Students use Library of Congress primary sources to examine the lives of migrant workers in California during the Great Depression.
This collection uses primary sources to explore John Steinbeck's novel, The Grapes of Wrath. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
This activity emphasizes the importance of teaching reading and writing strategies for students to use with informational text.
Address--Bromley & Co. Box 4265 New York City.|There is a later state of this print in the Library of Congress with the full title and imprint, PC/US - 1864.B8687, no. 1a (B size). See American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-37.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)
This activity can be used after reading Chapter 5 of The Great Gatsby. Listening and watching the video for Lana Del Rey's song, and title track for the film, students will dig deep into the lyrics of the song identifying figurative language, draw connections between the lyrics of the song and direct quotes from the text, and have meaningful discussion about point-of-view and symbolism in the video. Guaranteed to engage students and make valuable text to text connections!
An imaginative and elaborate parody on the upcoming 1844 presidential campaign. The artist favors Whig nominee-apparent Henry Clay and is highly critical of incumbent John Tyler. The "chase" for the presidency leads to the White House (upper left) where Robert Tyler arouses his sleeping father saying, "Come wake up old Sampson, the Philistines are upon you!" President Tyler replies with a yawn: "Why Bobby my Pippin! I do believe I've been asleep! no matter I'm the People's favorite and belong to no Party. They will reelect me! If they don't I'll veto the whole concern d--n me!" His statement and the presence of a "Veto" paper on his desk allude to his liberal use of the presidential refusal to stymie Whig congressional efforts to establish a National Bank. In Robert Tyler's pocket is a scroll "Irish Repeal," referring to his support of that international movement. Approaching the steps of the White House, riding a beast which is half-horse and half-alligator (a mythical animal associated in popular lore with Clay's Kentucky), is Henry Clay. He exclaims triumphantly, "Hurrah! Old Kentuck will distance them all yet, and then the views of the lamented Harrisson will be carried out in full, and treachery will meet its reward." The sun rises behind him and an eagle with a streamer reading "E pluribus unum" flies ahead. Clay is followed by South Carolina Democrat John Calhoun, who remarks, "My old nullification Coota Turtle is rather a slow Coach! I am afraid he won't get out of this Clay Bank!" Taking the lower road (in keeping with his reputation for intrigue) is Martin Van Buren, riding a fox and exclaiming, "Confound Calhoun! He is right in my way! I'll take a short cut and though the path is crooked and rather dirty, I don't care so that I get in." Van Buren was derisively nicknamed "the Kinderhook fox." On the same path are two more presidential aspirants, James K. Polk(?) and Richard M. Johnson. The first, sitting on a donkey and waving a club, yells, "I'am an Old Soldier, but I shall never get in unless I can turn this Donkeys head the right way." Johnson, who has fallen off his horse, exclaims, "My old amalgamation Nag has got the blind staggers! and I can stump it no longer!" "Amalgamation" was common parlance for the melding of races, more specifically referring here to Johnson's common-law marriage and offspring with a mulatto woman, Julia Chinn. Off to the right, Massachusetts senator Daniel Webster sits by an open fire, cooking a cauldron of "Chowder" (a staple of his native New England), vowing, "I shant leave my Chowder! unless my country calls me." Behind him on horseback is Gen. Winfield Scott who calls over to War of 1812 Commodore Charles Stewart, seated in a boat on a lake, "Odds bullets and bayonets! I don't care about being President but if my friends insist upon it I'll serve! I say Commodore, cant you or I get in by a Coup-de-main!" Stewart replies, "I think not General! so I'll haul my wind! I am better fitted to govern the helm of old Ironsides than the helm of State." In the lower right corner, a man (possibly Supreme Court Justice John McLean) falls head first down an incline, saying, "If I thought I had a drop of Democratic blood in my veins I would let it out."|Entered . . . 1843 by H.R. Robinson.|H.R. Robinson 142 Nassau St. Lithy. in all its branches.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 72.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1843-8.
