Solved by verified expert:please write two essay:there are four documents,”requirement 1″ is the retirement for the topic, one essay need to analysis Nora, and another need to analysis Torvald from “A doll’s house””requirement 2″ is a document that how to get a good grade, please follow that”template” is a document that the form requirement, please follow that”a doll’s house” is the pdf that need to read and after that, please help me to write this two essays.please write by yourself, do not copy from internet
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requirement_2.docx
template.doc
a_doll_s_house.pdf
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you must write a five paragraph essay (three body paragraphs of eleven sentences minimum, giving three facts to
support the topic sentence) and revise for grammar errors.
Prompt 1: Use the provided graphic organizer to write a five paragraph (introduction, three body paragraphs,
and conclusion) analysis of Nora in A Doll’s House.
Thesis: should state what kind of person Nora is, overall.
11 Sentence Body paragraphs: each body paragraph’s topic sentence should state one quality of Nora’s
personality that contributes to the overall judgment of her. For good organization, each
paragraph should quote from the text of the play three (3) things that Nora says and does, or
that other characters say about her or to her (see your class notes on five ways that an author
reveals character) for facts to support the topic sentence. Then, for development, write at least
two sentences that explain how this action reveals the kind of person that Nora is.
Prompt 2: Use the provided graphic organizer to write a five paragraph (introduction, three body paragraphs,
and conclusion) analysis of Torvald in A Doll’s House.
Thesis: should state what kind of person Nora is, overall.
11 Sentence Body paragraphs: each body paragraph’s topic sentence should state one quality of Nora’s
personality that contributes to the overall judgment of her. For good organization, each
paragraph should quote from the text of the play three (3) things that xxx says and does, or
that other characters say about him or her or to him or her (see your class notes on five ways
that an author reveals character) for facts to support the topic sentence. Then, for
development, write at least two sentences that explain how this action reveals the kind of
person that Torvald is.
11 Sentence Body paragraphs: each body paragraph should discuss one character, and its topic
sentence should state what that character reveals about men’s and women’s expectations of
each other. For good organization, each paragraph should quote from the text of the play three
(3) things that the character says or does, or that other characters say about him or her or to
him or her for facts to support the topic sentence. Then, for development, write at least two
sentences that explain how this action reveals the theme of the expectations that men and
women have of each other.
Grades
pervasive errors
7
missing
10/0
fatal errors
12
5
missing
6
‘In conclusion,’ or
ineffective
restates thesis only
14
15
plot summary
fact not
opinion
unclear, largely repetitive,
errors of fact
18
7
6
5
citations
missing
8
9
7
5+ errors
17
F
5
off topic,
makes no
sense
unclear
basic
somewhat repetitive
analysis sensible
9
21
8
restates thesis and
suggests larger context
effective
19
D
6
11
oversimplifie
d
sensible
24
9
C
7
no title,
indent ,
label
10
12
5 or fewer errors
20
complete
thorough
insightful
analysis insightful
elegant
original
richly developed;
handles complexities
27
10
B
8
citations
have 5-errors
15% MLA conventions: Paper is labeled on the inside back cover.
Essay beings with a title (no underline or q marks). Indent
paragraphs. In-text citations adhere to MLA style. Work Cited page.
14
3 or fewer errors
20% Grammar and mechanics: Your paper avoids basic grammar
mistakes, such as dropped apostrophes in possessives, subject/verb
disagreement, fragments, run-on sentences, or irregular verb form
errors. One such mistake results in the loss of half the points. Two or
more results in the loss of all points. Correct use of the comma,
semicolon, and colon is also important. Remember to use the present
tense and avoid arbitrary tense switches. The paper demonstrates a
commitment to proofreading by avoiding easy-to-catch typos and
word mistakes (effect for affect, for example).
A
9
citations
have 3-errors
10% Conclusion: You want a conclusion that avoids summarizing
what you’ve just said (restate, don’t repeat), and please avoid
writing, “In conclusion. . . .” which is necessary in speeches but
awkward in written essays. Your aim in a conclusion is to place the
discussion in a larger context. For example, how might your critical
analysis of a literary character relate to the other characters in a
work? How might your thesis be applied to other aspects of the text,
say for example, setting or symbolism? What do we learn about life
from the characters’ experiences?
30
intelligent and evocative;
exceptional
30% Organization. You will analyze some literary motif, theme, or
one or more literary elements (such as symbolism, character,
setting, etc.). Your essay must contain three body paragraphs, of
eleven sentences each, that contain a topic sentence, three quotations
from the primary text (these are the facts that prove your topic
sentence opinion) an analysis of the significance of the quotations
(what the quotation shows and why what it shows is important), and a
concluding sentence restates the topic sentence and perhaps
transitions to the ideas in the next paragraph.
