Romeo and Juliet Unit Outline

Romeo and Juliet Unit Outline—11-1

English 111 students are about to embark on a journey into the world of Elizabethan theatre and experience the life of 14th Century Verona, Italy. For the course of this study, of perhaps the greatest tragic love story of all time, students will be assigned to acting teams in class. The purpose of working on a team is to help students learn to comprehend difficult texts and develop and negotiate opinions/understandings through sharing and discussing. There will be individual work required in the unit, but many concepts will be covered through sharing with house members. “Talking well about books is a high-value activity in itself. But talking well about books is also the best rehearsal there is for talking well about other things. So in helping students to talk about their reading, we help them to be articulate about the rest of their lives” (Chambers, 10).

The class will be divided into teams of 5 for the duration of our study of Romeo and Juliet, which means that our class will be divided into 6 groups. There will be five groups of actors each of which will be responsible for performing one Act of the play. There will also be one group of directors. Each director will be paired with a team of actors and will be responsible for directing that group’s performance (see below for more detail).

There will be nine areas of assessment throughout the unit that are designed to be both formative and summative and incorporate options to differentiate among students’ learning styles and multiple intelligence strengths:

A. Shakespeare mini-unit and quiz on introductory info (Wednesday, November 19, 2008).

B. Personal Response Journals following Acts I, III, V

C. Critical Response Journals to pivotal scenes in the play Following Acts II, IV

D. Comprehension Questions/Quotes/Guided Discussion Questions—group activities/individual response. It will be noted whether you will be required to write complete sentence/paragraph responses to these or if they are simply to be answered in point form for guided discussion—there will be a variety of formats.

E. Dramatic Reading of the Text /Participation—you group will be responsible for reading their assigned Act for the class.

F. Character Maps.

G. Sociogram—each group will be responsible for creating a sociogram for the Act that they are responsible to perform.

H. Three Extension Projects due November 28th, and Dec. 5th, and Dec. 12th.

I. Team Performances of an Act –December 16th or December 17th at Nashwaaksis Middle School (NMS). English 11-1 Acting Teams

Acting Team # 1 Acing Team # 2

Acting Team # 3 Acting Team # 4

Acting Team #5 Team of Directors Personal Response Journals

A response journal is spontaneous writing and mechanics are not taken into account for evaluation; however, your entries should be coherent and well-organized. You will be expected to complete four Response Journal entries over the course of the unit. You will be given specific prompts for each entry in order to guide your responses.

Response Journal Guidelines *You may choose any of the following ways to approach your prompted journal entries.*

1. Make connections with your own experience. What does the reading make you think of? Does it remind you of anything or anyone?

2. Make intertextual connections with other texts, concepts or events. Do you see any similarities between this text and others? Do you see universal experiences or themes in this play that you have seen in other works of literature?

3. Ask yourself questions about the text. What perplexes you about a particular passage? Try beginning, “I wonder why…” or “I’m having trouble understanding how…” or “I was surprised when…”.

4. Write down striking words, images, phrases or details. Speculate about them. Why did Shakespeare choose them? What do they add to the story? Why did you notice them? Response Journal Rubric

Criteria (5) (4) (3-2) (1) Text-based Journal shows Journal shows Journal shows Journal shows little response evidence of evidence of good evidence of some evidence of outstanding understanding, understanding, understanding, understanding, processing, and processing, and processing, and processing, and synthesis of the text synthesis of the text synthesis of the text synthesis of the text material. material. material. material. Personal Journal shows Journal shows Journal shows Journal shows little response evidence of evidence of good evidence of some evidence of extension outstanding extension of the text extension of the text of the text through extension of the text through application of through application of application of ideas or through application of ideas or generation ideas or generation generation of ideas or generation of questions. of questions. questions. of questions. Organization Journal is organized Journal is organized Journal is somewhat Journal shows little in a coherent way in a coherent way organized and/or organization and/or and thoughts are and thoughts are thoughts are not thoughts are not always clearly clearly articulated. always clearly clearly articulated. articulated. articulated.

