DOCSLIB.ORG

Queen Mab Poster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Queen Mab Poster Queen Mab Poster Mercutio’s view of dreams and love mark him as the perfect foil for Romeo’s romantic inclinations. After Romeo claims he “dreamed a dream” that foretells something will happen that night that will set things in motion that will lead to his death, Mercutio responds with his own views of dreams, views that involve Queen Mab. The Queen Mab assignment covers several standards. You can make minor changes to the assignment to cover additional standards. • RL.9-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • RL.9-12.2 Determine a theme or central idea of a text, how it emerges and is shaped and refined by specific details; provide an objective summary of the text. • RL.9-12.3 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. • L.9-10.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. • L.9-10.5a Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text. Procedures The handout explains the assignment. Use it for instruction. 1. Read Mercutio’s Queen Mab speech in Act 1, Scene 4 of Romeo and Juliet. 2. Discuss and/or annotate the speech. 3. Go over assignment instructions. Copyright 2016 – Trent Media WANTED! QueenCopyright 2016 – Trent Media Mab Directions: 1. Read through Mercutio’s description of Queen Mab. 2. As you read, highlight and number at least 10 physical features of Queen Mab, her entourage, or her accessories. 3. Create a “wanted poster” with a drawing of Queen Mab (as accurately as possible). 4. On the wanted poster, label the 10 features (numbers only) that you highlighted in the passage. Be sure to include the reward amount for her capture. MERCUTIO: O, then I see Queen Mab Because their breaths with sweetmeats hath been with you. tainted are. She is the fairies' midwife, and she comes Sometimes she gallops o'er a courtier's nose, In shape no bigger than an agate stone And then dreams he of smelling out a suit; On the forefinger of an alderman, And sometimes comes she with a tithe-pig's Drawn with a team of little atomies tail Over men's noses as they lie asleep; Tickling a parson's nose as 'a lies asleep, Her wagon spokes made of long spinners' Then dreams he of another benefice. legs, Sometimes she driveth o'er a soldier's neck, The cover, of the wings of grasshoppers; And then dreams he of cutting foreign Her traces, of the smallest spider web; throats, Her collars, of the moonshine's wat'ry Of breaches, ambuscadoes, Spanish blades, beams; Of healths five fathom deep; and then anon Her whip, of cricket's bone; the lash, of film; Drums in his ear, at which he starts and Her wagoner, a small grey-coated gnat, wakes, Not half so big as a round little worm And being thus frighted, swears a prayer or Pricked from the lazy finger of a maid; two Her chariot is an empty hazelnut, And sleeps again. This is that very Mab Made by the joiner squirrel or old grub, That plats the manes of horses in the night Time out o' mind the fairies' coachmakers. And bakes the elflocks in foul sluttish hairs, And in this state she gallops night by night Which once untangled much misfortune Through lovers' brains, and then they dream bodes. of love; This is the hag, when maids lie on their O'er courtiers' knees, that dream on curtsies backs, straight; That presses them and learns them first to O'er lawyers' fingers, who straight dream on bear, fees; Making them women of good carriage. O'er ladies' lips, who straight on kisses This is she! dream, Which oft the angry Mab with blisters plagues, Copyright 2016 – Trent Media For a complete list of lesson plans, check out the ELA Common Core Lesson Plans catalogue. Teacher Ready. Student Ready. ©2016 TrentMedia: elacommoncorelessonplans.com .
