Directions: Please use this space to comment on your experience of reading The Importance of Being Earnest by Oscar Wilde, Acts I and II. Use at least 2-3 questions below to guide your responses. Use at least 2-3 direct quotations from the play in your responses. Begin your response by sharing your favorite line or exchange, and why you find it funny.
NOTE: You will have time on Friday to work on this assignment.
Study Questions to Explore
1) Explore the way Wilde uses this idea of secrecy in order to keep up appearances, while living freely under an assumed name. Think about the following exchange from the play:
Lady Bracknell: Algy, I hope you are behaving very well. Algernon: I am feeling very well, Aunt Augusta. Lady Bracknell: That is not quite the same thing. In fact, the two rarely go together.
How does this apply to Jack's philosophy of life, and the need for a dual identity? How does the idea of being "Earnest/earnest" tie back to the idea of secrecy AND the overarching themes?
2) How does Wilde divulge the secret at just the right comedic moment? How does everyone react?
3) Where do you see the elements of Aestheticism in the play?
4) How does Wilde comment on socialclass? What are his views?
5) How does Wilde comment on literature and education? What are his views?
6) How does Wilde comment on religion? What are his views?
7) How does Wilde comment on marriage? What are his views?
8) How are the characters used to present stereotypical and symbolic representations in the play?
9) How does Wilde use satire and humor to present his views?
10) How is this play a satire on the classic comedy? How are moments "over the top?"
Overview: In order to fully appreciate the work of Oscar Wilde, it is good to be acquainted with the author, himself. He did believe, after all, that celebrity should proceed his body of work... like the Kardashians. Below, you will find materials to guide you through the first part of our journey through the works of Oscar Wilde and his theory of Aestheticism. Directions for Viewing and Reading (Classwork): Please view the A&E Biography documentary on Oscar Wilde, titled, Wit's End. Next, read the selections that follow: 1) Selected Works, 2) Aestheticism, 3) The Decay of Lying: An Observation by Oscar Wilde, 4) Phrases and Philosophies for the use of the Young, and 5) A Few Maxims for the Instruction of the Over-Educated. NOTE: As you read, take notes in your reflective journal. Title it: Oscar Wilde Introductory Material. Directions for Blog Response (Homework): Compose a comprehensive blogs response touching on all the elements you have read and viewed on Oscar Wilde. Use directive evidence from the texts below in your response. Engage with the text.
Selected Works of Oscar Wilde
Prose
The Picture of Dorian Gray (1890)
The Happy Prince and Other Tales (1888)
“The Canterville Ghost”
“The Sphinx Without a Secret”
“The Model Millionare”
“The Selfish Giant”
Plays
Lady Windermere's Fan (1892)
Salome (1893)
A Woman of No Importance (1893)
An Ideal Husband (1895)
The Importance of Being Earnest (1895)
Poems, Criticism, and Essays
"The Ballad of Reading Gaol" (1898)
"The Decay of Lying" (1889)
"De Profundis" (1897)
"The Soul of Man under Socialism"
"The Harlot's House"
"The Beauties of Bookbinding"
Wit's End - A&E Biography of Oscar Wilde
A profile of Irish writer Oscar Wilde (1854-1900) recalls his close relationship with his mother, incredible wit and self promotion, failed marriage and homosexuality. Among those commenting are his grandson Merlin Holland; biographer Joan Schenkar; and Wilde scholar Owen Dudley Edwards.
Aestheticism
Definition: The aesthetic movement was a late nineteenth century movement that championed pure beauty and ‘art for art’s sake’ emphasizing the visual and sensual qualities of art and design over practical, moral or narrative considerations.
Background: Aestheticism (also the Aesthetic Movement) is an intellectual and art movement supporting the emphasis of aesthetic values more than social-political themes for literature, fine art, music and other arts. This meant that Art from this particular movement focused more on being beautiful rather than having a deeper meaning: Art for Art's sake. It was particularly prominent in Europe during the 19th century, supported by notable figures such as Oscar Wilde, but contemporary critics are also associated with the movement, such as Harold Bloom, who has recently argued against projecting social and political ideology onto literary works, which he believes has been a growing problem in humanities departments over the last century.
Literature: The British decadent writers were much influenced by the Oxford professor Walter Pater and his essays published during 1867–68, in which he stated that life had to be lived intensely, with an ideal of beauty.
The artists and writers of Aesthetic style tended to profess that the Arts should provide refined sensuous pleasure, rather than convey moral or sentimental messages. As a consequence, they did not accept John Ruskin, Matthew Arnold, and George MacDonald's conception of art as something moral or useful. Instead, they believed that Art did not have any didactic purpose; it need only be beautiful. The Aesthetes developed a cult of beauty, which they considered the basic factor of art. Life should copy Art, they asserted. They considered nature as crude and lacking in design when compared to art. The main characteristics of the style were: suggestion rather than statement, sensuality, great use of symbols, and correspondence between words, colors, and music. Music was used to establish mood.
