La monstruosité

Énoncé

Évaluation de fin de première
Épreuve écrite
Durée : 2 heures

Le sujet porte sur la thématique « Imaginaires ».
Prenez connaissance des documents A, B et C et traitez le sujet suivant en anglais :
Write a short commentary (minimum 300 words) on documents A, B and C, using the following guidelines:
Give a definition of 'monstrosity' referring to the three documents;
Compare the different ways by which the artists represent the notion of "monstrosity";
Show how this representation may appeal to the readers' or spectators' imagination.

Document A

Bottom is a craftsman who is rehearsing a play with his friends in a forest near Athens. Amischievous fairy called Puck has changed Bottom's head into that of a donkey. Puck has also administered a love potion to Titania, the fairy Queen: she will fall in love with the first person she sees when she wakes up.
Enter PUCK, and BOTTOM with an ass's head⁽¹⁾
BOTTOM
If I were fair, Thisbe, I were only thine.

QUINCE
O monstrous! O strange! We are haunted. Pray,
masters; fly, masters. Help!

Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING
[…]
BOTTOM
Why do they run away? This is a knavery of them to
make me afeard.

Enter SNOUT
SNOUT
O Bottom, thou art changed. What do I see on thee?

BOTTOM
What do you see? You see an ass-head of your own, do you?

Exit SNOUT
Re-enter QUINCE
QUINCE
Bless thee, Bottom, bless thee. Thou art translated.

Exit
BOTTOM
I see their knavery: this is to make an ass of me,
to fright me, if they could; but I will not stir
from this place, do what they can. I will walk up
and down here, and I will sing, that they shall hear
I am not afraid.

Sings […]
TITANIA waking
What angel wakes me from my flowery bed?
[…]
I pray thee, gentle mortal, sing again.
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view to say, to swear, I love thee.

BOTTOM
Methinks, mistress, you should have little reason
for that. And yet, to say the truth, reason and
love keep little company together nowadays—the
more the pity that some honest neighbours will not
make them friends. Nay, I can gleek upon occasion.

TITANIA
Thou art as wise as thou art beautiful.

BOTTOM
Not so, neither; but if I had wit enough to get out
of this wood, I have enough to serve mine own turn.

TITANIA
Out of this wood do not desire to go.
Thou shalt remain here, whether thou wilt or no.
I am a spirit of no common rate;
The summer still doth tend upon my state;
And I do love thee. Therefore go with me.
I'll give thee fairies to attend on thee,
And they shall fetch thee jewels from the deep,
And sing while thou on pressed flowers dost sleep;
And I will purge thy mortal grossness so
That thou shalt like an airy spirit go.

William Shakespeare, A Midsummer Night's Dream, Act 3, scene 1, 1595

Document B

"This place is haunted!" said Ron.
"It's not", said Lupin, still looking at the door in a puzzled way. "The Shrieking Shack was never haunted… the screams and howls the villagers used to hear were made by me."
He pushed his greying hair out of his eyes, thought for a moment, then said, "That's where all of this starts — with my becoming a werewolf. None of this could have happened if I hadn't been bitten… and if I hadn't been so foolhardy…"
He looked sober and tired. Ron started to interrupt, but Hermione said, "Shh!" She was watching Lupin very intently.
"I was a very small boy when I received the bite. My parents tried everything, but in those days there was no cure. The potion that Professor Snape has been making for me is a very recent discovery. It makes me safe, you see. As long as I take it in the week preceding the full moon, I keep my mind when I transform… I am able to curl up in my office, a harmless wolf, and wait for the moon to wane again.
"Before the Wolfsbane Potion was discovered, however, I became a fully fledged monster once a month. It seemed impossible that I would be able to come to Hogwarts. Other parents weren't likely to want their children exposed to me.
"But then Dumbledore became Headmaster, and he was sympathetic. He said that, as long as we took certain precautions, there was no reason I shouldn't come to school…" Lupin sighed, and looked directly at Harry. "I told you, months ago, that the Whomping Willow was planted the year I came to Hogwarts. The truth is that it was planted because I had come to Hogwarts. This house—" Lupin looked miserably around the room, "— the tunnel that leads to it — they were built for my use. Once a month, I was smuggled out of the castle, into this place, to transform. The tree was placed at the tunnel mouth to stop anyone coming across me while I was dangerous."
Harry couldn't see where this story was going, but he was listening raptly all the same. The only sound apart from Lupin's voice was Scabbers's frightened squeaking.
"My transformations in those days were — were terrible. It is very painful to turn into a werewolf. I was separated from humans to bite, so I bit and scratched myself instead. The villagers heard the noise and the screaming and thought they were hearing particularly violent spirits. Dumbledore encouraged the rumour… even now, when the house has been silent for years, the villagers don't dare approach it…
"But apart from my transformations, I was happier than I had ever been in my life. For the first time ever, I had friends, three great friends. Sirius Black… Peter Pettigrew… and, of course, your father, Harry — James Potter."
J.K. Rowling, Harry Potter and The Prisoner of Azkaban, chapter 18, 1999

