“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?”
Group 1: John, Nolan, Mike L, Mike D, Mike G, Josh
Group 2: Kate, Hannah, Sophia, Paige, Reagan, Adrianna
Group 3: Mikey, Sean, Adam, Jacob, Natalie, Jussie
Group 4: Jack, James, Evan, Elyse, Jonathan, Dereck Timeline: Four Classes: Writing Script (2) Rehearsal (1) Performances (1)
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 to Turnitin.com
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
Example #1: You Just Haven't Met Juliet
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?
ROMEO
She hath, and in that sparing makes huge waste -
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 Juliet.
MERCUTIO and BENVOLIO
I said love love love love love love love .....
ROMEO
I just haven't met Juliet!
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
Example Two: Then I defy you stars!
PROLOGUE
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Romeo enters with Mercutio and their entourage in masks
ROMEO
I dream'd a dream to-night.
MERCUTIO
And so did I.
ROMEO
Well, what was yours?
MERCUTIO
That dreamers often lie.
ROMEO
I fear, too early: for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life closed in my breast
By some vile forfeit of untimely death.
But He, that hath the steerage of my course,
Direct my sail!
Bell tolls.
On, lusty gentlemen. They all exit but Romeo. Juliet enters.
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.
ROMEO
[To JULIET] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.
JULIET
You kiss by the book.
BENVOLIO enters, whispers in ROMEO'S ear, and exits.
ROMEO
Is she a Capulet?
O dear account! my life is my foe's debt.
NURSE enters, whispers in JULIET"S ear, and exits.
JULIET
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
JULIET
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
JULIET
What man art thou that thus bescreen'd in night
So stumblest on my counsel?
ROMEO
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET
My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO
Neither, fair saint, if either thee dislike.
JULIET
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO
With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET
If they do see thee, they will murder thee.
ROMEO
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET
I would not for the world they saw thee here.
ROMEO
I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET
By whose direction found'st thou out this place?
ROMEO
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.
JULIET
But our families will never conset to our love. It is impossible.
ROMEO begins singing to JULIET Rewrite the Stars from The Greatest Showman.
ROMEO
You know I want you
It's not a secret I try to hide
I know you want me
So don't keep saying our hands are tied
You claim it's not in the cards
Fate is pulling you miles away
And out of reach from me
But you're here in my heart
So who can stop me if I decide
That you're my destiny?
What if we rewrite the stars?
Say you were made to be mine
Nothing could keep us apart
You'd be the one I was meant to find
It's up to you, and it's up to me
No one can say what we get to be
So why don't we rewrite the stars?
Maybe the world could be ours
Tonight
JULIET
You think it's easy
You think I don't want to run to you
But there are mountains
And there are doors that we can't walk through
I know you're wondering why
Because we're able to be
Just you and me
Within these walls
But when we go outside
You're going to wake up and see that it was hopeless after all
No one can rewrite the stars
How can you say you'll be mine?
Everything keeps us apart
And I'm not the one you were meant to find
It's not up to you
It's not up to me
When everyone tells us what we can be
How can we rewrite the stars?
Say that the world can be ours
Tonight
TOGETHER
All I want is to fly with you
All I want is to fall with you
So just give me all of you
JULIET
It feels impossible (it's not impossible)
ROMEO
Is it impossible?
TOGETHER
Say that it's possible
How do we rewrite the stars?
Say you were made to be mine?
Nothing can keep us apart
'Cause you are the one I was meant to find
It's up to you
And it's up to me
No one can say what we get to be
And why don't we rewrite the stars?
Changing the world to be ours
JULIET
You know I want you
It's not a secret I try to hide
But I can't have you
We're bound to break and my hands are tied
JULIET turns to go
ROMEO
O, wilt thou leave me so unsatisfied
JULIET
What satisfaction canst thou have to-night?
ROMEO
The exchange of thy love's faithful vow for mine.
JULIET
I gave thee mine before thou didst request it:
And yet I would it were to give again.
ROMEO
Wouldst thou withdraw it? for what purpose, love?
JULIET
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
RUBRIC
D or F performances
Anything less than the C performances below
C performances
Complete script for Mr. Pellerin & each group member (no trips to copy machine)
Script contains:
Clear theme
Interesting story development
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 have all the above and…
Script contains: Meaningfully theme – Nuanced and philosophical
Complex plot development
Songs are meaningful and well placed (though perhaps a bit long, and/or one “note” meanings)
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 have all the above and…
Script contains: Themes and concepts are thought provoking. Shows us multiple sides to the issues presented
Clear theme – Nuanced and philosophical – Goes beyond stereotypes to get at the heart of the matter
Complex plot development and seamlessly thread together as if this were an original play and not a Frankenstein monster of moments
Songs are meaningful, well placed and preformed with feeling
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
Overview and directions: You will compose a comprehensive literary analysis of Hamlet by William Shakespeare. Read the instructions below. Good luck!
