The Story of Ferdinand by Munro Leaf Questions for Socratic Discussion by Adam and Missy Andrews

Contents

Introduction 1

Questions about Context 3

Questions about Structure: Conflict and Plot 4

Questions about Structure: Setting 6

Questions about Structure: Characters 6

Questions about Structure: Theme 7

Story Chart 8

Introduction This teacher guide is intended to assist the teacher or parent in conducting meaningful discussions of literature in the classroom or home school. Questions and answers follow the pattern presented in Teaching the Classics , the Center for Literary Education’s two day literature seminar. Though the concepts underlying this approach to literary analysis are explained in detail in that seminar, the following brief summary presents the basic principles upon which this guide is based. The Teaching the Classics approach to literary analysis and interpretation is built around three unique ideas which, when combined, produce a powerful instrument for understanding and teaching literature: First: All works of fiction share the same basic elements — Context, Structure, and Style . A literature lesson that helps the student identify these elements in a story prepares him for meaningful discussion of the story’s themes. Context encompasses all of the details of time and place surrounding the writing of a story, including the personal life of the author as well as historical events that shaped the author’s world. Structure includes the essential building blocks that make up a story, and that all stories have in common: Conflict, Plot (which includes exposition , rising action , climax , denouement , and conclusion ), Setting, Characters and Theme. Style refers to the literary devices used by authors to create the mood and atmosphere of their stories. Recognition of some basic literary devices (alliteration, simile, personification, metaphor, etc) enables a reader not only to understand the author’s themes more readily, but also to appreciate his craftsmanship more fully. Second: Because it is approachable and engaging, Children’s Literature is the best genre to employ in teaching the foundational principles of literary analysis. Children’s books present these building blocks in clear, memorable language, and are thus treasure mines of opportunities for the astute teacher — allowing him to present Context, Structure and Style with ease to children and adults alike. Having learned to recognize these basic elements in the simple text of a classic children’s story, a student is well prepared to analyze complex works suitable for his own age and level of intellectual development. Third: The best classroom technique for teaching literary analysis and interpretation is the Socratic Method . Named after the ancient gadfly who first popularized this style of teaching, the Socratic method employs the art of questioning, rather than lecturing, to accomplish education. Based upon the conviction that the process of discovery constitutes the better part of learning, our program uses well placed questions to teach students how to think, rather than dictating to them what to think. The Teaching the Classics seminar syllabus supplies a thorough list of Socratic questions for teachers to use in class discussion. The questions are general enough to be used with any book, but focused enough to lead the student into meaningful contemplation of the themes of even the

© 2006, The Center for Literary Education 1 most difficult stories. Questions on the list are arranged in order of difficulty: from grammar level questions which ask for the mere facts of a story, to rhetoric level questions which require discussion of ideologies and transcendent themes. Properly employed, this list can help teachers engage their classes in important discussions of ideas, and can also provide a rich resource for essay and other writing assignments! Used in conjunction with a good writing program, Teaching the Classics produces deep thinkers at any age. The questions used in this guide have been taken directly from the Socratic list, and will therefore be familiar to the seminar alumnus. More information about Teaching the Classics may be found at www.centerforlit.com .

The Center for Literary Education Adam Andrews, Director 3350 Beck Road Rice, WA 99167 (509) 738-6837 [email protected]

1. Who is the author? Munro Leaf, a.k.a. Wilbur Monroe, is best remembered as the author of two memorable works of children’s literature, Wee Gillis and The Story of Ferdinand. Born in Hamilton, Maryland, in 1905, he graduated from the University of Maryland in 1927, and from Harvard University with a master's degree in English literature in 1931. Leaf claimed to have written Ferdinand as a vehicle for his friend and illustrator Robert Lawson’s artistic talents. “I wrote ‘Ferdinand’…in the hope it would amuse [Robert Lawson] enough to create pictures that would provide a quiet laugh,” he said. Munro Leaf died at 71 years of age in 1976.

2. When did the author live? Munro Leaf lived during the mid-twentieth century, the era of the World Wars. His most famous book, The Story of Ferdinand, was first published in 1936, during the Civil War in Spain. Later, during World War II, he and Theodore Geisel (a.k.a. Dr. Seuss) worked together on the pamphlet, This Is Ann, about a mosquito who spread malaria to men who failed to take precautions. It is fair to say that the experience of worldwide war had a great impact on Leaf, as choice of subject matter for Ferdinand clearly suggests.

