Tuesday, February 3 The novel Ethan Frome by Edith Wharton. background information

In class: please turn in your introductory material organizer on Naturalism from Friday. This is a graded assignment. If you had a legal absence on Friday (this will be noted), you have 10 days to make this up; otherwise, I will take it tomorrow for full credit, after which it is only worth 50 points.
    This was a class handout that was also on the blog.

The new vocabulary for this Friday's test was given out last Friday. Please study. Again this was a class handout. We'll have a power point review on Thursday.

Also, several people have yet to turn in the last page of synonyms from Edgar Allen Poe's poem "The Raven".  This was assigned on January 23. 

  If you did not get your novel Ethan Frome, please do so now. 

Quick write in your notebook. Please respond to the following thoroughly, using at least one complete page.
Begin with an MLA heading, as review.

your name
instructor's name
Ethan Frome quick write 1
3 February 2015

Imagine that you live alone, in a remote rural area without either companionship or any means of communication such as a telephone, TV, or electronic mail. What do you think it would be like to live isolated from other people? What are some possible effects of living a life of isolation How do you think you might react to living an isolated life?  

(I will collect these in 20 minutes.)

When you have finished, turn in your notebook and begin reading the Prologue, responding to the following content and analysis questions. I will collect these at the start of class tomorrow. You are responsible for pages 3-25 tomorrow.

(class handout/ copy below). 

I have also included a copy of the Prologue below and will post the assigned reading on the blog each day. Please note that the text is available on line, in case you do not have your book.

Name__________________________________ Prologue questions   Due Wednesday, February 3

1.       What does the name Starkfield suggest about the setting?

______________________________________________________________________________

2.       How does Herman Gow corroborate this later? Find his words on page 6.

_________________________________________________________________________________

3.       Give two words that portray the stereotype of an engineer.

____________________________                       _________________________________________

4.       How is the narrator, whose name we never learn, a typical? (Think about how he views Ethan).

________________________________________________________________________________

5.       What could be the significance of the missing “L” structure on the farm?

________________________________________________________________________________

6.       What places to Herman Gow and Mrs. Ned Hale Occupy in the story?

a.       Gow:_____________________________________________________________________________

______________________________________________________________________________

b.      Hale:_____________________________________________________________________________

______________________________________________________________________________

Learning Targets: 

Students will interpret words and phrases as they are used in the text, including technical, connotative and figurative meanings, and analyze how the specific word choices shape the meaning.
RI.11-12.2  Students will determine two or more central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to provide a complex analysis; provide an objective summary of the text.
RI.11-12.3 Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text. 
RI.11-12.6 Determine an author’s point of view or purpose in a text in which the rhetoric is particularly effective, analyzing how style and content contribute to the power, persuasiveness, or beauty of the text. 




 The Mount, her estate in Lenox, Massachusetts

          Edith Wharton, author of Ethan Frome

Note the setting of Ethan Frome and its relationship to Rochester

ETHAN FROME

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

If you know Starkfield, Massachusetts, you know the post-office. If you know the post-office you must have seen Ethan Frome drive up to it, drop the reins on his hollow-backed bay and drag himself across the brick pavement to the white colonnade: and you must have asked who he was.

It was there that, several years ago, I saw him for the first time; and the sight pulled me up sharp. Even then he was the most striking figure in Starkfield, though he was but the ruin of a man. It was not so much his great height that marked him, for the "natives" were easily singled out by their lank longitude from the stockier foreign breed: it was the careless powerful look he had, in spite of a lameness checking each step like the jerk of a chain. There was something bleak and unapproachable in his face, and he was so stiffened and grizzled that I took him for an old man and was surprised to hear that he was not more than fifty-two. I had this from Harmon Gow, who had driven the stage from Bettsbridge to Starkfield in pre-trolley days and knew the chronicle of all the families on his line.

"He's looked that way ever since he had his smash-up; and that's twenty-four years ago come next February," Harmon threw out between reminiscent pauses.

