Romeo and Juliet Act 2 Summary Notes
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English 12: Science Fiction & Fantasy
English 12: Science Fiction & Fantasy TIME CONTENT/THEME CORE GOALS/SKILLS ASSESSMENT LITERATURE Fantasy - Unit #1 Literary Genres: Fantasy o Writing Assignments 1 Marking Period Literary Elements: Elements of Fantasy, Open Ended Questions o The Hero and the Crown Characterization, Point of View, Tone, Discussion Boards Theme, Plot Short Answers Literary Devices: figurative language, Annotated Bibliographies plot structure o Tests / Quizzes Interpret, compare, describe, analyze and Chapter Reviews evaluate literary devices Summative Assessments o Identify and assess effectiveness o Research Assignments of point of view Literary Analysis Articles o Identify and assess the o Projects effectiveness of tone and mood Multimedia Group Project Recognize and analyze the elements of fantasy writing o Anansi Boys Literary Genres: Fantasy o Maskerade Literature Circles – Fantasy Literary Elements: Elements of Fantasy, o Writing Assignments o Sunshine Characterization, Point of View, Tone, Open Ended Questions o Fevre Dream Theme, Plot o The Alchemist Discussion Boards Literary Devices: figurative language, Short Answers plot structure Annotated Bibliographies Interpret, compare, describe, analyze and o Projects evaluate literary devices Group Report o Identify and assess effectiveness of point of view o Identify and assess the effectiveness of tone and mood Recognize and analyze the elements of fantasy writing Vocabulary Word Acquisition and Usage o Writing Assignments Sadlier‐Oxford Books G and H Multiple Meaning/Roots -
Romeo and Juliet 2019-20 Study Guide
Romeo and Juliet 2019-20 Study Guide ABOUT THIS STUDY GUIDE The Colorado Shakespeare Festival will send actors to your school soon as part of a Shakespeare & Violence Prevention project. This study guide is a resource for you, whether you are an administra- tor, counselor, teacher, or student. Our program is most successful when schools have prepared in advance, so we encourage you to use this study guide to connect the material to your curriculum. Shakespeare offers a wonderful opportunity to explore meaningful questions, and we encourage you and your students to engage deeply with those questions. Study guide written and edited by Dr. Amanda Giguere, Dr. Heidi Schmidt, and Isabel Smith-Bernstein. ABOUT SHAKESPEARE & VIOLENCE PREVENTION The Colorado Shakespeare Festival partners with CU Boulder’s Center for the Study and Prevention of Violence (CSPV) and the Department of Theatre & Dance to create a touring program that in- creases awareness of Shakespeare and violence prevention. Our actors will visit your school to perform an abridged three-actor version of Romeo and Juliet that explores the cycle of violence, using research from the Center for the Study and Prevention of Violence. In this 45-minute performance, we draw parallels between Shakespeare’s world and our own. We recommend the performance for grades 6-12. Theatre is about teamwork, empathy, and change. When your students watch the play, they will observe mistreatment, cruelty, violence, and reconciliation. They’ll see examples of unhealthy and destructive relationships, as well as characters who become “upstanders”—people who make the choice to help. This play is intended to open up the dialogue about the cycle of violence and mis- treatment—and to remind us all that change is always possible. -
BENVOLIO but New Struck Nine. ROMEO Ay Me! Sad Hours Seem Long
BENVOLIO/ROMEO 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 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! BENVOLIO Tell me in sadness, who is that you love. ROMEO What, shall I groan and tell thee? BENVOLIO Groan! why, no. But sadly tell me who. ROMEO In sadness, cousin, I do love a woman. BENVOLIO I aim'd so near, when I supposed you loved. ROMEO/JULIET 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. -
Shakes in Love STUDYGUIDE
Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. -
9.1.3 Lesson 9
