Analysis Grading Checklist
Name ___McLaughlin__________ Assignment 2
===>Professor's comments in your paper are marked by the "===>"
===>you see before these lines.
===>
Required Sections of Analysis Present:
[Required for D level work]
Introduction _+__.
Thesis _+__.
Partition _+__.
Body:
Author _+__.
Setting __+_.
Characters __+_.
Plot __+_.
Language __+_.
Implied
Audience __+_.
Conclusion __+_.
Correct Grammar & Syntax _+__
Correct Spelling _+__
..................................................................
Specific Performance Behaviors (Physical & Vocal Actions) WITH Reasons
for Each Behavior AND Quotation or Citation of Location Where It Would
Be Appropriate in the Text:
[C Level Work]
Action Rationale Quote/Cite
Three for Setting _+>_ ____ ____
Three for each Character _+>_ ____ ____
Three for Plot _+>_ ____ ____
Three for Language _+>_ ____ ____
Three for Audience
(Placement, Focus) _+>_ ____ ____
..................................................................
Quality of Execution: [B Level Work]
Thesis a simple (No "and's" or "but'") sentence _+__
Intro. & Conclusion have examples, stories, etc. _+__
Behaviors Based on words and images IN THE TEXT _+__
Author Section, including 3 facts about him/her _+__
Transitions sentences between sections _+__
Thesis restated in each section _+__
..................................................................
Conceptual Clarity - Making the Pieces Fit [A Level Work]
Thesis relates logically to sections _+__
Author section logically related to thesis _+__
Three footnoted sources outside the selection _+__
Restatements link thesis logically to behaviors _+__
Behaviors logically fit section topic sentences _+__
Transitions relate to thesis idea _+__
===>
Grade: 97 Your usual sterling job, Maura. I'd like to ask,
===>as usual, for a copy to use as an example for my future
===>classes.
===>
[For papers to be reworked, please leave the checklist at the top of
the file with the changes requested. If a list of behaviors are all
that's required, insert the list in the file after the checklist.
Either the PF2 key or the "I" [for insert] with a number of lines typed
[I3] in the command line to the left of the file will insert space for
adding the list. The same procedure will work for adding paragraphs,
thesis sentences, partitions, etc., if those are all the changes
required. For other revisions you may change mispelled words, or insert
other changes before or after the professor's comments which begin
with "===>."
.................................................................
"Our souls go into rags now; and the young are spying through the
holes and getting glimpses of the reality that was hidden. And they are
not horrified; they exult in having found us out...we have outgrown our
religion, outgrown our political system, outgrown our own strength of
mind and character."(Shaw, George Bernard. "Too Good To Be True". 1931)
George Bernard Shaw lived from 1856 to 1950, in an era of extreme
conformity and conservatism. Fundamentalism was the prevalent Christian
movement of the time. All spontaneity had been taken out of religion.
Church was attended because it was the fashionable thing to do. People
professed to be Christians only out of expected social norms, not out of
any personal conviction. Shaw's opinion on the state of the English
people and their morals is given in the above quote. Shaw wrote Androcles
and the Lion out of frustration with this outgrown religion. In the
prologue to this play, he gives us the example of Androcles, a pious man
who professes Christianity because it suits his personal convictions, not
because he is expected to. Shaw contrasts Androcles with his wife
Magaera, who is concerned with respectability and orthodoxy and thus
shuns the then unaccepted and newly formed Christian religion. She
represents the fundamentalist attitude that was present at Shaw's time.
Shaw offers Androcles as a role model for all people and hopes that his
play will elucidate people to the staleness of their religious beliefs.
By comically presenting the contrast between the sincere, pious
Androcles and his conforming, egocentric wife, Shaw contrasts true and
personal religious fervor with the superficiality and shallowness of
many orthodox believers. By endearing his audience to Androcles, Shaw
hopes to encourage them to develop real faith and fervor and to shun
hypocritical adherence to religious norms. We can see this attempt
through Shaw's similarity to Androcles, the suspense and tension in the
setting, the striking contrast between the two main characters, the
climax of the plot as this contrast is stressed more greatly and much
built-up tension is released, the humorousness of the language, and the
persuasive, but closed relationship with the implied audience.
In Androcles and the Lion, the main character, Androcles, is a
pious, devout Christian and an animal lover. He stands up for his
beliefs, cares about his fellow human beings, and is not afraid of
rejecting society's norms. That same description could easily fit the
play's author, George Bernard Shaw. Michael Hardwick says of Shaw,
"He had the very rare gift of giving without being asked."(Hardwick,
Michael. The Bernard Shaw Companion. 1973.) Shaw gave much to society
throughout his lifetime. He lived in an era of conformity, intolerance
and war. An iconoclast in this time, Shaw passionately fought for the
rights of all living beings, both human and animal, and hated cruelty
and hypocrisy in all their forms. He was a member of the renowned Fabian
Society, a small, middle-class political group dedicated to making life
better for all people and changing the corrupt government in England at
that time. Shaw was also a vegetarian and an adamant anti-vivisectionist.
