the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet

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the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middleton’s The Roaring Girl, and you will need 1-2 academic sources to supplement your argument. Just like the first two essays, you will need to choose a question, develop an argumentative response to it, and choose direct quotations from the play and secondary sources. I have attached the last essay that I’ve done so it’s the same thing as that but this is longer and we have to take quotations from the play

the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet
W riting About Plays 1 W riting About Plays and Essays with More Than One Source 1. Identify who is speaking in each line 2. Rough context for what is happening in the moment 3. Dialogue and source quotations that are longer than four lines of text need to be of fset by one inch / 2.54cm in a block quotation a. Three lines: “T race all her steps. At this she-fox’s den / Watch what lambs enter: let me play shepherd / To save their throats from bleeding, and cut hers!” (2.234-6) b. Four lines: SIR ALEXANDER: Trace all her steps. At this she-fox’s den W atch what lambs enter: let me play shepherd T o save their throats from bleeding, and cut hers! TRAPDOOR: This is the goll shall do’ t. (234-7) 4. Prose and block text is counted as four lines of letter paper (how long it takes you to get from one side of the page to another) before being of fset by an inch in a new line, poetry is counted as four lines or more regardless of length. 5. If a play has an act division, the notation is Act. Scene. Line-range (ex: 3.2.45-7). If it is only divided by scenes, then the notation is Scene. Line-range (ex: 4.65-80). a. Line numbers within the same page range (10-group or 100-group) only use the last differ ent digits in the notation (ex: 4.165-80) 6. Because you only have dialogue, context and direct quotations are important! Make sure to include the author ’s name either in the context sentence or in the in-text citation. a. Ex: In Middleton’ s play The Roaring Girl , in [scene information] Laxton says to Moll “…. quotation” (2.45-7) b. Ex: In [scene information] Laxton says to Moll “…. quotation” (Middleton 2.45-7) c. Four pieces of information: i. Author ii. Scene/Act number iii. Line number iv . Direct quotation W riting About Plays 2 Student name Class Instructor Date T itle Introduction ➢ Opening statement about the play , short context for what you’re talking about ➢ A rough outline of the evidence you will use ○ Brief description of themes, clothing, character , relationships ➢ Some short statements about any criticism or other scholarly sources that you will be using ➢ Thesis statement or the ar gument you will make about the text. Remember: a thesis statement answers a question. Body paragraphs (repeated as necessary) ➢ T opic sentence ➢ Context for your evidence (scene information, characters, rough article ar gument) ➢ Direct quotations with proper citations, integrated into a proper sentence ○ Either primary (play , novel, short story, movie, etc.) or secondary evidence (scholarly sources) ➢ Discussion of the evidence, or an analysis of the evidence in support of your point ○ For secondary evidence: how does this help to understand your primary quotations? ○ For primary evidence: how does this support your point? W riting About Plays 3 ➢ T ransition statement into the next topic sentence Conclusion ➢ Restate your thesis ➢ Recap your main points ➢ “Why is this important?” ○ Understanding the play? ○ Understanding cultures? ○ Critical reading? (new page) W orks Cited In order , left hand justified include all sources referenced in your essay with proper documentation in MLA format Sources are listed in alphabetical order by the author ’s last name, and any source that goes over one line is given a hanging indent.
