ACT 2 PROLOGUE 1. Paraphrase the Prologue of Act 2
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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. -
Cambridge Companion Shakespeare on Film
This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M. -
Who's Who Character Sort
Character name Character description A The Prince of Verona, the most important person in the City of Verona. He is a wise and fair man. He is well-liked JULIET and tries to be a tough leader but is caught between the two warring families. He wants the Capulets and Montagues to live in peace. B Romeo's friend. He is young, lively and a very likeable TYBALT young man. He is always talking, joking. He is also arrogant and a powerful fighter. He is honourable and very loyal to Romeo. C NURSE Romeo's cousin and close friend. He is a sensible, trustworthy young man who is very loyal to Romeo. D A man about fifty, a wise and holy man. He is a priest and LADY CAPULET usually gives good advice. He is well-liked, kind and gentle, always wants to help people, and is anxious to avoid sin. He secretly marries Romeo and Juliet. E Juliet's cousin, a little older than Romeo. He is an CAPULET argumentative young man, a troublemaker who loves fighting. He likes violence and plays dirty. F Juliet's mother. She is younger than Lord Capulet (about ROMEO 30). A capable organiser accustomed to doing her husband’s wishes and running the household. She loves her daughter but is not as close to Juliet as the nurse. G A woman in her 40s, practical, fun and caring. She works BENVOLIO for the Capulets and has looked after Juliet since she was a baby, so she has a good position in the family. -
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. -
2018 Study Guide Commons.Wikimedia Romeo and Juliet by William Shakespeare
2018 Study Guide commons.wikimedia Romeo and Juliet by William Shakespeare San Carlo Borromeo Among The Plague Sufferers (detail), Benedetto Luti the impact of environment Environmental factors impact Shakespeare’s telling of the story of Romeo and Juliet in a couple of important ways. Shakespeare makes a point of telling us several Stone bridge, Verona, Italy William Shakespeare times that it is hot. This is five days in the height of the summer under VERONA, ITALY WILLIAM SHAKESPEARE blistering Italian sunshine, and the youth of Verona, with the short • A city on the Adige River in north- • Born around April 23, 1564. tempers people tend to get on ex- ern Italy, midway between Venice • Married Anne Hathaway at tremely hot days, have nothing and Milan. Shakespeare used this the age of 18. They had to do but pick fights. area frequently in his plays. The Two three children between Gentlemen of Verona is set in Verona 1583 and 1585. The plague also plays an important and Milan, and the beginning of • Became an actor and lead role. Mercutio, a relative of Prince this season’s Othello takes place in playwright for the Lord Escalus who has no direct connec- neighboring Venice. Chamberlain’s Men, which tion to the feud, uses his dying • The name Verona is short for became the King’s Men words to call a plague down on Versus Romae, meaning “In the when King James I was both the Capulets and Montagues. direction of Rome,” as it was on crowned in 1603. Devastating outbreaks of plague the main road south to Rome from • Wrote 37 plays, 2 epic were common in Renaissance Eu- northern Europe. -
Junia & Noe 36
Life is an Inverted Circus... 265 LIFE IS AN INVERTED CIRCUS: GRUPO GALPÃO’S ROMEU E JULIETA ADAPTED FROM PENNAFORT’S TRANSLATION OF SHAKESPEARE’S Junia C. M. Alves Centro Universitário Newton Paiva Brazil Marcia Noe The University of Tennessee at Chattanooga USA Among the various manifestations of late modernism occurring in Brazil is Grupo Galpão, a street theatre company founded in 1982. Combining elements of circus, the improvisation of commedia dell´arte, the exuberant creativity of classic and Renaissance dramaturgy, and the vanguard movement of contemporary theatre with the production of the regional-cultural imagination inscribed in the Brazilian performative code, the members of this group represent a new generation of directors and actors whose work, as it reveals Brazil as an apparently not serious carnavalesque nation, also challenges the public to reflect on present and past concerns. With Grupo Galpão, Brazilian issues of memory and of the continuum and discontinuum of religious, economic, and social history are situated in an atemporal time and presented theatrically to an often unprepared public. These artistic Ilha do Desterro Florianópolis nº 36 p.265-281 jan./jun. 1999 266 Junia C. M. Alves and Marcia Noe efforts are characterized by a backgounding of the political moment that is, in fact, present, although masked by humor and laughter. Grupo Galpão was born of the experience of Brazilian actors with the directors of the Free Theatre of Munich, Germany. The group began its activities in the streets of Belo Horizonte; their objective was to rupture the predictability of stage performance and create a new cultural spectacle inserted in the old concept that all theatre performance aims at functioning as a starting point for reflection and at answering, metaphorically, questions related to “a nossa origem, nosso ser brasileiro, num painel de crítica a tipos e situacões da nossa realidade” (“Galpão Encena o Incesto de Álbum de Família”). -
Download This Volume In
Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation .......................................................................................................... -
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. -
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. -
A Pair of Star Crossed Lovers Take Their Life…” Is a Passage from the Prologue
Name: Multiple Choice Act I _____ 1. “A pair of star crossed lovers take their life…” is a passage from the prologue. The term “star- crossed levers” means: a. Romeo and Juliet are destined by fate not to have a happy life b. Romeo compared Juliet’s eyes to stars c. Romeo and Juliet used the stars to find each other d. Their getting together was predicted by the stars _____ 2. Benvolio tries to make peace during the street brawl but is stopped by: a. the Prince b. Tybalt c. someone biting his thumb at him d. Romeo _____ 3. At the beginning of the play, Romeo is sad because: a. Tybalt vowed to kill him b. Rosalyn will not return his love c. Juliet will not return his love d. because of the big fight _____ 4. At the party, a. Tybalt recognizes Romeo b. Lord Capulet tells Tybalt to kill Romeo c. Mercutio gets drunk b. Benvolio falls in love with Juliet Act II _____ 5. Juliet professes her love for Romeo because: a. she is mad at her father b. she is scared that since he is a Montague, he will hate her c. she is unaware that he is in the garden listening d. Romeo tells her he loves her first _____ 6. “Wherefore art thou Romeo?” means: a. Why are you Romeo? b. Who is Romeo? c. Where are you Romeo? d. Yo! What sup? _____ 7. That night they agree to: a. keep their love a secret b. get married c. kill Tybalt d.