Hamlet says, "I love essays!"
Essay prompt: In a literary work, a minor character, often known as a FOIL CHARACTER, possesses traits that emphasize, by contrast and/or comparison, the distinctive characteristics and qualities of the main character. For example, the ideas or behavior of a minor character might be used to highlight the weaknesses and/or strengths of the main character. William Shakespeare's Hamlet offers fascinating comparisons in which a minor character serves as a foil for the main character, Hamlet. Choose a foil character to compare and contrast with Hamlet, our main character. Compose an essay in which you analyze how the relationship between the minor character and Hamlet illuminates the meaning of the work on the whole. In other words, show us the development of these two characters from Act I through Act V. Possible foil characters: Fortinbras, Laetres, Ophelia, Claudius, Gertrude, or Polonius. You may also choose two foil characters, if you wish (For example, Using Laertes AND Fortinbras to compare to Hamlet).
Suggested Outline
Preliminary work: Reread your last blog post (as well as your other posts!) and peruse the posts of your fellow classmates. Create a Google Doc/Word Document for your Hamlet essay. Cut and paste your blog response into the document to provide yourself a starting in point. Return to the text and gather evidence. Cut and paste all direct quotations into the document.
Paragraph 1: Introduction. It should contain at least 2-3 sentences detailing your statement of purpose regarding Hamlet and his relationship with the foil character(s) of choice. The last sentence should a firm thesis statement detailing the point you wish to make in comparing and contrasting Hamlet with your chosen foil character(s).
Paragraph 2: First body paragraph. Here, you establish the staring point, or exposition of Hamlet and the foil character(s). This may be taken from your blog response. You are more than likely in Act I, at this time. Provide a quotation for Hamlet and one for your foil character(s). The quotations need not be said by the characters; it may be said about them. End the paragraph with a detailed analysis of your point in beginning, here, and provide a transition to lead us into the next paragraph.
Paragraph 3: Second body paragraph. Here, you will be establishing another moment between Hamlet and your foil character(s). You should be preparing to make a point here. This may be in Act 2, just before things go horribly wrong for Hamlet. As before, provide a quotation for Hamlet and one for your foil character(s). I remind you that the quotations need not be said by the characters; it may be said about them. Remember to end the paragraph with a detailed analysis of your point and provide a transition to lead us into the next paragraph.
Paragraph 4: Third body paragraph. Here, you should be establishing the key moment between Hamlet and your foil character(s). You should be making a point about how the characters diverge, or go in opposite directions. This may be in Act 3, as things go things go horribly wrong for Hamlet, after the death of Polonius, and Hamlet chastises his mother. He also sees the ghost of his father once more. As before, provide a quotation for Hamlet and one for your foil character(s). I remind you that the quotations need not be said by the characters; it may be said about them. Remember to end the paragraph with a detailed analysis of your point and provide a transition to lead us into the next paragraph.
Paragraph 5: Fourth body paragraph. Here, you should be establishing the key moment between Hamlet and your foil character(s). You should be making a point about how the characters continue to diverge, or go in opposite directions. This may be in Act 4, where Hamlet sees Fortinbras, Hamlet gives his Fortinbras soliloquy, Laetres returns, Ophelia goes insane/commits suicide, and Hamlet returns from England. You may be commenting on Act V, scene i, where Hamlet discusses life and death with Yorick's skull. As before, provide a quotation for Hamlet and one for your foil character(s). I remind you that the quotations need not be said by the characters; it may be said about them. Remember to end the paragraph with a detailed analysis of your point and provide a transition to lead us into the next paragraph.
Paragraph 6: Fifth body paragraph. Here, you should be wrapping things up by discussing how things turn out for Hamlet and the foil characters of choice. You should be making a point, comparing and contrasting the outcomes of Hamlet and the foil character. What did they initially set out to do? How did things turn out? What is your opinion on these events? This will more than likely involve Act V, scene 2: the final duel between Laetres, the death of major characters, and Fortinbras taking the throne. As before, provide a quotation for Hamlet and one for your foil character(s). I remind you that the quotations need not be said by the characters; it may be said about them. Remember to end the paragraph with a detailed analysis of your final point, preparing us for closure. Provide a transition to lead us into the conclusion.