The "smash-up" it was—I gathered from the same informant—which, besides drawing the red gash across Ethan Frome's forehead, had so shortened and warped his right side that it cost him a visible effort to take the few steps from his buggy to the post-office window. He used to drive in from his farm every day at about noon, and as that was my own hour for fetching my mail I often passed him in the porch or stood beside him while we waited on the motions of the distributing hand behind the grating. I noticed that, though he came so punctually, he seldom received anything but a copy of the Bettsbridge Eagle, which he put without a glance into his sagging pocket. At intervals, however, the post-master would hand him an envelope addressed to Mrs. Zenobia—or Mrs. Zeena-Frome, and usually bearing conspicuously in the upper left-hand corner the address of some manufacturer of patent medicine and the name of his specific. These documents my neighbour would also pocket without a glance, as if too much used to them to wonder at their number and variety, and would then turn away with a silent nod to the post-master.

Every one in Starkfield knew him and gave him a greeting tempered to his own grave mien; but his taciturnity was respected and it was only on rare occasions that one of the older men of the place detained him for a word. When this happened he would listen quietly, his blue eyes on the speaker's face, and answer in so low a tone that his words never reached me; then he would climb stiffly into his buggy, gather up the reins in his left hand and drive slowly away in the direction of his farm.

"It was a pretty bad smash-up?" I questioned Harmon, looking after Frome's retreating figure, and thinking how gallantly his lean brown head, with its shock of light hair, must have sat on his strong shoulders before they were bent out of shape.

"Wust kind," my informant assented. "More'n enough to kill most men. But the Fromes are tough. Ethan'll likely touch a hundred."

"Good God!" I exclaimed. At the moment Ethan Frome, after climbing to his seat, had leaned over to assure himself of the security of a wooden box—also with a druggist's label on it—which he had placed in the back of the buggy, and I saw his face as it probably looked when he thought himself alone. "That man touch a hundred? He looks as if he was dead and in hell now!"

Harmon drew a slab of tobacco from his pocket, cut off a wedge and pressed it into the leather pouch of his cheek. "Guess he's been in Starkfield too many winters. Most of the smart ones get away."

"Why didn't he?"

"Somebody had to stay and care for the folks. There warn't ever anybody but Ethan. Fust his father—then his mother—then his wife."

"And then the smash-up?"

Harmon chuckled sardonically. "That's so. He had to stay then."

"I see. And since then they've had to care for him?"

Harmon thoughtfully passed his tobacco to the other cheek. "Oh, as to that: I guess it's always Ethan done the caring."

Though Harmon Gow developed the tale as far as his mental and moral reach permitted there were perceptible gaps between his facts, and I had the sense that the deeper meaning of the story was in the gaps. But one phrase stuck in my memory and served as the nucleus about which I grouped my subsequent inferences: "Guess he's been in Starkfield too many winters."

Before my own time there was up I had learned to know what that meant. Yet I had come in the degenerate day of trolley, bicycle and rural delivery, when communication was easy between the scattered mountain villages, and the bigger towns in the valleys, such as Bettsbridge and Shadd's Falls, had libraries, theatres and Y. M. C. A. halls to which the youth of the hills could descend for recreation. But when winter shut down on Starkfield and the village lay under a sheet of snow perpetually renewed from the pale skies, I began to see what life there—or rather its negation—must have been in Ethan Frome's young manhood.

I had been sent up by my employers on a job connected with the big power-house at Corbury Junction, and a long-drawn carpenters' strike had so delayed the work that I found myself anchored at Starkfield—the nearest habitable spot—for the best part of the winter. I chafed at first, and then, under the hypnotising effect of routine, gradually began to find a grim satisfaction in the life. During the early part of my stay I had been struck by the contrast between the vitality of the climate and the deadness of the community. Day by day, after the December snows were over, a blazing blue sky poured down torrents of light and air on the white landscape, which gave them back in an intenser glitter. One would have supposed that such an atmosphere must quicken the emotions as well as the blood; but it seemed to produce no change except that of retarding still more the sluggish pulse of Starkfield. When I had been there a little longer, and had seen this phase of crystal clearness followed by long stretches of sunless cold; when the storms of February had pitched their white tents about the devoted village and the wild cavalry of March winds had charged down to their support; I began to understand why Starkfield emerged from its six months' siege like a starved garrison capitulating without quarter. Twenty years earlier the means of resistance must have been far fewer, and the enemy in command of almost all the lines of access between the beleaguered villages; and, considering these things, I felt the sinister force of Harmon's phrase: "Most of the smart ones get away." But if that were the case, how could any combination of obstacles have hindered the flight of a man like Ethan Frome?