3. What did the author believe? Released at the outbreak of the Spanish Civil War in 1936, Ferdinand was seen by many supporters of Spanish dictator Francisco Franco as a pacifist tract. For this reason it was widely condemned by the right wing, and was banned in Nazi Germany. At the same time, and perhaps because of this suppression, it was eagerly promoted by those on the political left. In India, for example, Gandhi declared it to be his favorite book of all. Lost in this whirlwind of worldwide acclaim and condemnation were the political views of Munro Leaf himself. Perhaps he preferred, as his famous character did, to “just sit quietly” off to the side of all the commotion. “Now I believe in laughter,” he once said. “There is no better passport through the world than a smile and a laugh.” Parents and teachers may have a productive discussion with older students about the issue of Leaf’s views. On the one hand, his work seems to tout the virtues of pacifism, even non- involvement in current affairs. On the other hand, the act of publishing to a worldwide audience is a direct form of involvement, as the book’s reputation clearly demonstrates. NOTES: ______

4. Who is the protagonist? Remember, the “protagonist” is the main character in a story, whose struggles form the basis of the story’s action. Obviously, in this case the protagonist is Ferdinand himself.

5. What does the protagonist want? The bull Ferdinand has lived all his days in the same lovely pasture. With his mother nearby, he delights in resting tranquilly under his favorite cork tree (fancifully depicted by Robert Lawson as a tree that produces corks!). While the other young bulls frolic in the pasture, practicing their fierce butts and kicks, Ferdinand contents himself with the smell of the fragrant flowers that bloom all around him. Completely disinterested in the pursuits of his peers, he knows he’ll never be chosen to participate in Spain’s age-old bullfighting tradition. Why would the scouts choose him when they can take their pick of the frenzied, frantic bulls that populate his pasture? This quiet life is all that Ferdinand wants, and as long as he has it, he is perfectly happy.

5. Why can’t he have it? Well, nothing lasts forever! Two things conspire to rob Ferdinand of his chance at a quiet, solitary existence. First, chance has it that a small, unnoticed bee perches upon a clover in the very spot Ferdinand chooses to plop down. If you were a bee, says Leaf, and a bull sat on you, you would probably do just what this bee does – sting Ferdinand with all his might! The pawing and stamping this shock provokes from Ferdinand are marvelous to behold. Second, it so happens that five men in funny hats have just arrived to scout fierce bulls for the bullfights in Madrid. They take one look at Ferdinand in his frenzy and realize that their search is over. Surely, this must be the fiercest of all the bulls in Spain!

6. What sort of conflict is this? Man v. Man? Man v. Fate? There are two main conflicts in this story. First, there is the conflict between Ferdinand and the bee. This is a “Man” vs. nature conflict, in the sense that the goals of the protagonist (the “man”) are opposed by natural forces (the bee) – that is, Ferdinand can’t sit quietly because of the bee sting. Second, there is the conflict between Ferdinand and the men who produce the bullfights (including the men in funny hats and the matador and his helpers). This is a “Man vs. society” conflict, in the sense that the goals of the protagonist are opposed by the culture in which he lives. Bulls are supposed to want to go to the bullfights, and Ferdinand doesn’t fit in to his society in this respect. The main question of the story when it comes to this conflict is: will society’s expectations be met, or will Ferdinand be free to pursue his own individual path? For young readers, this second conflict can be put in much simpler language: will the men in funny hats make Ferdinand fight the matador, or will Ferdinand get to sit in his field and smell the flowers?

© 2006, The Center for Literary Education 4 7. How is the main problem solved? The first conflict – that between Ferdinand and the bee – resolves itself badly, at least from Ferdinand’s perspective. Because of the bee’s actions, Ferdinand is taken to the city and lauded as the most ferocious bull of all time. Once he arrives at the bullfighting arena, however, gentle Ferdinand remains true to his nature. Regardless of the promptings, urgings, and provocation of the bullfight participants, he sits placidly in the center of the arena. Looking unconcernedly about him, he sniffs the air, enjoying the fragrance of the flowers that floats from the stands where lovely, blossom bedecked senoritas peer expectantly down at him. Simply put, Ferdinand refuses to fight – and so there is no fight. He triumphs in the second conflict by persisting in his preference for peace. In the face of Ferdinand’s abject disinterest in the matador (whose attempts to provoke him Ferdinand ignores completely), the fighters have no choice but to return him to his favorite spot, under his favorite tree, in his favorite meadow. As far as we know, he is sitting there still – perfectly happy with his life of peaceful solitude. NOTES: ______