We can see all of these aspects of Shaw's personality in the sincere,
compassionate, and animal-loving Androcles. In Androcles and the Lion,
Shaw reflects his own personality in Androcles and hopes to use him as a
medium to communicate his own beliefs about and vexations with religion
and society.
The prologue to Androcles and the Lion takes place in a jungle. The
time is the first century A.D., shortly after Christ died. Androcles and
his wife Magaera are alone on a jungle path and are probably the only
people for many miles. Magaera is resentful and wants to return home.
They cannot return, however, as Androcles will be thrown to the lions for
his Christian beliefs. Obviously, the setting is very tense.
One difficulty with this piece is communicating the setting to the
audience. This story took place in the first century A.D.; it is a bit
removed from the reader's experience. At one point in the dialogue,
Magaera says, "You can...sacrifice to the gods as all respectable people
do." As this story takes place twenty centuries ago, many audience
members may forget the then common religious practice of sacrifices and
rituals. To indicate this time setting to the audience, I will say this
line slowly so that the audience will pick up on it. I will also say it
nonchalantly, however, so the audience will realize that what Magaera is
speaking of is perfectly common practice. I will wave my hand at the word
"all" in an all-encompassing gesture.
In Androcles's first line in the prologue, he says, "There are wild
beasts in the wood: lions, they say." To convey the tension and
foreshadowing of the situation, I will say this line softly and
fearfully. I will look uneasily and furtively around the room as if
expecting to see a lion appear at any moment. Later in the prologue,
Magaera does see a lion. At this time, I will point straight ahead with
a very shaky finger. My eyes will be wide and my breathing fast to
indicate my intense fear. Through the above three gestures, the audience
should recognize both the time and place of and the tension and suspense
in the setting of the prologue. This tension and suspense provide a
perfect backdrop for the conflict between Androcles and Magaera and their
very different life philosophies.
There are two main characters, Androcles and his wife Magaera, in
Shaw's prologue. Shaw wants the audience to like and respect Androcles
and his goodhearted kindness. At one point in the play, Androcles says,
"I really don't think I could consent to go to heaven if I thought there
were to be no animals there." With ingenuous statements such as these,
Androcles represents Shaw's ideal Christian, acting out of personal
conviction, not out of rules and orthodoxy. Shaw describes Androcles as
"a small, thin, ridiculous little man...his arms and legs look shrivelled
and starved. He carries a big bundle, is very poorly clad, and looks
tired and hungry." To indicate Androcles's unassuming, shabby, and meek
appearance, I will slouch on my stool slightly and and will look to the
ground often. I will close my eyes often as if wearied and will speak
slowly and thoughtfully.
At one point in the prologue, Magaera accuses Androcles of selfish-
ness. She screams, "Self! Self! Self! Always yourself!" Androcles lives
humbly, while Magaera is very spoiled, so this insult hurts him deeply.
At this point, I will put my head in my hands with my elbows on my knees
and sadly reply, "We all have to think of ourselves occasionally, dear."
Although Androcles is very hurt by Magaera's comments and takes his
religion seriously, he does have a humorous side. This is what makes him
so endearing to the audience. At one point, Magaera ostentatiously says,
"Everybody knows that the Christians are the very lowest of the low."
Here, Androcles sees the opportunity for a good blow to his wife's ego.
After Magaera's statement, I will raise my head and smile so that the
audience will know something is coming. I will then say laughingly,
"Just like us, dear." By showing both Androcles's serious side and his
lighter half, I hope the audience relates to and admires him as Shaw
would like them to.
Androcles's wife Magaera provides a diametrical opposite to him.
Shaw uses Magaera as the model of an early twentieth century fundamental-
ist. She is ignorant, bigoted, and almost comically obtuse in her views.
She longs for respectability, urges Androcles to stop being "addicted to"
Christianity and animals, and refers to the CHristians as "dirty,
disreputable, blaspheming atheists." We see Magaera's concern with
propriety through both her words and her appearance. Shaw describes her
at the beginning of the play as a "rather handsome pampered slattern,
well fed and in the prime of life. She has nothing to carry and has a
stout stick to help her along." In contrast to Androcles's unassuming
position, I will sit up straight and proudly as Magaera, as she is
impressed with her looks and clothing. While Androcles speaks slowly,
softly, and thoughtfully, I will speak quickly, loudly, and cautically as
Magaera.
Magaera provides much humor in the play through her many absurd
statements. At one point, Magaera charges Androcles with "making me a
slave and making yourself a laughing stock." Later, she calls herself
"goodhearted". Both of these assertions are entirely untrue. Magaera is
no slave; Androcles carries all of the baggage and stops every couple
miles for his wife to rest. Magaera is also not goodhearted; she is rude
and caustic. Yet, when Magaera makes these assertions, I shall say them
with the utmost seriousness, acting like a martyr. The audience should
laugh at these parts.