15
no errors
15% Thesis: You state your main point (or argument). You answer
the prompt. The thesis is the first sentence of your introduction.
A+
10
no errors
10% Introduction: Your opener (quotation or generalization) and
bridge (transition and application) sentences should say why your
thesis matters. What is your argument going to do to help someone
understand a point that the play makes? What is your reader going to
learn?
citations
have many
errors
ENG 1102: Essay 2: (Close reading/literary analysis of drama)
Assignment: Write a five paragraph essay that defends a thesis you
developed response to the prompt. The “critical response” essay relies
on textual support (quotations) from the primary text (secondary
sources are not required) – not plot summary to develop the student’s
argument. Do not confuse “critical analysis” with “plot summary”;
the goal is to develop, sustain, and advance a thesis based on a
critique of the primary text. What you’ll be graded upon:
PARAGRAPH 1
1.
5 PARAGRAPH ESSAY / 11 SENTENCE BODY PARAGRAPHS
Introduction=all opinion
Opener (quotation or generalization)
2. Transition (explain the meaning of the quotation or generalization)
3. Application: Say how opener and transition relate to the thesis that you will argue
*For literature, say: In “Title” , by Full Name, + say how the opener connects to the literature you will discuss
4. Thesis (Opinion: what you think the literature means; the claim you will persuade your reader to agree with)
PARAGRAPH 2 (Body paragraph 1)
1. Transition + Topic Sentence=fact + opinion or all opinion:
2. Transition + Fact (quotation from literature):
3. Analysis (opinion) explains significance of the fact/previous sentence
4. Analysis explains significance of and/or supports previous sentence
5. Transition + Fact (quotation from literature):
6. Analysis (opinion explains significance of the fact/previous sentence)
7. Analysis (opinion) explains significance of the fact/previous sentence
8. Transition + Fact (quotation from literature):
9. Analysis (opinion) explains significance of the fact/previous sentence
10. Analysis (opinion) explains significance of the fact/previous sentence
11. Concluding Sentence (opinion): restates TS in new words + transitions to (introduces)the new idea in the next ¶
PARAGRAPH 3 (Body paragraph 2)
1. Transition + Topic Sentence=fact + opinion or all opinion:
2. Transition + Fact (quotation from literature):
3. Analysis (opinion) explains significance of the fact/previous sentence
4. Analysis explains significance of and/or supports previous sentence
5. Transition + Fact (quotation from literature):
6. Analysis (opinion explains significance of the fact/previous sentence)
7. Analysis (opinion) explains significance of the fact/previous sentence
8. Transition + Fact (quotation from literature):
9. Analysis (opinion) explains significance of the fact/previous sentence
10. Analysis (opinion) explains significance of the fact/previous sentence
11. Concluding Sentence (opinion): restates TS in new words + transitions to (introduces)the new idea in the next ¶
PARAGRAPH 4 (Body paragraph 3)
1. Transition + Topic Sentence=fact + opinion or all opinion:
2. Transition + Fact (quotation from literature):
3. Analysis (opinion) explains significance of the fact/previous sentence
4. Analysis explains significance of and/or supports previous sentence
5. Transition + Fact (quotation from literature):
6. Analysis (opinion explains significance of the fact/previous sentence)
7. Analysis (opinion) explains significance of the fact/previous sentence
8. Transition + Fact (quotation from literature):
9. Analysis (opinion) explains significance of the fact/previous sentence
10. Analysis (opinion) explains significance of the fact/previous sentence
11. Concluding Sentence (opinion): restates TS in new words + transitions to (introduces)the new idea in the next ¶
PARAGRAPH 5 Conclusion = all opinion (use #1, then each or any combination of the following items)
1.
Restate thesis USING NEW WORDS
2.
You may say what the readers have learned about the topic/from the literature, thanks to your explanation
3.
If dealing with literature, you may say what the characters learn about themselves or about life.
4.
You may call your reader to action, suggesting the benefits of action or the perils of failing to act.
Note well:
This option takes careful handling of tone: better to say “We all must . . .” rather than “You must.” Avoid
commands such as “Now get out there and ______!”
A Doll’’s House
by
Henrik Ibsen
A Penn State Electronic Classics Series Publication
A Doll’s House by Henrik Ibsen is a publication of the Pennsylvania State University. This Portable
Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania
State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State
University assumes any responsibility for the material contained within the document or for the file
as an electronic transmission, in any way.