Document C

Sujet de Langues, littératures et cultures étrangères et régionales : - illustration 1

UK poster for The Elephant Man, by David Lynch, 1980

(1) ass's head : donkey's head.

Commentaire méthodologique

1. L'analyse du sujet : il s'agit d'un commentaire guidé sur le sujet de la monstruosité. On vous indique le plan de votre commentaire. Vous devez d'abord définir la monstruosité telle qu'elle apparaît dans les trois documents. Ensuite, on vous demande de comparer la manière dont chaque artiste représente la monstruosité. Pour finir, vous devez analyser de quelle façon cette monstruosité peut être perçue comme attrayante par le spectateur / lecteur.

2. Une première lecture / observation de chaque document pour le comprendre et vous familiariser avec le contenu. Identifier sa spécificité et repérer les passages ciblant la monstruosité.

3. Une analyse approfondie de chaque document, crayon à la main. Surligner les phrases ou éléments graphiques qui vous semblent particulièrement pertinents. Mettre en évidence les répétitions ou redondance de champs lexicaux. Noter dans la marge toutes vos réflexions par rapport à la monstruosité. NB Faire cette étape directement en anglais pour gagner du temps et faciliter la rédaction du commentaire.
Document A = Act 3 Scene 1 of Shakespeare's comedy A Midsummer Night's Dream, GB 1595. F
Introduction Friends (Bottom & co.) rehearsing a play in the forest
A mischievous fairy called Puck has changed Bottom's head into that of a donkey $\Rightarrow$ Bottom is unaware of this transformation
Puck has also administered a love potion to Titania, the fairy queen: she will fall in love with the first person she sees when she wakes up $\Rightarrow$ Titania unaware too
l.2 Quince O monstrous! O strange! We are haunted. … fly, masters. Help! $\Rightarrow$ violent reaction at sight of transformed Bottom: they all flee $\Rightarrow$ comic
l.5 Bottom Why do they run away? This is a knavery of them to make me afeard $\Rightarrow$ dramatic irony: B doesn't understand their reaction. Thinks friends are playing a trick on him to frighten him
l.6 Snout returns $\Rightarrow$ fascination for monster O Bottom, thou art changed. What do I see on thee? $\Rightarrow$ incredulity + curiosity
l.7 B: What do you see? You see an ass-head of your own, do you? $\Rightarrow$ dramatic irony at situation: B, bewildered, accuses Snout of seeing own ass-head as in a mirror. Humour: ass is polysemous = donkey / idiot / bottom
l.10 B: I see their knavery: this is to make an ass of me to fright me if they could $\Rightarrow$ doubly funny: ass = bottom + idiot. B. determined not to fall into friend's trap: plans to keep himself busy (walking + singing) that they shall hear I am not afraid
l.15 B.'s singing awakens Titania: falls in love with him = gentle mortal
Mine ear is much enamoured of thy note $\Rightarrow$ loves his singing
So is mine eye enthralled to thy shape $\Rightarrow$ loves his form (is blind to his monstrosity)
l.21 B.: T has no reason to love him $\Rightarrow$ dramatic irony (B unaware of his monstrosity)
And yet, to say the truth, reason and love keep little company together nowadays $\Rightarrow$ B demonstrates a surprising wisdom
l.26 T: Thou art as wise as thou art beautiful $\Rightarrow$ dramatic irony
l.27 B.: Not so neither, but if I had wit enough to get out of this wood … $\Rightarrow$ demonstrates modesty and honesty $\Rightarrow$ likeable personality
end: T. intends to keep B with her as her lover
And I will purge thy mortal grossness so That thou shalt like an airy spirit go $\Rightarrow$ dramatic irony: for T., being a human is like being a monster (= gross)
Analysis of the bigger picture: monstrosity = physical transformation of human being
B's intellectual and emotional isolation is mirrored by his physical isolation (when friends flee)
B = monster, but expresses affection and emotions = sensitive & human subject with whom audience can empathise + intelligence (remark about irrational love)
Document B = chapter 18 J.K. Rowling's fantasy novel Harry Potter and the Prisoner of Azkaban, GB 1999
Situation Ron, Hermione & Harry with Lupin in the Shrieking Shack (= house connected to Hogwarts by secret tunnel: name evokes L's screams as werewolf). L. explains how he copes with becoming a werewolf once a month
l.1 Ron: This house is haunted
l.3 Lupin says no & explains: the screams and howls the villagers used to hear were made by me $\Rightarrow$ suffering of being a werewolf