Critical thinking All answers are Most answers are Some answers are Most answers are skills insightful and most thoughtful. Some thoughtful but others incomplete. demonstrate critical demonstrate critical are incomplete. thinking. thinking.

Romeo and Juliet Comprehension Question Rubric

Your short answer questions and quotations for each scene of each Act will be marked collectively each time you hand in your Romeo and Juliet portfolio. Your overall mark will be based on the total of five separate criterion. Each of the five criterion will be marked out of four marks based on the scale below. You can use the rubric yourself to evaluate your own responses prior to passing them in. This will help to ensure your final product demonstrates your best work.

EVALUATION SCALE 0 Not evident 1 Minimal evidence of mastery 2 Adequate evidence of mastery 3 Strong evidence of mastery 4 Outstanding evidence of mastery

Rubric Mastery Points All responses are in complete sentence or paragraph form.

Responses clearly address each aspect of the questions / quotations.

Careful attention had been paid to ensure accuracy in mechanical conventions.

Responses show evidence of insightfulness and imagination going beyond literal interpretation.

Responses are neat, and well-organized.

Role-Play / Dramatic Reading Rubric All students are expected to participate with enthusiasm during this unit. Drama is meant to be heard and seen! We need you to make this happen, and we know that students learn best by doing, so you will be expected to participate in the dramatic reading of the text as often as possible. Your group will be responsible for reading your assigned Act during class. You should have already read the Act beforehand so that you are familiar with the language and plot. You will be evaluated based on the following scale.

Rubric for Mastery

Portrays a dramatic role credibly and consistently (Consistent with characterization, action, setting, etc). Adapts a dramatic role to suit new information or circumstances in the role play Speaks audibly, clearly, and expressively in a voice appropriate to the dramatic role and situation Contributes to mood of the scene

Who’s who? Characters in the Play Romeo and Juliet

kills Mercutio Mercutio Tybalt

kinsman to

Prince Escalus

friend of Cousins of

Friar Laurence marries aids Juliet Benvolio Romeo & by faking kinsman to Juliet her death cousin of loves Engaged to Romeo Juliet Paris mother of

father of gives Lady Montague Lord Montague comfort to serves Nurse serves mother of father of Balthasar Lady Capulet Lord Capulet serves serves Abram Peter Sampsom serves

Gregory

Character Mapping Characterization is a significant element in drama. A thorough understanding of the main characters’ development is essential to understanding both themes and plot. Knowledge of characters is also important to help the reader make connections between life and literature. Over the course of the unit, students will be responsible for creating a character map for each of the significant characters in the play. Create a separate page for each character in your journal. Place the character’s full name at the top of the page. In the left hand column put the personality or character trait revealed. In the right hand column, cite supporting evidence/reference from the text. Every time you learn something new about the character add it to your map. Characters to be mapped are Romeo Montague, Juliet Capulet, Mercutio, Tybalt, Juliet’s Nurse, Friar Laurence, Paris

Sample Character Map for Romeo Montague(Act I)

Melancholic -“Ay me sad hours seem long”(1.1160) -Complaining that time passes slowly when you are sad/upset; feels sorry for himself

Suffering from unrequited love -“Out of her favour where I am in love”(1.1.165). -He has recently been rejected by his “love” Rosaline, but he still has feelings for her

Stubborn - “Farewell:Thou canst not teach me to forget”(1.1.235). -Here, Romeo is refusing to accept Benvolio’s advice to move on from his lost love and seek out other women. He assumes no one else could possibly understand his problem. He’d rather dwell on the loss of Rosaline for the time being.

Rubric for Character Mapping Your character mapping will be marked on an on-going basis throughout the unit, each time you hand in your unit portfolio. Your overall mark will be based on the total of five separate criterion. Each of the five criterion will be marked out of four marks based on the scale below. You can use the rubric yourself to evaluate your own character maps prior to passing them in. This will help to ensure your final product demonstrates your best work.

