Due Friday, February 9th - "Beowulf"- pages 89-113

1)  Read "Beowulf" pages 89-113 (12 pages) – Fighting Grendel’s mother
2)  Be prepared to give a brief performance.
3)  Complete and Share your Old English names/words/phrases.

Introduction to Old English & "Beowulf"

The chart above shows samples of the changes in the English language. 

#1 is Old English or AngloSaxon (circa 450-1066 CE). 

#2 is Middle English (circa 1066-1450 AD). 

#3 is Modern English from about the time of Shakespeare. 

#4 is another sample of Modern English, but it is more recent than #3. 

Old English Poetry: Beowulf

              Beowulf is the idealized warrior of a heroic age and the exemplar of what the Anglo-Saxons chiefly admired as masculine qualities. He is fearless but not foolhardy, uncomplicated but intelligent, serious but not dull. He is thoroughly adjusted in mind and body to a soldierly code and a “kill and get killed” expectancy. His stolid, essentially pessimistic view of life is reinforced by the author of the work with nature scenes of somber magnificence. Ironically, the first great work of English literature is set entirely in Scandinavia without any mention of England or the English.

Definition: Epic or Heroic Poem

A long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race.

Characteristics of Old English Verse:

1. Four stress line. Each line of Anglo-Saxon verse contained four accented syllables.

2. A pause or caesura divided each line into two staves . Each stave contained two stressed syllables.

3. Alliteration to bind the line together and reinforce rhythmic effect.

4. Repetition through synonymous words or phrases. This parallelism resembles that of Old Testament Hebraic poetry and allows for much of the same kind of stately, solemn progress and emphasis.

5. End-stopping of the lines.

6. The use of the kenning, a compound word of metaphoric quality.

Examples:            swan-road                           =            the sky

                                           battle-sweat         =            blood

                                           peace-weaver       =            wife / mother

                                           ring-giver            =            generous king

7. Specialized poetic vocabulary which employed words unfamiliar to current conversation.

8. An elevated and aristocratic tone pervaded, since poetry was primarily intended for recital with harp accompaniment to gathered nobles and warriors in mead halls.

9. A rapid narrative style, which often omitted explanatory details and abruptly turned from one event to another.

10. Oral, not written composition . The scop (poet) composed and the gleeman (minstrel) chanted OE verses long before they were committed to manuscript.

PAGAN / CHRISTIAN ELEMENTS IN BEOWULF

The pagan elements in Beowulf  are numerous.

              --The dead are cremated

              --Omens are observed to direct human conduct

              --Sacrifices are vowed at the temple of idols

              --The praise of worldly glory

              --The theme of blood vengeance

              --Frequent references to the power of Wyrd (fate)

However, the Beowulf poet shows knowledge of and employs terminology from the Christian Scriptures and liturgy.

              --Cain (putative ancestor of Grendel)

              --Giants before the flood

              --The deluge

              --Satan

              --Virtues of moderation, unselfishness, and service to others are highly praised

              --The final tribute to Beowulf by his faithful thane

Due Wednesday, January 17th - Quizzes on Macbeth: Acts III - V

Please explore the following moments as you review Acts III - V for Wednesday's Quiz.

I fear

Thou play’dst most foully for it.

My duties

Are with a most indissoluble tie

Forever knit.

To be thus is nothing,

But to be safely thus. Our fears in Banquo

Stick deep, and in his royalty of nature

Reigns that which would be feared.

Upon my head they placed a fruitless crown,

And put a barren sceptre in my gripe.

Things without all remedy / Should be without regard – what’s done is done.

I am a man. Ay, and a bold one, that dare look on that

Which might appal the devil.

O proper stuff!

This is the very painting of your fear:

This is the air-drawn dagger which, you said,

Led you to Duncan…

When all’s done

You look but on a stool.

Loves for his own ends, not for you…

And by the strength of their illusion

Shall draw him on to his confusion…

He shall spurn fate, scorn death, and bear

His hopes ‘bove wisdom, grace and fear…

Security

Is mortal’s chiefest enemy.

The gracious Duncan…the right valiant Banquo…to kill their gracious father…How it did grieve Macbeth…

 That a swift blessing / May soon return to this our suffering country, / Under a hand accursed.