An anti-Lincoln satire, showing the Republican incumbent and his supporters menaced by giant "Copperheads" (Peace Democrats). After a speech on May 1, 1863, asserting that the Civil War was being fought to free blacks and enslave whites, not to save the Union, Clement Laird Vallandigham, leader of the "Copperheads," was arrested and tried for treason. He had defied Union general Ambrose E. Burnside's General Order No. 38, that "the habit of declaring sympathies for the enemy [would] no longer be tolerated" and that offenders would be punished by military procedure. Bowing to Vallandigham's widespread public support, Lincoln reduced the severity of his sentence from imprisonment to banishment behind Confederate lines. Here, three huge copperheads pursue Lincoln, who tears a piece of paper "Constitution & the Union as it was." A fourth snake curls around in front of him. The quotation is from a speech given by Vallandigham in May 1862: "To maintain the Constitution as it is and to restore the Union as it was." Lincoln, who is barefoot and in backwoods dress, drops a paper that reads, "New Black Constitution [signed] A. L. & Co." One of the snakes says, "If you cant read that document drop it." Two others hiss, "Hit him again," and "Ah, you cuss. I thought you had a little nigger on the brain." Lincoln calls to two freedmen who follow him, "Go back to your master, dont think you are free because you are emancipated," but they implore, "Fadderrrr Abrum" and "Take us to your Bussum." A minuscule black man who has fallen from inside Lincoln's hat cries, "Ise going back to de sile." At far left Burnside, who holds a flaming torch, is being choked by a snake representing Vallandigham. The significance of the torch is unclear, although it resembles the lanterns of the Wide-Awakes, active in Lincoln's 1860 presidential campaign. Burnside begs, "Oh, dear Clement you are hugging too tight." Vallandigham responds, "Look here if you think to Burn-my Side you will get foiled." Below, a snake eating a black man comments, "I say, Clement, Shriekers go good Down with him." At right a skeleton has just risen from the grave of abolitionist martyr John Brown, whose tombstone is inscribed "Hung in Virginia by Wise [i.e., Virginia governor Henry A. Wise]." On the ground are the words "Removed to No. 7 Hell Gate." The skeleton is exhorted by Satan, ". . . the Devil is to pay come get up and take your share." The skeleton responds, "Sure enough. Come Father let us start for Canada where it is colder." The "What-is-it" of the title refers to a deformed African man recently featured at P. T. Barnum's Museum on Broadway. (See also "An Heir to the Throne, or the Next Republican Candidate.," no. 1860-33.) |Entered . . . 1863 by E.W.T. Nichols . . . Mass.|The Library's impression of the work was deposited for copyright on June 30, 1863.|Title appears as it is written on the item.|Weitenkampf, p. 138.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-8.
