Lesson Overview:
This lesson examines the diversity and intricacy of Mark Twain’s humor, focusing particularly on the qualities that support the assertion made by William Dean Howells, Ernest Hemingway, and others that Twain was the first “true” American writer.
Length of Lesson:
Six 45-minute periods
Instructional Objectives:
Students will:
- broaden experience in computer skills.
- discern characteristics perceived to be distinctly American.
- discern that the goals of humor often go beyond entertainment and can be aimed at satirizing and debunking.
- exercise performance skills.
- gain understanding of and appreciation for Mark Twain’s giant stature as the first “true” American humorist.
- gain understanding of some of the intricate processes of Mark Twain’s projection of humor.
- recognize from what basic sources humor emanates in human expression.
- recognize specific devices used in visual and performing arts to generate humor.
- recognize that the drive to shape a national consciousness in America in the first part of the 19th century included passionate appeals for a national literature.
- strengthen process skills of reading, writing, analysis, and collaborative problem-solving.
Supplies:
- Selected texts of Mark Twain’s work (see Sources section for specific suggestions)
Instructional Plan:
Activity A
You may choose to introduce this lesson with background information about the United States during early- to mid-19th century. During the 1830s through 1850s, as America sought enhanced definition as a nation, there were several calls for a national literature. William Ellery Channing, Ralph Waldo Emerson, and Walt Whitman were particularly forceful in their plea for a literature that would capture the spiritual essence of the new nation’s beliefs, and the distinctive character of the new nation’s people. In "Preface" to Leaves of Grass, Whitman, echoing Channing and Emerson, sings out for the need of an American writer to capture the "poem" that is America. In each of these clarion calls, the argument is made that there are unique qualities in the composition of America and its people that can not be found in any other geographical and cultural environment.
Ask students to make two columns on a sheet of paper and write the heading
"America, the place" at the top of one column, then write the heading
"America, the people" on the other column. Assign students to make
jot lists for each column, freely recording in words and phrases what they think
are the distinctive characteristics of "America, the place" and of
"America, the people."
On completion of the jot lists, ask students to consider if the profiles they
have generated would fit into both early and present time periods, and if not,
to scan the lists for any common denominators that would accommodate both past
and present. Consider having students negotiate a master list in which they
delineate a basic profile of their perceptions of America and its people. In
other words, encourage students to come to some kind of agreement on an American
character archetype, as well as an agreed statement about characteristics of
America as a nation.
If students have difficulty agreeing on what should be included in the master
list, consider raising the question, why? In a freewheeling discussion, encourage
students to consider some of the following questions:
- Is diversity part of the unity of America?
- Are there prevailing goals in America?
- What do you think a national literature should celebrate?
- What should a national literature criticize?
- Is there a prevailing heroic ideal in America?
- Is there a prevailing quality of humor in America?
- If you think so, how would you define it?
Consider, either when initiating this activity, or as closure, sharing with
students excerpts from Channing’s, Remarks On a National Literature,
Emerson’s The American Scholar, and especially, the opening paragraphs
of Walt Whitman’s "Preface" to Leaves of Grass.
If time allows, consider asking students to develop a creative writing response
(in any genre: poem; vignette of prose; dramatic episode) based on some aspect
of their jot lists. Advise students that the most successful creative writing
samples will subtly project the concept of one or more of the American traits
they have included in their jot list.
Activity B
In this activity focus on students’ perceptions of American humor. Return
to the question raised in Activity A: Is there a type of humor that is characteristically
American? Advance the consideration of this question by asking students to comment
on what makes them laugh. After cautioning students to use appropriate taste
in their selection of an example, ask students to share what they consider the
funniest joke they have ever heard, or an anecdote of a situation or incident
they have found exceedingly funny. On the completion of this exchange, initiate
an explication of some of the examples, isolating specific elements that students
think contribute to the humor of the joke, situation, or incident.
Have students complete an in-class writing assignment in which they construct
an analysis of what they consider to be the central force or forces of different
types of humor (the comic, slapstick comedy, etc.). Share the written responses.