Directions:  Identify the Speaker

By the pricking of my thumbs,

Something wicked this way comes.

Macbeth! Macbeth! Macbeth! Beware

Macduff. Beware the thane of Fife.

Dismiss me. Enough.

The castle of Macduff I will surprise,

Seize upon Fife, give to th' edge o' th' sword

His wife, his babes, and all unfortunate souls

That trace him in his line. No boasting like a fool.

This deed I'll do before this purpose cool.

But no more sights!—

Time, thou anticipatest my dread exploits.

The flighty purpose never is o'ertook

Unless the deed go with it. From this moment

The very firstlings of my heart shall be

The firstlings of my hand.

Wisdom! To leave his wife, to leave his babes,

His mansion and his titles in a place

From whence himself does fly? He loves us not;

Let us rather hold fast the mortal

sword and like good men

bestride our downfall birthdom;

each new morn, new widows howl,

new orphans cry, new sorrows strike

heaven on the face, that it resounds

as if it felt with Scotland and

yell'd out like syllable of dolour.

 But Macbeth is. A good and virtuous

nature may recoil in an imperial charge.

But I shall crave your pardon;

hat which you are, my thoughts

cannot transpose;

Angels are bright still,

though the brightest fell.

Though all things foul would

wear the brows of grace,

yet grace must still look so.

Your castle is surprised, your wife and babes

Savagely slaughtered. To relate the manner,

Were, on the quarry of these murdered deer

To add the death of you.

He has no children.

All my pretty ones? Did you say all? O hell-kite!

All? What, all my pretty chickens and their dam

At one fell swoop?

Give sorrow words: the grief that does not speak

Whispers the o'er-fraught heart, and bids it break.

Yet who would have thought the old man to have had so much blood in him? 

             

Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. 

             

I would not have such a heart in my bosom for the dignity of the whole body. 

             

What's done cannot be undone. 

             

I have lived long enough: my way of life

Is fall'n into the sear, the yellow leaf;

And that which should accompany old age,

As honour, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath,

Which the poor heart would fain deny, and dare not. 

             

I have almost forgot the taste of fears.

The time has been my senses would have cooled

To hear a night-shriek, and my fell of hair

Would at a dismal treatise rouse and stir

As life were in't. I have supped full with horrors;

Direness, familiar to my slaughterous thoughts,

Cannot once start me. 

             

Life's but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more; it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing. 

             

If that which he avouches does appear,

There is nor flying hence, nor tarrying here.

I 'gin to be aweary of the sun,

And wish the estate o' the world were now undone.

Ring the alarum-bell! Blow, wind! come, wrack!

At least we'll die with harness on our back. 

             

Hail, king! For so thou art.

Behold where stands

The usurper's cursèd head.

The time is free. I see thee

compassed with thy kingdom's pearl,

That speak my salutation in their minds,

Whose voices I desire aloud with mine.

Hail, King of Scotland!

             

             

We shall not spend a large expense of time

Before we reckon with your several loves

And make us even with you…

We will perform in measure, time, and place.

So, thanks to all at once and to each one,

Whom we invite to see us crowned at Scone.

             

             

Due Monday, January 29th (D Exam) - Macbeth: The Musical!

“If Music be the food of love, play on

Give me excess of it…”

                                                                       Orsino from Twelfth Night (I,i,1-2)

Company Name:  The Admirals Men were a theatre troupe in Shakespeare’s day.  Give yourselves a name.  Something that says, “Hey, we know our Shakespeare.  Hire us, okay?”

Timeline:  Two Classes: Writing Script   One Class:  Rehearsal   One Class:  Performances

Script:  Ten-minute Shakespeare: We should see a script with 50% Shakespearean text and 50% popular music lyrics.  You must choose a theme and express it in either a series of moments in the play or you can do a quick cross section of the major moments.  You must, however, have a unified beginning and end for the piece.

