© Copyright reserved University of Pretoria 2022

ENG 210 DRAMA TEST 24/03/2022

Answer ONE of the following questions. SEE PAGES 4, 5, AND 6 FOR SUBMISSION INSTRUCTIONS.

QUESTION 1: Long Day’s Journey into Night — Eugene O’Neill

In your own words, and acknowledging any secondary sources you have used, write a detailed critical
analysis of the following extract from Long Day’s Journey into Night.

Remember to indicate features typical of O’Neill’s style. You should also comment briefly on HOW the extract
presents the strategies of self-deception/self-protection that the characters use and the gradual breaking
down of such self-deception. (NB. Do NOT tell the story.)

Your essay must not exceed 900 words. The recommended length is 600 to 800 words.

JAMIE (breaks the cracking silence — bitterly, self-defensively sardonic). The Mad Scene. Enter Ophelia!
(His father and brother both turn on him fiercely. Edmund is quicker. He slaps Jamie across the mouth with the back
of his hand.)
TYRONE (his voice trembling with suppressed fury). Good boy, Edmund. The dirty blackguard! His own mother!
JAMIE (mumbles guiltily, without resentment). All right, Kid. Had it coming. But I told you how much I’d hoped —
(He puts his hands over his face and begins to sob.)
TYRONE. I’ll kick you out in the gutter tomorrow, so help me God. (But Jamie’s sobbing breaks his anger, and he turns
and shakes his shoulder, pleading.) Jamie, for the love of God, stop it!
(Then Mary speaks, and they freeze into silence again, staring at her. She has paid no attention whatever to the
incident. It is simply a part of the familiar atmosphere of the room, a background which does not touch her
preoccupation; and she speaks aloud to herself, not to them.)
MARY. I play so badly now. I’m all out of practice. Sister Theresa will give me a dreadful scolding. She’ll tell me it isn’t
fair to my father when he spends so much money for extra lessons. She’s quite right, it isn’t fair, when he’s so
good and generous, and so proud of me. I’ll practise every day from now on. But something horrible has
happened to my hands. The fingers have gotten so stiff — (She lifts her hands to examine them with a frightened
puzzlement.) The knuckles are all swollen. They’re so ugly. I’ll have to go to the Infirmary and show Sister
Martha. (With a sweet smile of affectionate trust.) She’s old and a little cranky, but I love her just the same, and
she has things in her medicine chest that’ll cure anything. She’ll give me something to rub on my hands, and
tell me to pray to the Blessed Virgin, and they’ll be well again in no time. (She forgets her hands and comes into
the room, the wedding gown trailing on the floor. She glances around vaguely, her forehead puckered again.) Let me
see. What did I come here to find? It’s terrible, how absent-minded I’ve become. I’m always dreaming and
forgetting.
TYRONE (in a stifled voice). What’s that she’s carrying, Edmund?
EDMUND (dully). Her wedding gown, I suppose.
TYRONE. Christ! (He gets to his feet and stands directly in her path — in anguish.) Mary! Isn’t it bad enough —?
(Controlling himself — gently persuasive.) Here, let me take it, dear. You’ll only step on it and tear it and get it
dirty dragging it on the floor. Then you’d be sorry afterwards. (She lets him take it, regarding him from somewhere
far away within herself, without recognition, without either affection or animosity.)
MARY (with the shy politeness of a well-bred young girl toward an elderly gentleman who relieves her of a bundle). Thank
you. You are very kind. (She regards the wedding gown with a puzzled interest.) It’s a wedding gown. It’s very
lovely, isn’t it? (A shadow crosses her face and she looks vaguely uneasy.) I remember now. I found it in the attic
hidden in a trunk. But I don’t know what I wanted it for. I’m going to be a nun — that is, if I can only find
— (She looks around the room, her forehead puckered again.) What is it I’m looking for? I know it’s something I
lost. (She moves back from Tyrone, aware of him now only as some obstacle in her path.)
TYRONE (in hopeless appeal). Mary!

(QUESTION 1 CONTINUES ON PAGE 2.)

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 (But it cannot penetrate her preoccupation. She doesn’t seem to hear him. He gives up helplessly, shrinking into
himself, even his defensive drunkenness taken from him, leaving him sick and sober. He sinks back on his chair,
holding the wedding gown in his arms with an unconscious clumsy, protective gentleness.)
JAMIE (drops his hand from his face, his eyes on the table top. He has suddenly sobered up, too — dully). It’s no good, Papa.
(He recites from Swinburne’s “A Leave-taking” and does it well, simply but with a bitter sadness.)