Paragraph 7: This is your conclusion. Reflect on what you have written and give the audience your final thoughts on the events. Why is your argument correct? What should you leave your audience to ponder and explore further?
Final Steps: If possible, give yourself a day away from the essay before giving it your final edit. Give your essay a title that captures the essence of your piece in a specific way (avoid "Hamlet Essay" or something general). Make sure to format your essay properly. Look at the sample body paragraph below:
Act I of Romeo and Juliet is meant to be the root for all of the other events in the play. Lord
Capulet is throwing a party in scene v, and invites Paris, the man who he would like to marry his
daughter, Juliet, who is unsure. He hopes that Juliet and Paris will meet and fall in love. Romeo
Montague, who is still mourning over the rejection he received from Rosaline (who remains chaste)
learns about the party from his cousin, Benvolio. Romeo is skeptical of attending the party since
Rosaline has broken his heart, but Benvolio tells him to go and look for other beauties at the event.
Romeo fears that “Some consequence, yet hanging in the stars,/Shall bitterly begin his fearful date”
and only cause him more heart ache; although Romeo feels this way, he is able to let “he that hath the
steerage of [his] course/Direct [his] sail!”(I.iv.117-123). Despite his doubts, Romeo will end up
falling in love with Juliet, for as the prologue stated, it’s just a matter of when they will meet.
Again, this is made true in the text, and is connected with the aforementioned fears of Romeo. It
states:
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage (prologue.1)
Fate and freewill affect his decision to go to the party. Freewill is only a small portion of these
lines, but it was an important decision for him to make because his future will now be in the hands of
fate. The audience can look at the dramatic irony of these lines and see that Romeo will fall in love.
Fate will be the ignition of the relationship between Romeo and Juliet, and all events that follow will
Overview: We are coming to the end of our first reading of William Shakespeare's Hamlet; therefore, it is good time to start reflecting on what we have read and what will happen next. You will be composing a piece of writing at the end of this unit on Hamlet, using foil characters (see prompt, below). I want you to begin that process, here. Directions:
1) Read the following essay prompt: In a literary work, a minor character, often known as a FOIL CHARACTER, possesses traits that emphasize, by contrast and/or comparison, the distinctive characteristics and qualities of the main character. For example, the ideas or behavior of a minor character might be used to highlight the weaknesses and/or strengths of the main character. William Shakespeare's Hamlet offers fascinating comparisons in which a minor character serves as a foil for the main character, Hamlet. Choose a foil character to compare and contrast with Hamlet, our main character. Compose an essay in which you analyze how the relationship between the minor character and Hamlet illuminates the meaning of the work on the whole. In other words, show us the development of these two characters from Act I through Act V. Possible foil characters: Fortinbras, Laetres, Ophelia, Claudius, Gertrude, or Polonius. You may also choose two foil characters, if you wish (For example, Using Laertes AND Fortinbras to compare to Hamlet).
2) Return to the text. Share your first discoveries. After you have made your selection, go through the play and find examples to show their similarities and differences. Start from the beginning. (For example, if you choose Hamlet and Fortinbras, find a passage to show how Fortinbras reacted to this father's death, and one where Hamlet reacts to his father).
3) In this blog space, share FOUR direct quotations (two for Hamlet and two for the foil character) and explain, IN DETAIL, how the foil characters are similar and different. This will provide the early work for your formal essay. I should see four quotations and at least two solid paragraphs.
Ophelia by Sir John Everett Millais, completed in 1851 and 1852
Overview and Directions: We engaged in an activity where we analyzed the characterization, blocking, and tone of scenes from Romeo and Juliet. I would like you to do the same with the following scenes from Hamlet.
Overview and Directions: As we read and performed scenes from Hamlet, we studied several film adaptations, taking note of the varied interpretations, and how each actor and actress makes decisions that will impact the others and the meaning of the play as a whole. Therefore, every performance of Hamlet is different. Today, we will view the following scenes from Act III, Scene i of Romeo and Juliet. Compare and contrast the scenes in your meditative journals, and share your reflections in our class discussion.
Read the following speech from Romeo and Juliet Act I, Scene i. How does Lord Montague feel about his son?
MONTAGUE
Many a morning hath he there been seen,
With tears augmenting the fresh morning dew.
Adding to clouds more clouds with his deep sighs;
But all so soon as the all-cheering sun
Should in the furthest east begin to draw
The shady curtains from Aurora's bed,
Away from the light steals home my heavy son,
And private in his chamber pens himself,
Shuts up his windows, locks far daylight out
And makes himself an artificial night:
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
Notice the tone and intent of the characters in these two film adaptations of Romeo and Juliet.