Soundtrack:  How will you incorporate music into the piece?  Will you develop a pop music soundtrack to line-up with the performance?  Remember, that we also need to hear the actors.  Will you use a classic music backdrop?  Whatever you do, MAKE SURE THAT THE MUSIC FITS WITH YOUR THEME AND OVERALL VISION.  In other words, if you choose a hip hop soundtrack, that will certainly influence the performance and theme.  It may also influence how you cut the script.  Maybe lines from the play can be sung or performed in spoken word (It certainly was meant to be sung, in a sense).  Will you go Glee or Moulin Rouge and sing a pop song at major intervals.  KEY:  TAKE PRE-EXISTING SONGS AND TURN THEM INTO DUETS.  CHANGE AND TWEEK LYRICS TO FIT PURPOSE.

Rehearsing and Choreography:  THIS IS WHAT I WILL ALSO BE THINKING ABOUT WHEN I GRADE YOUR FINAL PERFORMANCE.  MOVE AROUND PEOPLE!  I will help you during rehearsals.  For the songs (at least) have the lines and cues memorized.  All prose and Shakespearean verse should be memorized to help the performance flow.  Also, make sure all costumes and sets are ready to go and easy to execute.  Also, make sure you have the music cued up and ready to go.  Rehearsals are key.

Performances.  If you are sick or cannot make it, you need to make the necessary arrangements with your group and Mr. Pellerin.  Treat this assignment with the same respect as an exam. If you leave your group high and dry on performance day with no phone call or explanation, expect an F on the assignment.

So, what do I hand in?

1. A final cut script with song lyrics.

2. A timeline explaining what was accomplished, as well as a list of who did what and when.

3. An actual performance. No more than 10 minutes long.

NOTE:  Use of class/homework time will be a huge factor in your grade!!!

This will count as 1-2 major assessment grades

Full Text of Hamlet

http://shakespeare.mit.edu/hamlet/full.html

A complete example from Romeo and Juliet:

SCENE 1 – O Romeo…Don’t be like that!

LADY MONTAGUE

O, where is Romeo? Saw you him to-day?

Right glad I am he was not at this fray.

BENVOLIO

Madam, an hour before the worshipp'd sun

Peer'd forth the golden window of the east,

A troubled mind drave me to walk abroad;

Where, underneath the grove of sycamore

That westward rooteth from the city's side,

So early walking did I see your son:

Towards him I made, but he was ware of me

And stole into the covert of the wood:

I, measuring his affections by my own,

That most are busied when they're most alone,

Pursued my humour not pursuing his,

And gladly shunn'd who gladly fled from me.

MONTAGUE

He, his own affections' counsellor,

Is to himself--I will not say how true--

But to himself so secret and so close,

So far from sounding and discovery,

As is the bud bit with an envious worm,

Ere he can spread his sweet leaves to the air,

Or dedicate his beauty to the sun.

Could we but learn from whence his sorrows grow?

We would as willingly give cure as know.

Enter ROMEO

BENVOLIO

See, where he comes: so please you, step aside;

I'll know his grievance, or be much denied.

Exeunt MONTAGUE and LADY MONTAGUE

BENVOLIO

Good-morrow, cousin.

ROMEO

Is the day so young?

BENVOLIO

But new struck nine.

ROMEO

Ay me! Sad hours seem long.

Was that my father that went hence so fast?

BENVOLIO

It was. What sadness lengthens Romeo's hours?

ROMEO

Not having that, which, having, makes them short.

BENVOLIO

In love?

ROMEO

Out—

BENVOLIO

Of love?

ROMEO

Out of her favour, where I am in love.

BENVOLIO

With whom?

ROMEO

Rosaline and she'll not be hit

With Cupid's arrow; she hath Dian's wit.

BENVOLIO

Then she hath sworn that she will still live chaste?

ROSALINE (music starts from off stage)

Oh oh, oh oh….I'm in love with Jesus, Jesus (music stops abruptly)

ROMEO

She hath, and in that sparing makes huge waste -

ROSALINE (Enters dressed in a nun’s habit in the style of Lady Gaga)

Oh oh, oh oh….I'm in love with Jesus, Jesus

JESUS enters right behind her

Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Ros –sa-sa

JESUS and ROSALINE engage in a choreographed dance in the style of the Lady Gaga Judas video

Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Ros –sa-sa

ROMEO (to Benvolio referring to Jesus and Rosaline who are still dancing)

For beauty starved with her sev-er-ity

Cuts beauty off from all poster-i-ty.

