In Lit and Comp Year 2 we investigate Nathaniel Hawthorne’s The Scarlet Letter, and you can cut the symbolism with a knife! The scarlet letter Hester Prynne must wear (symbolizing her adultery); a simple rose bush; a child named Pearl; a freak meteor whose path makes the shape of an “A” which shoots through the sky at a climactic moment–these are just some of the enduring symbols which have entered annals of literature through this quintessentially American classic.
What are the results in the lives of those who live in a community–in this case, Puritan-era Boston–which emphasizes justice over mercy, punishment over compassion? What happens to individuals in a society which insists on its members revealing and repenting of their sins in public? Hawthorne invokes innovative symbolism in the spirit of the Romantic literary genre to delve into these questions.
Because an ancestor had been a judge at the Salem Witch
Trials, Hawthorne was ambivalent about his own Puritan heritage, and the novel
is his letter to the world expressing his angst. In fact, Hawthorne was so
shamed by the association that he added a “w” to the family name. His
internal conflicts come to life in The Scarlet Letter, as he delves into
the question of whether man’s law necessarily represents God’s law, and exactly
what the nature of God’s law is, through the lives of the inhabitants of
mid-17th century Boston.
In addition to telling a gripping tale, the book is prescient in that it reflects important conflicts and paradoxes yet to come in the American experience, especially the roles of women in society. However, the main theme revolves around the question of freedom of the will. Hawthorne places three adults in a situation where they each have the opportunity to choose their own futures freely, when they otherwise would not have had that option.
The “New World” functions seamlessly as the backdrop for the idea that there is a myriad possibilities, lives, and futures available to us. The three each choose very differently, and the reader can see their inner lives as they live out their choices–how their characters evolve or devolve. In short, the novel presents a psychological and sociological experiment: what are the dangers, benefits, and limits of the expression of the individual’s will? Nathaniel Hawthorne is one of our early American authors, but he qualifies as a forerunner to the psycho-therapist, too, based on content of The Scarlet Letter. If you have never read it, you may want to give it whirl!
A Land Remembered is a uniquely American epic—set in Florida, but reminiscent of the best of the Western histories and sagas. It reflects and retells the settling of Florida, incorporating stouthearted characters who survive swamp, jungle, hurricanes, and wild animals, to conquer the humid and often unfriendly Florida territory. The story also has themes redolent of the tales of Wild West: the arguments between those who want to fence the land and the earlier settlers who want the land left free and open; the fiercely independent spirits of those who dared to settle and conquer this hazardous, uncivilized land.
The tale covers 3 generations, beginning with Tobias MacIvey, the bold pioneer who first enters the Southern wilds, and continuing with his son Zech and then grandson Solomon. Each man represents (and furthers) a specific era in the development of Florida. Tobias, the patriarch, is the one most in tune with nature, as with his wife and baby he attempts to survive in the free, open lands while battling the elements. His attitude towards the Native Americans is one of friendly coexistence, and as his son Zech grows up, he inherits this attitude, and falls in love with a young Seminole woman—instead of choosing between her and the white woman he marries, he loves them both, thus symbolizing the tenuous “marriage” of the two cultures, and the influence of each upon the other.
The story also exhibits the ways in which this uncultured land, like the west, equalizes the races, as African-American ranch hand, “Frog” becomes part of the warp and woof of the MacIvey family. This primitive land, untouched by “culture,” providentially allows for all peoples to meet on a level plane, and they build the future together, rather than as master and servant. Florida is a new kind of “south.”
The grandson, Sol, chooses not to live on the land, but instead becomes a real estate developer, thus introducing us to the “new” Florida we know today: a land of entrepreneurs and people who, for the most part, do not live in the agrarian and ranching culture of those white people who previously populated the land. The story begins with a flashback as Sol, aged and dying, chooses to return to the cabin of his forefathers, leaving behind the life of luxury he has led, regretful that he has not kept the values of his father and grandfather. A Land Remembered is a profoundly “American” piece of literature in every way, genuine in its telling. It pulls powerfully at the spirits of those of us who love the pioneer character, with all of its bravery, faults, and independence of mind: the spirit which created America.⸸
“All I’m trying to tell you is to be strong. Don’t ever let nothing get you down. Don’t be afraid or ashamed to love, or to grieve when the thing you love is gone. Just don’t let it throw you, no matter how much it hurts.” ― Patrick D. Smith, A Land Remembered
The previous article in this series discussed how to choose evidences for an essay. You must have solid “facts” or examples from your texts in order to begin to interpret a text, and your choices must be based on what you’ve decided to write your essay about, specifically. That’s the most challenging part of finding your evidences.