Predecessors of the Aesthetics included John Keats and Percy Bysshe Shelley, and some of the Pre-Raphaelites. In Britain the best representatives were Oscar Wilde and Algernon Charles Swinburne, both influenced by the French Symbolists, and James McNeill Whistler and Dante.
The Decay of Lying: An Observation by Oscar Wilde
Wilde presents the essay in a Socratic dialogue, with the characters of Vivian and Cyril having a conversation throughout. The conversation, although playful and whimsical, promotes Wilde's view of Romanticism over Realism. Vivian tells Cyril of an article he has been writing called, The Decay of Lying: A Protest. In the article Vivian defends Aestheticism and Art for Art's sake. As summarized by Vivian, it contains four doctrines:
1) Art never expresses anything but itself.
2) All bad art comes from returning to Life and Nature, and elevating them into ideals.
3) Life imitates Art far more than Art imitates Life.
4) Lying, the telling of beautiful untrue things, is the proper aim of Art.
Phrases and Philosophies for the use of the Young by Oscar Wilde
The first duty in life is to be as artificial as possible. What the second duty is no one has as yet discovered.
Wickedness is a myth invented by good people to account for the curious attractiveness of others.
If the poor only had profiles, there would be no difficulty in solving the problem of poverty.
Those who see any difference between soul and body have neither.
A really well-made buttonhole is the only link between Art and Nature.
Religions die when they are proved to be true. Science is the record of dead religions.
The well-bred contradict other people. The wise contradict themselves.
Nothing that actually occurs is of the smallest importance.
Dullness is the coming of age of seriousness.
In all unimportant matters, style, not sincerity, is the essential. In all important matters, style, not sincerity, is the essential.
If one tells the truth, one is sure, sooner or later, to be found out.
Pleasure is the only thing one should live for. Nothing ages like happiness.
It is only by not paying one's bills that one can hope to live in the memory of the commercial classes.
No crime is vulgar, but all vulgarity is crime. Vulgarity is the conduct of others.
Only the shallow know themselves.
Time is a waste of money.
One should always be a little improbable.
There is a fatality about all good resolutions. They are invariably made too soon.
The only way to atone for being occasionally a little over-dressed is by being always absolutely over-educated.
To be premature is to be perfect.
Any preoccupation with ideas of what is right and wrong in conduct shows an arrested intellectual development.
Ambition is the last refuge of the failure.
A truth ceases to be true when more than one person believes in it.
In examinations the foolish ask questions that the wise cannot answer.
Greek dress was in its essence inartistic. Nothing should reveal the body but the body.
One should either be a work of art, or wear a work of art.
It is only the superficial qualities that last. Man's deeper nature is soon found out.
Industry is the root of all ugliness.
The ages live in history through their anachronisms.
It is only the gods who taste of death. Apollo has passed away, but Hyacinth, whom men say he slew, lives on. Nero and Narcissus are always with us.
The old believe everything: the middle-aged suspect everything: the young know everything.
The condition of perfection is idleness: the aim of perfection is youth.
Only the great masters of style ever succeed in being obscure.
There is something tragic about the enormous number of young men there are in England at the present moment who start life with perfect profiles, and end by adopting some useful profession.
To love oneself is the beginning of a life-long romance.
A Few Maxims for the Instruction of the Over-Educated by Oscar Wilde
Education is an admirable thing. But it is well to remember from time to time that nothing that is worth knowing can be taught.
Public opinion exists only where there are no ideas.
The English are always degrading truths into facts. When a truth becomes a fact it loses all its intellectual value.
It is a very sad thing that nowadays there is so little useless information.
The only link between Literature and Drama left to us in England at the present moment is the bill of the play.
In old days books were written by men of letters and read by the public. Nowadays books are written by the public and read by nobody.
Most women are so artificial that they have no sense of Art. Most men are so natural that they have no sense of Beauty.
Friendship is far more tragic than love. It lasts longer.
What is abnormal in Life stands in normal relations to Art. It is the only thing in Life that stands in normal relations to Art.
A subject that is beautiful in itself gives no suggestion to the artist. It lacks imperfection.
The only thing that the artist cannot see is the obvious. The only thing that the public can see is the obvious. The result is the Criticism of the Journalist.
Art is the only serious thing in the world. And the artist is the only person who is never serious.
To be really mediæval one should have no body. To be really modern one should have no soul. To be really Greek one should have no clothes.
Dandyism is the assertion of the absolute modernity of Beauty.
The only thing that can console one for being poor is extravagance. The only thing that can console one for being rich is economy.
One should never listen. To listen is a sign of indifference to one's hearers.
Even the disciple has his uses. He stands behind one's throne, and at the moment of one's triumph whispers in one's ear that, after all, one is immortal.
The criminal classes are so close to us that even the policemen can see them. They are so far away from us that only the poet can understand them.
“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.