Rubric Mastery Points

Character qualities are expressed concisely and accurately.

Textual references clearly support the identified qualities/traits and are accurately cited.

Identified qualities explore the various layers of characterization.

Every effort has been made to explore as many facets of characterization as possible, and include all significant traits revealed.

The character maps follow the design directions and every effort has been made to present the information in a neat, aesthetically pleasing manner.

Reading Drama Critically Romeo and Juliet Reading a dramatic script is challenging because you must take an active role in order to fill in the blanks. Plays are almost always meant to be seen or performed, not read independently / silently. Viewing, acting, or dramatically reading helps bring life to what otherwise may be more difficult to understand.

As with any genre, there are things you should always do ahead of time and during reading to aid in your comprehension:

 Gather information to help you understand the script and its development. Who wrote it? When was it written? When is the setting, and what kinds of political, social, spiritual influences are prevalent in that time period in that place?  Like any other reading that is to be for a purpose or “reading critically,” you should read it more than once. The first time, you should be reading for enjoyment and for becoming familiar with characters, plot, setting, theme, etc. Avoid making hard and fast judgments about character until you have finished the script and have seen him/her develop completely. For this reason, you should be reading the text over at home before we look at it and dramatically read it in class the following day. It will be much easier for you to understand, read dramatically, or perform.  Shakespeare, in particular, has not left us much in terms of stage directions. When reading the second time, you should be able to try and fill in all of the details. Where might they be standing? What actions might the non-speaking roles in the scene be taking? How should it be pronounced to enhance mood, tone, theme, plot, etc.? Also picture where there might be pauses/silences between words or phrases. Shakespeare is no longer with us to direct, so we have to interpret this on our own.  At the end of each scene, consider what has been accomplished. In what ways has the scene furthered the action of the play or revealed characters? Does it provide insight into the direction the plot will take? Could anything be omitted without changing meaning? Writing a Critical Response to Drama Romeo and Juliet It is crucial that you understand that reading critically and writing critical responses is not that difficult. Many students often think critically on a sub-conscious level already because they have progressed quickly through the stages of summarizing, interpreting, evaluating, evaluating and synthesizing information. Thinking critically on a conscious level often forces us to make connections and ask ourselves and others the questions that will only deepen the level of our understanding of a text. Ultimately, we will all follow guidelines suggested to enable critical thinking without looking at a somewhat artificial “how to” guide. Reading critically is simply reading for meaning. It is having the motivation to re-read, to ask yourself the tough questions, to look up the unknown allusions or vocabulary, to research before you read, and recall and evaluate the information after you read. Suggestions of questions you can ask yourself while reading:

 When encountering symbols in text, ask yourself what you already know about the symbolic item; what associations do you make? i.e. snakes- associations—poisonous, evil, devil, etc. Then ask, could it represent any of these associations.  What is the main purpose of the scene?  How have characters been developed? Is this style effective?  Can you locate textual evidence support your opinions about plot, theme, characters? If not, your opinions would not hold merit in the literary world.  How do various elements combine to create a dramatic effect? i.e. In one Shakespearian tragedy, after the King is murdered the sun doesn’t come up (setting), screams could be heard through the night (special effects, atmosphere), characters express feelings of doubt and skepticism in soliloquies and asides(character) to create a combined dramatic effect. All elements must work together to pull this off; you, as a critical reader/viewer, should figure out how or if they do.  Question the pacing of the plot’s and characters’ development; is it adequate? Why are all given details included? What purpose do they serve?  Make connections between this text and other texts, plays, movies, or your own life. What else does it remind you of?  What statements are being made about human nature through the lives of the characters? What life messages are prevalent? Do you agree? Can you think of other examples to support or refute what the writer has implied?  When writing a critical response, keep your voice restrained yet engaged. Don’t sound overly emotional or out of control. Use formal language. Support generalizations and observations with evidence from the text— always. Rubric for Critical Responses Students are required to write two critical responses to two different scenes in Romeo and Juliet. Students will choose one scene from Act II and one scene from Act IV to demonstrate their ability to do a close reading of drama and respond formally and critically. You will be evaluated on seven areas of mastery for these responses, using the four point scale shown below. You are encouraged to self and peer assess prior to submitting your final copy for evaluation.