NYS Common Core ELA & Literacy Curriculum Grade 9 • Module 1 • Unit 3 • Lesson 9 9.1.3 Lesson 9 Introduction In this lesson, students read and analyze William Shakespeare's Romeo and Juliet, Act 3.1, lines 59–110 (from “Romeo, the love I bear thee can afford” to “I have it, and soundly too. Your houses!”). In this excerpt, a fight breaks out between Mercutio and Tybalt after Tybalt insults Romeo, and Mercutio is killed. Students work in pairs to explore how Shakespeare develops Romeo’s character through his interactions with Tybalt and Mercutio. Prior to reading, students view a clip of Baz Luhrmann’s Romeo + Juliet, depicting the marriage of Romeo and Juliet. Student learning is assessed via a Quick Write at the end of the lesson: How does Shakespeare develop Romeo’s character through his interactions with Tybalt and Mercutio? For homework, students continue their Accountable Independent Reading (AIR) and write a brief response to the question: “Who is responsible for Mercutio’s death?” Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. Addressed Standard(s) L.9-10.4.a, Determine or clarify the meaning of unknown and multiple-meaning words and b, c phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase. -
Romeo and Juliet Study Guide Act
Romeo and Juliet Act Two Study Guide Act Two, Scene One 1. How would you restate what the Chorus explains here? (page 656 lines 13-14) 2. What is Mercutio’s attitude toward Romeo’s lovesickness? (page 657) Act Two, Scene Two 3. What “wound” does Romeo suggest that Mercutio has never felt? (page 658 line 1) 4. What figure of speech does Juliet use here? What words does Shakespeare use to suggest the strength of Juliet’s lov? (page 659 lines 58-59) 5. In the passage page 661 lines 105-106, what worries does Juliet express? 6. What does Juliet compare her and Romeo’s declarations of love to lightning in lines 119-120? What is the point of the metaphor in lines 121-122? (page 662) 7. What idea is communicated by the simile in lines 156-157? Restate it in your own words. (page 663) 8. In the extended metaphor, Juliet compares Romeo to a bird. What idea about her love is communicated by this comparison? (page 664 line 183) Act Two, Scene Three 9. In lines 7-30, how does the Friar describe herbs and their nature? How are people like herbs? (page 665) 10. What can you infer about Friar Lawrence’s character and his attitude toward Romeo from line 47? (page 666) 11. This section of the play permits that audience to hear an adult’s view of Romeo and his passions. How does this help to show Romeo in a new light? Explain (page 667, line 81) Act Two, Scene Four 12. -
Shakespeare and the Friars
38 DOMINICAN A to obtain pea.ce for Europe, could prayers, saluting Mary with a She refuse to hear the voice of single heart and with a single the whole Catholic world on its voice, imploring Mary, placing knees? Let us be as one, with all hope in Mary!'' It is with the Holy Father of the faithful this unanimous prayer that Cath in prayer, Mary's own prayer, and olics will obtain the return to strive to sprea.d it. "How ad Christ of the nations that are mirable it will be to see in the astray, the salvation of the world cities, in the towns, and in the and that peace so eagerly desired. villages, on hnd and on sea, as far Mary, the Dove of Peace, offers as the Catholic name extends, the Olive Branch-Her Rosary. hundreds of thousands of the Will the world accept it? faithful, uniting their praises and Aquinas McDonnell, 0. P. SHAKESPEARE AND THE FRIARS. "The thousand souled Shake is his portrayal of it. His name speare" is an epitath bestowed is em blazoned far aboye all other on the master writer of the most English writers. He is praised momentous epoch in the history and lauded by all nations and of the literary world. Thousand why? Because no one equals souled is Shakespeare. No one him in creative power of mind, is more deserving of such a title. in vividness of imagination, in His genius is bounded by no richness of imagery. No one country. He is of no age. He equals him in his comprehFmsion is uni-r ersal. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Answers for the Story of Pyramus and Thisbe
