The Family Instructor is rife with tension between form and content. Despite the text’s insistence that one of the first steps toward making any family truly Christian is to throw out all its members’ plays, Defoe persistently seems to think of The Family Instructor as itself a play. Near the end of its preface, he writes, “The whole work being design’d both to divert and instruct, the Author has endeavoured to adapt it as much as possible to both those Uses, from whence some have called it a Religious Play.” And, lest it seem that only “some” readers—and not the writer himself— have deemed the text a play, Defoe makes clear in the Preface’s concluding moments that he is perfectly comfortable with such a designation: “As to its being called a Play, be it called so if they please, it must be confest, some Parts of it are too much acted in many Families among us: The Author wishes that either all our Plays were as useful for the Improvement and Entertainment of the World, or that they were less encouraged.” Although Defoe claims that The Family Instructor’s theatrical form is intended to serve “the Improvement and Entertainment of the World,” I want to argue that what we see in its concluding moments is a text whose course has been determined not by its desire to bring about the world’s “Improvement,” but instead by its theatrical form. The Family Instructor’s first seven dialogues are all written in theatrical form: their action takes place entirely in characters’ spoken words, and the characters’ movements and motivations are explained by bracketed statements that look like stage directions. Defoe worked to make the dialogues theatrical, consciously maintaining a distinction between their action and his notes’ analysis. Indeed, in his notes on the First Dialogue, Defoe explains that, “These Notes are not design’d to talk over again the whole Subject of every Discourse . . . but where the Case is particular, a Word may be said, which in the Dialogues would have been digressing too long, and have made it tedious” (39). None of this makes these dialogues feel particularly play-like, however. We are aware that the dialogues are set in particular portions of the house—the garden, the bedroom, etc.—but the scenery is not an important aspect of the text, serving merely as a backdrop to the characters’ conversations. The characters’ words are set up as dialogue, but what is said trumps any semblance of fidelity to actual speaking practices—the character of the father, for instance, is wont to prattle on to his young son for nearly a full page, after which the boy responds in a way that demonstrates he has been paying attention to the entirety of the father’s speech. No, it is only in the Eighth Dialogue that The Family Instructor becomes a play. The fact that The Family Instructor’s climax involves a deception plot provides clear evidence that it is this text’s theatricality that structures its conclusion. How many comedies, having spent their first few acts building up tension, resolve that tension by testing the hero’s character through a deception? Indeed, even the means through which the eldest sister and brother carry out their deception plot—a laughably foolish lying maid—is a standard element of the theatre. Surely many other plays contain exchanges like this: Mistress. Pru. Maid. Madam. Mist. Here, take the Key of my Chamber, and stay in it till somebody comes to look for me from my Mother. Maid. What Answer shall I give them, Madam? Mist. Tell them my Brother and I are gone out together; you may say, you suppose we are gone to the Park. Maid. Shall I say, Madam, that you said you were gone to the Park? Mist. No, no; say you do not know whither we are gone, but that you suppose we are gone thither; do not we use to go thither, you Fool you? Maid. If they should be very inquisitive, they may ask me what Reason I have to
ENG WR 101
Instructor: Mr. Ahearn
October 2, 2013
What Define Sustainability in My Own Life
We can imagine one special situation. In front of us we see a large raging river; behind us follow our pursuers and they are getting close. We must cross this river because on the other side we know a secret hideaway. There is no possibility to swim across the river or get around to it. But there is a bridge across the river and this…
FRANK G. ZARB SCHOOL OF BUSINESS
“Educating for Personal and Professional Achievement”
DEPARTMENT OF INFORMATION TECHNOLOGY
AND QUANTITATIVE METHODS
Information Technology Workshop
Dr. Mohammed Tafti
Office Hours (virtual):
Location of Department Office:
Telephone number of Department:
Tuesday, Thursday: 8:15 -9:30
Part 1: Revise and strengthen paragraph structure and development
Directions to complete part 1:
A. Read Chapter 1 section 1.1 through 1.5 in your textbook.
B. Read the email below from a student to an instructor.
C. Answer the following questions in complete sentences:
What is the purpose of the email? Who is the audience (reader)?
What are the problems with the email?
D. Rewrite the email so it is more effective.
What is the purpose of the email? Who is the audience (reader)?
PSY 303 Abnormal Psychology
Instructor Edward Fischer
Peter was born and grew up in Lincoln. He has one sister. Peter has very good memories of his childhood, although his mother suffered from bad health conditions, which led to her death when Peter was sixteen years old. Peter remained close to his father, whom he keeps visiting on a regular basis. His father is now a retired man in his eighties. Peter is twenty-five years old. He is…
formal learning is usually added to an already full
schedule of work and family responsibilities. For youth, learning
may be their primary life activity.
BASIC LEARNING STYLES
Educators are currently giving much attention to learning styles and
identifying preferred personal approaches to learning. Many instruments are
available, some online, that can help determine which basic styles of learning
are important to you: visual (seeing and reading), auditory (listening and
speaking), or kinesthetic (touching and doing)…
Office: 230E Wall College of Business (MW 2-5)
Texts: Syllabus, Handouts, Links on Blackboard and/or Email Attachments
Course Description: Analysis of marketing problems of business firms and other types of organizations through readings and case studies. Attention focuses on the influence of the marketplace and the marketing environment on marketing decision making; the determination of the organization's products, prices, channels, and communication strategies; and the organization's…
When a student understands the purpose of adjectives, adverbs, phrases and clauses, and practices writing and reading them, a student will feel comfortable in using them in everyday communication. It is that level of comfort which nurtures interest over fear in tackling the reading, writing or discussion of literary works. It is never too early to introduce children to language tools such as metaphor, simile, personification, hyperbole, etc. Children…
sixteen years of age, they are given an aptitude test to help them decide which faction they will live in for their rest of their lives. Those who choose to leave their own factions are free to do so but must pledge loyalty to that faction of their own family. The idea is sound with each faction teaching and cultivating the traits necessary for their functions, but the reality is jealousy and fighting among the factions.
Beatrice is a sixteen-year-old member of the Abnegation faction as the story…
Course Outline for ESL 25 ADVANCED READING AND COMPOSITION I. CATALOG DESCRIPTION ESL 25 -- Advanced Reading and Composition -- 5 units This is the second semester of a one-year reading and writing course for academic purposes. Emphasis is on critical reading and techniques of exposition, analysis and argumentation. Prerequisite ESL 24 or an appropriate skill level demonstrated through the ESL assessment process. 5 hours. II. NUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT One III. PREREQUISITE SKILLS…