Response for discussion Board
LOGOS, PATHOS, ETHOS
Jonathan Perkins:
a) Which of these do the men use predominantly?
The men use Logos, you can tell from the beginning that the men had an idea and was sure who
the killer was and was using logical thinking when they said " Well, can you beat the women!
Held for murder and worryin' about her preserves".
b) Which do the women use predominantly?
The women use Pathos, they keep sympathizing and saying how hard it must have been “If
there'd been years and years of nothing, then a bird to sing to you, it would be awful—still, after
the bird was still.”
Brandis Martinez:
THEME
Theme is the message that the author hopes to communicate through her writing. What do you
think Glaspell wanted to communicate? Write a sentence you think sups up the theme. The
sentence can be a quote from the play or your own statement. Comment on the
sentence/statement.
I believe the message the author is trying to communicate is domestic abuse; how one thing leads
to another and how much Mrs. Wright took from her husband ... The Bird and birdcage
symbolizes their what happened. Mrs. Wright loved to sing and he killed that. She got herself a
bird, and Mr. Wright went on and killed it by choking it to death. This lead Mrs. Wright to her
breaking point of killing her husband the same way he had killed the bird.
Jean Borg:
SETTING
Setting includes time, place and mood. Please answer each question with a supporting quote
from the play and your own comment for each
a) Time: When was the play written, and what time period does it describe? How do you know
this?
The play was written in the early 1900’s during a time which inequality was very prevalent and a
woman’s place was at home. Everyone did not have a phone in their home which was very
common back then.
b) Place: Where does the play take place in the house and in what state? How do you know this?
The play takes place in a farmhouse in Dickson County in the state of Nebraska. In the
following quote “I knew you could get back from Omaha by today and as long as I went over
everything here myself.” It states Omaha which is in Nebraska.
c) Mood: What is the emotional mood of the play? How do you know this?
The mood of the play is one of sadness in which it shows what a difficult life Mrs. Wright lived
which turned into a tragic ending for Mr. Wright but maybe no so tragic for Mrs. Wright.
Brandis Martinez:
RE: HOUSEHOLD ITEMS
Please show the significance of each item by quoting 2-3 sentences from the text in which they
appear. Then give your interpretation of why these items are significant or symbolic in the play,
why they represent more than just an item:
1. in the kitchen
a) dirty towels: I would say that means Mrs. Wright was not a clean person. Also, just because it
is a farm did not mean it was too much for her to do since County Attorney said: "Dirty towels!
(kick his foot against the pans under the sink) Not much of a housekeeper, would you say,
ladies?
AND ALSO
County Attorney: "To be sure. And yet I know there are some Dickson county farmhouses which
do not have such roller towels.
b) frozen fruit: Mrs. Peters: "(to the other woman) Oh, her fruit; it did freeze, (to the lawyer) She
worried about that when it turned so cold. She said the fire'd go out and her jars would break.
This means she was at the kitchen at the time of her arrest. It also means she worries more about
her fruits than the actual situation going on.
c) messy pans, etc: County Attorney: (kicks his foot against the pans under the sink)
AND County Attorney: "No - its not cheerful. I shouldn't say she had the homemaking instinct".
The kitchen was just a total mess. She was not being a housewife at all.
2. bird and birdcage: The bird and birdcage symbolizes Mr. And Mrs. Wright relationship. The
Birdcage represents Mrs. Wright feeling trapped. The dead bird represents Mr. Wright and also
their marriage now being dead as well.
3. quilt and knot: "Well ladies, do you think she was going to quilt or knot it?" "We think she
was going to - knot it".
Jonathan Perkins:
RE: FEMALE CHARACTERS
Mrs. Wright:
She was bothered and confused. It showed when the quilt was found not neat and out of wack.
Mrs. Hale:
She shows sympathy she feels for Mrs. Wright sometimes by blaming her self for not coming
around when she should of.
Mrs. Peters:
she is observant she doesn't blow up over things she, down plays things and keeps cool but still
keeps in mind the significance of things.
Michael Lukashin:
RE: MALE CHARACTERS
Mr. Wright was a stern man and possibly an abusive one. His wife, Mrs. Wright, used to sing
and now she didn't sing anymore because of her husband. This shows he might have been
abusive and very strict and controlling of his wife.
Mr. Hale was a good friend of Mr. Wright. He was there and wanted to talk to Mr. Wright the
day of his murder, and was horrified finding out about his death.
Mr. Peters. is the sheriff. He is the man who figures out what happens during murder, stealing,
and any other broken laws. His job is to keep his town safe and to solve the crimes.
Mr Henderson is the attorney. He is a devoted man, and his job is to keep people safe and like
Mr. Peters, his job is to figure out the crimes committed like the death of Mr. Wright.
RHETORICAL STRATEGIES: LOGOS, PATHOS, ETHOS
There are three types of rhetorical appeals, or persuasive strategies, used in arguments to support
claims and respond to opposing arguments. A good argument will generally use a combination of
all three appeals to make its case.
Logos
Logos or the appeal to reason relies on logic or reason. Logos often depends on the use of
inductive or deductive reasoning.