None of this could have happened if I hadn't been bitten … and if I hadn't been so foolhardy $\Rightarrow$ regret + self-blame He looked sober and tired $\Rightarrow$ suffers
Ron started to interrupt, but Hermione said "Sssh!" She was watching Lupin very intently $\Rightarrow$ fascination with his story, desire to know more
Professor Snape gives L. a potion to take before the full moon It makes me safe … I keep my mind when I transform … I am able to curl up in my office, a harmless wolf … $\Rightarrow$ L. afflicted by danger his monstrosity represents
Dumbledore's sympathy enabled L. to attend Hogwarts. Lupin sighed = yet another indication of his affliction.
Certain precautions = house, tunnel built and willow planted so that L could hide when transformed $\Rightarrow$ indication of kindness of staff at Hogwarts The tree was placed at the entrance of the tunnel mouth to stop anyone coming across me while I was dangerous $\Rightarrow$ care of L. + precautions for others
Harry was listening raptly $\Rightarrow$ fascination, appeal (only sound those of frightened rats)
l.33 My transformations in those days were — were terrible. $\Rightarrow$ difficulty expressing idea, emphasises degree of suffering. It is very painful to turn into a werewolf. I was separated from humans to bite, so I bit and scratched myself instead. $\Rightarrow$ screaming (repetition l.3)
Dumbledore encouraged the rumours (about violent spirits in the house) $\Rightarrow$ desire to protect L.
Even now, when the house has been silent for years, the villagers don't dare approach it $\Rightarrow$ highlights the terror aroused by L's screaming
Analysis of the bigger picture monstrosity = physical transformation of human being into a werewolf. L. = monster, but expresses affection and emotions = sensitive & human subject with whom reader empathises. (Direct speech reinforces empathy.) Description of Hermione's & H's fascination with L's story heightens empathy. Description of staff's desire to take L. on at Hogwarts & their efforts to protect him engage reader's sympathy for L. Description of villagers' terror with regards the Shrieking Shed intensify sense of L's suffering & affliction.
Document C = UK poster David Lynch's biographic film Elephant Man 1980. (real story of man with terrible disfigurement, treated as a freak in 19^th century London = Joseph Merrick)
Colour: black & white photograph $\Rightarrow$ evokes past + sense of nostalgia $\Rightarrow$ no distraction from the central figure (Elephant Man)
Focal point: shapeless figure in centre with a dark shawl wrapped around his erect body (= normal) and a hat placed over a white mask covering his head entirely (= abnormal). We can suppose he is in profile, as can see one hole for an eye and a protuberance resembling a nose = EM (face hideously disfigured with skin like an elephant) $\Rightarrow$ Nothing in the shape of this figure except the hat which suggests it is a human being.
Composition: Elephant Man, immobile, stands out against gloomy background. Only other distinct feature = ventilation grid at head level to the right of EM $\Rightarrow$ suggestion of an industrial setting (maybe a pipe running across the photo at thigh level) $\Rightarrow$ probably a factory $\Rightarrow$ suggests EM is rejected by society and has nowhere to live $\Rightarrow$ sense of isolation
Light and shadow: 2 pockets of light (1 at ground level, the other behind EM's head) describing a movement right to left, as if clouds of steam coming out of the factory behind EM.
Textual elements: bottom left ELEPHANT MAN $\Rightarrow$ title in capital letters + An incredible but true story … probably this year's best film (lower case, confirms biographical dimension).
To the left of EM's shoulders (as if it was a speech bubble): "I AM NOT AN ANIMAL! I AM A HUMAN BEING! I … AM … A MAN!" $\Rightarrow$ capital letters indicate force behind words (rage?) + 3 statements placed beneath each other $\Rightarrow$ emphasise need for EM to clarify his situation. Suspension marks in last sentence evoke distress at having to spell out his identity $\Rightarrow$ reinforces idea that EM is not accepted as a human being $\Rightarrow$ asking for compassion and understanding. Direct speech creates empathy.
Bottom of photo = film credits.
Conclusion: photo intended to encourage people to see film + inform them about its content. Focus on EM's deformity / freakishness / abnormality + his desire to be considered as human / normal.
Analysis of the bigger picture monstrosity = human facial deformity.