“Let us rise up and part; she will not know.

Let us go seaward as the great winds go,
Full of blown sand and foam; what help is here?
There is no help, for all these things are so,
And all the world is bitter as a tear.
And how these things are, though ye strove to show,
She would not know.”

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OR

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 © Copyright reserved University of Pretoria 2022

QUESTION 2: A Streetcar Named Desire — Tennessee Williams

In your own words, and acknowledging any secondary sources you have used, write a detailed critical
analysis of the following passage from Scene 8 of Tennessee Williams’s A Streetcar Named Desire. Your
essay should focus on how the dialogue and stage directions contribute to characterisation and the escalating
conflict between Stanley Kowalski and Blanche DuBois. Your essay must not exceed 900 words. The
recommended length is 600 to 800 words.

STANLEY: Stell, it’s gonna be all right after she goes and after you’ve had the baby. It’s gonna be all right between you
and me the way that it was. You remember that way that it was? Them nights we had together? God, honey,
it’s gonna be sweet when we can make noise in the night the way that we used to and get the coloured lights
going with nobody’s sister behind the curtains to hear us!
[Their upstairs neighbours are heard in bellowing laughter at something. STANLEY chuckles.]
Steve an’ Eunice…
STELLA: Come on back in. [She returns to the kitchen and starts lighting the candles on the white cake.] Blanche?
BLANCHE: Yes. [She returns from the bedroom to the table in the kitchen.] Oh, those pretty, pretty little candles! Oh,
don’t burn them, Stella.
STELLA: I certainly will.
[STANLEY comes back in.]
BLANCHE: You ought to save them for baby’s birthdays. Oh, I hope candles are going to glow in his life and I hope
that his eyes are going to be like candles, like two blue candles lighted in a white cake!
STANLEY [sitting down]: What poetry!
BLANCHE: His Auntie knows candles aren’t safe, that candles burn out in little boys’ and girls’ eyes, or wind blows
them out and after that happens, electric light bulbs go on and you see too plainly… [She pauses reflectively for
a moment.]
[…]
STANLEY: Goddamn, it’s hot in here with the steam from the bathroom.
BLANCHE: I’ve said I was sorry three times. [The piano fades out.] I take hot baths for my nerves. Hydro-therapy, they
call it. You healthy Polack, without a nerve in your body, of course you don’t know what anxiety feels like!
STANLEY: I am not a Polack. People from Poland are Poles, not Polacks. But what I am is a one hundred per cent
American, born and raised in the greatest country on earth and proud as hell of it, so don’t ever call me a
Polack.
[…]
Sister Blanche, I’ve got a little birthday remembrance for you.
BLANCHE: Oh, have you, Stanley? I wasn’t expecting any, I — I don’t know why Stella wants to observe my birthday!
I’d much rather forget it — when you — reach twenty-seven! Well — age is a subject that you’d prefer to —
ignore!
STANLEY: Twenty-seven?
BLANCHE [quickly]: What is it? Is it for me?
[He is holding a little envelope towards her.]
STANLEY: Yes, I hope you like it!
BLANCHE: Why, why — Why, it’s a —
STANLEY: Ticket! Back to Laurel! On the Greyhound! Tuesday!
[The Varsouviana music steals in softly and continues playing. STELLA rises abruptly and turns her back.
BLANCHE tries to smile. Then she tries to laugh. Then she gives both up and springs from the table and runs into
the next room. She clutches her throat and then runs into the bathroom. Coughing, gagging sounds are heard.]

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 SUBMISSION INSTRUCTIONS
FORMAT:

1. Essays must be submitted as Microsoft Word documents.

2. Essays must be presented in 13 pt Arial, with double line spacing.
3. Essays must be submitted via Turnitin. (See details below.)