Driving question:What is the most irrelevant theme to today's modern society from The Great Gatsby?Purpose:1. Students to think critically and analytically.2. Students to gain a more in-depth understanding of how to find themes within texts and be able to have a deeper connection with modern society. Standards: 1) 9-10. RL. 2.2: Analyze in detail the development of two or more themes or central ideas over the course of a work of literature, including how they emerge and are shaped and refined by specific details.2) 9-10.RN.4.3: Analyze seminal U.S. and world documents of historical and literacy significance, including how they address related themes and concepts. Grabbers: To show clips from the movie to highlight themes that will be assigned to students. These clips can be used as evidence for the students projects (video clips are in teacher materials tab).https://www.youtube.com/watch?v=jKs6tUxVC7M - Morals and American Dreamhttps://www.youtube.com/watch?v=jqA1ISMJJQY - Society and Class or Moralshttps://www.youtube.com/watch?v=uyZrLD_fDLY - materialism and Gender Roleshttps://www.youtube.com/watch?v=yH7eRHHVGGA - materialismhttps://www.youtube.com/watch?v=TTWumSE8GXM - moralityhttps://www.youtube.com/watch?v=MCxbZ8D7N1o - gender rolesLesson Summary:After the class has read the Great Gatsby, Groups of five will be assigned one main theme from the reading and they will have to support why they think their theme is the most relevant in today’s modern society. They will find sub arguments within the text in order to support this claim and present this information through a digital presentation. Students will also be required to use direct references and quotes to defend their answer. Groups should split up the work evenly and work collaboratively. Students will present their digital presentations to the class. Students will then have a debate taking the persuasive stance on why they think their theme is the most relevant and support it through evidence from their research. After the digital presentations are turned in, presented, and each student is informed by other group's theme in detail by the presentation and challanged by debate, students will write an individual reflection on what theme they personally think is the most relevant in today's society.Lesson Narrative:Introduction: Remind students of presentation expecptations and focuses on the central question asked - What is the most irrelevant theme to today’s modern society from The Great Gatsby?Presentations: Students representing groups that support the six themes from the book, (morality, American dream, society, class, materialism, and gender roles) give presentations that are informative, descriptive, and supported with evidence from the book and other outside sources to the class. Instructor: Asks leading questions during presentations to allow students to go more in depth on their theme. Addresses any questions or misinterpretations that occurred during the presentations. Debate: Each group will then be challenged by the other students of different themes and should argue why their theme is the most relevant in today's society. Each group should respectfully address one another and challenge each others ideas and to support their own with their evidence from their presentations. Each group should work together in order to work towards the goal of being the most relevant by collaboration.Instructor: The instructor uses questions to clarify factual claims, ask for supporting evidence, include other members within the class in the debate, and connect the presentations to the discussion to broaden the understanding of each theme/side to the book and it's relevance.Debriefing: The instructor again asks the driving question. Clarifies any confusion, questions, or misinterpretations raised during the debate. Then summarizes what happened during the debate and lets the class think about other group's stance on their themes. Culminating Activity:1. Provide closure for major driving question.2. Gives the opportunity for students to be persuasive and show their understanding of the lesson. Lesson SummaryAfter researching, presenting, and discussing the central driving question mentioned before, students should be able to write an individual essay based off of previous experience with the project. The individual essay will require the students to reflect on their understanding and take from their personal opinion on what they think the most relevant issue in The Great Gatsby to today's modern society. Example of Culminating ActivityA Persuasive EssayAnswer the following question as an individual reflection from the previous lesson: What is your personal opinion on what theme from the Great Gatsby is the most relevant in today's society? Now that you have researched, presented, and discussed extensively the main 6 themes from the Great Gatsby: morality, American dream, society, class, materialism, and gender roles, pick ONE of these themes and have sub-arguments, evidence, and quotes to support your opinion. This paper should be at least 5 paragraphs long, see guidelines below. The paper should be in MLA format and cited correctly. No direct quotes should be longer than three lines. Paragraph 1: Introduction - short summary of the book, thesis Paragraph 2: Sub-argument with evidence from book, movie, class presentations, debate, and other outside sources to support this argument. Paragraph 3: Sub-argument with evidence from book, movie, class presentations, debate, and other outside sources to support this argument.Paragraph 4: Sub-argument with evidence from book, movie, class presentations, debate, and other outside sources to support this argument. Paragraph 5: Conclusion - Wrap up thoughts, restate thesis
This activity can be used after reading Chapter 5 of The Great Gatsby. Listening and watching the video for Lana Del Rey's song, and title track for the film, students will dig deep into the lyrics of the song identifying figurative language, draw connections between the lyrics of the song and direct quotes from the text, and have meaningful discussion about point-of-view and symbolism in the video. Guaranteed to engage students and make valuable text to text connections!