She is too fair, too wise, wisely too fair,

Even after three times, she betrays me

Ahhhhh   Ahhhhh

Live dead to tell it now.  Live dead to tell it now.

A king with no crown.  King with no crown.

ROSALINE (Gesturing Romeo over her shoulder)

I'm just a holy fool.

ROMEO(to Rosaline)

Oh, baby you’re so cruel.

ROSALINE

But I'm still in love with Jesus, baby

I'm just a holy fool.

ROMEO

Oh, baby you’re so cruel.

JESUS

But she’s still in love with Jesus, baby.

ROSALINE

Oh oh, oh oh I'm in love with Jesus, Jesus.

ROSALINE, ROMEO, BENVOLIO, JESUS (all singing and dancing together)

Oh oh, oh oh I'm in love with Jesus,

Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Je-sa sa Jesus, Ros –sa-sa (abruptly stops – Jesus and Rosaline exit)

BENVOLIO

Alas, that love, so gentle in his view,

Should be so tyrannous and rough in proof!

ROMEO

Alas, that love, whose view is muffled still,

Should, without eyes, see pathways to his will!

Where shall we dine?

O me! What fray was here?

Yet tell me not, for I have heard it all.

Here's much to do with hate, but more with love.

Why, then, O brawling love! O loving hate!

O any thing, of nothing first create!

O heavy lightness! serious vanity!

Mis-shapen chaos of well-seeming forms!

Feather of lead, bright smoke, cold fire,

sick health!

Still-waking sleep, that is not what it is!

This love feel I, that feel no love in this.

Dost thou not laugh?

BENVOLIO

No, coz, I rather weep.

ROMEO

Good heart, at what?

(Servant enters and hands Benvolio and invitation and exits)

BENVOLIO

At thy good heart's oppression.

Coz, I just obtained an invitation to a party

At this same ancient feast of Capulet's

Sups the fair Rosaline whom thou so lovest,

With all the admired beauties of Verona:

Go thither; and, with unattainted eye,

Compare her face with some that I shall show,

And I will make thee think thy swan a crow.

ROMEO

When the devout religion of mine eye

Maintains such falsehood, then turn tears to fires;

And these, who often drown'd could never die,

Transparent heretics, be burnt for liars!

One fairer than my love! the all-seeing sun

Ne'er saw her match since first the world begun.

BENVOLIO

Tut, you saw her fair, none else being by,

Herself poised with herself in either eye:

But in that crystal scales let there be weigh'd

Your lady's love against some other maid….

BENVOLIO begins singing “I Just Haven’t Met You Yet” by Michael Buble

BENVOLIO

I'm not surprised

Not everything lasts

You've broken your heart so many times

I stopped keeping track.

ROMEO

Talk myself in,

I talk myself out.

I get all worked up

Then I let myself down.

I tried so very hard not to lose it

BENVOLIO

You came up with a million excuses

ROMEO

I thought I thought of every possibility

BENVOLIO

And I know someday that it'll all turn out

She'll make you work so you can work to work it out

And I promise you kid that you'll give so much more than you get

You just haven't met Juliet

Mmmmm ....

BENVOLIO

You might have to wait

ROMEO

I'll never give up

BENVOLIO

I guess it's half timing

ROMEO

And the other half's luck

BENVOLIO

Wherever you are

ROMEO

Whenever it's right

BENVOLIO

She'll come out of nowhere and into your life

JULIET enters

ROMEO (to JULIET)

And I know that we can be so amazing

JULIET (to ROMEO)

And baby your love is gonna change me

ROMEO

And now I can see every possibility

Hmmmmm ......

ROMEO and JULIET holding hands and singing in unison

ROMEO and JULIET

And somehow I know that it'll all turn out

And you'll make me work so we can work to work it out

ROMEO

And I promise you kid I'll give so much more than I get

JULIET

You just haven't met me yet

ROMEO

They say all's fair

JULIET

In love and war

ROMEO

But I won't need to fight it

JULIET

We'll get it by it

ROMEO and JULIET

We'll be united

ROMEO and JULIET dance during the interlude

ROMEO

And I know that we can be so amazing

JULIET

And being in your life is gonna kill me

ROMEO

And now I can see every single possibility

Hmmm .....