Rubric Mastery Points

The main purpose of the scene is identified. The discussion focuses on how character and plot are developed in the scene. Specific, correctly cited, textual references support the reader’s point of view. Attention is given to how various elements combine to create a dramatic effect. The pace, style, and plausibility of the dialogue are discussed with reference to character and plot. Attention is given to the significance of the scene in the context of the plot and theme. Careful attention has been given to the conventions of formal writing, including mechanics, sentence fluency, and presentation.

Sociograms In any literary work, it is the relationships between characters that give the story meaning, and nowhere is this more important or evident that in a Shakespearean tragedy. Without the complex interactions and relationships between characters, Romeo and Juliet would simply not be as powerful an experience for its viewer (or listener, as the Elizabethans would have said). With this in mind, each group of actors, along with their director, will be creating a sociogram of their assigned act. Each sociogram will be displayed on a buliten board in the classroom so that throughout the play, we will have a visual representation of the evolving relationships between characters. See below for more details.

What is it?

A sociogram is a visual representation of the relationships among characters in a literary text. Students can make use of pictures, symbols, shapes, colors, and line styles to illustrate these relationships. Sociograms can be used at first to help students understand the relationships among characters. As the story develops, students can add to or revise their sociograms to graphically illustrate the changing relationships, the traits of each character, and the emerging primary and secondary conflicts. It can be especially useful to have students create a sociogram based on having read the introductory chapters of a novel or first act of a play and then to create another sociogram in response to later chapters or acts to consider how characters and conflicts have changed.

What does it look like?

In a sociogram, the central character(s) is placed at the center of the page, and the other characters are placed around him/her. The spatial relationship on the page should in some way represent each of the character’s relationship with the main character, as well as with each other. Lines/arrows are used to show the “direction and nature” of the relationship (e.g., strength/weakness, friend/foe, dominance/submissiveness, etc.). Students can begin by manipulating small pieces of paper that represent each of the characters; once they have arranged them in the best way to reflect their understanding of the text, the names can then be placed on a larger piece of paper/poster and the rest of the sociogram can be constructed. A number of conventions may be useful in developing sociograms:

 Place the central character(s) at the center of the diagram  Let the physical distance between characters reflect the perceived psychological distance between the characters  Let the size/shape/symbol of a character metaphorically represent each personality, importance, one’s power or lack of, etc.  Show the direction of a relationship by an arrow/line, and its nature by a brief label (the lines can be creatively applied: What might the following types of lines indicate? A jagged line? A wavy line? The thickness of the line? etc.)  Represent substantiated relationships with a solid line and inferred relationships by a broken line.  Circle active characters with a solid line; circle significantly absent characters with a broken line.  Place the characters that support the main character on one side of a dividing line, and antagonistic characters on the other side.  Illustrate the tone and or theme of a piece by the use of color or visual symbols.  Explore creative ways to represent a character’s motivation. For example, inside each “character’s circle” might be one or more words that seem to capture the essence of that character. Immediately outside the circle could be a series of arrows that represent the forces that influence that character.

Sample sociograms on the play Hamlet can be found at http://web000.greece.k12.ny.us/instruction/ela/6-12/Reading/Reading %20Strategies/hamletmodell.PDF

Extension Activities You will be responsible for completing three integrated extension activities over the course of this unit. These activities are designed to reinforce your understanding of the play and enable you to explore literature through a variety of intelligences and preferred learning styles.

You must choose a different intelligence for each activity. You may choose between verbal/linguistic, bodily kinesthetic, musical/rhythmic, visual spatial, naturalist and math/logical intelligences.

The first extension activity is due: November 28 th 2008. The second extension activity is due: December 5 th 2008. The third extension activity is due: December 12 th 2008.