SCENE I. A public place. Enter MERCUTIO, BENVOLIO, Page, and Servants
BENVOLIO
I pray thee, good Mercutio, let's retire:
The day is hot, the Capulets abroad,
And, if we meet, we shall not scape a brawl;
For now, these hot days, is the mad blood stirring.
MERCUTIO
Thou art like one of those fellows that when he
enters the confines of a tavern claps me his sword
upon the table and says 'God send me no need of
thee!' and by the operation of the second cup draws
it on the drawer, when indeed there is no need.
BENVOLIO
Am I like such a fellow?
MERCUTIO
Come, come, thou art as hot a Jack in thy mood as
any in Italy, and as soon moved to be moody, and as
soon moody to be moved.
BENVOLIO
And what to?
MERCUTIO
Nay, an there were two such, we should have none
shortly, for one would kill the other. Thou! why,
thou wilt quarrel with a man that hath a hair more,
or a hair less, in his beard, than thou hast: thou
wilt quarrel with a man for cracking nuts, having no
other reason but because thou hast hazel eyes: what
eye but such an eye would spy out such a quarrel?
Thy head is as fun of quarrels as an egg is full of
meat, and yet thy head hath been beaten as addle as
an egg for quarrelling: thou hast quarrelled with a
man for coughing in the street, because he hath
wakened thy dog that hath lain asleep in the sun:
didst thou not fall out with a tailor for wearing
his new doublet before Easter? with another, for
tying his new shoes with old riband? and yet thou
wilt tutor me from quarrelling!
BENVOLIO
An I were so apt to quarrel as thou art, any man
should buy the fee-simple of my life for an hour and a quarter.
MERCUTIO
The fee-simple! O simple!
BENVOLIO
By my head, here come the Capulets.
MERCUTIO
By my heel, I care not.
Enter TYBALT and others
TYBALT
Follow me close, for I will speak to them.
Gentlemen, good den: a word with one of you.
MERCUTIO
And but one word with one of us? couple it with
something; make it a word and a blow.
TYBALT
You shall find me apt enough to that, sir, an you
will give me occasion.
MERCUTIO
Could you not take some occasion without giving?
TYBALT
Mercutio, thou consort'st with Romeo,--
MERCUTIO
Consort! what, dost thou make us minstrels? an
thou make minstrels of us, look to hear nothing but
discords: here's my fiddlestick; here's that shall
make you dance. 'Zounds, consort!
BENVOLIO
We talk here in the public haunt of men:
Either withdraw unto some private place,
And reason coldly of your grievances,
Or else depart; here all eyes gaze on us.
MERCUTIO
Men's eyes were made to look, and let them gaze;
I will not budge for no man's pleasure, I. Enter ROMEO
TYBALT
Well, peace be with you, sir: here comes my man.
MERCUTIO
But I'll be hanged, sir, if he wear your livery:
Marry, go before to field, he'll be your follower;
Your worship in that sense may call him 'man.'
TYBALT
Romeo, the hate I bear thee can afford
No better term than this,--thou art a villain.
ROMEO
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting: villain am I none;
Therefore farewell; I see thou know'st me not.
TYBALT
Boy, this shall not excuse the injuries
That thou hast done me; therefore turn and draw.
ROMEO
I do protest, I never injured thee,
But love thee better than thou canst devise,
Till thou shalt know the reason of my love:
And so, good Capulet,--which name I tender
As dearly as my own,--be satisfied.
MERCUTIO
O calm, dishonourable, vile submission!
Alla stoccata carries it away. Draws
Tybalt, you rat-catcher, will you walk?
TYBALT
What wouldst thou have with me?
MERCUTIO
Good king of cats, nothing but one of your nine
lives; that I mean to make bold withal, and as you
shall use me hereafter, drybeat the rest of the
eight. Will you pluck your sword out of his pitcher
by the ears? make haste, lest mine be about your
ears ere it be out.
TYBALT
I am for you.
Drawing
ROMEO
Gentle Mercutio, put thy rapier up.
MERCUTIO
Come, sir, your passado.
They fight
ROMEO
Draw, Benvolio; beat down their weapons.
Gentlemen, for shame, forbear this outrage!
Tybalt, Mercutio, the prince expressly hath
Forbidden bandying in Verona streets:
Hold, Tybalt! good Mercutio!
TYBALT under ROMEO's arm stabs MERCUTIO, and flies with his followers
MERCUTIO
I am hurt.
A plague o' both your houses! I am sped.
Is he gone, and hath nothing?
BENVOLIO
What, art thou hurt?