During my stay at Starkfield I lodged with a middle-aged widow colloquially known as Mrs. Ned Hale. Mrs. Hale's father had been the village lawyer of the previous generation, and "lawyer Varnum's house," where my landlady still lived with her mother, was the most considerable mansion in the village. It stood at one end of the main street, its classic portico and small-paned windows looking down a flagged path between Norway spruces to the slim white steeple of the Congregational church. It was clear that the Varnum fortunes were at the ebb, but the two women did what they could to preserve a decent dignity; and Mrs. Hale, in particular, had a certain wan refinement not out of keeping with her pale old-fashioned house.

In the "best parlour," with its black horse-hair and mahogany weakly illuminated by a gurgling Carcel lamp, I listened every evening to another and more delicately shaded version of the Starkfield chronicle. It was not that Mrs. Ned Hale felt, or affected, any social superiority to the people about her; it was only that the accident of a finer sensibility and a little more education had put just enough distance between herself and her neighbours to enable her to judge them with detachment. She was not unwilling to exercise this faculty, and I had great hopes of getting from her the missing facts of Ethan Frome's story, or rather such a key to his character as should co-ordinate the facts I knew. Her mind was a store-house of innocuous anecdote and any question about her acquaintances brought forth a volume of detail; but on the subject of Ethan Frome I found her unexpectedly reticent. There was no hint of disapproval in her reserve; I merely felt in her an insurmountable reluctance to speak of him or his affairs, a low "Yes, I knew them both... it was awful..." seeming to be the utmost concession that her distress could make to my curiosity.

So marked was the change in her manner, such depths of sad initiation did it imply, that, with some doubts as to my delicacy, I put the case anew to my village oracle, Harmon Gow; but got for my pains only an uncomprehending grunt.

"Ruth Varnum was always as nervous as a rat; and, come to think of it, she was the first one to see 'em after they was picked up. It happened right below lawyer Varnum's, down at the bend of the Corbury road, just round about the time that Ruth got engaged to Ned Hale. The young folks was all friends, and I guess she just can't bear to talk about it. She's had troubles enough of her own."

All the dwellers in Starkfield, as in more notable communities, had had troubles enough of their own to make them comparatively indifferent to those of their neighbours; and though all conceded that Ethan Frome's had been beyond the common measure, no one gave me an explanation of the look in his face which, as I persisted in thinking, neither poverty nor physical suffering could have put there. Nevertheless, I might have contented myself with the story pieced together from these hints had it not been for the provocation of Mrs. Hale's silence, and—a little later—for the accident of personal contact with the man.

On my arrival at Starkfield, Denis Eady, the rich Irish grocer, who was the proprietor of Starkfield's nearest approach to a livery stable, had entered into an agreement to send me over daily to Corbury Flats, where I had to pick up my train for the Junction. But about the middle of the winter Eady's horses fell ill of a local epidemic. The illness spread to the other Starkfield stables and for a day or two I was put to it to find a means of transport. Then Harmon Gow suggested that Ethan Frome's bay was still on his legs and that his owner might be glad to drive me over.

I stared at the suggestion. "Ethan Frome? But I've never even spoken to him. Why on earth should he put himself out for me?"

Harmon's answer surprised me still more. "I don't know as he would; but I know he wouldn't be sorry to earn a dollar."

I had been told that Frome was poor, and that the saw-mill and the arid acres of his farm yielded scarcely enough to keep his household through the winter; but I had not supposed him to be in such want as Harmon's words implied, and I expressed my wonder.