Load more

Recommended publications
  • English Renaissance Dream Theory and Its Use in Shakespeare
    THE RICE INSTITUTE ENGLISH RENAISSANCE DREAM THEORY MID ITS USE IN SHAKESPEARE By COMPTON REES, JUNIOR A THESIS SUBMITTED TO THE FACULTY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Houston, Texas April, 1958 TABLE OF CONTENTS Introduction .............. 1-3 Chapter I Psychological Background: Imagination and Sleep ............................... 4-27 Chapter II Internal Natural Dreams 28-62 Chapter III External Natural Dreams ................. 63-74 Chapter IV Supernatural Dreams ...................... 75-94 Chapter V Shakespeare’s Use of Dreams 95-111 Bibliography 112-115 INTRODUCTION This study deals specifically with dream theories that are recorded in English books published before 1616, the year of Shakespeare1s death, with a few notable exceptions such as Robert Burton’s Anatomy of Melancholy (1621). Though this thesis does not pretend to include all available material on this subject during Shakespeare*s time, yet I have attempted to utilise all significant material found in the prose writings of selected doctors, theologians, translated Latin writers, recognised Shakespeare sources (Holinshed, Plutarch), and other prose writers of the time? in a few poets; and in representative dramatists. Though some sources were not originally written during the Elizabethan period, such as classical translations and early poetry, my criterion has been that, if the work was published in English and was thus currently available, it may be justifiably included in this study. Most of the source material is found in prose, since this A medium is more suited than are imaginative poetry anl drama y:/h to the expository discussions of dreams. The imaginative drama I speak of here includes Shakespeare, of course.
    [Show full text]
  • Motifs in Romeo and Juliet Fall Semester Unit 2 Motif
    Motifs in Romeo and Juliet Fall Semester Unit 2 Motif: A distinctive idea, image, word, or phrase that is repeated throughout the literary work. Why do insignificant or mundane things take on significance when they are repeated? Motif: Light and Dark/Day and Night Motif: Light and Dark/Day and Night One instance of this motif is Romeo’s lengthy meditation on the sun and the moon during the balcony scene, in which he describes Juliet as the sun. Romeo uses figurative language to describe her as banishing the “envious moon” and transforming the night into day (2.2.4). Motif: Light and Dark/Day and Night Friar Lawrence’s first speech refers to day and night, light and dark. “The grey-eyed morn smiles on the frowning night” (2.3.1). Motif: Light and Dark/Day and Night We see a third example in the last speech of the play, when Prince Escalus says that the morning sky is dark, fitting the mood of occasion: "A glooming peace this morning with it brings; / The sun, for sorrow, will not show his head" (5.3.306). Motif: Dreams Marc Chagall: Over the Town (1918) Dreams (1939) Motif: Dreams Mercutio mocks dreams in his Queen Mab speech as “children of an idle brain” (1.4.104). Motif: Dreams Romeo tells Juliet, “Oh blessed, blessed night! I am afeard, Being in night, all this is but a dream, Too flattering sweet to be substantial” (2.2.146-148). Motif: Dreams Just before he receives news that Juliet is dead, Romeo says, “If I may trust the flattering truth of sleep, My dreams presage some joyful news at hand” (5.1.1-2).
    [Show full text]
  • Masculinity and the Patriarchal Treatment of Women in Shakespeare
    Conspectus Borealis Volume 5 Issue 1 5th Anniversary Issue Article 15 5-4-2020 Masculinity and the Patriarchal Treatment of Women in Shakespeare Bailey Gomes Northern Michigan University, [email protected] Follow this and additional works at: https://commons.nmu.edu/conspectus_borealis Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Other Film and Media Studies Commons Recommended Citation Gomes, Bailey (2020) "Masculinity and the Patriarchal Treatment of Women in Shakespeare," Conspectus Borealis: Vol. 5 : Iss. 1 , Article 15. Available at: https://commons.nmu.edu/conspectus_borealis/vol5/iss1/15 This Article is brought to you for free and open access by the Journals and Peer-Reviewed Series at NMU Commons. It has been accepted for inclusion in Conspectus Borealis by an authorized administrator of NMU Commons. For more information, please contact Kevin McDonough. Gomes 1 Bailey Gomes HON 111 Dr. Wood 11 Dec. 2019 Masculinity and the Patriarchal Treatment of Women in Shakespeare There are many forms of masculinity that are displayed in William Shakespeare’s plays. In Romeo and Juliet and Much Ado About Nothing, male love, jealousy, selfishness, and rage are the most dominant of these forms within the plays. In both plays, a majority of the men treat women like their property. The toxic masculinity that some characters are consumed with runs rampant through the main plot. This toxic masculinity is reinforced by the patriarchy and male feelings of superiority over women by the male characters of the play. The Merriam-Webster Dictionary defines patriarchy as a “social organization marked by the supremacy of the father in the clan or family, the legal dependence of wives and children, and the reckoning of descent and inheritance in the male line.” In a patriarchy, women are equated to objects which can be given, taken, and traded for power and wealth.