A Doll’s House by Henrik Ibsen, the Pennsylvania State University, Electronic Classics Series, Jim
Manis, Faculty Editor, Hazleton, PA 18202-1291 is a Portable Document File produced as part of
an ongoing student publication project to bring classical works of literature, in English, to free and
easy access of those wishing to make use of them.
Cover Design: Jim Manis
Copyright © 2001-9 The Pennsylvania State University
The Pennsylvania State University is an equal opportunity university.
Henrik Ibsen
A Doll’s House
by
A DOLL’S
HOUSE
Henrik Ibsen
ACT I
(SCENE
SCENE.—A room furnished comfortably and tastefully,
SCENE
but not extravagantly. At the back, a door to the right leads to
the entrance-hall, another to the left leads to Helmer’s study.
Between the doors stands a piano. In the middle of the lefthand wall is a door, and beyond it a window. Near the window are a round table, arm-chairs and a small sofa. In the
right-hand wall, at the farther end, another door; and on the
same side, nearer the footlights, a stove, two easy chairs and a
rocking-chair; between the stove and the door, a small table.
Engravings on the walls; a cabinet with china and other small
objects; a small book-case with well-bound books. The floors
are carpeted, and a fire burns in the stove. It is winter.
A bell rings in the hall; shortly afterwards the door is heard
to open. Enter NORA
NORA, humming a tune and in high spirits.
She is in outdoor dress and carries a number of parcels; these
she lays on the table to the right. She leaves the outer door
TER who is
open after her, and through it is seen a POR
PORTER
DRAMATIS PERSONAE
Tor
elmer
orvvald H
Helmer
elmer.
Nora
Nora, his wife.
Doctor Rank
Rank.
Mrs. Linde
Linde.
Nils Krogstad
Krogstad.
ee yyoung
oung childr
en
Helmer
three
children
en.
elmer’’s thr
Anne
Anne, their nurse.
A Housemaid
Housemaid.
AP
or
ter
Por
orter
ter.
The action takes place in Helmer’s house.
3
A Doll’s House
ora. Just now. (Puts the bag of macaroons into her pocket
carrying a Christmas Tree and a basket, which he gives to the Nora
MAID who has opened the door.)
and wipes her mouth.) Come in here, Torvald, and see what I
have bought.
Nora
ora. Hide the Christmas Tree carefully, Helen. Be sure the
elmer. Don’t disturb me. (A little later, he opens the door
children do not see it until this evening, when it is dressed. Helmer
TER
and looks into the room, pen in hand.) Bought, did you say?
(To the POR
PORTER
TER, taking out her purse.) How much?
All these things? Has my little spendthrift been wasting money
Por
ter
again?
orter
ter. Sixpence.
Nora
ora. Yes but, Torvald, this year we really can let ourselves go
a little. This is the first Christmas that we have not needed to
economise.
Nora
ora. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is
laughing to herself, as she takes off her hat and coat. She takes
a packet of macaroons from her pocket and eats one or two;
then goes cautiously to her husband’s door and listens.) Yes,
he is in. (Still humming, she goes to the table on the right.)
Helmer
elmer. Still, you know, we can’t spend money recklessly.
Nora. Yes, Torvald, we may be a wee bit more reckless now,
mayn’t we? Just a tiny wee bit! You are going to have a big
salary and earn lots and lots of money.
Helmer (calls out from his room). Is that my little lark twittering out there?
Nora (busy opening some of the parcels). Yes, it is!
Helmer
elmer. Yes, after the New Year; but then it will be a whole
quarter before the salary is due.
Helmer
elmer. Is it my little squirrel bustling about?
Nora
ora. Pooh! we can borrow until then.
Nora
ora. Yes!
Helmer
elmer. Nora! (Goes up to her and takes her playfully by the
ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year’s Eve a slate fell on my head
Helmer
elmer. When did my squirrel come home?
4
Henrik Ibsen
and killed me, and—Nora (putting her hands over his mouth). Nora (turning round quickly). Money!
Oh! don’t say such horrid things.
Helmer
elmer. There you are. (Gives her some money.) Do you
Helmer
think I don’t know what a lot is wanted for housekeeping at
elmer. Still, suppose that happened,—what then?
Christmas-time?
Nora
ora. If that were to happen, I don’t suppose I should care
Nora (counting). Ten shillings—a pound—two pounds!
whether I owed money or not.
Thank you, thank you, Torvald; that will keep me going for
Helmer
a long time.
elmer. Yes, but what about the people who had lent it?
Helmer
elmer. Indeed it must.
Nora
ora. They? Who would bother about them? I should not
know who they were.
Helmer
elmer. That is like a woman! But seriously, Nora, you know
what I think about that. No debt, no borrowing. There can
be no freedom or beauty about a home life that depends on
borrowing and debt. We two have kept bravely on the straight
road so far, and we will go on the same way for the short time
longer that there need be any struggle.