This collection uses primary sources to explore the Great Migration. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
Printed within image: T.J. Nicholl.|Published by The Courier Lith. Co. Bu[ffalo?]. Copyright by M. Lee.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)
A satire on Taylor administration efforts to curtail American "filibusters," armed expeditions against Cuba for the purpose of freeing the island from Spanish rule. Specific reference here is to the Navy's blockade of one such expeditionary force, which assembled on Round Island under Colonel G. W. White in early September 1849. The many puzzling references in the dialogue and imagery here aside, it is clear that the artist is also poking fun at the expansionist dreams of Americans of the time who advocated annexation of Cuba, Canada, and even parts of South America. The artist is critical as well of the current Cuban regime. On the shore of Round Island, the would-be invaders sit at a long rustic banquet table. Nearby several youths play with marbles and hoops, while two boys and a man ride a seesaw. Beyond, two men fly star-shaped kites which read "Cuba" and "Canada." The table is set with food, apparently taken from two large baskets at right. Several of the banqueters toast, "The Queen of Slave Traders!" "The Republic of Sierra Madre!" and "Venezuela! St Domingo! and Yucatan!" A man at the head of the table, holding a "N.Y. Express Proclamation" (perhaps Zachary Taylor's 1848 proclamation denouncing the expedition) addresses them, "You should thank us ye Pirates and Robbers of Cuba for saving you from [Spanish governor of Cuba Federico] Roncali's Garrote." One of the diners protests, "We are no Pirates! we dont kidnap people from the United States nor from Africa" (a reference to the Cuban government's alleged abduction of Juan Francisco Garcia y Rey from New Orleans in July 1848 and to Cuba's slave trade). Offshore are several boats, including a U.S. naval frigate with the words "Nine Millions a year" emblazoned on its sail and a small sloop. A man in the sloop calls out to the frigate, "Help! Help! dont let Roncali trample on your laws." The man is former Havana jailer Juan Francisco Garcia y Rey, now held by the Spanish government for freeing Cuban revolutionaries. Garcia y Rey had appealed for help to the American government, on the basis of his illegal abduction by the Spanish consul. To his call comes the response, "We dont care for the laws we are reaping laurels. Mr. Rey." Others on deck on the American ship converse, saying, "This is as safe and more glorious than Tampico" and "La Cronica will let the Negroes loose upon those who escape from the proclamation."|Probably published in New York.|Title appears as it is written on the item.|Weitenkampf, p. 100.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1849-5.
The strongly racist character of the Democratic presidential campaign of 1868 is displayed full-blown in this elaborate attack on Reconstruction and Republican support of Negro rights. Horses with the heads of Democratic candidate Horatio Seymour and running mate Francis P. Blair, Jr., pull a fine, ornate carriage in a race with a rude wagon drawn by asses with the heads of Republican candidates Ulysses S. Grant and Schuyler Colfax. The Democratic carriage pulls ahead in the race, heading toward a cheering crowd and a series of floral arches held by young maidens. The U.S. Capitol is visible beyond. In the carriage are four allegorical figures: Liberty, holding the Constitution and a banner which reads "Our Glorious Union Dü_üąistinct, like the Billows, One, Like the Sea' This is a White Man's Government!"; Navigation, holding a miniature ship; Agriculture, holding sheaves of wheat and a scythe; and Labor, represented by a bearded man with a hammer and flywheel. In contrast to the Democratic vehicle, the Republican wagon has stalled before a pile of rocks and a cemetery strewn with bones representing "100,000,000 White Lives, the Price of Nigger Freedom!" Its wheels are blocked by a large stone "Killing Taxation" and a skeleton. Other stones represent "Ruined Commerce," "$30,000,000 stolen from the Treasury," and "Negro Supremacy." In the wagon are the grim reaper, Pennsylvania representative and abolitionist Thaddeus Stevens, an unidentified man, a black woman, and an idle black man. Stevens: "Colfax pulls like the d----l but old tangleleg [i.e., Grant] aint worth a d----n! Push at the tailboard, Ben!" Massachusetts representative and former Civil War general Benjamin