JULIET exits

ROMEO

And someday I know it'll all turn out

BENVOLIO enters

 And I'll work to work it out

BENVOLIO

Promise you kid

ROMEO

I'll give more than I get

Than I get, than I get, than I get!

MERCUTIO enters

BENVOLIO, ROMEO and MERCUTIO (Dancing like the Rockettes)

Oh you know it'll all turn out

And you'll make me work so we can work to work it out

And I promise you kid to give so much more than I get

Yeah I just haven't met Juliet

ROMEO at center stage

ROMEO

I just haven't met Juliet

Oh promise you kid

To give so much more than I get

MERCUTIO and BENVOLIO

I said love love love love love love love .....

ROMEO

I just haven't met you yet

MERCUTIO and BENVOLIO

I said love love love love love love love .....

ROMEO

I just haven't met you yet

BENVOLIO

So come with me, Romeo

That I will show you shining at this feast,

And she shall scant show well that now shows best.

ROMEO

I'll go along, no such sight to be shown,

But to rejoice in splendor of mine own.

Exeunt

Scene 2:  We Coulda Had it All

JULIET

Come, night; come, Romeo; come, thou day in night;

For thou wilt lie upon the wings of night

Whiter than new snow on a raven's back.

Come, gentle night, come, loving, black-brow'd night,

Give me my Romeo; and, when he shall die,

Take him and cut him out in little stars,

And he will make the face of heaven so fine

That all the world will be in love with night

And pay no worship to the garish sun.

Nurse enters weeping

O, here comes my nurse,

And she brings news; and every tongue that speaks

But Romeo's name speaks heavenly eloquence.

Nurse

Tybalt is gone, and Romeo banished;

Romeo that kill'd him, he is banished.

JULIET

O God! did Romeo's hand shed Tybalt's blood?

NURSE

It did, it did; alas the day, it did!

JULIET

O serpent heart, hid with a flowering face!

Juliet sings Adele’s "Rolling in the Deep"

There's a fire starting in my heart,

Reaching a fever pitch and it's bringing me out the dark.

(Romeo enters with a sword to attack Tybalt)

Finally I can see you crystal clear

Go ahead and sell me out and I'll lay your ship bare.

ROMEO (TO TYBALT)

See how I'll leave, with every piece of you

TYBALT (TO ROMEO)

Don't underestimate the things that I will do.

ALL

There's a fire starting in my heart,

Reaching a fever pitch

JULIET

it's bringing me out the dark.

(Tybalt and Romeo fight while Juliet looks on)

JULIET

The scars of your love, remind me of us.

They keep me thinking that we almost had it all

(Tybalt wounds Romeo)

The scars of your love, they leave me breathless

I can't help feeling

(Romeo touches the wound and in a fury stabs Tybalt)

We could have had it all

(Romeo pulls sword out of Tybalt’s chest)

Rolling in the deep

(Romeo looks at the blood on his hands)

You had my heart inside your hand

And you played it

To the beat – (music stops abruptly)

ROMEO

O I am fortune’s fool!

BENVOLIO

Romeo stand not amazed be gone

(Romeo goes to Friar Laurence who enters from the left)

ROMEO

Spakest thou of Juliet? how is it with her?

Doth she not think me an old murderer,

Now I have stain'd the childhood of our joy

With blood removed but little from her own?

Where is she? and how doth she? and what says

My conceal'd lady to our cancell'd love?

Nurse

O, she says nothing, sir, but weeps and weeps;

And now falls on her bed; and then starts up,

And Tybalt calls; and then on Romeo cries,

And then down falls again.

ROMEO

As if that name,

Shot from the deadly level of a gun,

Did murder her;

Rolling in the Deep continues

ROMEO

Baby I have no story to be told

NURSE

But I've heard one of you

JULIET (from beyond enters)

and I'm gonna make your head burn,

ROMEO (grabs a knife to kill himself)

Think of me in the depths of your despair

Make a home down there as mine sure won't be shared

FRIAR (grabs knife strikes Romeo)

The scars of your love, remind you of….