Learning how to write analysis and interpretation means learning how to think independently. The most difficult thing – the key skill — in learning to interpret and understand texts is to learn how to dig into the specific diction of that work. This article addresses how to interpret literary texts.
Before analyzing a work, first find the most important theme, and it’s essential to know that a theme is more than an idea and cannot be described in just one word. Rather, a theme, as the “message” of the text, is a phrase which expresses a deep meaning of this message. For instance, in The Fellowship of the Ring, a powerful theme is that true love means being willing to sacrifice oneself for the sake of others, even to the point of death. For an example of how to analyze a poem, see my article on Robert Frost’s poem, “Frost Thoughts: Poetry with a Punch.”
Interpreting and writing about a short poem is the best way to learn how to analyze a work, both because a student can focus on a specific, focused amount of text, and because the diction of a poem is concentrated and powerful. Studying poetry is the most helpful technique for learning about the various types of literary terms/devices have (metaphor, alliteration, etc.), the real focus should be on recognizing this figurative language and then explicating how it informs the text. It’s a skill which is gained through careful, aware reading and practice. And unlike what many believe about the art of analyzing literature, it’s a rich experience to learn the “secrets” of understanding literature: it is the key to unlocking the mysteries of writing which enlighten us, fulfill us, and help us grow and learn.
In this article I discuss how specificity and detail are your answers to solving the “mystery” of writing. The example I use is that of an academic essay, but specificity applies to all writing genres.
The Sherlock Holmes analogy springs to life again as we talk about the heart of your writing. If you are Holmes investigating 1) You look for evidences and develop a theory about how the crime was committed; 2) You use a theory and look for evidences. Solving a mystery is both analytic and synthetic (inductive and deductive).
When you write, your topic/subject is your mystery. Your topic must be specific, just as Holmes solves particular riddles. He doesn’t think about mysteries in general; in fact, when he has no particular mystery to solve, he falls into deep depression and resorts to taking cocaine!
Instructors often say, “Don’t be too specific, and don’t be too vague,” but most people should focus on the last part of that advice, as the challenge of writing is usually to clarify your point, not broaden it. So let’s say you want to write an academic essay about Frodo, based on The Fellowship of the Ring. You’ve decided that the theme you focus on is that of his self-sacrifice, so you write a thesis which asserts that the Shire is saved because Frodo is willing to take on the sacrificial quest of destroying the ring. Great–you’ve solved one aspect of the mystery! Now what?
You need to find “clues” from the text–evidences–which support your claim. For instance, Frodo accepts the dangerous assignment when Gandolf asks him to do it. Second, he continues the quest even when the Black Riders attempt to stop him and turn him into a wraith. And you continue on, finding other times when Frodo continues the journey. You can even go into times when he almost gives in to the power of the Ring, as these are also ways in which he would have given up the quest. (If you are writing an academic essay, be sure to use brief quotes from the text as your “evidences.”)
How do you determine whether an evidence/clue is an important one or not? Sherlock often runs across “red herrings” in his investigations: evidences which seem relevant to the crime, but are not. While it’s easier to determine what textual evidences which relate to your topic than it is for Sherlock to sort his clues out, it can sometimes be challenging to decide which are important.
Choosing the best textual evidences takes judgment and effort. First, find all of the examples you think are important. Then review them and choose only the ones you think are the strongest: do they push your thesis forward? Do they cause the reader to make deeper connections between your point and the text? How do your evidences help the reader to “see” the point you are making? Always loop back to your thesis and reassess as you flip back and forth between thinking about how powerfully your evidences develop your thesis and rereading the thesis. As with detective work, your strongest evidences will lead you to the strongest results!
With point #4 I investigate the pros and cons of outlining, as determiners of personality types!
There are two kinds of people: those who outline, and those who don’t. That’s how I see the world, anyway, based on my decades of experience in teaching
students of all ages how to write. Most writing programs do require students to learn how to outline, and it’s a necessary skill. But not all students write well by starting with an outline. Here’s why–how can I know beforehand what the details of my paper will be? If you think about it, you don’t know when you begin to write what you are specifically going to write about, so how can you outline information you haven’t thought out yet?