"Well, matters ain't gone any too well with him," Harmon said. "When a man's been setting round like a hulk for twenty years or more, seeing things that want doing, it eats inter him, and he loses his grit. That Frome farm was always 'bout as bare's a milkpan when the cat's been round; and you know what one of them old water-mills is wuth nowadays. When Ethan could sweat over 'em both from sunup to dark he kinder choked a living out of 'em; but his folks ate up most everything, even then, and I don't see how he makes out now. Fust his father got a kick, out haying, and went soft in the brain, and gave away money like Bible texts afore he died. Then his mother got queer and dragged along for years as weak as a baby; and his wife Zeena, she's always been the greatest hand at doctoring in the county. Sickness and trouble: that's what Ethan's had his plate full up with, ever since the very first helping."

The next morning, when I looked out, I saw the hollow-backed bay between the Varnum spruces, and Ethan Frome, throwing back his worn bearskin, made room for me in the sleigh at his side. After that, for a week, he drove me over every morning to Corbury Flats, and on my return in the afternoon met me again and carried me back through the icy night to Starkfield. The distance each way was barely three miles, but the old bay's pace was slow, and even with firm snow under the runners we were nearly an hour on the way. Ethan Frome drove in silence, the reins loosely held in his left hand, his brown seamed profile, under the helmet-like peak of the cap, relieved against the banks of snow like the bronze image of a hero. He never turned his face to mine, or answered, except in monosyllables, the questions I put, or such slight pleasantries as I ventured. He seemed a part of the mute melancholy landscape, an incarnation of its frozen woe, with all that was warm and sentient in him fast bound below the surface; but there was nothing unfriendly in his silence. I simply felt that he lived in a depth of moral isolation too remote for casual access, and I had the sense that his loneliness was not merely the result of his personal plight, tragic as I guessed that to be, but had in it, as Harmon Gow had hinted, the profound accumulated cold of many Starkfield winters.

Only once or twice was the distance between us bridged for a moment; and the glimpses thus gained confirmed my desire to know more. Once I happened to speak of an engineering job I had been on the previous year in Florida, and of the contrast between the winter landscape about us and that in which I had found myself the year before; and to my surprise Frome said suddenly: "Yes: I was down there once, and for a good while afterward I could call up the sight of it in winter. But now it's all snowed under."

He said no more, and I had to guess the rest from the inflection of his voice and his sharp relapse into silence.

Another day, on getting into my train at the Flats, I missed a volume of popular science—I think it was on some recent discoveries in bio-chemistry—which I had carried with me to read on the way. I thought no more about it till I got into the sleigh again that evening, and saw the book in Frome's hand.

"I found it after you were gone," he said.

I put the volume into my pocket and we dropped back into our usual silence; but as we began to crawl up the long hill from Corbury Flats to the Starkfield ridge I became aware in the dusk that he had turned his face to mine.

"There are things in that book that I didn't know the first word about," he said.

I wondered less at his words than at the queer note of resentment in his voice. He was evidently surprised and slightly aggrieved at his own ignorance.

"Does that sort of thing interest you?" I asked.

"It used to."

"There are one or two rather new things in the book: there have been some big strides lately in that particular line of research." I waited a moment for an answer that did not come; then I said: "If you'd like to look the book through I'd be glad to leave it with you."

He hesitated, and I had the impression that he felt himself about to yield to a stealing tide of inertia; then, "Thank you—I'll take it," he answered shortly.

I hoped that this incident might set up some more direct communication between us. Frome was so simple and straightforward that I was sure his curiosity about the book was based on a genuine interest in its subject. Such tastes and acquirements in a man of his condition made the contrast more poignant between his outer situation and his inner needs, and I hoped that the chance of giving expression to the latter might at least unseal his lips. But something in his past history, or in his present way of living, had apparently driven him too deeply into himself for any casual impulse to draw him back to his kind. At our next meeting he made no allusion to the book, and our intercourse seemed fated to remain as negative and one-sided as if there had been no break in his reserve.