Near the end of the prologue, Magaera and Androcles finally meet the
lion that Androcles has warned about. This is where the contrast between
Androcles and Magaera becomes most evident. Androcles valiantly tells
Magaera to run and offers to give up his life for Magaera by letting the
lion eat him instead. "Oh, don't talk about eating!", Magaera rebukes
him. Here, I will look at Androcles scornfully and thanklessly, squinting
and shaking my head in annoyance and disappointment. Then, Magaera faints
and the prologue is over. Through all of the above techniques, I hope to
juxtapose Androcles and Magaera so that the audience will see their
striking differences. They will recognize Shaw's view of Androcles as the
ideal Christian we should strive to be and of Magaera as a simple-minded
slave to orthodoxy we should try to avoid becoming.
All of this heightening tension between Androcles and Magaera builds
up to the climax of the prologue's plot. This occurs when the lion
appears and it is obvious that, despite Magaera's professions of
independence, she is helpless without Androcles. I can pick out three
mains turns in the plot of the story. The first of these is when Magaera
begs Androcles to "return to your duty, and come back to your home and
your friends, and sacrifice to the gods as all respectable people do."
Although the opening of the prologue has been laced with much tension,
this is the first time that Magaera openly states her grievance with
Androcles. The conversation has turned to the actual point of discontent
between the couple, Androcles's Christianity. This opend the door for a
more serious conversation and perhaps a resolution. In the above quoted
passage, I will speak confidently and impatiently to show Magaera's
inability to accept Androcles's break with societal norms. Her tone will
change from a caustic, sarcastic one to a serious one. I will lean
forward, open my eyes widely, and wrinkle my brow to show Magaera's great
longing for respectability.
A second important point in the plot is when Magaera decides that
is going to leave Androcles and go home. She says, "I've had enough of
them and enough of you. I'm going back. I'm going home." To show this
plot change, I will pause before making this declaration, so the audience
will be expecting something important. I will sit very straight and speak
proudly and decisively. My previous imploring and sniveling expression
will be exchanged for a serious and determined one. My lips will be
pursed and I will look intently at Androcles as I speak.
The climax of the prologue occurs when Magaera sees a lion. At this
point, all of the built up tension is released. Upon seeing the lion,
Magaera screams, "Oh! Oh! Andy! Andy!" helplessly. At this point, the
audience realizes Magaera's hypocrisy. To show her complete dependence on
Androcles, I will scream in a shrill voice and will reach out my hand for
him to grab and save me. I will not budge but will only look imploringly
at Androcles. By making all of the above plot changes obvious to the
audience, I hope to enable them to furthur understand Shaw's meaning,
which is hidden behind these simple plot changes.
The language Shaw uses in Androcles and the Lion is designed for
modern readers, so they might be able to relate to a story which occurs
twenty centuries ago. Several times in the story, Magaera even goes so
far as to call Androcles Andy. She reverts to this name when she is
frightened and helpless at the end of the story. When Magaera refers to
Androcles as Andy, I will use a high, helpless voice and will completely
discard all pretenses of confidence and independence. Both Magaera's
hypocrisy and Shaw's humorous use of language will be made obvious to
the audience.
Shaw's language includes many colorful metaphors and comparisons. At
one point, Magaera complains, "You get me the name of being a shrew with
your meek ways.." When I say the word "shrew", I will squint, pucker my
lips, and scrunch my face up to look like a beady-eyed, long-nosed shrew.
Later, Magaera accuses Androcles of "always talking as if butter wouldn't
melt in your mouth." I will say this in a syrupy sweet, patronizing voice
and will have an uncharacteristic pleasant smile on my face. Through
these actions, I hope to make Shaw's colorful imagery come alive for my
audience.
Because this is a dialogue, this audience will overhear the reading
as if unseen viewers. Although I will tailor my drama to their reactions,
I will never look directly at them. Androcles and Magaera will speak in a
closed, offstage focus. I will place Magaera to my right over the
audience's heads and Androcles to my left over the audience's heads.
Another very minor character in the story is the lion. Each time I look
at him, I will look at the same place in front of me. This will make his
presence more realistic to the audience and will give him a definite
placement. I hope that by placing my characters carefully, the audience
will be able to follow the storyline easily.
The story of Androcles and the Lion is a well known one. Years ago
in Sunday school, I recall hearing of the brave Androcles whoses fervent
beliefs compelled him to offer his life for his wife's life. I admired
his courage and fearlessness, both of which enabled him to approach a
dangerous lion and even help it by removing a thorn from its paw. Now, I
read George Bernard Shaw's play and laugh at the humor and satire Shaw
imparts to a once serious parable. He removes its religious sanctimon-
iousness and enables me to sympathize with the endearing, meek Androcles
while despising his selfish, egocentric wife. Through the laughter and
the lightheartedness of the play, Shaw gave me a new perspective on
Christianity and has caused me to question the authenticity of my own
Christian beliefs. Would I be willing to face lions or travel a hundred
mile pilgrimage to defend my faith? The courage of Androcles and of the
early Christians he represents should strengthen all of Shaw's readers,
whatever their religious convictions or creed. "To commit oneself to sure
death is to appraise profoundly the value of life and the value of
beliefs that make life worth living."(Berst, Charles. Bernard Shaw and
the Art of Drama. 1973)