, but the state says it can make us safe. And all it will take is the surrender of a few small freedoms.

It makes you want to holler in frustration, especially since the promise is so false. Yes, the state can interdict a given terrorist plot, but even if it took every last freedom we have, it could not guarantee complete security. That is a plain truth with which we must make peace.

We will never be "safe." But we just might, if we have the courage, be free.

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STOP! Stop Right Here!

The rest will be for use during class.

P a g e | 31“The Second Coming” - William Butler Yeats

Turning and turning in the widening gyreThe falcon cannot hear the falconer;Things fall apart; the center cannot hold;Mere anarchy is loosed upon the world,The blood-dimmed tide is looses, and everywhereThe ceremony of innocence is drowned;The best lack all conviction, while the worstAre full of passionate intensity.

Surely some revelation is at hand;Surely the Second Coming is at hand.The Second Coming! Hardly are those words outWhen a vast image out of ‘Spiritus Mundi’Troubles my sight: somewhere in the sands of the desertA shape with lion body and the head of a man,A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about itReel shadows of the indignant desert birds.

The darkness drops again; but now I knowThat twenty centuries of stony sleepWere vexed to nightmare by a rocking cradle,And what rough beast, its hour come round at last,Slouches towards Bethlehem to be born?

Writing: Write at least 4 good sentences explaining theme as used in the poem “The Second Coming”. Be sure to include an explanation for the imagery used.

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P a g e | 32Questions for “The Second Coming”.

Write in complete sentences and explain all answers thoroughly. Use notebook paper if necessary.

1. What is “The Second Coming”?

2. Who does the falcon represent?

3. Who does the falconer represent?

4. Who or what is the “rough beast” referred to in the final paragraph?

Define the following terms:

1. Falconer-

2. Gyre-

3. Anarchy-

4. Conviction-

5. Intensity-

6. Spiritus Mundi-

7. Sphinx-

8. Indignant-

9. Vexed-

10. Bethlehem

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Responding to LiteratureExercise: Read the following poem, “The Lesson of the Moth,” and complete the questions that follow.

lesson of the moth by Don Marquis

i was talking to a moth the other evening he was trying to break into an electric light bulb and fry himself on the wires

why do you fellows pull this stunt i asked him because it is the conventional thing for moths or why if that had been an uncovered candle instead of an electric light bulb you would now be a small unsightly cinder have you no sense

plenty of it he answered but at times we get tired of using it we get bored with the routine and crave beauty and excitement fire is beautiful and we know that if we get too close it will kill us but what does that matter it is better to be happy for a moment and

be burned up with beauty than to live a long time and be bored all the while so we wad all our life up into one little roll and then we shoot the roll that is what life is for it is better to be part of beauty for one instant and then cease to exist than to exist forever and never be a part of beauty our attitude toward life is come easy go easy we are like human beings used to be before they became too civilized to enjoy themselves

and before i could argue him out of his philosophy he went and immolated himself on a patent cigar lighter i do not agree with him myself i would rather have half the happiness and twice the longevity

but at the same time i wish there was something i wanted as badly as he wanted to fry himself

archy

1. _______ What is the lesson of the moth?A. Live long – Die contentB. Live fast – Die youngC. Dying is goodD. Humans love beauty

2. _______ Why did the author use all lower – case letters and no punctuation?A. It is all one long sentenceB. The poem was written by a childC. To show the excitement of the moth and its disdain for conformityD. The author is using Iambic Pentameter

3. _______ What does the word immolate mean?A. To imitate B. To move very swiftlyC. To ImpaleD. To Kill or Destroy

4. _______ What does the author truly wish for?A. To cease to existB. A long lifeC. A more prosperous futureD. The same passion as the moth

5. _______ Which of the following best exemplifies the moth’s attitude towards humans?A. They are foolishB. Easy come – Easy go C. They are frivolous and carefree D. They are too civilized: They are strict & regimented

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6 – Trait Writing ScaleIdeas 1 2 3 4 5Organization 1 2 3 4 5Voice 1 2 3 4 5Sentence Fluency 1 2 3 4 5Word Choice 1 2 3 4 5Conventions 1 2 3 4 5

Responding to Literature: The Essay

Exercise: On the lines below, write a 1 – 3 Paragraph essay describing your feelings about the moth’s attitude towards living and dying. Use the back side of the page, or staple a page to this one, if necessary.

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Fahrenheit 451 Writing Assignment – The Literary Analysis

1. Choose one of the following themes to write about – OR – Choose a theme of your own (confer with me first ):

a. The author’s use of personification to enhance plot and theme. Think:1) The Mechanical Hound2) The Mechanical Snake – stomach pump3) The fire truck / hose

b. The author’s use of metaphorical speech to enhance plot and theme. Think:1) The metaphorical “city”2) Beatty’s many allusions to different books and author’s and how they are metaphors for how a person

(Montag) should conduct himself

c. The author’s use of allusion to enhance plot and theme. Think:1) Any of the quotes borrowed from other books and authors – Job, Ecclesiastes, Shakespeare, etc.2) The mythical Phoenix and all of its connotations

d. The author’s use of paradox to enhance theme. Think:1) Millie and her friends’ state of “existence” – their “lives” and their “families”2) The Hound and the Snake

e. The author’s theme – write about one or more of the author’s themes. Think:1) Revisionist history2) Censorship and thought control3) The value of free thinking / free speech4) Others

f. The author’s use of irony to enhance plot and theme. Think:1) How Montag is saved2) The Fireman’s code of revisionist history

Requirements

You must have: a. A written rough draft – NOT TYPED!!! – and b. A TYPED final draft.

You must have at least five paragraphs, including:a. An introduction – with a short synopsis of the story, the author and Title, and a well-placed thesis statement – and b. @ Least - Three body paragraphs – with topic sentences (first sentence of body paragraph) - and c. A conclusion.

You must have at least three references of documentation in your analysis – two quotes and a paraphrase – OR – two paraphrases and a quote.

At least one of the quotes / paraphrases must contain parenthetical documentation (Bradbury 63). - and at least one should contain contextual documentation. On page 63, Montag tells Millie:

MLA Style with Heading, Header, Your ORIGINAL Title, and Correct Spacing (Double Spaced – NOT on Normal! Include the name of the author and the Title of the story in the introduction.

The Rough Draft is worth 25 points

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