Canterbury Tales

                      THE WIFE OF BATH (Prologue)

There was a housewife come from Bath, or near,
Who- sad to say- was deaf in either ear.
At making cloth she had so great a bent
She bettered those of Ypres and even of Ghent.
In all the parish there was no goodwife
Should offering make before her, on my life;
And if one did, indeed, so wroth was she
It put her out of all her charity.
Her kerchiefs were of finest weave and ground;
I dare swear that they weighed a full ten pound
Which, of a Sunday, she wore on her head.
Her hose were of the choicest scarlet red,
Close gartered, and her shoes were soft and new.
Bold was her face, and fair, and red of hue.
She'd been respectable throughout her life,
With five churched husbands bringing joy and strife,
Not counting other company in youth;
But thereof there's no need to speak, in truth.
Three times she'd journeyed to Jerusalem;
And many a foreign stream she'd had to stem;
At Rome she'd been, and she'd been in Boulogne,
In Spain at Santiago, and at Cologne.
She could tell much of wandering by the way:
Gap-toothed was she, it is no lie to say.
Upon an ambler easily she sat,
Well wimpled, aye, and over all a hat
As broad as is a buckler or a targe;
A rug was tucked around her buttocks large,
And on her feet a pair of sharpened spurs.
In company well could she laugh her slurs.
The remedies of love she knew, perchance,
For of that art she'd learned the old, old dance.

In the days of King Arthur, the Wife of Bath begins, the isle of Britain was full of fairies and elves. Now, those creatures are gone because their spots have been taken by the friars and other mendicants that seem to fill every nook and cranny of the isle. And though the friars rape women, just as the incubi did in the days of the fairies, the friars only cause women dishonor—the incubi always got them pregnant.

In Arthur's court, however, a young, lusty knight comes across a beautiful young maiden one day. Overcome by lust and his sense of his own power, he rapes her. The court is scandalized by the crime and decrees that the knight should be put to death by decapitation. However, Arthur's queen and other ladies of the court intercede on his behalf and ask the king to give him one chance to save his own life. Arthur, wisely obedient to wifely counsel, grants their request. The queen presents the knight with the following challenge: if, within one year, he can discover what women want most in the world and report his findings back to the court, he will keep his life. If he cannot find the answer to the queen's question, or if his answer is wrong, he will lose his head.

The knight sets forth in sorrow. He roams throughout the country, posing the question to every woman he meets. To the knight's dismay, nearly every one of them answers differently. Some claim women love money best, some honor, some jolliness, some looks, some sex, some remarriage, some flattery, and some say that women most want to be free to do as they wish. Finally, says the Wife, some say that women most want to be considered discreet and secretive, although she argues that such an answer is clearly untrue, since no woman can keep a secret. As proof, she retells Ovid's story of Midas. Midas had two ass's ears growing under his hair, which he concealed from everybody except his wife, whom he begged not to disclose his secret. She swore she would not, but the secret burned so much inside her that she ran down to a marsh and whispered her husband's secret to the water. The Wife then says that if her listeners would like to hear how the tale ends, they should read Ovid.

She returns to her story of the knight. When his day of judgment draws near, the knight sorrowfully heads for home. As he rides near a forest, he sees a large group of women dancing and decides to approach them to ask his question. But as he approaches, the group vanishes, and all he can see is an ugly old woman. The woman asks if she can be of help, and the knight explains his predicament and promises to reward her if she can help him. The woman tells the knight that he must pledge himself to her in return for her help, and the knight, having no options left, gladly consents. She then guarantees that his life will be saved.

The knight and the old woman travel together to the court, where, in front of a large audience, the knight tells the queen the answer with which the old woman supplied him: what women most desire is to be in charge of their husbands and lovers. The women agree resoundingly that this is the answer, and the queen spares the knight's life. The old hag comes forth and publicly asks the knight to marry her. The knight cries out in horror. He begs her to take his material possessions rather than his body, but she refuses to yield, and in the end he is forced to consent. The two are married in a small, private wedding and go to bed together the same night. Throughout the entire ordeal, the knight remains miserable.

While in bed, the loathsome hag asks the knight why he is so sad. He replies that he could hardly bear the shame of having such an ugly, lowborn wife. She does not take offense at the insult, but calmly asks him whether real “gentillesse,” or noble character, can be hereditary (1109). There have been sons of noble fathers, she argues, who were shameful and villainous, though they shared the same blood. Her family may be poor, but real poverty lies in covetousness, and real riches lie in having little and wanting nothing. She offers the knight a choice: either he can have her be ugly but loyal and good, or he can have her young and fair but also coquettish and unfaithful. The knight ponders in silence. Finally, he replies that he would rather trust her judgment, and he asks her to choose whatever she thinks best. Because the knight's answer gave the woman what she most desired, the authority to choose for herself, she becomes both beautiful and good. The two have a long, happy marriage, and the woman becomes completely obedient to her husband. The Wife of Bath concludes with a plea that Jesus Christ send all women husbands who are young, meek, and fresh in bed, and the grace to outlive their husbands.