TIME FRAME:

The ClickUP essay submission link will open at 12h30 on Thursday, 24 March 2022. The link will close
at 18h30 on Thursday, 24 March 2022. The actual test duration is only 50 minutes (the standard length
of a lecture), but the submission time frame has been extended to six hours so that students with
additional time can be accommodated, and so that students who experience difficulties — like
loadshedding or computer/connectivity issues — will have sufficient time to resolve their problems.
The time frame has also been extended so that students will have the opportunity to refine their work.
ENG 210 is a second-year literature course; as such, it requires a higher standard of writing than ENG
110. STUDENTS MUST THEREFORE USE THE ADDITIONAL TIME TO EDIT AND IMPROVE THEIR
ESSAYS. Students should not, however, leave their submissions to the last minute. If too many
students try to submit at the last minute, the Turnitin system will become slow and unresponsive, and some
submissions may not upload in time. NO LATE SUBMISSIONS WILL BE ACCEPTED. It is your
responsibility to ensure you submit your work within the allocated time frame. BEFORE YOU LEAVE
YOUR COMPUTER, YOU MUST MAKE SURE OF TWO THINGS: THAT YOUR SUBMISSION HAS BEEN
CONFIRMED BY TURNITIN AND THAT YOU HAVE RECEIVED YOUR CONFIRMATION E-MAIL.

ASSISTANCE:

A DRAMA TEST EMERGENCY ROOM (live Collaborate session) will run from 12h30 to 18h30 on
Thursday, 24 March 2022. If you run into difficulties, you should join the session immediately and report
your troubles.

REFERENCING:

Because this is a test and not an assignment, you are not required to follow a complete referencing technique
or supply a bibliography. NEVERTHELESS, YOU STILL NEED TO NAME YOUR SOURCE(S). This means
that you still need to indicate when you are drawing on someone else’s work, whether you are using
your own words to convey someone else’s ideas (paraphrasing), or using someone else’s exact
words (quoting). If you are paraphrasing, you need only supply the name of the author. If you are
quoting — and using more than five consecutive words from a particular source qualifies as quoting
— you must supply the name of the author, and enclose the quoted material in quotation marks.
THESE REQUIREMENTS ALSO APPLY TO INTERNET SOURCES.

Remember that plagiarism, as the MLA Handbook defines it,

may take the form of repeating another’s sentences as your own, adopting a particularly apt phrase as your
own, paraphrasing someone else’s argument as your own, or even presenting someone else’s line of thinking
in the development of a thesis as though it were your own. In short, to plagiarise is to give the impression that
you have written or thought something that you have in fact borrowed from another. Although a writer may use
another person’s words and thoughts, they must be acknowledged as such.

PLEASE NOTE: you are permitted to refer to what your lecturer has stated during the lectures —
either verbally or in written form — without acknowledgement. But if you quote from or refer to a
secondary source your lecturer has cited, YOU TOO NEED TO ACKNOWLEDGE THAT SOURCE. You
also need to remember that, though you obviously should draw on the lecture notes, you are required
to present your own work, your own analysis. IF YOUR ESSAY CONSISTS OF NOTHING MORE THAN
CHUNKS OF TEXT TAKEN STRAIGHT FROM THE LECTURES, YOU WILL FAIL. This assessment tests
your ability to analyse a given text; it does not test your ability to cut and paste, or to take dictation.

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Bear in mind that intellectual dishonesty also extends to students submitting the same work. When
there is a strong and measurable correlation (in the form of repeated sentences and ideas given
without acknowledgement of the source) between your essay and the work of another student, or
between your essay and the work of several other students, you and all the other students involved
will be found guilty of plagiarism. It is the responsibility of students to keep their work private.

When quoting from the extract (or from elsewhere in the play), you need only use quotation marks. In other
words, you do not have to indicate that Eugene O’Neill or Tennessee Williams is the author every time.

Some examples of correct referencing:

 Paraphrasing: William Davies King points out that in Long Day’s Journey into Night the present is always
suffused with the past.
 Paraphrasing: John S. Bak indicates that Tennessee Williams’s use of music is one of his most distinctive
features as a playwright.
 Quoting: William Davies King writes that “O’Neill confines his drama to one ordinary setting, using only the
passing of day into night as an effect, and his family of characters face no outside foe, no face of modern
wickedness. If evil is to be found, it is alongside the good in each character”.
 Quoting: Arthur Miller argues that A Streetcar Named Desire “made it seem possible for the stage to express
any and all things and do so beautifully. What Streetcar’s first production did was to plant the flag of beauty on
the shores of commercial theatre”.

In this test you should apply what you learnt about quotation incorporation during the lectures on
essay-writing skills. You can revise your knowledge of quotation incorporation by consulting pages
48 to 50 of The Handbook (available on ClickUP, under “TUTORING MATERIALS & RESOURCES”).