F. Butler, pushing the wagon from the rear, replies, "I am pushing, Thad! but we are stuck. Seymour is a mile ahead now." Silver spoons protrude from Butler's pocket. (For the origins of Butler's nickname "Silver Spoons," see "The Radical Party on a Heavy Grade," no. 1868-14.) The black woman reassures Stevens, "Don't worry you'sef, honey, or you'll peg out afore we get de paeket for Seymour's in de White House and we's good for Salt River [colloquialism for political disaster]." The black man asks, "War's dis wagon gwine wid dis member ob Congress. I'd jes like to know?" The unidentified man remarks, "The Democracy would not take me so I thought I'd come back & stick by you Uncle Thad, and we'll all go to H-ll together!" Death announces, "My friends 1,000,000 slaughtered soldiers block the wheels--you fooled them, and they now impede your progress!" At bottom right a group of bummers, a term referring to party hangers-on, carpetbaggers, and other disreputable characters, stand in line to buy tickets to Salt River. At left New York "Tribune" editor Horace Greeley invites abolitionist preacher Henry Ward Beecher to play the thimblerig. Nearby a black couple in rags express their desire to return to their former master. At top right, next to the U.S. Capitol, a group of black youths in striped outfits dance and tumble about. In the lower right margin are prices and information regarding ordering copies of the print by mail. "Price 25 cents mailed. 5 for $1.00. 60 for $10.00, 100 for $16.00. Nothing sent C.O.D. Express charges paid by Parties ordering. Address: Bromley & Co. Box 4265. New York City.|Entered . . . l868 by Bromley & Co. . . . New York|Title appears as it is written on the item.|Lorant, p. 303.|Weitenkampf, p. 157.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1868-15.
A virulent attack on the four conservative Rhode Island legislators who broke with the Law and Order Party to support a Democratic movement to free imprisoned radical Thomas Wilson Dorr. (On the Dorrite Rebellion see also "Trouble in the Spartan Ranks, Tyrants Prostrate Liberty Triumphant," and "The Four Traitors, Who Most Infamously Sold Themselves," nos. 1843-6, 1844-19, and 1845-4). The broadside's text comes from a July 1845 letter from John Whipple, a prominent Providence, R.I., Whig, assailing the "cold-blooded treachery" of Charles Jackson, Samuel F. Man, James Fowler Simmons, and Lemuel H. Arnold in their support of the "liberation" ticket in the spring elections of 1845. Whipple alleges political opportunism and personal ambition as their motive, and offers a lengthy rebuttal to aspersions cast on his own political character by Lemuel Arnold. He also compares Lemuel Arnold to Revolutionary War traitor Benedict Arnold. The woodcut illustration shows a chariot drawn by Cerberus, the three-headed hound of hell, and by a cow with the head of Thomas Wilson Dorr. Driving the chariot is a bespectacled demon with the legs of a goat. Entwined about his body is a snake, and he wields a whip and a pitchfork. The demon is probably James F. Simmons, who was elected governor on the Democrats' liberation ticket. His tail is grasped by Lemuel Arnold, who sits behind him holding a staff with a banner "Office." Behind Arnold sit three other figures: a woman (indicating the prominence of women in the Dorrite cause), a man blowing a horn (another conspirator?), and a uniformed officer, either Napoleon Bonaparte or Benedict Arnold. On the back of the chariot rides a man with a bottle in his pocket, waving a newspaper, the "Tribune," and a stovepipe hat. This may be Horace Greeley, editor of the New York "Tribune," although his usual alignment with the Whigs makes his role here questionable. Below the image are the quotations, "We stoop to Conquer" and "Better to reign in Hell than serve in Heaven" (Satan's famous remark from "Paradise Lost)." The chariot is decorated with snakes and a shield and anchor with a death's head on the central panel. The unidentified publisher of the broadside adds, in a colophon, "I have been at considerable trouble, in obtaining a drawing and engraving of "The Worthies;" and would particularly inform my friends, that I shall ever consider myself alone, personally, responsible for all that I shall publish . . . ." Although Marvin Gettleman, in his study of the Dorrite rebellion, dates the broadside March 1845, Whipple clearly states in his letter, "it is now July."|Title appears as it is written on the item.|Gettleman, p. 171n.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-5.