Sister Carrie

Sister Carrie (1900) is a novel by Theodore Dreise about a young country girl who moves to the big city where she starts realizing her own American Dream by first becoming a mistress to men that she perceives as superior and later as a famous actress. It has been called the "greatest of all American urban novels."

Plot summary

Dissatisfied with life in her rural Wisconsin home, 18-year-old Caroline "Sister Carrie" Meeber takes the train to Chicago, where her older sister Minnie, and her husband Sven Hanson, have agreed to take her in. On the train, Carrie meets Charles Drouet, a traveling salesman, who is attracted to her because of her simple beauty and unspoiled manner. They exchange contact information, but upon discovering the "steady round of toil" and somber atmosphere at her sister's flat, she writes to Drouet and discourages him from calling on her there.

Carrie soon embarks on a quest for work to pay rent to her sister and her husband, and takes a job running a machine in a shoe factory. Before long, however, she is shocked by the coarse manners of both the male and female factory workers, and the physical demands of the job, as well as the squalid factory conditions, begin to take their toll. She also senses Minnie and Sven's disapproval of her interest in Chicago's recreational opportunities, particularly the theatre. One day, after an illness that costs her job, she encounters Drouet on a downtown street. Once again taken by her beauty, and moved by her poverty, he encourages her to dine with him, where, over sirloin and asparagus, he persuades her to leave her sister and move in with him. To press his case, he slips Carrie two ten dollar bills, opening a vista of material possibilities to her. The next day, he rebuffs her feeble attempts to return the money, taking her shopping at a Chicago department store and securing a jacket she covets and some shoes. That night, she writes a good-bye note to Minnie and moves in with Drouet.

Drouet installs her in a much larger apartment, and their relationship intensifies as Minnie dreams about her sister's fall from innocence. She acquires a sophisticated wardrobe and, through his offhand comments about attractive women, sheds her provincial mannerisms, even as she struggles with the moral implications of being a kept woman. By the time Drouet introduces Carrie to George Hurstwood, the manager of Hannah and Hogg's - a respectable bar that Drouet describes as a "way-up, swell place" – her material appearance has improved considerably. Hurstwood, unhappy with and distant from his social-climbing wife and children, instantly becomes infatuated with Carrie’s youth and beauty, and before long they start an affair, communicating and meeting secretly in the expanding, anonymous city.

One night, Drouet casually agrees to find an actress to play a key role in an amateur theatrical presentation of Augustin Daly’s melodrama, “Under the Gaslight,” for his local chapter of the Elks. Upon returning home to Carrie, he encourages her to take the part of the heroine, Laura. Unknown to Drouet, Carrie long has harbored theatrical ambitions and has a natural aptitude for imitation and expressing pathos. The night of the production – which Hurstwood attends at Drouet’s invitation – both men are moved to even greater displays of affection by Carrie’s stunning performance.

The next day, the affair is uncovered: Drouet discovers he has been cuckolded, Carrie learns that Hurstwood is married, and Hurstwood’s wife, Julia, learns from an acquaintance that Hurstwood has been out driving with another woman and deliberately excluded her from the Elks theatre night. After a night of drinking, and despairing at his wife’s financial demands and Carrie’s rejection, Hurstwood stumbles upon a large amount of cash in the unlocked safe in Fitzgerald and Moy's offices. In a moment of poor judgment, he succumbs to the temptation to embezzle a large sum of money. Under the pretext of Drouet’s sudden illness, he lures Carrie onto a train and escapes with her to Canada. Once they arrive in Montreal, Hurstwood’s guilty conscience – and a private eye - induce him to return most of the stolen funds, but he realizes that he cannot return to Chicago. Hurstwood mollifies Carrie by agreeing to marry her, and the couple move to New York City.

In New York, Hurstwood and Carrie rent a flat where they live as George and Carrie Wheeler. Hurstwood buys a minority interest in a saloon and, at first, is able to provide Carrie with a satisfactory – if not lavish – standard of living. The couple grow distant, however, as Hurstwood abandons any pretense of fine manners toward Carrie, and she realizes that Hurstwood no longer is the suave, powerful manager of his Chicago days. Carrie’s dissatisfaction only increases when she meets Robert Ames, a bright young scholar from Indiana and her neighbor’s cousin, who introduces her to the idea that great art, rather than showy materialism, is worthy of admiration.