The idea of an outline is that you will lay out a map, or blueprint, for your essay. This makes perfect sense, but writing isn’t like that. If we could neatly write an outline, in order, the minute we wanted to write a paper, we would hardly need to write the essay at all because the order and development of the concepts would be obvious! However, some people do work best with outlines because they find that having all of their “ducks in a row” before they begin to write actual sentences is most helpful.
Others of us work backwards and find that we need to write down our ideas in a somewhat random manner and then put them in order, once we consider how they relate to each other. We find it much easier to “see” their relationships before they are listed in a formal manner.
You are probably familiar with an alternative method which has been developed, called by various names: the “cluster,” “spider diagramming,” “bubble,”
“mind map,” or “brainstorming” method. This is a helpful approach for people who are intimidated by outlining or whose thought processes don’t work well for outlining, especially when first learning to write. Another method of helping students develop the frameworks for their essays is to simply have them write their ideas down using phrases, either on paper or typed on the computer, leaving a space or line between ideas. Then they can number them, circle them, etc., with arrows going from one to another – whatever works for them, in order to get the ideas ordered. From there they can make an outline fairly easily.
The Jane Schaffer method of teaching writing, which is the method I use, is a wonderful way to bring in outlining through the side door. It gives students a “place to hang their hats” without constraining them to develop complex outlines, yet they really are outlining their essays organically. The difference is that as they develop their essays they think conceptually about categories, integrating their content logically as they progress. You can find my article about the Schaffer method at https://writetothink.blog/the-writing-process/.
As I say to my students: Writing is structured, but it’s not formulaic. It’s analytical, but it’s also synthetic. It’s the development of logical thought, not just the explication of it. Write to think!
I continue the series by discussing the classical writing technique of “imitation” and how to apply this today.
In the classical education renewal movement there are attempts to get back to the art of imitation in writing. Traditionally this meant that scholars would imitate classical writers in a detailed manner, creating phrases and clauses which directly mimicked the grammar of the master they were modeling their work after. All of these present programs and efforts are laudable, but it is important to take into account the background of today’s students before offering up the most traditional kind of imitation curriculum. Here’s why:
In previous times a fully classical education included an exhaustive understanding of grammatical concepts, both in English and in Latin. While many “classically schooled” students today receive some solid grammar training, most don’t get the “full story.” (There are a few programs such as Rod and Staff or the Seton Home Study School which do provide the full complement of grammar.)
Students who receive only the rudiments of grammar in their early years should not try to “imitate” in the fully classical way in middle school and high school. Rather, they should be given assignments in which they model their work after others without trying to directly imitate their sentence structures. I base this suggestion on my experience attempting to get students who don’t have a full understanding of sentence structure to “imitate” in the traditional way. What happens with these students is that they end up struggling so hard to replicate structures they do not understand that they never move past that to produce good writing themselves. They often complete the assignments in stilted ways, just trying to get through them. At the crucial time when they should be learning to argue and analyze texts, they are instead caught up in the weeds for the sake of a “classical” education, which will in all likelihood not help them to be better writers in the long run.
If students have received genuinely complete training in grammar, they can benefit some from imitating the great writers in the traditional way. However, all students should be given assignments which focus on the diction of the works they study. This is the emphasis of the AP® (Advanced Placement) approach to teaching and testing in English and composition. First, by analyzing the diction (literary devices, tone, etc.) of great writers, all students come to understand the “nuts and bolts” of how the best authors communicate through both synthesis and analysis. Second, by responding to short assignments requiring them to compose in such a manner themselves without “worrying” about the specifics of grammar they have not learned students begin to truly model themselves after and “imitate” the finest writing. I believe that for most students today, this approach is the most helpful.
In Point #1 of this series about how to teach writing I briefly discussed the underlying connection between logic and writing and how your job as a parent/teacher is to point this connection out to your students on a daily basis, in as many areas as possible.
Point #2: Learning Isn’t Just About the Facts
Because learning to write is such a holistic activity and experience, it’s more important than ever to take the student’s attitude into account. Many students have trepidation about writing: they don’t know what is expected, and even when given good instructions their thoughts may be so “frozen” that they cannot think clearly. Here are two suggestions for helping students get past this “writer’s block.”