An animated comic scene ridiculing the Democratic and American party candidates. In the foreground is a somewhat rickety wooden "Democratic Platform," into which presidential candidate James Buchanan has just run, knocking his mount (running mate John C. Breckinridge, in the form of a buck) unconscious. Buchanan (center, dressed as a jockey) holds his right shin and curses a ragged black youth who stands laughing on the platform, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." The black youth jeers, "Ya! Ya! Ya! Why Massa Buck. Dis is de Democratic Platform, I tink I misunderstand you to Say dat you like dis Plank [. . .] in fac dat you was de Platform [. . . .]" One of the planks in the platform is labeled "Slavery," and another "Cuba," referring to the apparent proslavery and annexationist interests of the Democrats. On the far right a small boy is hoisted onto the back of a ragged, weed-chewing man with a beard. The urchin holds a flag reading, "We Po'ked em in 44, We Peirce'd em in 52 and We'll "Buck em" in 56." The bearded man looks at the child irritably and scowls, "Hello there!! are you a Fre'mounter." At left, American party candidate Millard Fillmore, riding a goose with the head of running mate Andrew Jackson Donelson and holding a "Know Nothing" lantern, cries, "I'm "All right on the Goose," and yet I dont seem to make much head way, Gentlemen you may all laugh, but if I'm not the next President the Union Will Be Disolved, The South Wont Stand It." In the background a crowd watches the race. Two men converse, saying, "Little too much Squatter Sovereignty about that Goose Fillmore?" and "A decided Curvature of the Spine, no Back Bone Sir, "All Dough" Sir, ha! ha! ha!" The majority of the spectators, however, cheer on Republican candidate John C. Fremont whose horse takes the lead at right. On an observation or judging deck nearby stands Brother Jonathan, holding what appears to be a timer's watch. The apt comic mise-en-scene and development of the minor characters here are characteristic of John L. Magee's work.|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-15.
An obscure and bizarre satire, datable only by its incidental reference to the murder of Congressman Jonathan Cilley. (See "Scene in Washington, Sunday Feby. 25. 1838" and "The New Code of Chivalry," nos. 1838-17 and -18.) The print is extremely crude, evidently the product of an amateur or a provincial press. On a small hill two men crouch on the ground near a tree or bush. From the tree grows a man holding a newspaper with the words "Coal is Coal." The third man says, "Just cover up the roots well, there, or you'll expose Me." One of the crouching men says, "I say, Chowder, let me hill up the Rohan. While you whip in the Cattle." The other is frightened by a "Bloody Hand" which appears in the sky above him. A man in a long coat and tall hat (at right) says, "The fact is, Doctor, those Cattle won't feed on Rohans. The prospects of the "Porty" look blue, If we could whip in the Miserable Conservatives, it would really be 'contholing.'" On a branch of the tree perches a bird with the head of a man, who sings "The rascally Whigs killed poor Cilley, Whit-Whit pewee!" On the left a black youth tries to hold back two "Hampton Bulls," one of which says, "Mutton and cheese." The youth says, "Hold on Massa Gineral, it be ob no use to go to dat Market." On the far right several cattle stampede their driver, who is warned by a man in shirtsleeves, "You cant drive them Cattle, no how Gid."|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-19.