MERCUTIO
Ay, ay, a scratch, a scratch; marry, 'tis enough.
Where is my page? Go, villain, fetch a surgeon.
Exit Page
ROMEO
Courage, man; the hurt cannot be much.
MERCUTIO
No, 'tis not so deep as a well, nor so wide as a
church-door; but 'tis enough,'twill serve: ask for
me to-morrow, and you shall find me a grave man. I
am peppered, I warrant, for this world. A plague o'
both your houses! 'Zounds, a dog, a rat, a mouse, a
cat, to scratch a man to death! a braggart, a
rogue, a villain, that fights by the book of
arithmetic! Why the devil came you between us? I
was hurt under your arm.
ROMEO
I thought all for the best.
MERCUTIO
Help me into some house, Benvolio,
Or I shall faint. A plague o' both your houses!
They have made worms' meat of me: I have it,
And soundly too: your houses! Exeunt MERCUTIO and BENVOLIO
ROMEO
This gentleman, the prince's near ally,
My very friend, hath got his mortal hurt
In my behalf; my reputation stain'd
With Tybalt's slander,--Tybalt, that an hour
Hath been my kinsman! O sweet Juliet,
Thy beauty hath made me effeminate
And in my temper soften'd valour's steel! Re-enter BENVOLIO
BENVOLIO
O Romeo, Romeo, brave Mercutio's dead!
That gallant spirit hath aspired the clouds,
Which too untimely here did scorn the earth.
ROMEO
This day's black fate on more days doth depend;
This but begins the woe, others must end.
BENVOLIO
Here comes the furious Tybalt back again.
ROMEO
Alive, in triumph! and Mercutio slain!
Away to heaven, respective lenity,
And fire-eyed fury be my conduct now!
Re-enter TYBALT
Now, Tybalt, take the villain back again,
That late thou gavest me; for Mercutio's soul
Is but a little way above our heads,
Staying for thine to keep him company:
Either thou, or I, or both, must go with him.
TYBALT
Thou, wretched boy, that didst consort him here,
Shalt with him hence.
ROMEO
This shall determine that.
They fight; TYBALT falls
BENVOLIO
Romeo, away, be gone!
The citizens are up, and Tybalt slain.
Stand not amazed: the prince will doom thee death,
If thou art taken: hence, be gone, away!
Overview and Directions: I would like to give you the opportunity to engage with the text.
1) Classwork - In groups of no more that four, take parts and read the Hamlet, Act III aloud. We already read much of it together, so you should be experimenting with voice movement and block (staging). On your feet! Read the text as many times as you can to master the lines and explore the mysteries.
2) Homework - Compose a comprehensive blog response using the study questions in your response. Answer at least one question from each scene, along with one of the review questions. In short, ANSWER FIVE OF THE QUESTIONS BELOW. Use direct quotations from the text. I look forward to your responses.
Study Questions for Act III
Scene 1
According to Rosencrantz and Guildenstern, how has Hamlet received their inquiries?
Describe Polonius’ and Claudius’ plan.
Identify and explain one of the metaphors Hamlet uses in his famous “To be or not to be” soliloquy.
According to Hamlet, why don’t men kill themselves?
What does Hamlet mean when he says, “Those that are married already/all but one shall live”?
Where does Claudius want to send Hamlet and why?
Explain the irony in Claudius’ line: “Madness in great ones must not unwatched go.”
Scene 2
What does Hamlet ask Horatio to do during the “play?”
If Claudius reveals no guilt, what conclusion will Hamlet make?
How does Hamlet treat Ophelia before the “play” begins?
What correction does Ophelia make when Hamlet speaks of his father’s death?
What does Gertrude mean when she says: “The lady doth protest too much” and why would Hamlet think this is significant?
What does Hamlet call the “play?”
How does Claudius react to the play?
What is Hamlet’s reaction to Rosencrantz and Guildenstern’s questions?
Why does Hamlet say, “I will speak daggers to her, but use none.”
Scene 3
What is Polonius’ plan now?
Name the allusion in Claudius’ soliloquy.
What does Claudius reveal about himself in his soliloquy?
Why can’t Claudius ask for forgiveness?
Why doesn’t Hamlet kill Claudius?
Scene 4
How does Hamlet treat his mother?
Who does Hamlet think is behind the curtain?
What does the ghost remind Hamlet about?
Hamlet gives Gertrude some specific advice—what is it?
Explain the pun in Hamlet’s last line, “This man shall set me packing.”
Review
Has Hamlet reached the point of no return? Why?
King Claudius has resolved to do what (besides send Hamlet to England)? What does this reveal about his character?