Extension Activity 1 and 2: Choose from the following list (Due: November 28, and December 5th, respectively)

Naturalist: So where in the world is Verona anyway? Shakespeare so loved to set his stories against Italian backdrops that historians believe his eight lost years (that time where Shakespeare’s presence cannot be accounted for), were actually spent in Italy. Using the medium of Plaster of Paris, create a 3-D topographical map of the Italian and Balkan Peninsulas. Build, paint, and indicate with flags all of those Greek and Italian place names where Shakespeare chose to stage some of literature’s most treasured works. (You will need to examine the collected works of Shakespeare).

Math/Logical: “A fortnight and odd days.” (I. 3. 15) The use of measurement, be it of time, weight, volume or distance, has changed since Shakespeare’s day. Fortnights, stones, drams, and miles have given way to what many believe are consistent and accurate forms of measurement. Using the discussion between Lady Capulet and the Nurse as a catalyst, create an Elizabethan Conversion Table of Measurement. Include everything you can find, including: time, dates, weight, volume, length and distance. Be prepared to compare and contrast Shakespeare’s facts and figures with those of today. The final copy should be mounted on bristol board.

Visual Spatial: A masque in the days of the Capulets and Montagues would have been a grand affair. Guests would arrive elaborately dressed and sporting highly decorated masks concealing their identity until the host of the event invited them to reveal their faces to one another. Design and build the mask that either Romeo or Juliet used to conceal their face. Incorporate elements of character in the contours and decorations chosen to create the mask. Make it functional, creative and let it be inspired by two of literatures most innocent and tragic characters. Your final mask should be accompanied by a label identifying its wearer (Romeo or Juliet) and a paragraph detailing your inspiration. Musical/Rhythmic: (1) For those students who sing and/or play musical instruments, you may research one Elizabethan Ballad and perform it for the class. Students who choose this performance option will be expected to briefly outline the history and story of their ballad, while explaining what qualities of the song clearly place it within that genre. Or (2) Have you ever heard stories about love at first sight? Perhaps it is a feeling never felt before. An epiphany. Perhaps you have experienced such an emotion. Imagine Romeo, staring sadly across a crowded room and then encountering the eyes of Juliet. Or Juliet’s first vision of Romeo. Compose a song or poem that embraces the theme of “love at first sight”. Print the final draft of lyric or verse on presentation paper.

Bodily/Kinesthetic: Find a partner and perform Act II, Scene 2, lines 1-51. Your performance may either be live or videotaped. Period costumes are not necessary, however, evidence of carefully planned staging and acting are necessary.

Verbal/Linguistic: A traditional paraphrasing exercise would require that you rewrite Shakespeare’s words as your own. Imagine that you can magically assume the character of one of the following personalities, and rewrite the General Prologue from their perspective: 1. Eminem 2. President George W. Bush 3. A teenager talking to some friends 4. Martha Stewart The completed prologue will be read to the class in character. *If you would prefer to rewrite the prologue in the voice of another personality let me know ahead of time for permission.

Final Extension Activities (Due: December 12) Naturalist: The rituals of death are unique to specific cultures. Research the ritual of death in three different cultures over three different eras. Describe preparation, ceremony and physiological alterations of body. What was its ultimate purpose? Prepare a PowerPoint presentation on the rituals of death. Conclude with the practice of the Capulets, explaining how their tradition allowed for one of the theatre’s most dramatic conclusions. Or Elizabethan medicinal practices, though seemingly primitive, were based upon a carefully constructed scientific explanation of the physiological workings of the human body. The Elizabethan believed in the effectiveness of the four Humours in explaining a person’s health and well-being. Research the Elizabethan physician and surgeon. What were their beliefs and practices? Critically examine your topic from a contemporary point of view. How far off were these past practitioners? Was the cure worse than the ailment? Create a bulletin board display or a PowerPoint presentation in which you narrate sections of your research so as to provide a concise snapshot of health practices more than 400 years ago.