Questions for the Story of Pyramus and Thisbe Instructions: Answer the following questions in complete sentences as you will be sharing this story with your cartography team. 1. What is the problem that Pyramus and Thisbe face from their families? Their families forbid them to be together or see each other. 2. What is the solution they came up with to solve their problem? They decide to meet at night outside the walls of the city so they can be together. 3. What three objects are located in the area where they decide to meet? The three objects that are located in the area where they decide to meet are a tree, a stream, and a cemetery. 4. What incident happens to Thisbe as she is waiting under the tree for Pyramus? Thisbe is attacked by a lioness. 5. What is the name of the item Thisbe dropped on the ground? Thisbe drops her veil as she runs from the lioness. 6. What action does Pyramus perform when he thinks Thisbe is dead? Pyramus falls on his sword and dies when he thinks Thisbe is dead. 7. What continues happen even to today to the white fruit of the mulberry tree as a result of the lovers’ tragedy? The white fruit of the mulberry tree turns a dark purple color when ripe. 8. What proposal would you make to improve Pyramus and Thisbe’s situation? Answers will vary. 9. What other story do the Story of Pyramus and Thisbe resemble? What differences do you notice between these two stories? The Story of Pyramus and Thisbe resembles Romeo and Juliet. -
Romeo and Juliet
Study Guide Romeo and Juliet A Tragedy has 4 Elements Tragic Hero Supernatural Element born Hero has a fatal FLAW Hero’s FATE leads to A mystical, mysterious, Hero is Noble born High downfall or death or unnatural element class occurs during the Influences society Tragic Hero’s life Guide Romeo and Juliet Romeo is a Tragic Hero Romeo Romeo’s FLAW Supernatural is Element Noble Born FATE causes Romeo to NEVER receive the note from Friar Laurence Potion born Romeo is Impulsive mysterious unnatural potion Romeo is born to a Romeo is impulsive … It is FATE that causes Juliet has taken a noble high class family this FLAW causes him to Romeo to NEVER mysterious potion that and is the hero of the make quick decisions receive the note from makes her look dead. play. without thinking. Friar Laurence telling Romeo kills himself him that Juliet plans to because he thinks Juliet FAKE her death. is dead, but she is FAKING death. J. Haugh 2014 X Drive/ English/ Romeo Juliet/ Study Guide Romeo and Juliet 1 Problems or Complications for Juliet Not a Problem of Complication for Juliet There is an ongoing feud between Juliet is NOT in love with Paris so this Capulet and Montague families is not a problem or complication Lady Capulet (Juliet’s mom) wants her to marry Paris Tybalt wants to fight Romeo to the death The feud between the Capulet and Montague Families Obstacles for Romeo Lady Capulet wants Juliet to marry Paris and Juliet Comic Relief happens when a writer puts humor into a serious situation to break the tension Juliet’s Nurse provides COMIC RELIEF in a serious situation J. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Romeo & Juliet
AQA English Literature GCSE Romeo and Juliet: Character Profile Juliet All images sources from www.commons.wikimedia.org www.pmt.education Juliet Capulet INTRODUCTION Juliet is the female protagonist of the play. She makes up the “...pair of star-crossed lovers…” the tragedy is centred around. Although Juliet is only 13, Capulet arranges her marriage to Paris in the first scene she is mentioned. Thus, Shakespeare presents her as an object of desire whose only function is to be married. Although she is seen in such a reductive way, the character displays complexity and maturity which contrasts with her young age. The protagonist can be perceived as an anomaly in the play, as she is the only character who attempts to reject the societal pressures she faces: she insists on marrying for love and takes action against her circumstances. Juliet becomes the catalyst that causes the metamorphosis of Romeo from a Petrarchan lover to a Shakespearan lover. Ultimately, the two lovers meet a tragic end, but Juliet’s action at the end of the play signifies the lengths to which the character is able to go in order to assert her freedom. CHARACTER IN CONTEXT The Nurse Juliet’s close relationship with her Nurse directly contrasts with how distant she is with her mother. This reflects how many upper-class mothers did not raise their own children. Instead, the Nurse carries out the role of the traditional mother; she gives Juliet advice, looks after her and even elaborates that she breastfed Juliet. This can be seen in the quote, “For I had then laid wormwood to my dug,” outlining how Juliet’s relationship with the Nurse is more naturally maternal than with Lady Capulet.