Nora
ora. Yes, yes, it will. But come here and let me show you
what I have bought. And all so cheap! Look, here is a new suit
for Ivar, and a sword; and a horse and a trumpet for Bob; and a
doll and dolly’s bedstead for Emmy,—they are very plain, but
anyway she will soon break them in pieces. And here are dresslengths and handkerchiefs for the maids; old Anne ought really
to have something better.
Nora (moving towards the stove). As you please, Torvald.
Helmer
elmer. And what is in this parcel?
Helmer (following her). Come, come, my little skylark must
not droop her wings. What is this! Is my little squirrel out of
temper? (Taking out his purse.) Nora, what do you think I
have got here?
Nora (crying out). No, no! you mustn’t see that until this
evening.
Helmer
elmer. Very well. But now tell me, you extravagant little
person, what would you like for yourself?
5
A Doll’s House
Nora
Torvald, and then I shall have time to think what I am most
ora. For myself? Oh, I am sure I don’t want anything.
in want of. That is a very sensible plan, isn’t it?
Helmer
elmer. Yes, but you must. Tell me something reasonable
Helmer (smiling). Indeed it is—that is to say, if you were
that you would particularly like to have.
really to save out of the money I give you, and then really buy
Nora
something for yourself. But if you spend it all on the houseora. No, I really can’t think of anything—unless, Torvald—
keeping and any number of unnecessary things, then I merely
Helmer
have to pay up again.
elmer. Well?
Nora
ora. Oh but, Torvald—
Nora (playing with his coat buttons, and without raising her
eyes to his). If you really want to give me something, you
might—you might—
Helmer
elmer. You can’t deny it, my dear little Nora. (Puts his arm
round her waist.) It’s a sweet little spendthrift, but she uses
up a deal of money. One would hardly believe how expensive
such little persons are!
Helmer
elmer. Well, out with it!
Nora (speaking quickly). You might give me money, Torvald.
Only just as much as you can afford; and then one of these
days I will buy something with it.
Nora
ora. It’s a shame to say that. I do really save all I can.
Helmer (laughing). That’s very true,—all you can. But you
can’t save anything!
Helmer
elmer. But, Nora—Nora. Oh, do! dear Torvald; please,
please do! Then I will wrap it up in beautiful gilt paper and
hang it on the Christmas Tree. Wouldn’t that be fun?
Nora (smiling quietly and happily). You haven’t any idea how
many expenses we skylarks and squirrels have, Torvald.
Helmer
elmer. What are little people called that are always wasting
money?
Helmer
elmer. You are an odd little soul. Very like your father. You
always find some new way of wheedling money out of me,
and, as soon as you have got it, it seems to melt in your hands.
Nora
ora. Spendthrifts—I know. Let us do as you suggest,
6
Henrik Ibsen
Nora. No, certainly not.
You never know where it has gone. Still, one must take you as Nora
you are. It is in the blood; for indeed it is true that you can
Helmer
elmer. Not even taken a bite at a macaroon or two?
inherit these things, Nora.
Nora
ora. Ah, I wish I had inherited many of papa’s qualities.
Nora
ora. No, Torvald, I assure you really—
Helmer
elmer. And I would not wish you to be anything but just
what you are, my sweet little skylark. But, do you know, it
strikes me that you are looking rather—what shall I say—
rather uneasy today?
Helmer
elmer. There, there, of course I was only joking.
Nora
Nora. Do I?
Helmer
elmer. No, I am sure of that; besides, you gave me your
word—(Going up to her.) Keep your little Christmas secrets
to yourself, my darling. They will all be revealed tonight when
the Christmas Tree is lit, no doubt.
Nora (going to the table on the right). I should not think of
going against your wishes.
Helmer
elmer. You do, really. Look straight at me.
Nora (looks at him). Well?
Nora
Nora. Did you remember to invite Doctor Rank?
Helmer (wagging his finger at her). Hasn’t Miss Sweet Tooth
been breaking rules in town today?
Helmer
elmer. No. But there is no need; as a matter of course he
will come to dinner with us. However, I will ask him when
he comes in this morning. I have ordered some good wine.
Nora, you can’t think how I am looking forward to this
evening.
Nora
Nora. No; what makes you think that?
Helmer
elmer. Hasn’t she paid a visit to the confectioner’s?
Nora
Nora. So am I! And how the children will enjoy themselves,
Torvald!
Nora
ora. No, I assure you, Torvald—
Helmer
elmer. Not been nibbling sweets?
7
A Doll’s House
Helmer
elmer. …
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