4. Organisation de vos notes : ici, le sujet vous fournit directement un plan, mais encore faut-il choisir les éléments les plus pertinents pour chaque partie. Concentrez-vous sur les points convergents et divergents pour plus de cohérence.

• Introduction : présentation des trois documents en mettant en évidence leur spécificité et d'éventuels points communs (époque, nationalité). Annonce du sujet du commentaire.

• Définition de la monstruosité telle qu'elle apparaît dans les trois documents.

• Comparaison des différentes manières dont chaque artiste représente la monstruosité.

• Analyse de ce que fait chaque artiste pour que la monstruosité soit perçue comme attrayante par le spectateur / lecteur.

• Conclusion : prendre du recul pour montrer votre capacité à réagir à l'exploitation de la thématique de la monstruosité ici.

5. Rédaction de votre commentaire suivie d'une relecture attentive pour contrôler la qualité de votre expression.

Corrigé

This dossier features three British documents covering a period of over 400 years. The earliest is document A, from Act 3 Scene 1 of William Shakespeare's comedy A Midsummer Night's Dream, written in 1595. Document B is an extract from chapter 18 of J.K. Rowling's third Harry Potter novel Harry Potter and the Prisoner of Azkaban, published in 1999. Document C is the British poster for David Lynch's historical film Elephant Man released in 1980. What the three documents have in common is the presentation of a monstrosity. In this commentary, we will analyse first how monstrosity can be defined here, then we will compare how the artists represent monstrosity and in the final part, we will analyse how their representation may appeal to the reader or spectator.
In A Midsummer Night's Dream, Button is considered as a monster by his companions because he has an ass's head, due to the spell that Puck cast on him. Elephant Man is similarly affected by a transformation of his face and head, except that in his case it is a hideous deformity that is by no means laughable. Unlike the other two characters, Lupin in the Prisoner of Azkaban, undergoes a transformation that affects his entire body when he changes into a werewolf once a month at full moon. In all three documents, the example of monstrosity given is a transformation of the human body into something that people find repulsive or frightening.
All three artists show that monstrosity causes physical isolation: Bottom's friends flee on seeing his ass's head initially, and until Snape had found a drug to control Lupin's metamorphosis into a werewolf, he was smuggled into the Shrieking Shed to hide his horrific condition from everyone else. The film poster shows Elephant Man standing alone in a dark and gloomy setting, suggesting that his freakish appearance incites people to keep their distance. Even if their physical appearance makes them seem frightful, all three characters are portrayed as sensitive, human subjects. In each case, they are given a voice to express themselves, which creates empathy with the spectators or readers. Thus, Bottom expresses his bewilderment at his friends' attitude: I see their knavery: this is to make an ass of me to fright me if they could. As he is unaware of his physical transformation, he tries to find a logical explanation for their behaviour, and imagines that they are playing a trick to try to scare him. Likewise, Lupin expresses regret and even blames himself for his predicament: None of this could have happened if I hadn't been bitten … and if I hadn't been so foolhardy. Even Elephant Man expresses himself on