Presumably, the responses will address such aspects as the undercurrent of human
limitations, human foibles, man’s inability to control his/her physical environment,
exaggeration of experience and personality, manipulation of language, the irony
of the unexpected, the juxtaposition of the logical and the illogical (incongruity),
etc. Encourage students to give their analysis range, and to consider the relationship
of different types of humor to pathos and the tragic.
Broaden the analysis of humor by encouraging students who have studied any
Greek comedy, for instance, Aristophanes’ The Frogs, or The Birds,
to define the nature of some of the specific types of humor present in Greek
comedy. Ask students who have read Chaucer (i.e., "The Nun’s Tale" or "The Priest’s
Tale") to share comments on the way Chaucer develops humor. If students
have read parts of Dante’s The Divine Comedy consider raising the question
of why Dante titles his work "Comedy." As an alternative, ask for
a few volunteers to research some of these seminal sources and prepare a brief
analysis of the types of humor encountered, and/or past definitions of the word
"comedy" to share with the class.
Follow any discussion of, or presentation on, the above sources of humor with a comparison activity in which students are tasked with drawing comparisons between the literary works and their personal perceptions of what is funny.
Activity C
The goal of this activity is to encourage students to continue to sharpen their
definition of what they consider to be distinctive qualities of American humor.
To initiate this activity, divide the class into collaborative groups (3 to
5 students each) to gather information from Web, print, audio, and video sources,
and negotiate conclusions about the following topics:
- the nature of humor in the exchanges between the "interlocutor" and "end men" (refer to the Vocabulary handout for definitions) in America’s early minstrel shows
- the nature of humor in vaudeville, keeping in mind that vaudeville is considered
to be an indigenous American art form
- the nature of humor in the American circus (i.e., clowns, barkers, side shows,
special acts)
- the type(s) of humor found in early radio shows (i.e., those of George
Burns and Gracie Allen, Jack Benny, and Fred Allen)
- the nature of humor in Broadway musicals (i.e., Once Upon A
Mattress, or the early musical Cocoanuts); remind students that
the musical is an indigenous American art form
- the nature of humor in early movie scripts (i.e., Charlie Chaplin, Our Gang (Little Rascals), and the Three Stooges)
- diverse types of humor found in movies and TV sit-coms, particularly those
that are about American families, are positioned in American settings, or
involve Americans abroad
- diverse ways that American cartooning visually projects humor
- the "stand-up" comedian type of humor (i.e., Bob Hope, Richard Pryor, Jerry Seinfeld, and Bob Newhart)
After the sharing of information and conclusions about the different sources
of humor, ask students to make a list of common denominators of humor that are
intrinsic in each of the examples examined. Ask students to assess what qualities
they perceive to be particularly American.
Activity D
Part One:
Share with students the fact that Mark Twain was an outstanding oral performer
in the art of lecturing and storytelling. Note that he drew huge crowds when
he was on the lyceum circuit, traveling from place to place across America,
and eventually abroad, giving homespun advice and telling stories. The following
assignment gives students a glimpse of Twain’s charismatic style and canny ability
in handling a punch line.
Assign students to read Mark Twain’s magazine published article, "How to
Tell a Story." Consider quizzing students (in written or oral form) on
such aspects as:
- How does Twain differentiate between "humorous," "comic,"
and "witty" stories?
- What key points does he make about how a "humorous" story should
be told?
- What points of comparisons does he draw between the style of the "humorous"
storyteller and that of the "comic" storyteller in handling the
"nub" and the "pause"?
- Twain makes the point that the humorous story is an American development.
What, in Twain’s perception, is the "basis of the American art of storytelling"?
Part Two:
Assign students to read one or more of the following Mark Twain selections.
Ideally, if time allows, assign all of the selections, recognizing that the
texts are brief and together give students insight into the range of Twain’s
humorous devices in storytelling.