INTEGRITY:

Take note of the rules that govern tests, assignments, and examinations at the University of Pretoria by
reading and complying with the following integrity statement:

The University of Pretoria commits itself to producing academic work of integrity. I affirm that I am aware of and
have read the Rules and Policies of the University, more specifically the Disciplinary Procedure and the Tests
and Examinations Rules, which prohibit any unethical, dishonest or improper conduct during tests, assignments,
examinations and/or any other forms of assessment. I am aware that no student or any other person may assist
or attempt to assist another student, or obtain help, or attempt to obtain help from another student or any other
person, during tests, assessments, assignments, examinations and/or any other forms of assessment.

PLAGIARISM PENALTIES:

PLEASE NOTE: as the following penalty scale makes clear, students who were found guilty of
plagiarism in 2021 and are again found guilty of plagiarism in 2022 WILL HAVE TO FACE A
DISCPLINARY INVESTIGATION. Read the full text of the University of Pretoria’s plagiarism policy
here: https://www.up.ac.za/media/shared/1/ZP_Files/s5106-19-plagiarism-prevention-policy.zp181077.pdf

DEGREE OF SERIOUSNESS 2nd YEAR, 1st INCIDENT

SERIOUS  Cancellation of mark
 No opportunity to resubmit
More than 20% of the essay is secondary material that is not  Note on student’s record
acknowledged.  Student has to attend library training
MODERATE  Cancellation of mark
 Opportunity to resubmit; the highest mark that may be
awarded is 50%
More than 10%, but less than 20% of the essay is secondary  Note on student’s record
material that is not acknowledged.  Student has to attend library training
MINOR  Warning
 Marks are subtracted
Up to 10% of the essay is secondary material that is not  Note on student’s record
acknowledged.  Student has to attend library training
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 DEGREE OF SERIOUSNESS 2nd YEAR, 2nd (AND ANY ADDITIONAL) INCIDENT
SERIOUS

More than 20% of the essay is secondary material that is not  DISCIPLINARY INVESTIGATION
acknowledged.

MODERATE

More than 10%, but less than 20% of the essay is secondary  DISCIPLINARY INVESTIGATION
material that is not acknowledged.
MINOR

Up to 10% of the essay is secondary material that is not  DISCIPLINARY INVESTIGATION

acknowledged.

SUBMITTING VIA TURNITIN:

You must access ClickUP using Google Chrome as your browser (not Internet Explorer, Mozilla Firefox,
Safari etc.). ClickUP and Turnitin are designed to work with Chrome.

PLEASE NOTE: it is your responsibility to ensure that your essay submission has been successful.
In 2021 there were students who thought they had successfully submitted their work when, in truth,
they had not. TURNITIN SENDS E-MAIL CONFIRMATION OF SUCCESSFUL SUBMISSIONS. You must
keep the e-mail you receive from Turnitin as proof that you have indeed uploaded your essay. You also
need to check that the document you upload is in fact your ENG 210 Drama Test essay, and that you
upload your essay via the correct submission link.

1. Find the correct submission link in the “Drama Test: 24 March” content area (under “ASSESSMENT”) of the
ENG 210 ClickUP page. If you have answered Question 1 (on Eugene O’Neill), go to “ENG 210 Drama
Test 2022: QUESTION 1, O’NEILL [SUBMISSION LINK]”. If you have answered Question 2 (on Tennessee
Williams), go to “ENG 210 Drama Test 2022: QUESTION 2, WILLIAMS [SUBMISSION LINK]”. Click on
“View/complete”.
2. A Turnitin page, titled “Submit Turnitin assignment”, will open. Underneath “Submit Turnitin assignment”, it will
say “Single File Upload”. Below “Single File Upload” you will find blank blocks asking for your details. Fill in
these blocks by adding your name and surname, and giving your assignment a title. It is a good idea to include
your name and student number in the essay title as well, and to specify in your title whether yours is an O’Neill
or a Williams essay.
3. Load your essay (in Word document format), either from your computer or via a USB drive (by clicking on the
“Choose from this computer” button), or via Dropbox or Google Drive (by clicking on the buttons dedicated to
those routes).
4. Click the blue “Upload” button.
5. A new page will open, showing you the details of your uploaded document. IMPORTANT: Check that this is
indeed the document you want to upload. When you are sure, click “Confirm”.
6. You will see a message saying “Congratulations — your submission is complete!” Turnitin will send e-mail
confirmation of your submission; keep that e-mail as proof that you have indeed submitted your essay.