    [Show full text]
  • Romeo and Juliet Queen Mab Worksheet Answers
    Romeo And Juliet Queen Mab Worksheet Answers Lukas hand injuriously. Enraged Sydney paginate scurrilously and impotently, she cinchonizes her fearfulness compelled commensurately. Eduard remains perfectible: she short-lists her fruitery interstratified too someways? ROMEO NURSE ROMEO NURSE PETER NURSE letter? CAPULET Well get were gone. The Queen Mab speech in cork I Scene 4 displays Mercutio's eloquence and vivid. Known that am a piece of flesh. Make romeo and answers short answer the queen mab hath a worksheet: either the cigarettes and feel the life, woora and the. May 10 2010 Romeo and Juliet Act 1 Scene 4 This can an opaque of. Queen Mab often puts blisters on their lips because. The teacher we observed created an extensive worksheet that forced. Educators should teach the plays through runway and focused explorations. Create a class Tchart with Montague on they left toe and Capulet on the experience side. Why proclaim the Friar agree but marry Romeo and Juliet 5. What kind ofliquid you. Balthasar romeo and answers for students to mantua to live dead tonight she woke up your middle ages a worksheet requires students work. Study we Answer Key as I Scenes IV-V Glynlyon. The feast at origin house of Capulet. What a menace plagued Brian with the rising of cartoon sun? Break growing up, think back again. Grips are completely different purposes that is this very young lovers. Shakespeare writes in queen of grief after rosaline? Here in the ocelots were twenty minutes before you say jove laughs when it to the jailer always moved as full.
    [Show full text]
  • Romeo & Juliet
    William Shakespeare’s ROMEO & JULIET Abridged by Owen Horsley The National Youth Theatre of Great Britain Teacher’s Pack Exclusive resources, interviews & classroom activities for Key Stages 3–5 Photography by Helen Maybanks & Helen Murray Romeo & Juliet Production Credits Cast The enduring love story of Romeo and Director – Kate Hewitt Romeo – James Mace Juliet continues to be retold and re- Designer – Cecilia Carey Juliet – Shalisha James-Davis imagined all over the world. The National Lighting Designer – Elliot Griggs Lady Capulet – Natasha Heliotis Youth Theatre of Great Britain’s latest Assistant Director – Sean Hollands Capulet – Felix Mackenzie-Barrow adaptation brings you vendettas, violence Production Manager – Jacqui George Nurse – Arianna Beadie and star crossed lovers to 1956, post war Assistant Production Manager – Beth Friar Laurence – Joshua Lyster-Downer London. Teddy Girls mix with Teddy Boys, Marston Lady Montague – Catrin Walker-Booth and as the vibrant society booms, rival Technical Manager – Jackson Ingle Mercutio / Montague – Kwami Odoom gangs are drawing battle lines beneath Company Stage Manager – Linsey Hall Prince – Michael Kinsey the thick smog of the capital. Movement Director – Polly Bennett Benvolio – Shiv Jalota Music and Sound Design – Dom James Paris – Nathaniel Wade Education Pack to support Key Stage 3, and Tommy Antonio Sampson / Peter – Joe Pierson 4 & 5 students and teachers. Fight Directors – Rachel Bown-Williams and Abraham / Apothecary – Charlotte Law This pack was developed with teachers Ruth
    [Show full text]
  • Shelley's Changing Concept of Mutability a Thesis
    SHELLEY'S CHANGING CONCEPT OF MUTABILITY ~_. /' .. ~ A THESIS SUBMITTED TO THE DEPARTMENT OF ENGLISH AND THE GRADUATE COUNCIL OF THE KANSAS STATE TEACHERS COLLEGE OF EMPORIA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS By WREATHEA G. HICKS August, 1967 ""I \ (" c " I h _0' I '0,1 !"; • i Approved for the Major Department G~r.~ Approved for the Graduate Council 255075 ~~~, If --#--­ PREFACE Shelley has often been accused of "singing beautifully," but of saying little. I became interested in what he and the other poets of the Romantic Period were really saying after being carefully gUided through a study of Wordsworth's major poems. Similarly, the subject of mutability ~ se was sug­ gested by Wordsworth's solution to this enigma. To assemble the material for this investigation, I consulted the 1965 reprint of the Julian edition of Shelley's complete works edited by Roger Ingpen and Walter E. Peck--Poems, volumes I-IV; Prose, volumes V-VII; and Letters, volum~s VIII-X. Since Shelley's letters to Jefferson Hogg were printed with Hogg's emendations, these letters were collated with the original holographs in Jones' edition of Shelley's letters. I wish to express my gratitude to Dr. Charles E. Walton, Chairman of the Department of English at Kansas State Teachers College, Emporia, for his invaluable assistance and his careful criticism of this thesis. In addition, I am indebted to Dr. June Morgan also of Kansas State Teachers College, who offered encouragement and advice in serving as second reader of the follovling study.