Math/Logical: Romeo and Juliet are described as being ‘star cross’d lovers’. This is an astrological reference that deals with one’s exact date and time of birth conflicting with another’s. Research the parascience of astrology. Then survey your classmates to determine their respective dates and times of birth. Using the Internet, create the ‘charts’ for each class member and determine who would be most suited to be companions, and who would likely be ‘star cross’d’. Post your findings as part of a bristol board display. Be prepared to orally explain your findings to the class.

Visual Spatial: Imagine that you have been appointed to create the Coat-of-Arms for Romeo and Juliet. Coats-of-Arms served an important function for noble families; in many ways they were like a social register, or a “who’s who” of their time. Research and examine various examples of Heraldry. Use this research, and your familiarity with the play, to create the Coat-of-Arms for two of literature’s most tragic characters. Your final product should be large enough to be viewed by the entire class. Be prepared to present and explain your Coat-of-Arms to the class.

Musical/Rhythmic: Imagine that you are a record producer and have been asked by the label you represent to compile a new CD based upon Romeo and Juliet. Select five characters who have made an impression upon you. Search various recorded genres of music to find the perfect song to suit each of your chosen characters. Burn each song onto a CD. Create a cover play list for the CD itself and a set of liner notes. In the liner notes, write a paragraph for each selection relating it to the character it depicts. Don’t forget to create an imaginative title and cover.

Bodily/Kinesthetic: Form a group of three. Using the technique of Reader’s Theatre, perform a scene of your choosing. You may opt to perform your scene live or video tape the performance. Your interpretation of this scene may transcend culture and time.

Verbal/Linguistic: You have been hired by a publishing company to adapt Shakespeare’s Romeo and Juliet to an illustrated children’s book. You are to focus your story for a target audience of children aged five to ten. Your story must incorporate a minimum of five illustrations with additional illustrations and titling on the book’s front and back covers. You are not expected to cover every aspect of the play. Remember your audience. Keep it simple, but remember the magic of exemplary story-telling.

Extension Activity Evaluation Rubric CATEGORY 9-10 7-8 6 5 and below Aesthetic Appeal Product is presented Product is presented Product is presented Product lacks in an effective, in an effective, in an effective, effectiveness and creative manner that appropriate manner adequate manner therefore is not is suitable to the that is suitable to the that is suitable to the suitable. topic. topic. topic.

Effectiveness of Choice of product is Choice of product is Choice of product is Product choice is Product insightfully thoughtfully connected to the loosely tied to the connected to the connected to the original topic. original topic. original topic. original topic.

Time/Effort Product displays Product displays Product displays Product displays little exceptional work very good work and some work and to no work and effort. and effort. effort. effort.

Presentation Presentation exhibits Presentation is Presentation has Presentation lacks clarity and the mostly clear and has some clarity and is clarity and is not appropriate volume. the appropriate somewhat audible. audible. Presenter Presenter is volume. Presenter Some enthusiasm is lack enthusiasm and enthusiastic and is enthusiastic and displayed and the does not directly engages the class. engages the class at presenter attempts address the class. times. to engage the class.

ENGL 111 – Romeo & Juliet Unit – Staging an Act Each Acting Team will be responsible for designing, directing and staging an act from the play. The groups will draw their Acts out of a hat. Each group will be assigned a director from the “Director’s Group,” and that director will be responsible for the interpretation and direction of the act: no two acts will necessarily be alike, but there must be a continuity of flow from one act to the next—directors must communicate with not only their actors but with their fellow directors.

Directors:

You may run into the problem of having a shortage of actors for a scene. If this happens, it is your responsibility to solve the problem. You may want to consider asking another group of actors if they would be willing to take on a small role in one of your scenes. This assignment will take a great deal of problem solving on your part and it is your responsibility to be cooperative with your fellow directors. As a group, the directors may want to decide on a way to combat the foreseeable problems that you may face. By coming up with a standard by which problems will be solved, you may avoid unneeded difficulties throughout production.