Inductive reasoning takes a specific representative case or facts and then draws generalizations
or conclusions from them. Inductive reasoning must be based on a sufficient amount of reliable
evidence. In other words, the facts you draw on must fairly represent the larger situation or
population. Example:
Fair trade agreements have raised the quality of life for coffee producers, so fair trade
agreements could be used to help other farmers as well.
In this example the specific case of fair trade agreements with coffee producers is being used as
the starting point for the claim. Because these agreements have worked the author concludes that
it could work for other farmers as well.
Deductive reasoning begins with a generalization and then applies it to a specific case. The
generalization you start with must have been based on a sufficient amount of reliable evidence.
Example:
Genetically modified seeds have caused poverty, hunger, and a decline in bio-diversity
everywhere they have been introduced, so there is no reason the same thing will not occur when
genetically modified corn seeds are introduced in Mexico.
In this example the author starts with a large claim, that genetically modified seeds have been
problematic everywhere, and from this draws the more localized or specific conclusion that
Mexico will be affected in the same way.
Avoid Logical Fallacies
These are some common errors in reasoning that will undermine the logic of your argument.
Also, watch out for these slips in other people's arguments.
Slippery slope: This is a conclusion based on the premise that if A happens, then eventually
through a series of small steps, through B, C,..., X, Y, Z will happen, too, basically equating A
and Z. So, if we don't want Z to occur A must not be allowed to occur either. Example:
If we ban Hummers because they are bad for the environment eventually the government will
ban all cars, so we should not ban Hummers.
In this example the author is equating banning Hummers with banning all cars, which is not the
same thing.
Hasty Generalization: This is a conclusion based on insufficient or biased evidence. In other
words, you are rushing to a conclusion before you have all the relevant facts. Example:
Even though it's only the first day, I can tell this is going to be a boring course.
In this example the author is basing their evaluation of the entire course on only one class, and
on the first day which is notoriously boring and full of housekeeping tasks for most courses. To
make a fair and reasonable evaluation the author must attend several classes, and possibly even
examine the textbook, talk to the professor, or talk to others who have previously finished the
course in order to have sufficient evidence to base a conclusion on.
Post hoc ergo propter hoc: This is a conclusion that assumes that if 'A' occurred after 'B' then
'B' must have caused 'A.' Example:
I drank bottled water and now I am sick, so the water must have made me sick.
In this example the author assumes that if one event chronologically follows another the first
event must have caused the second. But the illness could have been caused by the burrito the
night before, a flu bug that had been working on the body for days, or a chemical spill across
campus. There is no reason, without more evidence, to assume the water caused the person to be
sick.
Genetic Fallacy: A conclusion is based on an argument that the origins of a person, idea,
institute, or theory determine its character, nature, or worth. Example:
The Volkswagen Beetle is an evil car because it was originally designed by Hitler's army.
In this example the author is equating the character of a car with the character of the people who
built the car.
Begging the Claim: The conclusion that the writer should prove is validated within the claim.
Example:
Filthy and polluting coal should be banned.
Arguing that coal pollutes the earth and thus should be banned would be logical. But the very
conclusion that should be proved, that coal causes enough pollution to warrant banning its use, is
already assumed in the claim by referring to it as "filthy and polluting."
Circular Argument: This restates the argument rather than actually proving it. Example:
George Bush is a good communicator because he speaks effectively.
In this example the conclusion that Bush is a "good communicator" and the evidence used to
prove it "he speaks effectively" are basically the same idea. Specific evidence such as using
everyday language, breaking down complex problems, or illustrating his points with humorous
stories would be needed to prove either half of the sentence.
Either/or: This is a conclusion that oversimplifies the argument by reducing it to only two sides
or choices. Example:
We can either stop using cars or destroy the earth.
In this example where two choices are presented as the only options, yet the author ignores a
range of choices in between such as developing cleaner technology, car sharing systems for
necessities and emergencies, or better community planning to discourage daily driving.
Ad hominem: This is an attack on the character of a person rather than their opinions or
arguments. Example:
Green Peace's strategies aren't effective because they are all dirty, lazy hippies.
In this example the author doesn't even name particular strategies Green Peace has suggested,
much less evaluate those strategies on their merits. Instead, the author attacks the characters of
the individuals in the group.
Ad populum: This is an emotional appeal that speaks to positive (such as patriotism, religion,
democracy) or negative (such as terrorism or fascism) concepts rather than the real issue at hand.
Example:
If you were a true American you would support the rights of people to choose whatever vehicle
they want.
In this example the author equates being a "true American," a concept that people want to be
associated with, particularly in a time of war, with allowing people to buy any vehicle they want
even though there is no inherent connection between the two.
Red Herring: This is a diversionary tactic that avoids the key issues, often by avoiding opposing
arguments rather than addressing them. Example:
The level of mercury in seafood may be unsafe, but what will fishers do to support their families.
In this example the author switches the discussion away from the safety of the food and talks
instead about an economic issue, the livelihood of those catching fish. While one issue may
effect the other, it does not mean we should ignore possible safety issues because of possible
economic consequences to a few individuals.