After only a few years, the saloon’s landlord sells the property and Hurstwood’s business partner expresses his intent to terminate the partnership. Too arrogant to accept most of the job opportunities available to him, Hurstwood soon discovers that his savings are running out and urges Carrie to economize, which she finds humiliating and distasteful. As Hurstwood lounges about, overwhelmed by apathy and foolishly gambling away most of his savings, Carrie turns to New York’s theatres for employment and becomes a chorus girl. Once again, her aptitude for theatre serves her well, and, as the rapidly aging Hurstwood declines into obscurity, Carrie begins to rise from chorus girl to small speaking roles, and establishes a friendship with another chorus girl, Lola Osborne, who begins to urge Carrie to move in with her. In a final attempt to prove himself useful, Hurstwood becomes a scab driving a Brooklyn streetcar during a streetcar operator’s strike. His ill-fated venture, which lasts only two days, prompts Carrie to leave him; in her farewell note, she encloses twenty dollars.

Hurstwood ultimately joins the homeless of New York, taking odd jobs, falling ill with pneumonia, and finally becoming a beggar. Reduced to standing in line for bread and charity, he commits suicide in a flophouse. Meanwhile, Carrie achieves stardom, but finds that money and fame do not satisfy her longings or bring her happiness and that nothing will.

Characters

• Caroline Meeber, a.k.a. Carrie, a young woman from rural Wisconsin; the protagonist.
• Minnie Hanson, Carrie's dour elder sister who lives in Chicago and puts her up on arrival.
• Sven Hanson, Minnie's husband, of Swedish extraction and taciturn temperament.
• Charles H. Drouet, a buoyant traveling salesman Carrie meets on the train to Chicago.
• George W. Hurstwood, a well-to-do, sophisticated man who manages Fitzgerald and Moy's resort.
• Julia Hurstwood, George's strong-willed, social-climbing wife.
• Jessica Hurstwood, George and Julia's daughter, who shares her mother's aspirations to social status.
• George Hurstwood, Jr, George and Julia's son.
• The Vances, a wealthy merchant and his wife, who live in the same building as Hurstwood and Carrie in New York City.
• Robert Ames, Mrs. Vance's cousin from Indiana, a handsome young scholar whom Carrie regards as a male ideal.
• Lola Osborne, a chorus girl Carrie meets during a theatre production in New York, who encourages Carrie to become her roommate.

Publication history and response

At the urging of his journalist friend Arthur Henry, Dreiser began writing his manuscript in 1899. He frequently gave up on it but Henry urged him to continue. From the outset, his title was Sister Carrie, though he changed it to The Flesh and the Spirit while writing it; he restored the original name once complete.

Dreiser had difficulty finding a publisher for Sister Carrie. Doubleday & McClure Company accepted the manuscript for publication but it was withdrawn after the publisher's wife declared it too sordid. Dreiser insisted on publication and 1,008 copies were printed on November 8, 1900. The book was not advertised and only 456 copies sold.However, Frank Norris, who was working as a reader at Doubleday, sent a few copies to literary reviewer.

Between 1900 and 1980, all editions of the novel were of a second altered version. Not until 1981 did Dreiser's unaltered version appear when the University of Pennsylvania Press issued a scholarly edition based upon the original manuscript held by The New York Public Library. It is a reconstruction by a team of leading scholars to represent the novel before it was edited by hands other than Dreiser's.

In his Nobel Prize Lecture of 1930, Sinclair Lewis said that "Dreiser's great first novel, Sister Carrie, which he dared to publish thirty long years ago and which I read twenty-five years ago, came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman".

In 1998, the Modern Library ranked Sister Carrie 33rd on its list of the 100 best English-language novels of the 20th century

Theodore Herman Albert Dreiser

Theodore Herman Albert Dreiser (August 27, 1871 – December 28, 1945) was an American novelist and journalist. He pioneered the naturalist school and is known for portraying characters whose value lies not in their moral code, but in their persistence against all obstacles, and literary situations that more closely resemble studies of nature than tales of choice and agency.

Early life

Dreiser was born in Terre Haute, Indiana, to Sarah and John Paul Dreiser, a strict Catholic family. John Paul Dreiser was a German immigrant from Mayen in the Eifel region, and Sarah was from the Mennonite farming near Dayton, Ohio; she was disowned for marrying John and converting to Roman Catholicism. Theodore was the twelfth of thirteen children (the ninth of the ten surviving). The popular songwriter Paul Dresser (1859–1906) was his older brother.