Each group will be responsible for submitting an outline addressing all of the following components prior to their performance:

Setting:  Where is the scene set? What time of day does it occur (read scene for descriptions of the time of day)?

Plot:  What happens in this scene? What is the main conflict/what are the minor ones? What is the purpose? How is the action furthered or characters developed?

Interpretation of the Act:  Will the act be of a modern interpretation, using modern language, or traditional, using Shakespeare’s language?  Maybe you will put a certain spin on the Act. For example, the Capulets and the Montagues may be rival mafia families, thus making your scene resemble something out of The Godfather. It is your decision how you interpret the scene, but it must retain the original themes, plot and characters.

Characters (complete for each character):  What is on your character’s mind this scene?  What is your character’s emotional state in this scene? Does it change? Why?  What is your character’s relationship with other people on the stage? Does it change? Why?  What does your character want in this scene? What are they willing to do to achieve their desires?  How and to what effect will you say your lines (with what tone and pitch)? Directions:  Which side/where does your character enter/exit the scene?  Where will your character move to throughout the scene? Why?

Props (you must be in full costume and have props for the stage):  What props are necessary to make the audience understand what’s going on?  Where will you get the necessary props / costumes?

Note: You will be staging the play for three grade 8 Language Arts classes at Nashwaaksis Middle School on either December 16th or 17th, but will be evaluated on a performance in class on December 15th.

Comprehension Questions Act I For each scene of the play, you will be required to answer, in complete sentences, questions from the play. These will be evaluated based on the short response rubric included in your unit handouts for your portfolio. Acing Teams are encouraged to discuss possibilities, but word for word copying is not permitted. Help each other understand plot, theme, characterization, foreshadowing and other literary devices used, but you are not helping anyone learn anything in feeding them the answers. (See plagiarism policy)

Romeo and Juliet Act One Questions and Quotations

Prologue

1. Who speaks the prologue? 2. What form of poetry is the prologue written in? How do you know? What conventions give it away? 3. What information does the prologue convey about the theme, characters, setting, and plot of Romeo and Juliet?

Act I, scene i

1. Why are the servants of the Montague’s and Capulet’s fighting? What is Shakespeare trying to demonstrate / reveal by having the servants fight.

2. Who are Benvolio and Tybalt? What do we learn about each of their characters from their introduction in this scene? Provide direct evidence from the text to support your answers.

3. What state of mind is Romeo in at the beginning of the play? How does he speak of love? Who is Rosaline?

4. What final orders does the Prince give to Capulet and Montague following the street fight? What role does the Prince play in terms of Verona’s politics / monarchy? What literary device is used through his orders?

5. What advice does Benvolio give Romeo, and how does Romeo respond? What does this reveal about each of their characters?

Act I, scene ii

1. What purpose does the prologue to Act II serve?

2. Who is Paris? What does he ask of Capulet? How does Capulet describe Juliet to Paris? What does the reader/viewer assume about his relationship with his daughter based on his description of her?

3. How old is Juliet?

4. Who is hosting an Elizabethan masquerade? Whose names are among those on the guest list? 5. What purpose does Romeo have in going to the party? Provide evidence from the test?

Act I, scene iii

1. What new characters do we meet in scene three?

2. What information does Lady Capulet give Juliet? How does Juliet respond?

3. How does Juliet’s Nurse describe Paris?

4. Based on information in this scene, compare Juliet’s mother to her nurse.

Act I, scene iv

1. What is revealed about Mercutio’s character through his speech in this scene? Provide evidence to support your answers.

2. What is the purpose of Romeo’s speech at the end of this scene? What type of speech is it? (See definitions sheet)

Act I, scene v

1. What is the purpose of the disagreement and confusion between the serving- men?

2. What impression has Juliet made on Romeo? How does Romeo characterize Juliet?

3. Who rejects Romeo’s presence and how is he subdued?

4. In what poetic form do Romeo and Juliet speak to one another? What is this style of writing reinforcing in this scene?