Ethos
Ethos or the ethical appeal is based on the character, credibility, or reliability of the writer. There
are many ways to establish good character and credibility as an author:
• Use only credible, reliable sources to build your argument and cite those
sources properly.
• Respect the reader by stating the opposing position accurately.
• Establish common ground with your audience. Most of the time, this can be
done by acknowledging values and beliefs shared by those on both sides of the
argument.
• If appropriate for the assignment, disclose why you are interested in this topic
or what personal experiences you have had with the topic.
• Organize your argument in a logical, easy to follow manner. You can use the
Toulmin method of logic or a simple pattern such as chronological order, most
general to most detailed example, earliest to most recent example, etc.
• Proofread the argument. Too many careless grammar mistakes cast doubt on
your character as a writer.
Pathos
Pathos, or emotional appeal, appeals to an audience's needs, values, and emotional sensibilities.
Argument emphasizes reason, but used properly there is often a place for emotion as well.
Emotional appeals can use sources such as interviews and individual stories to paint a more
legitimate and moving picture of reality or illuminate the truth. For example, telling the story of a
single child who has been abused may make for a more persuasive argument than simply the
number of children abused each year because it would give a human face to the numbers.
Only use an emotional appeal if it truly supports the claim you are making, not as a way to
distract from the real issues of debate. An argument should never use emotion to misrepresent
the topic or frighten people.
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TRIFLES
a
play in one-act
by Susan Glaspell
The following one-act play is
reprinted from Trifles. Susan
Glaspell.
New York: Frank Shay,
1916. It is now in
the public domain
and may therefore be performed
without royalties.
CHARACTERS
GEORGE
Attorney
HENDERSON,
County
HENRY
LEWIS
farmer
PETERS,
HALE, A
MRS.
PETERS
MRS.
HALE
Sheriff
neighboring
[The
kitchen in the now
abandoned farmhouse of JOHN WRIGHT, a
gloomy kitchen,
and left without having been put in
order—unwashed
pans under the sink, a
loaf
of bread outside the bread-box, a dish-towel on
the table—other
signs of incompleted work. At the rear the
outer door
opens and the
SHERIFF comes in
followed by the COUNTY ATTORNEY
and HALE. The SHERIFF
and HALE are men in middle life,
the
COUNTY ATTORNEY is a young man; all
are
much bundled up
and go at once to the stove. They are followed by the
two women—the
SHERIFF's wife first; she is
a slight wiry woman, a thin
nervous
face.
MRS HALE is larger and would ordinarily be called
more
comfortable looking, but she is disturbed now and looks fearfully
about
as she enters. The women have come in
slowly, and stand close
together
near the
door.]
COUNTY ATTORNEY: (rubbing
the
fire, ladies.
MRS PETERS: (after taking a
his hands) This feels good. Come up to
step forward) I'm not—cold.
SHERIFF: (unbuttoning his
overcoat and stepping away from the
stove
as if to mark the beginning of
official
business) Now, Mr Hale,
before we move things about, you
explain to Mr Henderson just what you
saw
when you came here yesterday
morning.
COUNTY ATTORNEY: By the way,
things just
as you left them yesterday?
has anything been moved? Are
SHERIFF: (looking about)
It's just the same. When it dropped
below
zero last night I thought I'd
better send
Frank out this morning to
make a fire for us—no use getting
pneumonia with a big case on, but I
told
him not to touch anything except
the
stove—and you know Frank.
COUNTY ATTORNEY: Somebody
should have been left here yesterday.
SHERIFF: Oh—yesterday. When I
had to send Frank to Morris Center
for
that man who went crazy—I want you
to know
I had my hands full
yesterday. I knew you could get back from
Omaha by today and as long as I
went over
everything here myself—
COUNTY ATTORNEY: Well, Mr
you
came here yesterday morning.
Hale, tell just what happened when
HALE: Harry and I had started
to town with a load of potatoes. We
came
along the road from my place and
as I got
here I said, I'm going to
see if I can't get John Wright to go
in with me on a party telephone.' I
spoke
to Wright about it once before
and he put
me off, saying folks
talked too much anyway, and all he asked
was peace and quiet—I guess
you know about
how much he talked himself;
but I thought
maybe if I
went to the house and talked about it before his
wife, though I said to Harry
that I didn't
know as what his wife wanted
made much
difference to
John—
COUNTY ATTORNEY: Let's talk about
talk
about that, but tell now just what
house.
that later, Mr Hale. I do want to
happened when you got to the
HALE: I didn't hear or see
anything; I knocked at the door, and still
it
was all quiet inside. I
knew they must
be up, it was past eight o'clock. So I
knocked again, and
I thought I heard somebody say, 'Come in.'
I wasn't
sure, I'm not sure
yet, but I
opened the door—this door (indicating the door
by which the
two women are still standing) and there in
that rocker—
(pointing
to it) sat Mrs
Wright.
[They all
look at the
rocker.]
COUNTY ATTORNEY: What—was she
HALE: She was rockin' back and
and
was kind of—pleating it.
doing?
forth. She had her apron in her hand
COUNTY ATTORNEY: And how did
she—look?