the poster. "I AM NOT AN ANIMAL! I AM A HUMAN BEING! I … AM … A MAN!" The use of capital letters puts the emphasis on his outrage at being treated no better than an animal, while the suspension marks in the final sentence indicate his distress at having to spell out his true identity. Bottom's character is probably the most complex of the three, as Shakespeare portrays him demonstrating courage (they shall hear I am not afraid) and witty intelligence (And yet, to say the truth, reason and love keep little company together nowadays). J.K. Rowling chooses to focus on Lupin's suffering: My transformations in those days were — were terrible. It is very painful to turn into a werewolf. I was separated from humans to bite, so I bit and scratched myself instead. The hesitation in the first sentence echoes Elephant Man's difficulty expressing himself: both artists use the same technique to emphasise the extent of their character's suffering. The repetitive allusion to Lupin's screams reinforces the horror of his ordeal.
We have already seen how letting the characters speak for themselves underlines their humanity beneath their monstrous façade and creates empathy, but each of the artists also employs other techniques to make their monsters endearing. J.K. Rowling uses the other characters to give depth to Lupin's character. Thus, the depiction of Hermione's and Harry's fascination with the werewolf's story heightens the reader's empathy. Likewise, Lupin's description of Hogwarts staff's desire to take him on at the school and their efforts to protect him engage our sympathy, just as the description of the villagers' terror with regards the Shrieking Shed intensifies our awareness of Lupin's pain. In the play, Shakespeare uses Tatiana's spell-bound favourable reaction to Bottom's physical appearance to counter his companion's exaggerated expression of horror: Thou art as wise as thou art beautiful. The playwright also deploys comic and theatrical elements to encourage the spectators to see beyond Bottom's monstrosity (which visually is laughable rather than scary). First and foremost, the choice of an ass's head enables the playwright to play on the word's polysemy and create puns (donkey / idiot) as when Bottom says to Snout You see an ass-head of your own, do you? Secondly, Bottom's ignorance of his physical transformation creates dramatic irony, so that rather than focussing on the companions' fear, the spectators are entertained by the misunderstanding, reinforced by verbal effects, such as when Bottom says this is to make an ass of me, with the pun bottom / idiot. As for the poster, the artist uses the austere composition and the absence of colour to insist on the terrible isolation of Elephant Man: the factory-like decor (a ventilation grid, a horizontal pipe and clouds of steam) suggests that he is rejected by society and has nowhere to live. The poster's bleak content with a unique focus on Elephant Man as well as on what he says is dramatic and thought-provoking.
The study of these three very different documents shows how artists are able to deploy specific techniques according to their genre so as to portray human monsters in an endearing manner and entertain their audience or readership while broaching a difficult subject. Furthermore, what is morally satisfying here is that, whether creating a comedy, promoting a historical film or writing a fantasy novel, all three artists insist on the humanity of their monsters, and encourage us to think that we must look beyond physical appearance to perceive the real person beneath their deformity.