Frome had been driving me over to the Flats for about a week when one morning I looked out of my window into a thick snow-fall. The height of the white waves massed against the garden-fence and along the wall of the church showed that the storm must have been going on all night, and that the drifts were likely to be heavy in the open. I thought it probable that my train would be delayed; but I had to be at the power-house for an hour or two that afternoon, and I decided, if Frome turned up, to push through to the Flats and wait there till my train came in. I don't know why I put it in the conditional, however, for I never doubted that Frome would appear. He was not the kind of man to be turned from his business by any commotion of the elements; and at the appointed hour his sleigh glided up through the snow like a stage-apparition behind thickening veils of gauze.

I was getting to know him too well to express either wonder or gratitude at his keeping his appointment; but I exclaimed in surprise as I saw him turn his horse in a direction opposite to that of the Corbury road.

"The railroad's blocked by a freight-train that got stuck in a drift below the Flats," he explained, as we jogged off into the stinging whiteness.

"But look here—where are you taking me, then?"

"Straight to the Junction, by the shortest way," he answered, pointing up School House Hill with his whip.

"To the Junction—in this storm? Why, it's a good ten miles!"

"The bay'll do it if you give him time. You said you had some business there this afternoon. I'll see you get there."

He said it so quietly that I could only answer: "You're doing me the biggest kind of a favour."

"That's all right," he rejoined.

Abreast of the schoolhouse the road forked, and we dipped down a lane to the left, between hemlock boughs bent inward to their trunks by the weight of the snow. I had often walked that way on Sundays, and knew that the solitary roof showing through bare branches near the bottom of the hill was that of Frome's saw-mill. It looked exanimate enough, with its idle wheel looming above the black stream dashed with yellow-white spume, and its cluster of sheds sagging under their white load. Frome did not even turn his head as we drove by, and still in silence we began to mount the next slope. About a mile farther, on a road I had never travelled, we came to an orchard of starved apple-trees writhing over a hillside among outcroppings of slate that nuzzled up through the snow like animals pushing out their noses to breathe. Beyond the orchard lay a field or two, their boundaries lost under drifts; and above the fields, huddled against the white immensities of land and sky, one of those lonely New England farm-houses that make the landscape lonelier.

"That's my place," said Frome, with a sideway jerk of his lame elbow; and in the distress and oppression of the scene I did not know what to answer. The snow had ceased, and a flash of watery sunlight exposed the house on the slope above us in all its plaintive ugliness. The black wraith of a deciduous creeper flapped from the porch, and the thin wooden walls, under their worn coat of paint, seemed to shiver in the wind that had risen with the ceasing of the snow.

"The house was bigger in my father's time: I had to take down the 'L,' a while back," Frome continued, checking with a twitch of the left rein the bay's evident intention of turning in through the broken-down gate.

I saw then that the unusually forlorn and stunted look of the house was partly due to the loss of what is known in New England as the "L": that long deep-roofed adjunct usually built at right angles to the main house, and connecting it, by way of storerooms and tool-house, with the wood-shed and cow-barn. Whether because of its symbolic sense, the image it presents of a life linked with the soil, and enclosing in itself the chief sources of warmth and nourishment, or whether merely because of the consolatory thought that it enables the dwellers in that harsh climate to get to their morning's work without facing the weather, it is certain that the "L" rather than the house itself seems to be the centre, the actual hearth-stone of the New England farm. Perhaps this connection of ideas, which had often occurred to me in my rambles about Starkfield, caused me to hear a wistful note in Frome's words, and to see in the diminished dwelling the image of his own shrunken body.

"We're kinder side-tracked here now," he added, "but there was considerable passing before the railroad was carried through to the Flats." He roused the lagging bay with another twitch; then, as if the mere sight of the house had let me too deeply into his confidence for any farther pretence of reserve, he went on slowly: "I've always set down the worst of mother's trouble to that. When she got the rheumatism so bad she couldn't move around she used to sit up there and watch the road by the hour; and one year, when they was six months mending the Bettsbridge pike after the floods, and Harmon Gow had to bring his stage round this way, she picked up so that she used to get down to the gate most days to see him. But after the trains begun running nobody ever come by here to speak of, and mother never could get it through her head what had happened, and it preyed on her right along till she died."