From 1889 to 1890, Theodore attended Indiana University before dropping out.^{[citation needed]}. Within several years, he was writing for the Chicago Globe newspaper and then the St. Louis Globe-Democrat. He wrote several articles on writers such as Nathaniel Hawthorne, William Dean Howells, Israel Zangwill, John Burroughs, and interviewed public figures such as Andrew Carnegie, Marshall Field, Thomas Edison, and Theodore Thomas. Other interviewees included Lillian Nordica, Emilia E. Barr, Philip Armour and Alfred Stieglitz. After proposing in 1893, he married Sara White on December 28, 1898. They ultimately separated in 1909, partly as a result of Dreiser's infatuation with Thelma Cudlipp, the teenage daughter of a work colleague, but were never formally divorced.

In 1919 Dreiser met his cousin Helen Richardson with whom he began an affair with sado-masochistic elements. They eventually married on 13 June 1944

How to create Webquest?

Task Webquest

Describe crisply and clearly what the end result of the learners' activities will be. The task could be a:

• problem or mystery to be solved;
• position to be formulated and defended;
• product to be designed;
• complexity to be analyzed;
• personal insight to be articulated;
• summary to be created;
• persuasive message or journalistic account to be crafted;
• a creative work, or
• anything that requires the learners to process and transform the information they've gathered.

You may wish to peruse the WebQuest Design Patterns site, which gives specific examples of how instructionally sound Webquests can and should be created.

If the final product involves using some tool (e.g., HyperStudio, the Web, video), mention it here.

Don't list the steps that students will go through to get to the end point. That belongs in the Process section.

Process

To accomplish the task, what steps should the learners go through? Use the numbered list format in your web editor to automatically number the steps in the procedure. Describing this section well will help other teachers to see how your lesson flows and how they might adapt it for their own use, so the more detail and care you put into this, the better. Remember that this whole document is addressed to the student, however, so describe the steps using the second person.

First you'll be assigned to a team of 3 students...
Once you've picked a role to play....
... and so on.

Learners will access the on-line resources that you've identified as they go through the Process. You may have a set of links that everyone looks at as a way of developing background information, or not. If you break learners into groups, embed the links that each group will look at within the description of that stage of the process. (Note, this is a change from the older WebQuest templates which included a separate Resources section. We feel that the resources belong in the Process section rather than alone.)

In the Process block, you might also provide some guidance on how to organize the information gathered. This advice could suggestions to use flowcharts, summary tables, concept maps, or other organizing structures. The advice could also take the form of a checklist of questions to analyze the information with, or things to notice or think about. If you have identified or prepared guide documents on the Web that cover specific skills needed for this lesson (e.g. how to brainstorm, how to prepare to interview an expert), link them to this section.

Evaluation

Describe to the learners how their work will be evaluated. Specify whether there will be a common grade for group work vs. individual grades.

If you decide to use a rubric in evaluating the student work, you may wish to use the table found below. Note that care should be taken to create a rubric that will provide accurate feedback to the learner, as well as being resonably simple to fill out. For a quick (5-10 minute) tutorial on how to create effective rubrics for webquests, see Creating a Rubric (San Diego City Schools). You may also wish to read an article from The Interactive Classroom on creating rubrics in collaboration with your students.

	Beginning 1	Developing 2	Very Good 3	Exemplary 4	Score
Stated Objective or Performance	Description of identifiable performance characteristics reflecting a beginning level of performance.	Description of identifiable performance characteristics reflecting development and movement toward mastery of performance.	Description of identifiable performance characteristics reflecting mastery of performance.	Description of identifiable performance characteristics reflecting the highest level of performance.
Stated Objective or Performance	Description of identifiable performance characteristics reflecting a beginning level of performance.	Description of identifiable performance characteristics reflecting development and movement toward mastery of performance.	Description of identifiable performance characteristics reflecting mastery of performance.	Description of identifiable performance characteristics reflecting the highest level of performance.
Stated Objective or Performance	Description of identifiable performance characteristics reflecting a beginning level of performance.	Description of identifiable performance characteristics reflecting development and movement toward mastery of performance.	Description of identifiable performance characteristics reflecting mastery of performance.	Description of identifiable performance characteristics reflecting the highest level of performance.
Stated Objective or Performance	Description of identifiable performance characteristics reflecting a beginning level of performance.	Description of identifiable performance characteristics reflecting development and movement toward mastery of performance.	Description of identifiable performance characteristics reflecting mastery of performance.	Description of identifiable performance characteristics reflecting the highest level of performance.
Stated Objective or Performance	Description of identifiable performance characteristics reflecting a beginning level of performance.	Description of identifiable performance characteristics reflecting development and movement toward mastery of performance.	Description of identifiable performance characteristics reflecting mastery of performance.	Description of identifiable performance characteristics reflecting the highest level of performance.