Henry Clay's November 1847 address to a public meeting in Lexington, Kentucky, condemning the Polk administration's prosecution of the Mexican War and opposing the pondered annexation of all of Mexican territory is the subject of the artist's attack. Clay's speech was widely published and was endorsed by influential New York editor Horace Greeley. Here the Whig statesman's pacifism is depicted as insincere and politically motivated, and Greeley is shown as unpatriotic. A two-faced Clay hands a pair of pistols to his son Lt. Col. Henry Clay (in uniform, far left). The younger Clay was an officer in the Mexican War and was killed at Vera Cruz in February 1847. The elder Clay says, "Take these pistols, my son, & use them honorably. May they do good execution on the foes of your country." On the other side he addresses Greeley and several others, vowing, "Down with this War-making Administration! Down with the Army who rob & kill our innocent friends the Mexicans!" Greeley (center, in pale frock coat) holds a copy of his New York "Tribune," publishing Clay's speech. His reply is, "Hurra! Hurra! These are the good old days of the Hartford Convention! It warms the very bran bread in my stomach to hear thee! Glorious Harry of the West!" The Hartford Convention, held in 1815, was an early secessionist movement in the Northeast. "Bran bread" was a well-known dietary preference of Greeley's. Behind Greeley is a cadaverous man (possibly William Lloyd Garrison, editor of the "Liberator&1), who says, "This is nuts for us. Another spoke in the non-resistance wheel!" Beside him another unidentified man, wearing plaid trousers patched in several places, throws up his hands and exclaims, "Mercy on me! what shall I do? Here I have been waiting 20 years for an office under the Whigs, & old Harry has knocked us all into the shape of a three cocked Hat." On the right stands bewhiskered New York "Courier and Enquirer" editor James Watson Webb. Outraged, he raises his fist and shouts, "What the devil is this? What success can we expect when we go against the country, and trample on the ashes of our slain Heroes?" Webb, though a Whig, supported the Mexican War brought about by the Democratic Polk administration. He is told by a smaller man, "Peace, Colonel! You'll spoil all. Don't you know it is necessary to decry the war in order to make out that Scott & Taylor are doing more harm than good, and thus keep them out of the Presidential chair, which must be filled by Harry of the West. You know our case is desperate, and so Harry must do something desperate for his own sake." On the far right a carpenter holds up a wooden peg and announces, "Gentlemen, I've made a new Wooden leg for Santa Anna. You can appoint a Clay-Whig Committee to present it to him, with a suitable address." Gen. Antonio Lopez de Santa Anna, the commander of Mexican forces, had left his wooden leg behind in his retreat from the Battle of Cerro Gordo.|Entered . . . 1847 by J. Baillie.|Lith. & published by James Baillie, 87th. Str. near 3d. Avenue, N.Y.|Probably drawn by John L. Magee.|The Library's copy of the print was deposited for copyright on November 29, 1847.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1847-5.
Many books and university courses, trying to compensate for a history of the neglect or mistrust of plays as performance, use the phrase "from page to stage" to think about the dramatic possibilities of their texts. In fact, for the early modern theatre, the phrase needs to be the other way around--from stage to page. Plays were performances first, and only later, and then only sometimes, books. This section of Great Writers gathers resources--podcasts, eBooks, websites--to explore the two interconnected lives of the early modern play--as an event in time and space on the stage of the Globe or Blackfriars theatre, and as a material printed object, on sale to Elizabethan and Jacobean readers in the booksellers' quarter around St Paul's Churchyard.
We all know how important a strong vocabulary is, and let's face it, if a student wasn't an avid reader as they grew up, they probably don't have a varied vocabulary. Plus, memorizing one word at a time on a weekly list that seems to go on forever and ever can be discouraging for students who have little skill in decoding or comprehending. Studying and becoming familar with Greek and Roman roots can help students identify parts they might know in unfamilar words, and this may lead to building stronger access to higher level words more quickly.This module is designed to help the students focus on two to three roots per week through ten to fifteen words. Through the week, they are given tasks to work with the roots and develop a relationship to them so they can access them more readily when reading higher level texts. By working with antonyms, synonyms, and building sentences, students develop the ability to decode faster and comprehend more. Hopefully, this leads to stronger success in, not only the academic world, but the workplace and home life as well.
Video about group online collaboration in Social Media; Google Docs; Video Conferencing; and Virtual Worlds