As we turned into the Corbury road the snow began to fall again, cutting off our last glimpse of the house; and Frome's silence fell with it, letting down between us the old veil of reticence. This time the wind did not cease with the return of the snow. Instead, it sprang up to a gale which now and then, from a tattered sky, flung pale sweeps of sunlight over a landscape chaotically tossed. But the bay was as good as Frome's word, and we pushed on to the Junction through the wild white scene.

In the afternoon the storm held off, and the clearness in the west seemed to my inexperienced eye the pledge of a fair evening. I finished my business as quickly as possible, and we set out for Starkfield with a good chance of getting there for supper. But at sunset the clouds gathered again, bringing an earlier night, and the snow began to fall straight and steadily from a sky without wind, in a soft universal diffusion more confusing than the gusts and eddies of the morning. It seemed to be a part of the thickening darkness, to be the winter night itself descending on us layer by layer.

The small ray of Frome's lantern was soon lost in this smothering medium, in which even his sense of direction, and the bay's homing instinct, finally ceased to serve us. Two or three times some ghostly landmark sprang up to warn us that we were astray, and then was sucked back into the mist; and when we finally regained our road the old horse began to show signs of exhaustion. I felt myself to blame for having accepted Frome's offer, and after a short discussion I persuaded him to let me get out of the sleigh and walk along through the snow at the bay's side. In this way we struggled on for another mile or two, and at last reached a point where Frome, peering into what seemed to me formless night, said: "That's my gate down yonder."

The last stretch had been the hardest part of the way. The bitter cold and the heavy going had nearly knocked the wind out of me, and I could feel the horse's side ticking like a clock under my hand.

"Look here, Frome," I began, "there's no earthly use in your going any farther—" but he interrupted me: "Nor you neither. There's been about enough of this for anybody."

I understood that he was offering me a night's shelter at the farm, and without answering I turned into the gate at his side, and followed him to the barn, where I helped him to unharness and bed down the tired horse. When this was done he unhooked the lantern from the sleigh, stepped out again into the night, and called to me over his shoulder: "This way."

Far off above us a square of light trembled through the screen of snow. Staggering along in Frome's wake I floundered toward it, and in the darkness almost fell into one of the deep drifts against the front of the house. Frome scrambled up the slippery steps of the porch, digging a way through the snow with his heavily booted foot. Then he lifted his lantern, found the latch, and led the way into the house. I went after him into a low unlit passage, at the back of which a ladder-like staircase rose into obscurity. On our right a line of light marked the door of the room which had sent its ray across the night; and behind the door I heard a woman's voice droning querulously.

Frome stamped on the worn oil-cloth to shake the snow from his boots, and set down his lantern on a kitchen chair which was the only piece of furniture in the hall. Then he opened the door.

"Come in," he said; and as he spoke the droning voice grew still...

It was that night that I found the clue to Ethan Frome, and began to put together this vision of his story.

Background information on Naturalism

Naturalism

Naturalism (1890 - 1915): 

1. The term Naturalism describes a type of literature that attempts to apply scientific principles of objectivity and detachment to its study of human beings. 

2.  Naturalistic writers, since human beings are, in Emile Zola's phrase, "human beasts," characters can be studied through their relationships to their surroundings. 

3. The Naturalist believed in studying human beings as though they were "products" that are to be studied impartially, without moralizing about their natures.

4. Naturalistic writers believed that the laws of behind the forces that govern human lives might be studied and understood through the objective study of human beings. 

5. Naturalistic writers used a version of the scientific method to write their novels; they studied human beings governed by their instincts and passions as well as the ways in which the characters' lives were governed by forces of heredity and environment.

6. Naturalism is considered as a movement to be beyond Realism. Naturalism is based more on scientific studies. 

7. Darwin's Theory of Evolution is a basis for the Naturalist writer. Natural selection and survival of the fittest help to depict the struggle against nature as a hopeless fight.