- "The Notorious Jumping Frog of Calaveras County"
- "Baker’s Blue Jay Yarn"
- "The McWilliamses and the Burglar Alarm"
- "About Barbers"
- Excerpt from "Captain Stormfield’s Visit to Heaven"
(Note: the Captain Stormfield selection should be previewed by the teacher
to assess whether or not some references are appropriate for the teacher’s school
community. The story is an outstanding example of Twain’s humor, however, and
a few segments, at the teacher’s discretion, could be excerpted to add to students’
study of the diversity in Twain’s humorous style.)
Divide students into collaborative groups (3 to 4 students per group) to probe
some of the diverse devices of humor Twain uses in the above selections. The
following study questions offer suggestions for ways to help students penetrate
the intricacies of Twain’s humorous style:
Does Twain capture, in his written work, any of the elements of advice that
he gives in his article on "How to Tell A Story"? If you think so,
find specific examples of such aspects as the "nub," the "pause,"
the intrinsic nature of the teller of the story in relation to the content, and
the incongruity of tone quality projected by the persona telling the story and
the content of the story.
In examining the assigned stories, consider specific ways that Twain uses language and manipulates structure to achieve this oral
style in written form.
Any study of Twain as a prototype American author must focus on his mastery
of the tall tale. Point out that the tall tale grew out of the oral tradition
of American folklore. Ask students to identify some of the basic elements of
the tall tale. For instance, why are the tales called "tall"?
Ask students to draw from their previous experience with this mode of storytelling
and construct a list of basic elements of the mode. For instance, what do Paul
Bunyan, Davey Crockett tales, and T. N. Thorpe’s The Big Bear of Arkansas
have in common in the way the humor of the stories are built? Do the Uncle Remus
Tales (i.e., Brer Rabbit, Brer Fox) by Joel Chandler Harris fit in the tall tale category?
Why? Why not?
After students come to an agreement about the basic elements of a tall tale, have
them develop an analysis of the ways that "The Notorious Jumping Frog of Calaveras County"
and "Baker’s Blue Jay Yarn" qualify as tall tales. Students should also
assess the ways Twain projects the colloquial flavor of the tales. Consider,
for instance, the characterization of the persona narrating in relation to the
original teller of the tale, the language of the two tellers, the force of understatement,
and the basic structural patterns of Twain’s presentation.
Any study of Twain’s humorous style must give recognition also to caricature
as one of the compelling forces of his narration. Define the term caricature.
What are some of the artistic purposes served by this mode of characterization?
Ask students to identify any sources that they have read which build characterization
in "caricature" mode. (Examples include Miguel de Cervantes’ Don Quixote
and Voltaire’s Candide.)
Note that caricature is an essential style in much of cartooning—both
single-frame cartoons and comic strips. Find an example(s) of caricature in
a cartoon or comic strip, and delineate the ways the caricature is projected
graphically. Also assess what message(s) is/are projected through the caricature.
Ask students to give some thought to the television sit-com genre. They should
consider the following questions:
- Are there elements of "caricature" in some of the personalities
of the script(s)?
- In what ways is the artistic force of caricature projected visually?
- What part does body language play?
- How does oral language help develop the force of caricature? For instance,
are malapropisms used? Is effusive, high-blown language overused? Is dialect
parodied? Is the fast-talker parodied? Is the tone deadpan?
Return to the assigned stories. Ask students if they find any examples of caricature
in the selections. If so, they should prepare a defense of their choice, explaining
why their example qualifies, and in what specific way the caricature(s) serves
the central theme of the narration.
Incongruity is another vital element of Twain’s humor. The incongruity is usually
built off of the irony of a situation or encounter, in which the actuality of
an episode pulls against the perceived logical expectation of the reader/listener.
Have students select two or more stories from the assigned list that they think
demonstrate incongruity as a central humorous force. They should prepare an
explanation of the ways that the events in the story are opposite to what one
would have logically expected to happen. (Note: Students will probably select
"About Barbers," "The McWilliamses and the Burglar Alarm,"
or "Captain Stormfield’s Visit to Heaven." An argument could be launched,
however, for any of the selections on the list.)