First, give the student a brief initial assignment which is easy. Praise the student for specific phrases which are good. Do not focus on minor grammar issues at this point, but instead, bring out the positive content you see. You can almost always find something good to say about any genuine effort a student has made.
Second, when you do get to where you want the student to edit, do not use strictly negative words and phrases such as “No” or “That’s not right.” If you do, the recalcitrant student will return to the “frozen” mode because of fear of failure. Here are are some helpful phrases I use which work well: “That’s a good start, and also _______”; “You’re almost there, but you also need to _______”; “Not quite; let’s see how you can _________.” Students will learn that your phrases mean that aspects of the work aren’t what they should be, but they won’t shut down or feel that you are rejecting their efforts altogether; they will be want to improve and feel capable of improving.
Having academic standards for students is different from putting unrealistic emotional pressure on them. It’s our job as teachers to figure out the ways we can inspire and motivate students so that they not only learn, but love learning.
When you write, you connect the dots between language and logic. It’s a two-way street: The more you write, the more logical you become, and likewise, the more logical you are, the better writer you become.
This series of mini-articles will present specific ways in which teachers, and specifically homeschool parents/teachers, can teach writing well. These steps will not be formulaic, but they will be structured. There is a big difference.
Structured writing is writing which has purpose and direction. It is a given that for students to learn write in a structured manner, they must have the basics of grammar under their belts. They use the “tools” of grammar to build the structures, or frameworks, of their essays. All writers should strive to be consciously structured in their writing. In other words, they should attempt to control their phrases and sentences, and the ways in which they express themselves.
Formulaic writing is writing which demands that students use particular kinds phrases and clauses to create their work in particular and specific order–for instance, when a student is required to use phrases in assignments starting with certain types of words, such as prepositions, adverbs, verbs, etc. While it might be helpful to train students in this sort of formula for a year or so, in the long run there are negatives which supersede the positives. The significant problem with this method is that it is an overly regimented way of teaching students how to think about how to write. What should be part of a comprehensive grammar program (usually not taught now) has been tacked onto the larger writing curriculum in an attempt to belatedly teach the students these grammatical constructs. I admit that the opposite problem, that of not teaching any rules of writing at all, is not good. In fact, it’s worse. But that doesn’t make teaching writing formulaically a good solution. It’s not.
I think this gets back to the recent interpretation by “classical” learning advocates of the Dorothy L. Sayers essay, “The Lost Tools of Learning.” In this interpretation and application of how to teach, recent “classical” educators write curriculum based on a legalistic misunderstanding of the stages of learning. This is preposterous and Sayers, I am sure, would not agree with its extremity and rigidity. Children can think logically and independently from an early age; they can put their own thoughts together logically, although of course their levels of maturity must be taken into account. But to separate out their ability to think for themselves according to age is a completely fallacious approach to learning.
All that to lead up to my Point #1 for teaching writing:
Point #1: Teach the student how to focus and think logically. This is the background for learning to write a “unified” essay, but a thesis is merely a result of this kind of good thinking. You can do this by helping the student focus on whatever you discuss during the day, not just during school time. Teach the child how to draw logical conclusions from opinions, no matter what the subject.
I realize this is a shibboleth among educators today, but I’m going here anyway: recent studies have shown that there is no valid scientific evidence to show that particular students (of any nature) learn better through either an auditory, visual, or a kinesthetic approach. In other words, there are no individual learning modes. As someone who has spent quite a bit of time learning about and teaching special needs students, I do realize that the “received wisdom” in today’s educational community directly contradicts this assertion.
I have always quietly questioned the “learning styles” approach for several reasons. First–and this is purely anecdotal–I have never personally observed any remarkable improvement in a student I have taught due to using lessons which were based on how that student’s learning style had been assessed, even when I was working in special education, applying these lessons diligently.