the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet
T he R oarin g G ir l S cen e B re ak dow n 1 T hom as M id dle to n’s T he R oarin g G ir l ( 1 611 ) I h av e i n clu ded a r o ugh b re ak dow n o f e ach A ct ( A nodos e d itio n) a n d S cen e ( O xfo rd e d itio n), a s w ell a s s o m e i m porta n t q uota tio ns t o h elp u nders ta n d t h e p la y. A ll l in e n um bers a re f o r t h e O xfo rd e d itio n, a s A nodos d oes n ot i n clu de l in e n um bers i n t h eir e d its . A ct / S cen e S um mary I m porta n t L in es S cen e 1 ( O xfo rd ) A ct 1 S cen e 1 ( A nodos) M ary F itz alla rd e n te rs i n a n eed le w om an d is g uis e , a cco m pan ie d b y S ir A le x an der’s s e rv in gm an N eatf o ot. S he p re te n ds t o b e a s e rv an t i n o rd er t o m eet w ith S eb astia n u nacco m pan ie d . S eb astia n r e v eals t o M ary t h at: 1 . H is f a th er n o l o nger t h in ks o f M ary a s a s u ita b le b rid e f o r h is s o n b ecau se o f h er f a th er’s r e cen t l o ss o f i n co m e. 2 . H e i s s till i n l o ve w ith M ary , b ut i s p re te n din g t o l o ve M oll s o t h at h is f a th er w ill f in d M ary m ore s u ita b le . S eb astia n h opes t h at b y t r ic k in g h is f a th er i n to b elie v in g h e h as f a lle n f o r s o m eo ne s o u nsu ita b le f o r h is s ta tio n h e w ill b e a b le t o m ak e a l o ve-m atc h r a th er t h an a p olitic al o r s o cia l o ne b ase d o n s ta tio n/c la ss. 6 4-8 “ I m ust c u t s h ort m y s p eech … o ne p ath s till.” 7 4-8 4 “ ‘T is i n h eav en ’s b ook … f iv e t h ousa n d m ark s.” 9 4-1 07 “ T here ’s a w en ch / C alle d M oll… U pon a r o ck s o d an gero us!” S cen e 2 ( O xfo rd ) A ct 1 S cen e 2 S ir A le x an der m eets w ith S ir D av y D ap per, S ir A dam A pple to n, G osh aw k, a n d L ax to n t o r e co unt a s to ry o f a m an h e m et, w ho h ad a s o n s im ila r t o S eb astia n . T he “ m an ” w as s o d is a p poin te d t h at h is b rillia n t, u psta n din g, a cco m plis h ed s o n h ad f a lle n i n l o ve w ith a w om an u nfit f o r h im t h at i t b ro ke h is h eart. T he d esc rip tio n o f t h e “ w om an ” i s m ean t t o r e p re se n t A le x an der’s f e elin gs a b out M oll, a n d t h e s to ry i s s u ppose d t o r e m in d S eb astia n t h at b y “ lo vin g” M oll h e i s b re ak in g h is f a th er’s h eart. A le x an der t r ie s t o l ie a n d s a y t h at h e w is h es S eb astia n w ould w ed M ary , b ut 1 23-1 35 “ W hat t h en c o uld v ex h is f a th er … S he’s a v arle t.” 1 59-1 72 “ T hou w ould st w ith l u st a n o ld m an ’s l if e d estr o y … W hat d is h I m ean t o f e ed u pon.” 2 17-2 25 “ I’ll t e ll o ut g old … s h e s h all f o llo w m e!” T he R oarin g G ir l S cen e B re ak dow n 2 S eb astia n c alls h im o ut o n h is l ie . A le x an der m ak es a p la n t o “ catc h ” M oll b ein g u nfa ith fu l o r u nch arte d , a n d w ill t r y t o f in d a l a w t h at w ill p ut h er i n p ris o n. H e a sk s a m an n am ed R alp h T ra p door t o h elp h im . S cen e 3 ( O xfo rd ) A ct 2 S cen e 1 M ark et s c en e L ax to n’s c h ara cte riz atio n a s a g alla n t: h is a lle g ed a ff a ir w ith M rs G allip ot t h at h e u se s t o g et h er h usb an d’s m oney f o r h is o w n s p en din g M oll’s f ir s t p hysic al e n tr a n ce i n to t h e p la y ( l. 1 58); L ax to n t h in ks t h at b ecau se s h e g oes a ro und d re sse d a s a m an , t h en s h e s h ould b e o pen t o h av in g s e x w ith a n y m an w ho w an ts t o a s l o ng a s s h e w ould b e g ettin g p aid t o d o i t M is tr e ss O pen w ork r e fu se s t o s e ll c lo th in g t o M oll b ecau se s h e b elie v es M oll i s a ctu ally t h ere t o t e m pt h er h usb an d, a n d M oll’s a n ger g ets t u rn ed o n a s tr a n ger w ho s u ppose d ly o ff e n ded h er t h e o th er n ig ht i n a b ar. L ax to n p ro cla im s h is a lle g ia n ce t o M oll a s a s e rv an t/a ssis ta n t, a n d s h e c h alle n ges h im t o a f ig ht i n G ra y ’s I n n F ie ld s a fte r h e s u ggests t h at h is l o yalty c an b e p aid t h ro ugh s e x . T ra p door ( A le x an der’s p aid h elp er) a ls o c la im s l o yalty t o M oll, w illin g t o f ig ht L ax to n i n s u pport o f h er. H e s u ggests h is l o yalty c o unte rs L ax to n’s b ecau se h e i s t r u e t o h er, e v en t h ough h e h as u lte rio r m otiv es f o r f o llo w in g h er a ro und. 1 69-1 78 “ H eart, I w ould g iv e … t h ro ugh w ith a g old en a u ger.” 1 85-1 92 “ ‘T is t h e m ad dest, f a n ta stic ale st g ir l … a s m uch f o r t h e w if e !” 2 89-2 97 “ O , t h e g alla n ts o f t h ese t im es … i n s p urs t h at n ev er r id e.” S cen e 4 ( O xf.) A ct 2 S cen e 2 S eb astia n c o nvin ces h is f a th er t h at h e w an ts t o m arry M oll, a n d t r ie s t o c o nvin ce h im t h at s h e i s c h aste /v ir tu ous a n d n ot l ik e a ll o f t h e o th er w om en w ho w ill h av e s e x f o r m oney. M oll m eets w ith S eb astia n a n d h e d ecla re s h is “ lo ve” f o r h er; s h e t e lls h im 3 4-4 2 “ S ir , I a m s o p oor t o r e q uir e y ou … a n d h as a w ors e i ’ th ’ p la ce.” 1 45-1 54 “ W hy i s t h e n am e o f M oll s o f a ta l, s ir ? … c an d ote o n n au ght b ut s h am e!” 1 68-1 73 “ H ere ’s h er w ors t … T he R oarin g G ir l S cen e B re ak dow n 3 t h at s h e h as n o d esir e t o g et m arrie d t o a n yone, b ut d oes n ot t h in k h ers e lf g ood e n ough f o r h im b ecau se o f h er s ta tio n a n d g en era l a p pro ach t o l if e . M olls w ere n o w ors e .” S cen e 5 ( O xf.) A ct 3 S cen e 1 G ra y ’s I n n F ie ld s L ax to n a rriv es f o r h is m eetin g w ith M oll, a n d w hen s h e m eets h im h e t h in ks s h e i s a m an . H e a tte m pts t o c o nvin ce h er t o c o m e w ith h im i n t h e c arria g e, a n d s h e c h alle n ges h im t o a d uel f o r t h in kin g h e h ad a n y c la im t o h er b ody. S he m ak es a l o ng s p eech i n t h e m id dle o f t h e f ig ht a b out h ow m en l ik e L ax to n t h in k t h at a ll w om en a re a v aila b le t o t h em i f t h ey p ay e n ough m oney, a n d t h at v ir tu e c an b e b ought. S he t e lls h im t h at h is u nders ta n din g o f h er i s w ro ng, b ecau se s h e d re sse s a s a m an f o r h er o w n c o m fo rt a n d t o e x pre ss h ers e lf , r a th er t h an t o t e ll p eo ple s h e i s a p ro stitu te , a n d t h at s h e i s b ette r t h an t h e m en w ho t h in k s h e i s n oth in g m ore t h an h er b ody. A t t h e e n d o f t h eir f ig ht s h e s a y s s h e w is h es s h e c o uld m eet w ith e v ery one w ho s e es h er t h e w ay L ax to n d oes a n d p ro ve t h em w ro ng, a n d t h at i t i s m en ’s o pin io ns t h at d ete rm in e a w om an ’s v ir tu e, n ot a n y o f h er o w n a ctio ns. S he r e p eats t h at s h e b elo ngs t o n obody b ut h ers e lf . T ra p door m eets w ith M oll a fte r L ax to n e x its t h e s ta g e, a n d t h ere i s s o m e c o nfu sio n b ecau se T ra p door d oes n ot r e co gniz e h er. 6 4-1 08 “ D ra w , o r I ’ll s e rv e a n e x ecu tio n o n t h ee … A nd s o I g re et t h ee.” 1 26-1 35 “ If I c o uld m eet m y e n em ie s … A s l o ng a s I h av e t im e i n ’t.” S cen e 6 ( O xf.) A ct 3 S cen e 2 M rs G allip ot r e ceiv es a l e tte r f ro m L ax to n r e q uestin g m oney ( 3 0 p ounds), w hic h s h e c an not g iv e h im w ith out r e v ealin g t h at s h e i s h av in g a n a ff a ir. T o h id e i t f ro m h er h usb an d s h e l ie s a n d s a y s t h at s h e w as o rig in ally e n gag ed t o L ax to n, a n d w hen h e w en t o ff t o F ra n ce s h e t h ought h e h ad d ie d . S he c o nvin ced T he R oarin g G ir l S cen e B re ak dow n 4 h er h usb an d t o p ay L ax to n t h e m oney t o “ b uy” h er e v en t h ough t h ey a re m arrie d , a n d i t w ould e n d t h eir r e la tio nsh ip w ith h im . L ax to n i s p aid t h e m oney a fte r t h ey c o nvin ce h im t h at M r G allip ot “ k now s” a b out t h e a ff a ir , w hic h i s l e ft d elib era te ly v ag ue i n t h e d ia lo gue, a n d h e l e av es w ith t h e m oney t h in kin g t h at a ll w om en a re l ia rs . S cen e 7 ( O xf.) A ct 3 S cen e 3 A le x an der a n d S ir D av y D ap per b ond o ver h av in g s o ns w ho d is g ra ce t h em , S eb astia n f o r b ein g i n l o ve w ith M oll a n d J a ck D ap per f o r l o sin g a ll h is m oney g am blin g a n d d rin kin g. T hey c o m e u p w ith a p la n t o h av e J a ck a rre ste d . M oll r e sc u es J a ck f ro m S erg ean t C urta la x . S cen e 8 ( O xf.) A ct 4 S cen e 1 A le x an der a n d T ra p door t r y t o s e t- u p M oll a s a t h ie f s o t h at t h ey c an h av e h er a rre ste d . M oll ( d re sse d a s a m an ), S eb astia n , a n d M ary ( d is g uis e d a s a b oy) l a y t h eir o w n t r a p f o r A le x an der s o t h at M ary a n d S eb astia n c an s p en d t im e t o geth er. T hey t h in k t h at m eetin g i n A le x an der’s p riv ate c h am bers w ill g iv e t h em m ore p riv acy t h an m eetin g e ls e w here . M oll p la y s t h e v io l f o r S eb astia n a n d M ary , a n d A le x an der l is te n s i n o n t h eir c o nvers a tio n. H e t r ie s t o “ catc h ” M oll s te alin g f ro m h im , a n d S eb astia n c o vers b y p re te n din g h e h as h ir e d a m usic ia n t o c o m e p la y a n d i s a tte m ptin g t o p ay h im f o r h is t im e. A le x an der i s c o nfu se d a b out t h e m usic ia n , b ecau se h e h ad e x pecte d M oll, t h ough i t i s l a te r r e v eale d t h at h e k now s i t i s a d upe. 4 6-8 “ H ow s tr a n ge t h is s h ow s … w ell i n a d ouble t.” 6 7-9 “ I p itie d h er f o r n am e’s s a k e … a n d n ot s o l ittle .” S cen e 9 ( O xf.) A ct 4 S cen e 2 M rs . G allip ot a n d M rs . O pen w ork s h are m ark et g ossip , a n d h ow b oth o f t h eir m arria g es h av e b een p ote n tia lly i n volv ed i n a ff a ir s . M rs . G allip ot T he R oarin g G ir l S cen e B re ak dow n 5 r e in fo rc es h er l ie a b out L ax to n t r y in g t o g et m oney f ro m h er h usb an d b ecau se L ax to n b elie v es h e i s “ o w ed ” i t, t h in kin g t h at M r. G allip ot “ sto le ” h is l a w fu l w if e . M r. G allip ot r e ceiv es a l e g al s u m mons t h at c h arg es h im w ith u nla w fu l m arria g e, t h eft o f a n oth er m an ’s p ro perty ( M rs . G allip ot) a n d a p ay m en t o f 1 00 p ounds t o L ax to n. S cen e 1 0 ( O xf.) A ct 5 S cen e 1 S ir D av y D ap per’s p lo t t o h av e J a ck a rre ste d i s r e v eale d ; J a ck a n d M oll r e co unt h ow h e e sc ap ed a n u nla w fu l a rre st. J a ck , M oll, a n d L ord N ola n d m eet T ra p door ( d is g uis e d a s a w ounded s o ld ie r) b eg gin g f o r m oney, a n d t h re e t h ie v es w ho k now M oll. H er p ast a s a c u tp urs e /p ic k pock et i s t o ld t o t h e g ro up, a n d s h e e x pla in s t h at s h e i s h ap py w ith h er l if e r e g ard le ss o f w hat o th er p eo ple t h in k o f h er. 3 15-3 23 “ m ust y ou h av e / a b la ck i ll n am e … c are n ot e ls e w ho l o ves m e.” S cen e 1 1 ( O xf.) A ct 5 S cen e 2 S ir A le x an der b elie v es t h at S eb astia n h as r u n a w ay a n d m arrie d M oll, a n d i s i n d is tr e ss, f e arin g f o r t h eir f a m ily ’s f u tu re a n d w is h in g t h at S eb astia n h ad d ecid ed o n M ary i n ste ad . S ir G uy F itz alla rd ( M ary ’s f a th er) r e m in ds A le x an der t h at h e r e je cte d M ary b ecau se h er f a m ily “ w asn ’t g ood e n ough”. S ir G uy w is h es h e h ad e n ough m oney t o s to p S eb astia n a n d M oll s o t h at h is d au ghte r c o uld b e h is b rid e i n ste ad . T he t r ic k : 1 . M oll e n te rs t h e s c en e d re sse d a s a m an , i s o n s ta g e b rie fly , t h en l e av es, a n d A le x an der i s c o m fo rte d t h at n o p rie st w ould b e w illin g t o m arry h er d re sse d a s a m an b ecau se t h ere w ould b e n o w om an i n t h e m arria g e ( a 2 0-2 6 “ Y ou’re w ell m et, a n d m ost r ig htly s e rv ed … s to ck t h e s u burb s p assin g w ell, s ir.” 1 05-1 1 5 “ W hy, s ir , t a k e c o m fo rt n ow … T hro ugh a w hole w orld h e c o uld n ot c h oose a m is s.” 1 32-5 “ N ow h e h as p le ase d m e r ig ht … J u st o f h er p itc h w as m y f ir s t w if e , h is m oth er.” 1 55-1 64 “ M eth in ks y ou s h ould b e p ro ud o f s u ch a d au ghte r … W hile y ou’v e a r o arin g g ir l t o y our s o n’s w if e .” 2 16-2 29 “ H e w as i n f e ar h is s o n w ould m arry m e … F or i f I s h ould r e p en t, I w ere s o on a t r e st.” T he R oarin g G ir l S cen e B re ak dow n 6 c allb ack t o t h e S eb astia n /M ary k is s w hen s h e w as d is g uis e d a s a p ag e, a s t h ey w ere b oth “ m en ”). A le x an der t h in ks t h at a n y w om an w ould b e m ore s u ita b le t h an M oll, a n d i s c o nvin ced S eb astia n h as m arrie d s o m eo ne e ls e . 2 . M oll e n te rs t h e s ta g e d re sse d a s a w om an i n a m ask , a n d A le x an der b elie v es t h at t h is w om an i s S eb astia n ’s w if e . H e m ak es a c o m paris o n b etw een t h is u nknow n w om an a n d S eb astia n ’s m oth er, s a y in g t h ey a re t h e s a m e. I t i s t h en r e v eale d t h at t h e w om an i s M oll. M oll c o unte rs h is a n ger w ith h er “ d ow ry ”, w hic h i s t h at A le x an der a n d a n yone c lo se t o h im w ould b e s a fe f ro m t h ie v es a n d p ic k pock ets b ecau se o f h er c o nnectio ns. 3 . M ary e n te rs w ith L ord N ola n d a s i s r e v eale d a s S eb astia n ’s t r u e l o ve; t h e t r ic k i s e x pla in ed . A le x an der i s s o p le ase d t h at M oll i s n ot g oin g t o b e S eb astia n ’s w if e t h at h e w illin gly b le sse s t h eir u nio n a n d g iv es S eb astia n h is i n herita n ce. M oll p ro cla im s t h at s h e w ill n ev er m arry u ntil s e v era l i m possib le t h in gs o ccu r a n d s o cie ty i s t u rn ed u psid e d ow n. I n o th er w ord s, s h e w ould r a th er d ie b efo re g ettin g m arrie d . T ra p door r e v eals t o M oll t h at h e w as h ir e d b y A le x an der t o t r ic k h er a n d p ro ve h er u nw orth y o f S eb astia n . A ll i s f o rg iv en w ith n o h ard f e elin gs, a n d t h e p la y e n ds.
the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet
English 102C Final essay Assignment English 102 C Final Essay Assignment Due: 9 December 2022 at 11:59pm Assignment: In approximately 750-1000 words, answer one of the following questions related to Thomas Middleton’s play The Roaring Girl. The submitted essay must incorporate a minimum of 1 and a maximum of 2 secondary scholarly sources, meaning 2-3 sources total, including the play. Points will be deducted if appropriate research is not used. Using either feminist criticism or queer criticism, explain how Moll subverts our expectations for female characters in drama, using her relationships with other characters as required to support the argument The Roaring Girl is a comedy play, which in Renaissance drama means it ends in a marriage. In terms of genre, explain the significance of Moll’s refusal to be married at the end of the play. Moll is also referred to throughout the play as “Jack”, a generic name for a man during the period. What is the significance of her having two names in the play, one male and one female?
the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet
Alam Ameera Alam) ENG102C Prof. Haylee Pescod 27 November 2022 Women and the Market in “The roaring girl” review MILLER, JO E. “Women and the Market in ‘The Roaring Girl.’” Renaissance and Reformation / Renaissance et Réforme, vol. 14, no. 1, 1990, pp. 11–23. This paper argues that, because moll decided to help (2 people) get married she degraded herself as a woman “Moll has decreased her value as an exchange object; by becoming a subject who speaks for herself in the masculine realm, she has made herself ineligible as a marriage partner.” (Joe 45). Moll is a woman who is very strong and powerful and stands for her legal rights in an extremely unique way. As a woman in the 60s life was very tough for moll, Males were known to be more dominant, and Females usually didn’t have a say in anything. Her views on marriage were different than what the social norm was; Females should obey their husbands and women are only made to settle with a guy whereas the guy preys for the girl. She found this concept very unsatisfying and sexist. She found “Tradition” unfair. In act III even though moll dressed up as a man as a defence against sexual attention she noticed that the gallan was trying to seduce her, so she physically assaulted him. She conveyed that men think that women who are involved in public conversations are seen as easy ‘prey’ she mentions how women who sell their bodies usually do it because they’re hungry, poor, distressed or “tradefallen” whereas men take advantage of that. This article talks about how moll dressed as a man to prove her point, is degrading herself as a female. When Sebastian told his father that he is going to marry moll, He did not react well, He called her a “whore” and mentions how she is not fit for any man, How she speaks publicly, and women aren’t supposed to act like that. He started explaining what the consequences of marrying a “girl like that” would be. In their minds, their ideal woman was someone who stayed at home in silence and only wakes up to obey her husband. That’s the opposite of moll. She was open to speaking, she was masculine and even though she did that to get the male gaze off her, she attracted even more sexual tension from them. Sabastian pretended to marry mole so he could marry THE GIRL that he actually liked by thinking if he does that, his father would want anyone else but her even if it’s a poor girl who can’t pay her dowry. He would rather have that as his in-law than having moll. This article talks about how mole decreased her worth by agreeing to do that, she made herself look like someone who is never going to be fit for marriage because of her masculinity and personally, I think Moll did not mean to portray that message, Instead, she was just being kind-hearted and help someone out. She did not care about what society thought of her and how to impress the male gaze since apparently, she was born to do that as a female. In this play, the sentence “As her, thy folly dotes on” (II.ii.136-40) is what I can’t understand but I want to because this particular part of the play is very interesting to me. Moreover, In conclusion, this article basically talks about how moll sold herself to a situation like she was on the market for sale, How Sebastian degraded her and she was okay with it but In my opinion, She did not care about what society thought of her and I can prove this by mentioning how she kept interfering with the rules of the society and she even went to jail multiple times but to only get her point across, In the current century, whatever moll did back then would not be a criminal offence so I don’t think she did anything wrong she just stood up for what is right and in my eyes, She is a strong lady who had the guts to do what she wanted in a society that was ruled by men and their masculine energy. MILLER, JO E. “Women and the Market in ‘The Roaring Girl.’” Renaissance and Reformation / Renaissance et Réforme, vol. 14, no. 1, 1990, pp. 11–23.
the final essay is exactly the same concept as the first two, though slightly longer. You will have approximately 1000 words to answer one of the questions on the assignment sheet about Thomas Middlet
Last name 2 Student First name Last name ENG102C Prof. Haylee Pescod 29 September 2022 Title of the Paper The opening statements of your paper. This includes a short 1-2 sentence overview of your sources and supporting evidence, and topic sentences. A thesis statement that outlines the argument you will make (your response to the paper topic and what position you intend to argue). A brief topic sentence introducing the paragraph topic. The next sentences will include evidence from the text with “quotations properly integrated” (Author’s last name pg), statement as to why it is important in the argument. Supporting statements that connect your evidence to your argument. Closing transition statement that connects to your next idea. Repeat body paragraphs as necessary, and vary format to concisely articulate a thought. You can have more than one piece of evidence in a paragraph but try not to go over three for a paper this length. Working backwards through the paper, fully connect all the points you made. Reference specific moments but do not introduce new evidence! Reword your thesis to conclude the argument. You may also finish on an appropriately general statement. Works Cited Stevenson, N.D. Nimona. HarperCollins Publishing, 2015.

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