Juliet enters and sings to Romeo center stage

us.  They keep me thinking

ROMEO

that we almost had it all

JULIET

The scars of your love,

ROMEO

they leave me breathless

JULIET

I can't help feeling

TOGETHER

We could have had it all

(A past version of Romeo and Juliet enter recreating the balcony scene as the present Romeo and Juliet look on)

Rolling in the deep

You had my heart inside your hand

(Romeo kissing her at the balcony)

And you played it

To the beat (Juliet exits from the balcony and Romeo runs into the forest)

JULIET (TO ROMEO)

We could have had it all

ROMEO (with remorse)

Rolling in the deep

JULIET

You had my heart inside your hand

(they touch hands like the palmer’s kiss from Act I, Scene 5)

ROMEO

But I played it

With a beating

FRIAR (to Romeo)

Throw your soul through every open door

Count your blessings to find what you look for

(Romeo kisses the Friar’s hand and exits)

JULIET (TO FRIAR)

Turn my sorrow into treasured gold

Friar (hands vile to Juliet and pats her head)

You pay me back in kind

(Juliet lies down)

(Romeo takes a vile from the apothecary)

APOTHOCARY

and reap just what you sow (music stops)

ROMEO (enters tomb and sits by Juliet with dram of poison)

I set up my everlasting rest,

And shake the yoke of inauspicious stars

From this world-wearied flesh. Eyes, look your last!

Arms, take your last embrace! and, lips, O you

The doors of breath, seal with a righteous kiss

A dateless bargain to engrossing death!

Come, bitter conduct, come, unsavoury guide!

Thou desperate pilot, now at once run on

The dashing rocks thy sea-sick weary bark!

Here's to my love!

JULIET (awakens)

Where is my Romeo?

What's here? a cup, closed in my true love's hand?

Poison, I see, hath been his timeless end:

O churl! drunk all, and left no friendly drop

To help me after? I will kiss thy lips;

Haply some poison yet doth hang on them,

To make die with a restorative.

(Kisses him)

Thy lips are warm.

I'll be brief. O happy dagger!

(Snatching ROMEO's dagger)

This is thy sheath;

(Everyone enters slowly from various entry points and look on solemnly)

PRINCE

 Where be these enemies? Capulet! Montague!

See, what a scourge is laid upon your hate,

That heaven finds means to kill your joys with love.

And I for winking at your discords too

Have lost a brace of kinsmen:

all are punish'd.

MONTAGUE (extends a hand to Capulet)

We could have had it all

CAPULET (Accepts Montagues hand)

We could have had it all

(The dead ROMEO and JULIET rise and approach their parents)

We could have had it all

Rolling in the deep

You had my heart inside your hand

And you played it to the beat

We could have had it all

Rolling in the deep

You had my heart inside your hand

But you played it,

You played it,

You played it

You played it to the beat

EPILOGUE

For never was there a tale of more woe,

than that of Juliet and her Romeo.

RUBRIC

D or F performances

· Anything less than the C performances below


C performances


· A complete script for Mr. Pellerin & each group member (no trips to copy machine)

· Script contains:

           o Clear theme

           o Interesting story development

           o Pop music and Shakespearean text integrated

· Performance of scripts, in hand, is moderately smooth. Just periodic stops for technical difficulties

· Costumes

· Performance with all members occurs on the assigned date



B performances


· Has all the above and…

· Script contains:

        o Meaningfully theme – Nuanced and philosophical

        o Complex plot development

        o Songs are meaningful and well placed (though perhaps a bit long, and/or one “note” meanings)

        o Well chosen moments from the text – a strong cross section of the play

· Performance is smooth. Though not memorized, the performers know the material inside and out. Choices about technology, blocking, costumes, and the like are thought out beforehand.



A performances

· Has all the above and…

· Script contains:

        o Themes and concepts are thought provoking. Shows us multiple sides to the issues presented

        o Clear theme – Nuanced and philosophical – Goes beyond stereotypes to get at the heart of the matter

         o Complex plot development and seamlessly thread together as if this were an original play and not a Frankenstein monster of moments

        o Songs are meaningful, well placed and preformed with feeling

        o Well chosen – a Strong cross section of the play – Tight!

· Script is nuanced. Every line is thoughtfully spliced and there is a definite beginning, middle and end to the performance.

· Performance is smooth and choreography is fun and meaningful. All props and cues are hit. One or two members attempted to memorize parts. Members tried to use note cards.