Activity E
Mark Twain has been called the"American Voltaire." Using this comparison,
launch students into a close study of Twain’s diverse methods of developing
satire. After settling on a definition of the term satire, briefly review the
devices of humor explored in the preceding activities. This review will provide a springboard
for an examination of Twain’s satirical methods. Stories that would be appropriate
to explore during this activity include "Baker’s Blue Jay Yarn," "The
Man Who Corrupted Hadleyburg," the brief story, "Luck," and carefully
selected excerpts from "Captain Stormfield’s Visit to Heaven" (please
see the cautionary note above).
Encourage students, in explicating Twain’s satirical sources, to consider how
Twain positions various devices of humor within the framework of the point of
view, within structural patterns of the narrative, and through manipulation of language
and tone quality.
Ask students who have read Voltaire’s Candide (a source often assigned
at the tenth grade level) to draw comparisons of specific aspects of Candide
with specific aspects of Twain’s satirical style. For instance:
- Suggest that students scan Candide for caricature (Lady Cungonde, the Baron and Baroness); understatement (comments on purpose of life); parody (Dr. Pangloss’s
philosophy); hyperbole or extravagance (descriptions of earthquake and incident
at Surinam); and incongruity (Voltaire’s many escapes). Refer to any samples
of these devices of humor found in the Twain.
- Raise the question: what is "wit"? Explore what students consider
to be evidences of wit in the two authors, drawing specific comparisons and/or
contrasts.
- Suggest that students define any differences they observe in the style of
the two satirists, giving particular attention to the tone qualities, and
what is being satirized. For instance, does a political agenda drive the satire?
Does social commentary emerge from the satire? Are prevailing philosophies
debunked? Are human weaknesses such as greed, vanity, arrogance, etc., the
center of the satire? Ask students to clarify what they perceive to be the
primary difference(s) in satirical style.
Note: Another interesting comparison on styles of satire could be made between Mark Twain's mode of satirical expression and that of Jonathan Swift in his essay, "A Modest Proposal," (another source often assigned in tenth or twelfth grade).
Activity F
For culminating assignments, engage the students in (or choose from) the following activities.
Consider holding a humorous "yarn" contest (you may refer to the Vocabulary handout), in which students spin
a story orally. Suggest that rules for judging be based on Twain’ s statements
in the assigned article about how the humorous story should be told. Encourage
students to use some of the devices they have observed in the Twain readings
in building their yarn. To add to the challenge (and the fun), give students
one concept or central image that must be used as the basic thrust of their
story.
Point out that humorous literature—including yarns, tall tales, and satire
built on humorous devices—often use animals or birds as characters (For
example, works by Aristophanes, Chaucer, and Twain). Assign students to create
a humorous story with an animal character. You could give an open assignment,
in which any animal character could be used in any way, or you could provide
a more directed assignment; for instance, having students write and present
on the theme, "How I outsmarted my cat/parakeet/etc." or "Keeping
the pet frog (or alligator) in the bathtub."
To help with time management, consider having students:
- Deliver their yarns in collaborative groups (4 or 5 students per group).
- Select a winning "yarn" out of the group.
- Share the choices in the large group, asking students to comment on ways
the winning responses honor Twain’s advice on "How to Tell A Story."
Assign a formal paper of critical analysis (3–5 pages) based on the following
prompt: Consider, carefully, the following comments made by William Dean Howells on
Twain’s achievements as a writer, then build an essay based on the three options outlined below:
His [Mark Twain’s] great charm is his absolute freedom in a region where
most [other writers] are fettered by convention. … [H]e saunters out into
the trim world of letters, and lounges about at will. … [H]ow entirely
American he is. … [H]ow truly Western he is … with more honest laughter
in [his humor] than humor ever had in the world till now. … [H]is work … expresses
a civilization whose courage of the chances, the preferences, the duties,
is not the measure of its essential modesty. … [H]is single-minded use
of words strongly conveys intention from the author’s mind to the reader’s
mind. … It is the Abraham Lincolnian word … and what finally appeals
to you, in Mark Twain, is his common sense. … [Twain] is the Lincoln
of our literature."
Essay Option 1:
Clarify, and support or challenge, Howells’ assertion that Mark Twain is
"the Lincoln of our literature." Be sure to use specific evidence
from your analysis of Twain’s writings. Remember that a paper of comparative
analysis should balance the evidence, i.e., each key point made should be
shaped with references specifically to both Lincoln and Twain when arguing the connections.
Essay Option 2:
Take a position about Howells’ statement, "how entirely American he
[Twain] is." Return to your jot list if you participated in Activity
A, or make a jot list of what you consider to be unique American characteristics.
In developing your arguments, examine such aspects as Twain’s colloquial flavor,
the regional local color. But also consider other points that Howells makes
about the nature of Twain as a writer. Be sure to build your defense with
a good body of specific references from the texts of Twain’s writings.
Essay Option 3:
Develop an assessment of Mark Twain’s work as true national literature,
using the first few paragraphs of Walt Whitman’s "Preface" to Leaves
of Grass as the springboard of your analysis. Be sure to use specific
evidence from both Whitman’s text and Twain sources in building your argument.
As a special project, ask a few students to volunteer to explore what they consider
to be the meaning of the first sentence of "The Weather in This Book,"
the title Twain gives to the brief preface of a collection he assembled of his
writings. The sentence reads, "No weather will be found in this book."
Suggest that a place to start would be to track down colloquial meanings attached
to the word "weather." Advise students that the findings could be
ambiguous, and that they should take risks in reaching their own conclusions
about what Twain means.
Ask students interested in acting to put together a brief Hal Holbrook-type,
role-playing activity in which students recreate Mark Twain’s "lyceum" performance. Encourage those interested to listen to, or view, a tape of Hal Holbrook’s Mark Twain Tonight
performance in preparation for their own. Advise participants, however, to develop
their own script, integrating a range of Twain’s humorous techniques. Encourage
those participating to review Twain’s advice in his article on "How to
Tell a Story."
Ask students interested in art to draw a cartoon or to draw a brief comic strip,
using one of the assigned Twain stories as the source of inspiration.
Assessment:
Assess students based on the following criteria:
- thoughtful response in pre-writing, pre-discussion brainstorming activities
- level of serious and cooperative participation in research and collaborative
assignments
- level of discernment in contributions from research and to collaborative
work
- substantive contributions to class discussion and special projects
- range and depth in analysis
- organization, meaningful substance, rhetorical skill, and poise in formal
oral presentation
- seriousness of purpose in following through on creative writing assignments
- solid preparation for performance activities
- alignment of written performance with writing process rubric
- willingness to volunteer for special activities
- general level of engagement in all activities and assignments
Sources:
Print:
- Baym, Nina, et al., ed. The Norton Anthology of American Literature. New York: W. W. Norton & Company, Inc., 1995.
- Blair, Walter, ed. Selected Shorter Writings of Mark Twain. Boston: Riverside Editions, 1962.
- Foerster, Norman, et al., ed. American Poetry and Prose, Fifth Edition. Boston: Houghton Mifflin, 1970.
- Howells, William Dean. My Mark Twain, Reminiscences and Criticisms. Baton Rouge: Louisiana State University Press, 1967.
- Teacher, Lawrence, ed. The Unabridged Mark Twain. Philadelphia: Running Press, 1976.
- Voltaire. Translated by John Butt. Candide. New York: Penguin Books, 1947.
Media:
- Bogart, Paul, dir. An Evening with Mark Twain. Kultur Video, 1967. Videocassette or DVD.
- Burns, Ken, dir. Mark Twain. PBS Home Video, 2002. Videocassette or DVD.
Web:
Authors:
-
Jayne Karsten, English, Grades 9-12
The Key School
Annapolis, MD US