    [Show full text]
  • Romeo and Juliet Act 1 Notes
    Romeo and Juliet Act 1 Notes Act 1 Prologue Summary of the play Setting: Verona, Italy Old argument between two families causes fights/riots There are two “star-crossed lovers” - ill-fated - not meant to be together -“From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life;” Only the deaths of Romeo and Juliet can end the argument - They are the “star-crossed” lovers The play should take two hours to perform Act 1, Scene 1 Capulet servants boast about fighting Montagues (enemy) Capulet servant insults/ bites his thumb at Montague servant which starts a fight (riot) Benvolio arrives and tries to break up fight Benvolio: Part, fools! Put up your swords; you know not what you do. Tybalt provokes Benvolio into fighting Tybalt: What, drawn, and talk of peace! I hate the word, As I hate hell, all Montagues, and thee: Have at thee, coward! Prince Escalus arrives, stops fight, and sentences the family that starts the next fight/riot to death. Prince: If ever you disturb our streets again, Your lives shall pay the forfeit of the peace Lord Montague and wife and Lord Capulet both appear at the scene Lord Capulet is most interested in fighting Lady Montague & Lady Capulet encourage their husbands not to fight Romeo’s parents (the Montagues) and Benvolio discuss Romeo’s mood. Lord Montague: Away from the light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks far daylight out And makes himself an artificial night: Benvolio has seen Romeo wandering around.
    [Show full text]
  • The Queen Mab Mercutio Monologue
    The Queen Mab Mercutio Monologue In Mercutio's best and lengthiest monologue, often called "The Queen Mab Speech," the jovial supporting character chides Romeo, claiming that he has been visited by a fairy queen, one that makes men desire things best left unattained. In Romeo's case, he is still pining for Rosaline. Little does he realize that he will soon fall for Juliet. When performing the following monologue, actors often begin very playfully, but as the speech continues, touching upon corruption and war, Mercutio becomes more frenzied and intense. MERCUTIO: O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate stone On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep; Her wagon spokes made of long spinners' legs, The cover, of the wings of grasshoppers; Her traces, of the smallest spider web; Her collars, of the moonshine's wat'ry beams; Her whip, of cricket's bone; the lash, of film; Her wagoner, a small grey-coated gnat, Not half so big as a round little worm Pricked from the lazy finger of a maid; Her chariot is an empty hazelnut, Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers. And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on curtsies straight; O'er lawyers' fingers, who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are.
    [Show full text]
  • Mercutio's Speech to Queen
    ROMEO AND JULIET, MERCUTIO: O, then I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate stone BY WILLIAM SHAKESPEARE On the forefinger of an alderman, Drawn with a team of little atomies Over men's noses as they lie asleep; Her wagon spokes made of long spinners' legs, ACT I, Scene 4: Mercutio's Speech to Queen Mab The cover, of the wings of grasshoppers; Her traces, of the smallest spider web; Her collars, of the moonshine's wat'ry beams; Her whip, of cricket's bone; the lash, of film; Her wagoner, a small grey-coated gnat, Not half so big as a round little worm Pricked from the lazy finger of a maid; Her chariot is an empty hazelnut, Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers. And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on curtsies straight; O'er lawyers' fingers, who straight dream on fees; O'er ladies' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are. Sometimes she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometimes comes she with a tithe-pig's tail Tickling a parson's nose as 'a lies asleep, Then dreams he of another benefice. Sometimes she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted, swears a prayer or two And sleeps again.