· Costumes and staging are thoughtfully planned ahead of time and a world is created

· We are all speechless

Due Monday, December 18th - "Macbeth" Act III

Please finish reading "Macbeth" Act III and complete the 13 study questions in your journal.

I would like you to do a little research and find examples of real life Macbeths and Lady Macbeths.  Look for world leaders who abused their power through ambition.  It need not be murder (though, sadly, that has happened more times than we can count).

How has financial greed caused an abuse of power?  This can be seen in companies that started off with a worthy goal, and then ended up allowing money, greed, power and ambition take over.

In the following blog post, please share a real life example of a person or entity that resembles the downfall of Macbeth.  Please include a link to the website, so we can see your work.  Also, include at least 1-3 direct quotation(s) from Macbeth that shows the direct parallel to your example.

I look forward to your responses.

Mr. P. ;)

Due Monday, December 18th - "Macbeth" Close Reading Critical Analysis Essay

Directions:  Below is a speech by Macbeth.  Please compose an essay walking us through the passage and analyzing Macbeth’s state of mind.  Think about what proceeded this speech.  What comes after.  Think about Shakespeare’s use of language.  Please post your essays to Turnitin.com by Monday, December 18^th


Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
I see thee yet, in form as palpable
As this which now I draw.
Thou marshall'st me the way that I was going;
And such an instrument I was to use.
Mine eyes are made the fools o' the other senses,
Or else worth all the rest; I see thee still,
And on thy blade and dudgeon gouts of blood,
Which was not so before. There's no such thing:
It is the bloody business which informs
Thus to mine eyes. Now o'er the one halfworld
Nature seems dead, and wicked dreams abuse
The curtain'd sleep; witchcraft celebrates
Pale Hecate's offerings, and wither'd murder,
Alarum'd by his sentinel, the wolf,
Whose howl's his watch, thus with his stealthy pace.
With Tarquin's ravishing strides, towards his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout,
And take the present horror from the time,
Which now suits with it. Whiles I threat, he lives:
Words to the heat of deeds too cold breath gives.

[a bell rings]

I go, and it is done; the bell invites me.
Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell.

See different interpretations of the scene, below.  Note:  If you choose to allude to these scenes, be sure to make the proper MLA notations.

Shakespeare of the Day: "The Tragedy of Hamlet, Prince of Denmark"

Please peruse the "Shakespeare of the Day" selection:  The Tragedy of Hamlet, Prince of Denmark.  Which performance do you like best?  Why? 


Hamlet (III. i. 64-96)

To be or not to be – that is the question:

Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles

And, by opposing, end them. To die, to sleep –

No more – and by a sleep to say we end

The heartache and the thousand natural shocks

That flesh is heir to – `tis a consummation

Devoutly to be wished. To die, to sleep –

To sleep, perchance to dream.  Ay, there's the rub,

For in that sleep of death what dreams may come,

When we have shuffled off this mortal coil,

Must give us pause. There's the respect

That makes calamity of so long life.

For who would bear the whips and scorns of time,

Th' oppressor's wrong, the proud man's contumely,

The pangs of despised love, the law's delay,

The insolence of office, and the spurns

That patient merit of th' unworthy takes,

When he himself might his quietus make

With a bare bodkin? Who would fardels bear,

To grunt and sweat under a weary life,

But that the dread of something after death,

The undiscovered country from whose bourn

No traveler returns, puzzles the will

And makes us rather bear those ills we have,

Than fly to others that we know not of?

Thus conscience does make cowards of us all,

And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought,

And enterprises of great pitch and moment

With this regard their currents turn awry

And lose the name of action.

Below are four different interpretations of Hamlet's famous soliloquy from Act 3, scene 1.Please view all four clips in the following order:

1) 1948 - The timeless performance by Laurence Olivier.

2) 2000 - Ethan Hawke's Hamlet drifts into a Blockbuster video. Notice which section he walks through.

3) 1996 - Kenneth Brannah's Hamlet speaking a mirror image of himself (Note: Hamlet's Uncle Claudius and Polonius are hiding behind the glass).

4) 2009 - David Tennant's Hamlet - A more modern and nuanced performance.

5) 1990 - Mel Gibson's Hamlet - Notice the choice of location and the intensity of the performance.