Second, as a devotee of the Mae Carden philosophy of education (in addition to having attended a Carden school as a child and having received training in the method as an adult), I have absorbed her pedagogy: all students should learn through multiple senses: “reading, listening, speaking, and writing,” as Miss Carden put it. In other words, we develop our intellects by using our various God-given senses. Mae Carden also emphasized individualized learning. By this she did not mean developing an entire new curriculum for each student, but rather, the teacher’s taking the time to work individually with each student. Miss Carden trusted the good teacher to work at finding ways to connect with students. ( I was acquainted with her personally, and know this to be true.) She knew that a teacher who cares about her students will be given the ability to help them when she makes the effort. This is why it is important to keep class sizes small: most classical educators’ experience is that a class which has more than 15 or 16 students is not going to meet the individual needs of students. The teacher simply cannot “divide herself up” during the class period so as to meet the particular questions of students, if the class is large.
My experiences teaching larger classes live online for others for almost a decade have borne out this belief. Because my own five children are grown, and because my husband is a surgeon who works long hours, I had the time to work very long hours in order to give my many online students the individual attention they deserve, through email and phone conversations. However, larger classes are not good, even when the teacher is willing (and able) to give this kind of time commitment, because some students “slip through the cracks” during the class period, and do not learn to interact and grow intellectually through the class discussions. Because I now run my own school, I am able to restrict the class sizes appropriately.
Finally, from a broad philosophical view, the idea that we use multiple senses makes sense, because we all are human beings. That may sound simplistic, but if you think about it, it’s perfectly logical. When teachers engage students by bringing multiple senses to bear, they are teaching the “whole child.” We are whole people, not fractured beings, artificially segmented into disparate parts. It’s not possible to separate out our thoughts and inclinations into neat categories, although it certainly is a temptation!
This is not to say that we do not have different “preferred” styles of learning. I might like to learn by watching videos or listening to audio books, but there is no evidence that I learn better through my preferred modalities. In fact, I may not learn nearly as well through these methods. And this brings up the underlying point: it is a teacher’s job to help a student develop a love for learning, in all modalities; as Carden herself said, “Life is a joy, so should be learning.”
The assertion I am presenting here, while backed up with solid studies, is not popular. The government has learned how to usurp our tax money from us in ways that supposedly help our children who struggle with the accepted public school modes of learning. Other “individualistic” pedagogy popular in the homeschool movement have latched onto the “learning modes” philosophy; finally, well-meaning parents who want to find ways to understand their own children’s struggles have claimed this explanation because they have been duped.
Nothing replaces individual interaction with a dedicated teacher/mentor. In the ancient classical world, those lucky few who were educated had tutors who guided them into learning with personalized attention. For the past century or so, “educators” since John Dewey have been trying to find a magic bullet which will replace this traditional approach. The result has been a disastrous experiment which has damaged our children and our society beyond measure. Unfortunately, many so-called “classical educators” participate in this experiment, either unwittingly or wittingly. There is no replacement, no magic bullet. There is only the difficult but rewarding work of learning how to learn.
I teach writing according to the Jane Schaffer writing method, used by high achieving schools in their honors and AP programs. The Schaffer pedagogy meets the definition of “classical” because it leads students into developing critical thinking skills at an early age. Schaffer is qualitatively different from other popular “classical” writing methods, because Schaffer teaches them how to analyze, interpret, and assess ideas. Put another way: students’ minds are engaged in such a manner that they are inspired to develop independent thought. This is because students are led to ponder what a character’s (or historical figure’s) motivations are, or what the consequences of his or her actions or words are, within the context of the theme and diction of the story.
Schaffer is simply a codification of how analytical writing was taught traditionally. As I often tell students, they are like Sherlock Holmes walking onto a crime scene. They must look at the situation presented, as a whole, and from that assess what the important “evidences” are. The Schaffer method calls these “concrete details” (CDs). From there, students use the context of these facts to determine the theme(s) of the text. Why did the author use those facts at that point? Students also bring their own knowledge of life and universal truths to bear on the situation: What is the point of the passage? What does it reveal about the character, or what message is the author communicating to the reader?
When students begin to think analytically, they begin to think independently. Of course, this is the goal of a classical education, not the memorization of a bucketful of facts or texts. The necessity of having such skills before entering the halls of higher education cannot be overemphasized. The Jane Schaffer approach takes time to learn in the beginning–students are building up their “deductive” muscles. But with guidance and practice, they become independent thinkers.
The “method” is a proven way to bringing students’ minds to bear, in order to train them to focus so that they successfully learn the process of analytical reasoning. As students begin to incorporate the techniques so that they think and write inferentially, they no longer need the Schaffer steps, as they have begun the process of independent thinking–the ultimate goal of our educational efforts.