Conclusion

Put a couple of sentences here that summarize what the learners will have accomplished or learned by completing this activity or lesson. You might also include some rhetorical questions or additional links to encourage them to extend their thinking into other content beyond this lesson. A webquest should not be a completely isolated experience, but instead should be simply one part in a series of learning experiences for the student.

Teacher Page

When developing the teacher page, think about what a teacher should absolutely know to make this an effective learning experience for all participants.

Enter in any information that would help other teachers utilize the resources found here. This may be in the form of credits and references for content used, or perhaps a description of how this webquest is intended for use in the classroom.

You may also wish to include the prerequisite skills which students should have before attempting to complete the webquest. It may also be helpful to include the intended duration of the webquest (one week, one day, etc.), additional materials needed, whether a mini-lab or full computer lab would be appropriate as well as any other information you feel would be helpful for the teacher to know.

Understanding the work as a whole: Interpretation and synthesis

To write about a work as a whole. You must understand it thoroughly. You must consider each of its parts separately before you can interpret the meaning of entire work. Here is a list of questions about the parts of short story. After have read a short story carefully, ask yourself the following questions: 

1.Author: Who is the author is the story?

2.Title: What is the story title? Does the title suggest the story's subject or them?

3.Setting: What are the time and place of the story? What mood is created by setting? Does the setting determine the action or conflict of the story/

4.Point of view: Is the story written from the first or third person point of view? Is the narrator limited or omniscient?

5.central conflict: What is the central conflict, or struggle, of the story? Is this conflict is external. Is it a conflict between two people, between a person nature. Between a person and society, or between a person and supernatural force?

6.Plot: What are the major events of the story? what happens in introduction? What is the inciting incident? What happens during development? What is the climax of the story? How is the central conflict resolved, or ended? What, if anything, happens after the resolution? That is, does the story have a denouement? 

      What special plot devices are used in the story? Does the story make use of foreshadowing or flashbacks? Is the story suspenful? If so, what expectations on the part of the reader create this suspense? Does the story have a surprise ending?

7.Characterization: Who is the main character, or protagonist? Who are the other major and minor characters? What is the revealed in the story about each character's appearance, personality, background, motivations, and relationships? What conflicts do these characters face? Which of these characters change in the course of the story and in what ways? What roles do the minor characters play in advancing the action of the story?

8.Devices of sound and figures of speech: Does the story make use of special devices of sound such as onomatopoeia or parallelism? of figures of speech such as metaphor or hyperbole?

9.Theme: What is the theme, or message, of the story? How is this theme revealed?

          In this lesson you will learn how to write a composition of several paragraphs that explains you interpretation of a short story. Your composition will have three main parts: an introduction will include include a thesis statement- a sentence that makes an important general point about the story. The body will give specific examples from the story that support the thesis statement. Your answers to the questions in the preceding list will provide these examples. Finally, the conclusion will restate the thesis statement and sum up the main point of your composition.

Geoffrey Chaucer

Geoffrey Chaucer, an English poet, was born in 1342. Historians are uncertain about his exact date of birth. Geoffrey's well-to-do parents, John Chaucer and Agnes Copton, possessed several buildings in the vintage quarter in London. Not much is known about Geoffrey's school career. He must have had some education in Latin and Greek. Out of school he went on as a page in the household of the Countess of Ulster. Chaucer rose in royal employment and became a knight of the shire for Kent. As a member of the king's household, Chaucer was sent on diplomatic errands throughout Europe. From all these activities, he gained the knowledge of society that made it possible to write The Canterbury Tales. Chaucer died in October 1400 and was buried in Westminster Abbey in London. He was the first of those that are gathered in what we now know as the Poet's Corner in Westminster Abbey.

Geoffrey Chaucer wrote The Canterbury Tales, a collection of stories in a frame story, between 1387 and 1400. It is the story of a group of thirty people who travel as pilgrims to Canterbury (England). The pilgrims, who come from all layers of society, tell stories to each other to kill time while they travel to Canterbury.
If we trust the General Prologue, Chaucer intended that each pilgrim should tell two tales on the way to Canterbury and two tales on the way back. He never finished his enormous project and even the completed tales were not finally revised. Scholars are uncertain about the order of the tales. As the printing press had yet to be invented when Chaucer wrote his works, The Canterbury Tales has been passed down in several handwritten manuscripts.