    [Show full text]
  • Romeo & Juliet
    Quiz for ROMEO & JULIET 1. When the play begins, Juliet is how old? 7. What is Mercutio’s nickname for Tybalt? a. 21 a. Tricky Ty b. 18 b. Brawling Boy c. 16 c. Prince of Cats d. 13 d. King of Compliments 2. What disturbance prompts the Prince to 8. How much time elapses in the play? threaten the feuding Capulets and a. A little over four days Montagues? b. About one week a. The killing of Lord Montague’s nephew c. Three weeks b. The theft of land from the Montagues d. No way to determine c. Romeo sneaking around the Capulet orchard d. The servants of the feuding families engage in 9. Whose body is in the tomb with Juliet when a brawl she is under the spell of the potion? a. Mercutio’s 3. Why does the Friar agree to marry Romeo b. Lord Capulet’s and Juliet? c. Benvolio’s a. He hopes that the marriage will help end d. Tybalt’s the feud between the Montagues and the Capulets 10. What does Juliet place by her bedside as she b. He believes that Romeo and Juliet are deeply takes the sleeping potion? in love a. A prayer book c. He’s afraid of offending Romeo’s father b. Romeo’s picture d. He looks forward to the extra income c. A dagger d. The antidote 4. Friar Laurence’s message doesn’t reach Romeo in Mantua because 11. Mercutio explains the reason why people a. Romeo has moved dream by describing the actions of which b.
    [Show full text]
  • A Midsummer Night's Dream
    A MIDSUMMER NIGHT’S DREAM Introduction: Shakespeare’s “A MIDSUMMER NIGHT’S DREAM” is a comedy that gives the audience a lot of positive thoughts and happiness. The theme of this play is love, dream and patriarchy. In this play, Shakespeare portrays romantic love as blind and irrational. In this play, Shakespeare explores how people fall in love with those who appear beautiful to them. Significance of the title A MIDSUMMER NIGHT’S DREAM: The title itself tells the reader that the story takes place on midsummer night and the play is the product of character’s dream. Through some of the characters Shakespeare tries to prove that what his characters experienced was nothing but only a dream. His characters enjoy a lot in midsummer time night. It is full of magic and dream. Role of Puck: Of all the characters, Puck played a significant role in this play. Because of his tricks on rehearsal, the play was turned into comedy and because of the mistakes he has committed; the play has some funny acts. Puck changes Bottom’s head into that of an ass’s head. Puck does this to prank Bottom, the overconfident weaver. Because of his trick, not only Puck but also the readers enjoyed a lot. Puck plays his tricks not only on mortals but also on fairies. He uses the magical juice intended for human lovers on Titania, (the queen of fairies) so that she falls in love with Bottom as soon as she sees him. Fairies attending Bottom is one of the funniest scenes in this play.
    [Show full text]
  • USC Visions & Voices: L.A. Opera: Roméo Et Juliette
    Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! L.A. Opera: Roméo et Juliette USC LIBRARIES RESOURCE GUIDE William Shakespeare’s play Romeo and Juliet has inspired a great many pieces of music. Berlioz composed a symphonic cantata to the story. There have been many operas dealing with this love story. Besides the Gounod, there is Bellini’s I Capuleti e i Montecchi and a host of others that are no longer performed. Gounod composed a number of great operas, including Faust (based on Goethe’s epic) and Mireille (based on the supernatural poem of Federic Mistral). The Los Angeles Opera has performed Gounod’s Roméo et Juliette before. Tenor sensation Vittorio Grigolo makes his Company debut as Roméo, with the enchanting Nino Machaidze returning as Juliette. Plácido Domingo conducts one of L.A. Opera’s landmark productions, Roméo et Juliette, directed by Ian Judge. ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Charles Gounod and French opera. Synopsis The Metropolitan Opera gives the following synopsis: PROLOGUE A chorus introduces the story of the endless feud between the Montague and Capulet families, and of the love between their children, Roméo and Juliette. ACT I Verona, 14th century. At a masked ball at the Capulet palace, Tybalt waits for his cousin Juliette and assures her suitor, Count Paris, that her beauty will overwhelm him.
    [Show full text]