Characteristics of naturalism

• Objective
• Darwinistic--survival of the fittest
• Detached method of narration
• Language--formal; piling on of images ("wretched excess")
• Human beings unable to stand up against enormous weight of circumstances.
• Deterministic--natural and socioeconomic forces stronger than man.
• Heredity determines character
• Violence--force against force 
•            man against man
•            man against nature
•            man against himself
• Taboo topics
• Animal imagery
• Attention to setting to the point of saturation
• Characters--lower socioeconomic class
• Static characters
• Naturalists observe, then write. Often about the black, darker side of life.
• "Pessimistic materialistic determinism" (Pizer)
• Characters conditioned or controlled by environment, heredity, instinct or chance but they have a compensating humanistic value that affirms the significance of the individual (Pizer).
• Characters do not have free will (determinism)

Themes:

"The conflict in naturalistic novels is often 'man against nature' or 'man against himself' as characters struggle to retain a 'veneer of civilization' despite external pressures that threaten to release the 'brute within' " (Campbell).

Nature is indifferent to man

The universe is deterministic

Name_________________________________

Ethan Frome by Edith Wharton  background information on the literary movement of Naturalism. Column 1 lists qualities associated with Naturalism. Please respond to the query (new word) in column 2 that asks you to extend the idea presented in column 1. Please use complete sentences.  

Column 1                                                                            Column 2

1. The term Naturalism describes a type of literature that attempts to apply scientific principles of objectivity and detachment to its study of human beings.	What does it mean “to apply scientific principles of objectivity and detachment to human beings?”
2.  Naturalistic writers, since human beings are, in Emile Zola's phrase, "human beasts," characters can be studied through their relationships to their surroundings.	In what ways could human beings be described as “beasts?”
3. The Naturalist believed in studying human beings as though they were "products" that are to be studied impartially, without moralizing about their natures.	a. What does it mean to “moralize” a human being? b. What advantage might a writer have in removing the idea of moralizing from a narrative?
4. Naturalistic writers believed that the laws of behind the forces that govern human lives might be studied and understood through the objective study of human beings.	If moralizing is removed from human nature, what might remain?
5. Naturalistic writers used a version of the scientific method to write their novels; they studied human beings governed by their instincts and passions as well as the ways in which the characters' lives were governed by forces of heredity and environment.	In Romanticism we looked at how instincts and passions impact a tale. Now heredity and environment are added into the mix.  Which set of forces do you think will dominate and why?
6. Naturalism is considered as a movement to be beyond Realism. Naturalism is based more on scientific studies.	Realism is writing about what is: warts and all. Social Science connection. What social movement (s) was taking place in the latter half of the 19th century whose reality when exposed would lead to social change?
7. Darwin's Theory of Evolution is a basis for the Naturalist writer. Natural selection and survival of the fittest help to depict the struggle against nature as a hopeless fight.	So who invariably wins this battle? Why?

Ethan Frome Vocabulary Words

1.  sardonic     (adj)           Scornfully or cynically mocking; sarcastic.

2.  colloquial    (adj)           Informal; relating to conversation; conversational.

3.  innocuous   (adj)           Having no adverse effect; harmless, insipid

4.  reticent  (adj)                Inclined to keep one's thoughts, feelings to oneself; restrained, reluctant

5. poignant (adj)               Keenly distressing to the mind or feelings

6. wraith   (noun)              An apparition of a living person that appears as a portent just before that

                                              person's death.

7. wistful  (adj)                  Full of wishful yearning. 2. Pensively sad; melancholy.

8. undulation  (noun)          A regular rising and falling or movement like waves

9. tenuous (adj)                 Long and thin; slender: tenuous strands. 2. Having a thin consistency or

                                           substance; flimsy: a tenuous argument.

10. throng (throng)             A large group of people; a multitude.

               

11. vex   (verb)                  To annoy, as with petty importunities; bother.

12. laden (adj)                   Weighed down with a load; heavy   (laden with grief)            

13. preclude (verb)            To exclude or prevent (someone) from a given condition or activity

14. succumb (verb)           To submit to an overpowering force or yield to an overwhelming desire

15. foist (verb)                   To pass off as genuine, valuable, or worthy

16. schadenfreude            To feel pleasure or satisfaction from someone’s misfortune