here for the prompts

Dead Poet’s Society essay prompts:
Using your knowledge of archetypes, Greek tragedy, Arthur Miller’s definition of tragedy, Sophocles’
plays, and the film, Dead Poets Society, select one of the following prompts and write a multi‐paragraph
essay that defends your thesis.
1. Is the film The Dead Poet’s Society a tragedy by either Aristotle’s or Arthur Miller’s definition? If so,
who is the tragic hero? Be sure to discuss those elements (e.g., hamartia, peripetea, anagnorisis, or
challenged dignity) that comprise the type of tragedy that you think best reflects the movie.
2. The archetypal Quest is typically a journey in which the hero or heroine must overcome their own faults
and weaknesses in order to reemerge as a mature, productive member of their society. Even though they
may not be on a hero’s journey, discuss how Knox’s and Charlie’s experiences in the film reflect aspects of
“the Quest.” Compare and contrast their roles in the film, and discuss how they underscore the overall
theme of the film.
3. Discuss Todd as an archetypal hero. (See steps on the 2 nd & 3 rd pages of this document.) What is his call
and who delivers it? Who/what serves as his threshold guardian? What trials does he meet and overcome?
Using the stages of this classic literary “journey,” prove how Todd’s experience is a hero’s journey. Is his
journey only a personal one, or does his transformation transform his society?
4. Most people would agree that the death of Neil in Dead Poet’s Society and the death of Antigone in
Antigone exemplify wasted potential. But are these characters tragic heroes? If so, what is each character’s
hamartia, and how does that hamartia cause the events that ultimately lead to their catastrophe? Are these
characters sacrificial “kings” (note Neil’s crown in the suicide scene)? They both seem to use death as a
weapon to achieve final victory over their captors, so are they tools of fate used to bring about the downfall
of those who are too proud or those who are blind to some truth? Or, are Neil and Antigone martyrs or are
their suicides selfish acts? Think about these questions and then choose a focus for your analysis.
5. Keating is ultimately blamed for Neil’s death. In fact, Cameron says that they are all “victims” of Mr.
Keating. To what degree is this accusation a legitimate one? Isn’t it because of Keating’s unconventional
– even iconoclastic – lessons that they boys are inspired to break rules established by the school, society,
and parents? Therefore, to what degree is Keating responsible for not only Neil’s death, but also for his
own downfall?
6. At one point in the movie, Neil says to Keating, “You can go anywhere. You can do anything. How can
you stand being here?”. Keating explains that he “loves teaching” and doesn’t want to be “anywhere else.”
With the assumption that he could teach anywhere, why would Keating, a free-spirited
Romantic/Transcendentalist, willingly return to the oppressive Welton? Is he an egomaniac who uses the
boys to finish his protest against the prep school that he began as a student, or does he return because he
wants to “save” the boys (like a Transcendental missionary). Or, is Keating just a classic scapegoat, a
tragic hero, or some combination of elements?
7. Compare Neil’s defiance of his father’s injunction to Antigone’s refusal to obey Creon’s law. What
personal characteristics influence Neil to defy his father? Is he idealistic or simply obstinate? Likewise,
what personal characteristics motivate Antigone to defy Creon? In what ways – if any – are these two
characters similar personality types? Is it possible to have dissimilar traits that nonetheless propel you to
the same end?
8. Examine the motifs such as the birds, the bells, the music, the “pillars,” the poems, Keating’s book of
poetry, the woods, taking on new roles (e.g., Puck, Nuwanda), , etc. and explain how these motifs connect
to the major themes of the movie.
9. Your choice!

THE HERO’S JOURNEY
I. DEPARTURE
A. Step One: The call to adventure
• The initiate has something taken that he wishes to reclaim.
• The initiate senses that he’s lacking something.
• The initiate wants to save or restore honor.
• The initiate goes to win rights for his people.
1. Supernatural Aid-­‐-­‐once the call is accepted (consciously or
unconsciously) a guide or magical helper will appear/become known.
2. Threshold Guardian(s)-­‐-­‐protect and/or point the way
(NOTE: It’s possible for the hero to “Refuse the Call,” which may be caused by a sense of duty,
obligation, fear, insecurity, or inadequacy. Eventually, however, she will heed the call.)
B. Step Two: Threshold
• The interface between the known and the unknown
• The hero crosses into the field of adventure; leaves known world;
rules and limits are not known.
• Hero shows willingness to undergo a metamorphosis; to allow the old self
to die.
II. INITIATION INTO THE UNKNOWN
A. Step Three: Challenges & Temptations
• Series of tests, tasks, or ordeals the hero experiences to begin his
transformation. These trials usually occur in threes.
• Hero is usually aided by the supernatural.
1. The meeting with the Goddess-­‐-­‐represents the time when hero experiences an all
powerful, all encompassing, unconditional love. Sacred marriage or union of
opposites (may take place within the character, rather than with a woman).
2. Woman as Temptress-­‐-­‐hero strays from quest because of some kind of lust.
B. Step Four: Abyss
• Faces greatest challenge that forces initiate to surrender himself completely
to greatest fear.
• Alone
• “Face Dragon”
1. Atonement with the Father-­‐-­‐hero confronts and is initiated by whatever holds
the ultimate power in his/her life. CENTER POINT IN THE JOURNEY/ALL PREVIOUS
STEPS HAVE BEEN LEADING TO THIS; ALL FUTURE WILL COME FROM THIS
EXPERIENCE (Father is seen as “fearsome,” even a demon. If hero surrenders to this
figure and trusts it, he achieves peace.)
C. Step Five: Revelation and Transformation:
• A part of the initiate dies so that a new part can be born.
• New way of thinking
1. Apotheosis-­‐-­‐to apotheosize is to deify. In this stage, the hero lives in spirit;
moves to a state of divine knowledge, love, compassion, bliss. It’s a period of

est, peace and fulfillment before the hero begins the return.
D. Step Six: Atonement
• Hero is “at one” with his new self. Fully reborn.
• In harmony with life and the world. The imbalance which sent hero on the
journey has been corrected.
• Achievement of the goal of the quest; may be something transcendent; a
plant that supplies immortality; the holy grail.
III. THE RETURN:
• Return to known world to give something to his/her society.
• Hero discovers his/her gift, which has been bestowed based on a new skill or
awareness. (“Gift of the Goddess”)
• Sometimes gift is rejected; hero is ostracized or even killed for their
message/gift.
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T he Hero’s Journey in Twelve Easy Steps:
1. Heroes are introduced in the ORDINARY WORLD, where
2. they receive the CALL TO ADVENTURE.
3. They are RELUCTANT at first or REFUSE THE CALL, but
4. are encouraged by a MENTOR to
5. CROSS THE FIRST THRESHOLD and enter the Special World, where
6. they encounter TESTS, ALLIES, AND ENEMIES.
7. They APPROACH THE INMOST CAVE, crossing a second threshold
8. where they endure the ORDEAL.
9. They take possession of their REWARD and
10. are pursued on THE ROAD BACK to the Ordinary World.
11. They cross the third threshold, experience a RESURRECTION, and are
transformed by the experience.
12. They RETURN WITH THE ELIXIR, a boon or treasure to benefit the Ordinary World.