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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. Copyright ©1995-2017 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use. 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, Browse Home more Plays by Susan Glaspell | Comedies | Dramas | Playwrights | Cast-Size | Monologues | Acting Scenes | One-Act Bookstore
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Response to Discussion Board
Jonathan Perkins: Response
It is true that throughout the play, men tend to use Logos in their arguments. They majorly rely
on logic to make their case. Their quest for evidence to convict Mrs. Wright demonstrates this
fact. On the other hand, women tend to be emotional in their arguments...


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