8. Where does this story take place? The story happens in Spain, land of matadors, bullfights and men with funny hats. Bullfighting is a sport in which a fierce bull is closed in an arena with an armed man – the Matador. The two fight to the death in an elaborate and theatrical, if bloody, ceremony. The fact that the story is set in Spain is significant for two reasons. First, of course, it is difficult to set a story about bullfighting in a country where there is no bullfighting! Just as important, however, is the historical detail mentioned on page 3 above: Spain was the scene of a civil war that broke out in 1936, just before the publication of this story. The link between recent Spanish history and the violence-related theme of this story was intentional on Leaf’s part, and was obvious to all of his first readers.

9. Does the story happen in the country or the city? The story happens in both the country and the city, and it is interesting to note the contrasts between the two, both in Leaf’s text and in Lawson’s illustrations. The country is peaceful, relatively uninhabited and welcoming. The city, on the other hand, has anxious people (such as the matador), crowded streets and arenas, and the threat of violence. We can easily see why Ferdinand prefers the cow pasture.

Questions about Structure: Characters

9. Who is the story about? Ferdinand – a young bull in whom the virile and violent nature of his kind is amazingly absent. Other young bulls – bucking bravado remains intact in these wild creatures. Ferdinand’s mother – of an understanding nature, she leaves her son to his own quiet pursuits. Five men in funny hats – newly arrived from Madrid, these scouts are seeking the fiercest bull in the region to participate in the bullfights for which Spain is most famous. Bumblebee – This unwitting bumbler becomes the source of all of Ferdinand’s conflict. Banderilleros – The first of those disappointed by Ferdinand’s indifference. Picadores – Later participants in the bullfight, who also fail to arouse Ferdinand’s anger. Matador – a proud buffoon frustrated to tears by Ferdinand’s peaceful temperament. It is productive to compare Ferdinand with his main human antagonist, the matador. What do the two of them strive for? The verification code for this resource is 903684. Enter this code in the submission form at www.centerforlitschools.com/dashboard to receive one professional development credit. Ferdinand seeks peace and quiet; the matador seeks victory and the accolades of the crowd. Ferdinand cares little for his public reputation; the matador worries about his reputation continually. Ferdinand accepts life as it comes to him and remains true to his nature; the matador frets and worries, going all to pieces when things don’t go his way. In the end, Ferdinand’s constancy in the face of provocation, and his innate sense of peace contribute to his enduring happiness. The matador, on the other hand, retires from the field defeated.

© 2006, The Center for Literary Education 6 The adage “he who lives by the sword shall die by the sword” rings true in this story, even though the matador does not die. His hopes are pinned on a “military” victory, and disappointment and defeat prove to be his lot. Ferdinand, on the other hand, proves the truth of a different adage: “he who sows in peace shall reap a harvest of righteousness.”

Questions about Structure: Theme

10. What is the main idea of the story? You might answer this question several ways. This story certainly seems to have a “moral” – that is, a theme that comes across as advice for living: Violence is not the answer Pursue peace with all men Be true to yourself Looks can be deceiving: things are not always as they seem. He who lives by the sword will die by the sword He who sows in peace will reap a harvest of righteousness Not every story has a moral, however. Even a moralistic story deals with broader themes as well. Some examples of universal ideas touched upon in Ferdinand include: The nature of happiness Pacifism Constancy The nature of peace Individualism

NOTES: ______

Climax: Face to face with the matador and his cohorts, Ferdinand is unmoved. Instead of fighting, he sits down and smells the flowers.

SETTING CHARACTERS Spain, the land of Ferdinand and his bullfights and Rising Action: Five men in Dénouement: Though the young bull friends; matadors (and the funny hats come looking for matador has a temper tantrum, the men with funny scene of a civil bulls to fight in Madrid. With a the men have no choice but to hats; the matador war in 1936!). bee’s help, Ferdinand is return Ferdinand to his meadow. and his helpers. chosen!

THEME : Peace vs. War “He who sows in peace will reap a harvest of righteousness.”

Exposition : Ferdinand lives in a Conclusion: Ferdinand continues his flowery meadow with his fellow peace-loving existence under his bulls, his cork tree, and some bees. PLOT favorite cork tree.

CONFLICT Man v. Nature : Will Ferdinand overcome the shock of the bee sting and stay calm for the men with funny hats? Man v. Society : Will the men make Ferdinand fight the matador, or will he get to sit and smell the flowers?

NOTES:

______