HALE: Well, she looked queer.
COUNTY ATTORNEY: How do you
HALE: Well, as if she didn't
And
kind of done up.
mean—queer?
know what she was going to do next.
COUNTY ATTORNEY: How did she
seem to feel about your coming?
HALE: Why, I don't think she
minded—one way or other. She didn't
pay
much attention. I said, 'How do,
Mrs
Wright it's cold, ain't it?' And
she said, 'Is it?'—and went on kind
of pleating at her apron. Well, I
was
surprised; she didn't ask me to
come up to
the stove, or to set down,
but just sat there, not even
looking at me, so I said, 'I want to see
John.'
And then she—laughed. I
guess you
would call it a laugh. I thought of
Harry and the team outside,
so I said a little sharp: 'Can't I see
John?'
'No', she says, kind o'
dull like.
'Ain't he home?' says I. 'Yes', says she, 'he's
home'. 'Then
why can't I see him?' I asked her, out of
patience. ''Cause
he's dead',
says she.
'Dead?' says I. She just nodded her head, not getting a
bit
excited, but rockin' back and forth.
'Why—where is he?' says I,
not
knowing
what to say. She just pointed upstairs—like that
(himself
pointing to the room above) I got up, with
the idea of going
up
there. I walked from
there to here—then I says, 'Why, what did he
die
of?' 'He died of a rope round his neck',
says she, and just went
on
pleatin' at her
apron. Well, I went out and called Harry. I thought
I
might—need help. We went upstairs and
there he was lyin'—
COUNTY ATTORNEY: I think I'd
rather have you go into that
upstairs,
where you can point it all out.
Just go on
now with the rest of
the story.
HALE: Well, my first thought
was to get that rope off. It looked ...
(stops,
his face twitches)
... but Harry, he went
up to him, and he said,
'No, he's dead all right,
and we'd better not touch anything.' So we
went
back down stairs. She was
still
sitting that same way. 'Has anybody been
notified?' I asked. 'No',
says she unconcerned. 'Who did this,
Mrs
Wright?' said Harry. He said it
business-like—and she stopped
pleatin' of her apron. 'I don't know', she
says. 'You don't know?' says Harry.
'No',
says she. 'Weren't you sleepin'
in the bed
with him?' says Harry.
'Yes', says she, 'but I was on the
inside'. 'Somebody slipped a rope
round
his neck and strangled him and
you didn't
wake up?' says Harry.
'I didn't wake up', she said after him.
We must 'a looked as if we didn't see
how
that could be, for after a
minute she
said, 'I sleep sound'. Harry was
going to ask her more
questions but I said maybe we ought to let
her tell
her story first to
the coroner,
or the sheriff, so Harry went fast as he could
to Rivers'
place, where there's a telephone.
COUNTY ATTORNEY: And what did
you had
gone for the coroner?
Mrs Wright do when she knew that
HALE: She moved from that
chair to this one over here (pointing to
a
small chair in the corner)
and just sat
there with her hands held
together and looking down. I got a
feeling that I ought to make
some
conversation, so I said I had come in
to
see if John wanted to put
in a telephone, and at that she started to
laugh, and then she stopped and
looked at
me—scared, (the COUNTY
ATTORNEY, who has
had his
notebook out, makes a note) I dunno, maybe
it wasn't scared. I wouldn't
like to say
it was. Soon Harry got back, and
then Dr
Lloyd came, and
you, Mr Peters, and so I guess that's all I know
that you don't.
COUNTY ATTORNEY: (looking
around) I guess we'll go
upstairs
first—and then out to the barn and
around
there, (to the
SHERIFF) You're convinced that there was
nothing that would
point to any motive.
SHERIFF: Nothing here but
nothing important here—
kitchen things.
[The COUNTY
ATTORNEY,
after again looking around the kitchen,
opens the door of a
cupboard closet. He gets up on a chair and
looks on
a shelf. Pulls his
hand away,
sticky.]
COUNTY ATTORNEY: Here's a nice
[The women
draw
mess.
nearer.]
MRS PETERS: (to the other
woman) Oh, her fruit; it did freeze, (to
the
LAWYER) She
worried about that when it
turned so cold. She said the
fire'd go out and
her jars would break.
SHERIFF: Well, can you beat
worryin'
about her preserves.
the women! Held for murder and
COUNTY ATTORNEY: I guess
before we're through she may
have
something more serious than preserves
to
worry about.
HALE: Well, women are used to
worrying over trifles.
[The two
women move a
little closer together.]
COUNTY ATTORNEY: (with the
gallantry of a young politician) And
yet,
for all their worries, what
would we do
without the ladies? (the
women do not unbend. He goes to
the sink, takes a dipperful of water
from
the pail and pouring it into a
basin,
washes his hands. Starts to
wipe them on the roller-towel, turns
it for a cleaner place) Dirty towels!
(kicks
his foot against the
pans under the sink)
Not much of a
housekeeper, would you say,
ladies?
MRS HALE: (stiffly)
There's a great deal of work to be done on a farm.
COUNTY ATTORNEY: To be sure.
And yet (with a little bow to her) I
know
there are some Dickson
county farmhouses
which do not have
such roller towels. (He gives it a
pull to expose its length again.)
MRS HALE: Those towels get
dirty awful quick. Men's hands
aren't
always as clean as they might be.
COUNTY ATTORNEY: Ah, loyal to
Wright
were neighbors. I suppose you
your sex, I see. But you and Mrs
were
friends, too.
MRS HALE: (shaking her
head) I've not seen much of her of late years. I've
not been in this
house—it's more than a year.
COUNTY ATTORNEY: And why was that?
You didn't like her?
MRS HALE: I liked her all well
enough. Farmers' wives have their
hands
full, Mr Henderson. And then—
COUNTY ATTORNEY: Yes—?
MRS HALE: (looking about)
It never seemed a very cheerful place.
COUNTY ATTORNEY: No—it's not
the
homemaking instinct.
MRS HALE: Well, I don't know
cheerful. I shouldn't say she had
as Wright had, either.
COUNTY ATTORNEY: You mean that
they didn't get on very well?
MRS HALE: No, I don't mean
anything. But I don't think a place'd
be
any cheerfuller for John Wright's
being in
it.
COUNTY ATTORNEY: I'd like to
talk more of that a little later. I
want
to get the lay of things
upstairs now. (He
goes to the left, where
three steps lead to a stair
door.)
SHERIFF: I suppose anything
take in some clothes for her,
such a hurry yesterday.
Mrs Peters does'll be all right. She was
to
you know,
and a few little things. We left in
COUNTY ATTORNEY: Yes, but I
Mrs
Peters, and keep an eye out for
would like to see what you take,
anything
that might be of use to us.
MRS PETERS: Yes, Mr Henderson.
[The women
kitchen.]
listen to
the men's steps on the stairs, then look about the
MRS HALE: I'd hate to have men
around
and criticising.
[She
arranges the pans
place.]
coming into my kitchen, snooping
under sink which the LAWYER had shoved out of
MRS PETERS: Of course it's no
more than their duty.
MRS HALE: Duty's all right,
but I guess that deputy sheriff that
came
out to make the fire might have
got a
little of this on. (gives the
roller towel a pull) Wish I'd
thought of that sooner. Seems mean to
talk
about her for not having
things slicked up
when she had to come
away in such a hurry.
MRS PETERS: (who has gone
to a small table in the left rear corner
of
the room, and lifted one end
of a towel
that covers a pan) She had bread set.
(Stands still.)
MRS HALE: (eyes fixed on a
loaf of bread beside the bread-box,
which
is on a low shelf at the other
side of the
room. Moves slowly
toward it) She was going to put this
in there, (picks up loaf, then
abruptly
drops it. In a manner of returning
to
familiar things) It's a
shame about her fruit. I wonder if it's
all gone. (gets up on the chair and
looks)
I think there's some
here that's all
right, Mrs Peters. Yes—here;
(holding it toward the
window) this is cherries, too. (looking
again) I
declare I
believe that's the only
one. (gets down, bottle in her hand. Goes
to
the sink and wipes it off on the outside) She'll
feel awful bad
after
all her hard work in
the hot weather. I remember the afternoon I put
up
my cherries last summer.
[She puts
the bottle on
the big kitchen table, center of the room. With a
sigh, is
about to sit down in the rocking-chair.
Before she is seated
realizes
what chair
it is; with a slow look at it, steps back. The chair which
she
has touched rocks back and forth.]
MRS PETERS: Well, I must get
those things from the front room closet,
(she
goes to the door at the
right, but after
looking into the other room,
steps back) You coming
with me, Mrs Hale? You could help me
carry
them.
[They go in
the other
room; reappear, MRS PETERS carrying a dress and
skirt, MRS HALE
following with a pair of shoes.]
MRS PETERS: My, it's cold in
[She puts
the clothes
there.
on the big table, and hurries to the stove.]
MRS HALE: (examining the
skirt) Wright was close. I think
maybe
that's why she kept so much to
herself.
She didn't even belong to
the Ladies Aid. I suppose she felt she
couldn't do her part, and then you
don't
enjoy things when you feel
shabby. She
used to wear pretty
clothes and be lively, when she was
Minnie Foster, one of the town
girls
singing in the choir. But that—oh,
that
was thirty years ago. This
all you was to take in?
MRS PETERS: She said she
wanted an apron. Funny thing to want,
for
there isn't much to get you
dirty in jail,
goodness knows. But I
suppose just to make her feel more
natural. She said they was in the
top
drawer in this cupboard. Yes, here.
And
then her little shawl that
always hung behind the door. (opens
stair door and looks) Yes, here it is.
[Quickly
shuts door
leading upstairs.]
MRS HALE: (abruptly moving
toward her) Mrs Peters?
MRS PETERS: Yes, Mrs Hale?
MRS HALE: Do you think she did
MRS PETERS: (in a
it?
frightened voice) Oh, I don't know.
MRS HALE: Well, I don't think
she did. Asking for an apron and
her
little shawl. Worrying about her
fruit.
MRS PETERS: (starts to
speak, glances up, where footsteps are heard in
the room above. In a low
voice) Mr Peters says it looks bad for
her. Mr
Henderson is awful
sarcastic in a
speech and he'll make fun of her sayin'
she didn't wake
up.
MRS HALE: Well, I guess John
slipping
that rope under his neck.
MRS PETERS: No, it's strange.
and
still. They say it was such
up like that.
Wright didn't wake when they was
It must have been done awful crafty
a—funny way to
kill a man, rigging it all
MRS HALE: That's just what Mr
house.
He says that's what he can't
MRS PETERS: Mr Henderson said
the
case was a motive; something to
Hale said. There was a gun in the
understand.
coming out that what was needed for
show
anger, or—sudden feeling.
MRS HALE: (who is standing
by the table) Well, I don't see any
signs
of anger around here, (she
puts her hand
on the dish towel which
lies on the table, stands looking
down at table, one half of which is
clean,
the other half messy) It's
wiped to here, (makes
a move as if to
finish work, then turns and
looks at loaf of bread outside the
breadbox.
Drops towel. In that voice
of
coming back to familiar things.) Wonder how
they are finding
things upstairs. I hope she had it a
little more red-up up
there. You
know, it
seems kind of sneaking. Locking her up in town and
then coming
out here and trying to get her own house
to turn against
her!
MRS PETERS: But Mrs Hale, the
law is the law.
MRS HALE: I s'pose 'tis, (unbuttoning
things,
Mrs Peters. You won't feel
[MRS PETERS
room, stands
takes off
her fur tippet, goes to hang it on hook at back of
looking at the under part of the small
corner table.]
MRS PETERS: She was piecing a
[She brings
her coat) Better loosen up your
them when you
go out.
the large
quilt.
sewing basket and they look at the bright pieces.]
MRS HALE: It's log cabin
pattern. Pretty, isn't it? I wonder if she
goin' to quilt it or just
knot it?
[Footsteps
followed by
have been
heard coming down the stairs. The SHERIFF enters
HALE and the COUNTY ATTORNEY.]
SHERIFF: They wonder if she
[The men
was
laugh, the
was going to quilt it or just knot it!
women look abashed.]
COUNTY ATTORNEY: (rubbing
his hands over the stove) Frank's
fire
didn't do much up there, did
it? Well,
let's go out to the barn and get
that cleared up. (The men
go outside.)
MRS HALE: (resentfully)
I don't know as there's anything so strange, our
takin' up our time with
little things while we're waiting for them
to get
the evidence. (she
sits down at the
big table smoothing out a block with
decision) I
don't see as it's anything to laugh about.
MRS PETERS: (apologetically)
important
things on their minds.
[Pulls up a
chair and
Of course they've got awful
joins MRS HALE at the table.]
MRS HALE: (examining
another block) Mrs Peters, look at this one. Here,
this is the one
she was working on, and look at the
sewing! All the rest
of it has been
so
nice and even. And look at this! It's all over the place!
Why, it
looks as if she didn't know what she was
about!
[After she
has said
this they look at each other, then start to glance back at
the
door. After an instant MRS HALE has pulled
at a knot and ripped
the
sewing.]
MRS PETERS: Oh, what are you
doing, Mrs Hale?
MRS HALE: (mildly) Just
pulling out a stitch or two that's not sewed very
good. (threading a
needle) Bad sewing always made me fidgety.
MRS PETERS: (nervously)
I don't think we ought to touch things.
MRS HALE: I'll just finish up
leaning
forward) Mrs Peters?
this end. (suddenly stopping and
MRS PETERS: Yes, Mrs Hale?
MRS HALE: What do you suppose
she was so nervous about?
MRS PETERS: Oh—I don't know. I
don't know as she was nervous. I
sometimes
sew awful queer when I'm just
tired. (MRS
HALE starts to
say something, looks at MRS PETERS, then
goes on sewing) Well I must
get these
things wrapped up. They may be
through
sooner than we
think, (putting apron and other things
together) I wonder where I can find
a
piece of paper, and string.
MRS HALE: In that cupboard,
maybe.
MRS PETERS: (looking in
cupboard) Why, here's a bird-cage, (holds it up)
Did she have
a bird, Mrs Hale?
MRS HALE: Why, I don't know
here
for so long. There was a man
cheap, but I don't know as she took
real
pretty herself.
whether she did or not—I've not been
around last
year selling canaries
one; maybe she did. She used to sing
MRS PETERS: (glancing
around) Seems funny to think of a bird here. But
she must have had
one, or why would she have a cage? I
wonder what
happened to it.
MRS HALE: I s'pose maybe the
cat got it.
MRS PETERS: No, she didn't
have a cat. She's got that feeling
some
people have about cats—being afraid
of
them. My cat got in her
room and she was real upset and asked me to
take it out.
MRS HALE: My sister Bessie was
like that. Queer, ain't it?
MRS PETERS: (examining the
broke.
One hinge is pulled apart.
MRS HALE: (looking too)
it.
cage) Why, look at this door. It's
Looks as if someone must have been rough with
MRS PETERS: Why, yes.
[She brings
the cage
forward and puts it on the table.]
MRS HALE: I wish if they're
about
it. I don't like this place.
MRS PETERS: But I'm awful glad
be
lonesome for me sitting here
going to find any evidence they'd be
you came with me, Mrs Hale. It would
alone.
MRS HALE: It would, wouldn't
it? (dropping her sewing) But I tell
you
what I do wish, Mrs
Peters. I wish I had
come over sometimes
when she was here. I—(looking
around the room)—wish I had.
MRS PETERS: But of course you
and
your children.
were awful busy, Mrs Hale—your house
MRS HALE: I could've come. I
stayed away because it
weren't
cheerful—and that's why I ought to have
come. I—I've never
liked this place. Maybe because it's down in a hollow
and you don't see the
road. I dunno what
it is, but it's a lonesome place
and
always was. I
wish I had come over to see Minnie Foster sometimes. I
can see now—
(shakes her head)
MRS PETERS: Well, you mustn't
we
just don't see how it is with
reproach yourself, Mrs Hale. Somehow
other folks
until—something comes up.
MRS HALE: Not having children
makes less work—but it makes a
quiet
house, and Wright out to work all
day, and
no company when he
did come in. Did you know John Wright, Mrs
Peters?
MRS PETERS: Not to know him;
a
good man.
I've seen him in town. They say he was
MRS HALE: Yes—good; he didn't
drink, and kept his word as well as
most,
I guess, and paid his debts.
But he was a
hard man, Mrs Peters.
Just to pass the time of day with him—(shivers)
Like a raw wind that gets
to the bone, (pauses,
her eye falling on the
would 'a wanted a bird. But what do you
MRS PETERS: I don't know,
[She reaches
watch it.]
over and
cage) I should
think she
suppose went with it?
unless it got sick and died.
swings the broken door, swings it again, both women
MRS HALE: You weren't raised
shakes
her head) You didn't
round here, were you? (MRS PETERS
know—her?
MRS PETERS: Not till they
brought her yesterday.
MRS HALE: She—come to think of
it, she was kind of like a
bird
herself—real sweet and pretty, but kind
of
timid and—fluttery.
How—she—did—change. (silence; then as if struck
by a happy thought
and relieved to get
back to everyday things) Tell
you what,
Mrs Peters,
why don't you take the quilt in with you? It might
take up her mind.
MRS PETERS: Why, I think
There
couldn't possibly be any
what would I take? I wonder if
[They look
in the
that's a real nice idea, Mrs Hale.
objection to it,
could there? Now, just
her patches are in here—and her things.
sewing basket.]
MRS HALE: Here's some red. I
expect this has got sewing things in it.
(brings
out a fancy box)
What a pretty box. Looks
like something
somebody would give you. Maybe
her scissors are in here. (Opens
box.
Suddenly puts her hand to her
nose) Why—(MRS
PETERS bends
nearer, then turns her face away) There's
something wrapped up in this
piece of
silk.
MRS PETERS: Why, this isn't
MRS HALE: (lifting the
[MRS PETERS
bends
her scissors.
silk) Oh, Mrs Peters—it's—
closer.]
MRS PETERS: It's the bird.
MRS HALE: (jumping up) But,
at
its neck! It's all—other side
MRS PETERS:
Mrs Peters—look at it! It's neck! Look
to.
Somebody—wrung—its—neck.
[Their eyes
meet. A
look of growing comprehension, of horror. Steps are
heard
outside. MRS HALE slips box under quilt
pieces, and sinks into
her chair.
Enter
SHERIFF and COUNTY ATTORNEY. MRS PETERS
rises.]
COUNTY ATTORNEY: (as one
turning from serious things to
little
pleasantries) Well ladies, have
you
decided whether she was going
to quilt it or knot it?
MRS PETERS: We think she was
going to—knot it.
COUNTY ATTORNEY: Well, that's
the
birdcage) Has the bird flown?
MRS HALE: (putting more
got it.
interesting, I'm sure. (seeing
quilt pieces over the box) We think the—cat
COUNTY ATTORNEY: (preoccupied)
[MRS HALE
glances in a
MRS PETERS: Well, not now.
They
leave.
Is there a cat?
quick covert way at MRS PETERS.]
They're superstitious, you know.
COUNTY ATTORNEY: (to
SHERIFF PETERS, continuing an interrupted
conversation) No sign at
all of anyone having come from the
outside.
Their own rope. Now let's go
up
again and go over it piece by piece. (they
start upstairs) It
would have to have been someone who knew
just the—
[MRS PETERS
sits down.
The two women sit there not looking at one
another, but as if
peering into something and at the same
time holding
back. When they talk
now it
is in the manner of feeling their way over
strange ground, as if
afraid of what they are saying, but as if
they can
not help saying it.]
MRS HALE: She liked the bird.
pretty
box.
She was going to bury it in that
MRS PETERS: (in a whisper)
When I was a girl—my kitten—there was
a
boy took a hatchet, and before my
eyes—and
before I could get
there—(covers her face an instant) If
they hadn't held me back I would
have—(catches
herself, looks upstairs
where steps are
heard, falters
weakly)—hurt him.
MRS HALE: (with a slow look
around her) I wonder how it would
seem
never to have had any children
around,
(pause) No, Wright
wouldn't like the bird—a thing that sang.
She used to sing. He killed that,
too.
MRS PETERS: (moving
uneasily) We don't know who killed the bird.
MRS HALE: I knew John Wright.
MRS PETERS: It was an awful
thing was done in this house that
night,
Mrs Hale. Killing a man while he
slept,
slipping a rope around
his neck that choked the life out of him.
MRS HALE: His neck. Choked the
[Her hand
goes out and
life out of him.
rests on the bird-cage.]
MRS PETERS: (with rising
We
don't know.
voice) We don't know who killed him.
MRS HALE: (her own feeling
and
years of nothing, then a
still, after the bird was still.
not interrupted) If there'd been years
bird to sing to
you, it would be awful—
MRS PETERS: (something
When we homesteaded in
two years old, and me with no
MRS HALE: (moving) How
looking for the evidence?
within her speaking) I know what stillness is.
Dakota, and my first baby died—after he
was
other
then—
soon do you suppose they'll be through,
MRS PETERS: I know what
stillness is. (pulling herself back) The law has
got to punish
crime, Mrs Hale.
MRS HALE: (not as if
answering that) I wish you'd seen Minnie Foster
when she wore a white
dress with blue ribbons and stood up there
in the
choir and sang. (a
look around the
room) Oh, I wish I'd come over here
once in a while!
That was a crime! That was a crime! Who's
going to
punish that?
MRS PETERS: (looking
upstairs) We mustn't—take on.
MRS HALE: I might have known
can
be—for women. I tell you, it's
she needed help! I know how things
queer, Mrs
Peters. We live close
together and we live far apart. We all
go through the same things—it's all
just a
different kind of the same
thing, (brushes
her eyes, noticing the
bottle of fruit, reaches out
for it) If I was you, I wouldn't tell her
her
fruit was gone. Tell
her it ain't.
Tell her it's all right. Take this in to prove it
to her.
She—she may never know whether it was
broke or not.
MRS PETERS: (takes the
bottle, looks about for something to wrap it in;
takes petticoat from the
clothes brought from the other room,
very
nervously begins winding this
around the
bottle. In a false voice)
My, it's a good thing the men
couldn't hear us. Wouldn't they just
laugh!
Getting all stirred up over a
little thing like a—dead canary. As if that could
have anything to do
with—with—wouldn't they laugh!
[The men
are heard
coming down stairs.]
MRS HALE: (under her
breath) Maybe they would—maybe they wouldn't.
COUNTY ATTORNEY: No, Peters,
it's all perfectly clear except a
reason
for doing it. But you know
juries when it
comes to women. If
there was some definite thing.
Something to show—something to make
a
story about—a thing that would
connect up
with this strange way of
doing it—
[The
women's eyes meet
HALE: Well, I've got the team
for an instant. Enter HALE from outer door.]
around. Pretty cold out there.
COUNTY ATTORNEY: I'm going to
stay here a while by myself, (to
the
SHERIFF) You can send Frank
out for me,
can't you? I want to go
over everything. I'm not satisfied
that we can't do better.
SHERIFF: Do you want to see what
[The LAWYER
goes to the
Mrs Peters is going to take in?
table, picks up the apron, laughs.]
COUNTY ATTORNEY: Oh, I guess
they're not very dangerous things
the
ladies have picked out. (Moves a
few
things about, disturbing the
quilt pieces which cover the box. Steps
back) No, Mrs Peters doesn't
need
supervising. For that matter, a
sheriff's
wife is married to the law.
Ever think of it that way, Mrs
Peters?
MRS PETERS: Not—just that way.
SHERIFF: (chuckling)
Married to the law. (moves toward the other room) I
just want you
to come in here a minute, George. We ought
to take a
look at these
windows.
COUNTY ATTORNEY:
SHERIFF: We'll be right out,
(scoffingly) Oh, windows!
Mr Hale.
[HALE goes
outside. The
SHERIFF follows the COUNTY ATTORNEY
into the other room. Then
MRS HALE rises, hands tight
together,
looking intensely at MRS PETERS,
whose
eyes make a slow
turn, finally meeting MRS HALE's. A moment MRS
HALE holds her, then
her own eyes point
the way to where the box is
concealed.
Suddenly
MRS PETERS throws back quilt pieces and tries to put
the box in the bag
she is wearing. It is too big. She opens box, starts
to take bird out, cannot
touch it, goes to
pieces, stands there helpless.
Sound of a
knob turning
in the other room. MRS HALE snatches the box and
puts it in the pocket of
her big coat.
Enter COUNTY ATTORNEY and
SHERIFF.]
COUNTY ATTORNEY: (facetiously)
Well, Henry, at least we found out
that
she was not going to quilt it.
She was
going to—what is it you call
it, ladies?
MRS HALE: (her hand against
Mr
Henderson.
CURTAIN
her pocket) We call it—knot it,
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