English 1C

Welcome to English 1C. Your successful registration in this class indicates that your writing ability is already up to college standards. This means that you should already know how to put together a thoughtful essay that has a clear thesis, supporting evidence and graceful conclusion. You should already be familiar with college paper formats like MLA and APA. Accordingly, this course will not offer any instruction specifically geared to paper construction or format. Instead, this course will concentrate on developing your critical thinking skills. (However, I will help you with specifics if you need it, and part of your grade is formatting and mechanics).

You will be asked to take "one more look" at the readings and attempt to understand them more clearly than your first reading may have elicited.

This week you have a writing assessment, a read and discuss assignment, and a read and respond assignment. Please be sure to complete all parts. The purpose is to help me see where you are at so I can better help you throughout the class. Please do not get any outside help for this assignment as it will not portray a true picture of your learning status. Because this is a basic assessment of where you are in the writing process, there is no lecture this week.

Please read the "The Death of the Moth" (below) by Virginia Woolf and write an essay that analyzes it. In addition to explaining what the selection means, you may wish to consider what writing strategies and literary elements are used as well as how the essay is structured.  

Do your best, but don't go to a website or book and find ideas about the essay. BE HONEST WITH WHAT YOU KNOW AT THE BEGINNING OF THIS CLASS. Your essay will be used for assessment purposes but also carries a point value toward your final grade.

The Death of the Moth

By Virginia Woolf

Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy–blossom which the commonest yellow–underwing asleep in the shadow of the curtain never fails to rouse in us. They are hybrid creatures, neither gay like butterflies nor sombre like their own species. Nevertheless the present specimen, with his narrow hay–coloured wings, fringed with a tassel of the same colour, seemed to be content with life. It was a pleasant morning, mid–September, mild, benignant, yet with a keener breath than that of the summer months. The plough was already scoring the field opposite the window, and where the share had been, the earth was pressed flat and gleamed with moisture. Such vigour came rolling in from the fields and the down beyond that it was difficult to keep the eyes strictly turned upon the book. The rooks too were keeping one of their annual festivities; soaring round the tree tops until it looked as if a vast net with thousands of black knots in it had been cast up into the air; which, after a few moments sank slowly down upon the trees until every twig seemed to have a knot at the end of it. Then, suddenly, the net would be thrown into the air again in a wider circle this time, with the utmost clamour and vociferation, as though to be thrown into the air and settle slowly down upon the tree tops were a tremendously exciting experience.

The same energy which inspired the rooks, the ploughmen, the horses, and even, it seemed, the lean bare–backed downs, sent the moth fluttering from side to side of his square of the window–pane. One could not help watching him. One was, indeed, conscious of a queer feeling of pity for him. The possibilities of pleasure seemed that morning so enormous and so various that to have only a moth’s part in life, and a day moth’s at that, appeared a hard fate, and his zest in enjoying his meagre opportunities to the full, pathetic. He flew vigorously to one corner of his compartment, and, after waiting there a second, flew across to the other. What remained for him but to fly to a third corner and then to a fourth? That was all he could do, in spite of the size of the downs, the width of the sky, the far–off smoke of houses, and the romantic voice, now and then, of a steamer out at sea. What he could do he did. Watching him, it seemed as if a fibre, very thin but pure, of the enormous energy of the world had been thrust into his frail and diminutive body. As often as he crossed the pane, I could fancy that a thread of vital light became visible. He was little or nothing but life.

Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings, there was something marvellous as well as pathetic about him. It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zig–zagging to show us the true nature of life. Thus displayed one could not get over the strangeness of it. One is apt to forget all about life, seeing it humped and bossed and garnished and cumbered so that it has to move with the greatest circumspection and dignity. Again, the thought of all that life might have been had he been born in any other shape caused one to view his simple activities with a kind of pity.

After a time, tired by his dancing apparently, he settled on the window ledge in the sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he could only flutter to the bottom of the window–pane; and when he tried to fly across it he failed. Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure. After perhaps a seventh attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the window sill. The helplessness of his attitude roused me. It flashed upon me that he was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a pencil, meaning to help him to right himself, it came over me that the failure and awkwardness were the approach of death. I laid the pencil down again.

The legs agitated themselves once more. I looked as if for the enemy against which he struggled. I looked out of doors. What had happened there? Presumably it was midday, and work in the fields had stopped. Stillness and quiet had replaced the previous animation. The birds had taken themselves off to feed in the brooks. The horses stood still. Yet the power was there all the same, massed outside indifferent, impersonal, not attending to anything in particular. Somehow it was opposed to the little hay–coloured moth. It was useless to try to do anything. One could only watch the extraordinary efforts made by those tiny legs against an oncoming doom which could, had it chosen, have submerged an entire city, not merely a city, but masses of human beings; nothing, I knew, had any chance against death. Nevertheless after a pause of exhaustion the legs fluttered again. It was superb this last protest, and so frantic that he succeeded at last in righting himself. One’s sympathies, of course, were all on the side of life. Also, when there was nobody to care or to know, this gigantic effort on the part of an insignificant little moth, against a power of such magnitude, to retain what no one else valued or desired to keep, moved one strangely. Again, somehow, one saw life, a pure bead. I lifted the pencil again, useless though I knew it to be. But even as I did so, the unmistakable tokens of death showed themselves. The body relaxed, and instantly grew stiff. The struggle was over. The insignificant little creature now knew death. As I looked at the dead moth, this minute wayside triumph of so great a force over so mean an antagonist filled me with wonder. Just as life had been strange a few minutes before, so death was now as strange. The moth having righted himself now lay most decently and uncomplainingly composed. O yes, he seemed to say, death is stronger than I am.

Assignment submissions:

Please make sure you label your submissions with your name, week and assignment number. If you are doing a resubmission, please put a number on it to differentiate it from other submissions.

Example: Halseywk1a1 or Halsey2wk1a1. The first is a first submission, the second is a follow up submission; in this case it is the second submission.

Read the introduction of Cultural Conversations. Pay close attention to the sections labeled, "Ideas for Rereading and Writing, and Extending Your Work" and "An Arc of Interpretation."

Discuss some of the writing suggestions in the introduction. Have you used any in the past? Do any of them seem to be "out there?" Which seem to be the most "user friendly?"

Respond to your classmates’ comments and their responses to your entry. Explain your thinking.

Reading: Text page 10-through 63. In a two to three page essay: