Teaching Romeo and Juliet Workshop Saturday, October 26, 2019 Instructor: Kevin Long

Teaching Shakespeare: Text Clues 101

...everyone according to his cue. A Midsummer Night’s Dream Definitions Know exactly what you are saying at all times. Use the Lexicons, Shakespeare’s Words, Shakespeare A to Z, Shakespeare’s Bawdy, and footnotes. Anoint two dueling “Lexicon Masters” each day. Make dictionary work COOL!

Verse & Prose Shakespeare is about 75% verse (poetic line form) and 25% prose form. The form of writing might indicate a clue as to the type of character you are playing. Prose is sometimes an indication that the character might be of a lower class, comic or mad, while verse might indicate that your character is of higher class, intelligent, clever, etc. Pay particular attention to when a character switches from poetry to prose and visa versa. This is a major clue from Shakespeare.

Verse

PRINCE And for that offence Immediately we do exile him hence. I have an interest in your hearts’ proceeding: My blood for your rude brawls doth lie a-bleeding; But I’ll amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses, Nor tears nor prayers shall purchase out abuses: Therefore use none. Let Romeo hence in haste, Else, when he is found, that hour is his last. Bear hence this body, and attend our will: Mercy but murders, pardoning those that kill. Romeo and Juliet, Act 3, scene 1

Prose

NURSE Well, you have made a simple choice, you know not how to choose a man: Romeo? no, not he; though his face be better than any man’s, yet his leg excels all men’s, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare. He is not the flower of courtesy, but I’ll warrant him, as gentle as a lamb. Go thy ways, wench, serve God. What, have you dined at home? Romeo and Juliet, Act 2, scene 5

Heightened and Direct Language Shakespeare’s use of heightened language and direct language also gives you a hint about the character and their emotional state of mind. Heightened language is represented by forms of speech which are not normally found in everyday use. Examples of this are metaphors, similes, or any other elevated idea found in poetry. Direct language is exactly what it says: e.g. “Will you go hunt my Lord?”

Heightened

ROMEO But soft, what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou, her maid, art far more faire then she.

Direct JULIET Fain would I dwell on form, fain, fain deny What I have spoke, but farewell complement. Dost thou love me? Romeo and Juliet, Act 2, scene 2

Ecphonesis O This sound comes from the Greek theater and it is a cry of passion. If you are confronted with the spelling “Oh,” it is clear Shakespeare wanted you to pronounce it as you normally would. However, if you encounter the spelling “O” in your text, then this is the Ecphonesis O and Shakespeare is looking for the actor to cry out in passion.

JULIET But old folks, many feign as they were dead, Unwieldy, slow, heavy, and pale as lead. O God, she comes! O honey Nurse, what news? Romeo and Juliet, Act 2, scene 5

LADY MACBETH Here’s the smell of the blood still; all the perfumes of Arabia will not sweeten this little hand. O, O, O. Macbeth, Act 5, scene 1

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Full Stops PERIOD. QUESTION MARK? EXCLAMATION POINT!

When you have a period, question mark or exclamation point at the end of the verse line, this is called a full stop and indicates the end of the character’s thought. A full breath should be taken. Take as long as you wish to fill your lungs with air.

Question Marks: really ask the question and wait for an answer. Periods and Exclamation Points: formulate your next thought before you continue speaking.

CAPULET He shall be endured. What, goodman boy, I say he shall, go to! Am I the master here, or you? go to! You’ll not endure him? God shall mend my soul, You’ll make a mutiny among my guests! You will set cock-a-hoop! you’ll be the man! Romeo and Juliet, Act 1, scene 5

Mid-stops Full stop punctuation (period, question mark or exclamation point) is often found in the middle of a verse line. This is called a mid-stop. Mid-stops indicate the need to finish the thought at the punctuation mark; however, you do not breathe. The need to continue is great. You immediately jump to the next thought with a great deal of energy. It is almost as if you were interrupting yourself. Be careful—do not rush. Make sure you complete the first thought and then launch ahead. This is an important part of the technique.

ROMEO Spakest thou of Juliet? how is it with her? Doth not she think me an old murderer, Now I have stained the childhood of our joy With blood removed but little from her own? Where is she? and how doth she? and what says My concealed lady to our cancelled love? Romeo and Juliet, Act 3, scene 3

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Shared Lines Shared lines in verse typically contain ten syllables; however, the line is divided between two characters. If the shared lines contain more than ten syllables, Shakespeare has again given us a clue to the emotion for the scene. Shared lines function like a mid-stop; therefore, we treat them as such. The first actor tosses his line to the second actor and s/he, in turn, picks up the energy by immediately speaking their line.

JULIET If that thy bent of love be honorable, Thy purpose marriage, send me word tomorrow, By one that I’ll procure to come to thee, Where and what time thou wilt perform the rite, And all my fortunes at thy foot I’ll lay, And follow thee my lord throughout the world.

NURSE [Within] Madam!

JULIET I come, anon. –But if thou meanest not well, I do beseech thee

NURSE [Within] Madam!

JULIET By and by I come – To cease thy strife and leave me to my grief. Tomorrow will I send.

ROMEO So thrive my soul.

JULIET A thousand times good night! Romeo and Juliet, Act 2, scene 2

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Repetition By stressing, or treating each repetition differently, whether it is repetition of sounds, words, or phrases, the meaning of the language becomes clearer and emotion evolves. Each time you repeat, give it a different emphasis and a natural build will occur. Be aware that repetitions may occur between more than one character and sometimes across an entire scene, not just in individual speeches.

CAPULET ‘Proud’, and ‘I thank you’, and ‘I thank you not’, And yet ‘not proud’, mistress minion you? Thank me no thankings, nor proud me no prouds … Romeo and Juliet Act 3, scene 5

ABRAHAM Do you bite your thumb at us, sir?

SAMPSON I do bite my thumb, sir.

ABRAHAM Do you bite your thumb at us, sir?

SAMPSON [Aside to GREGORY] Is the law of our side, if I say ay?

GREGORY No.

SAMPSON No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.

GREGORY Do you quarrel, sir?

ABRAHAM Quarrel sir! no, sir.

SAMPSON If you do, sir, I am for you: Romeo and Juliet, Act 1, scene 1

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Repetition of Sounds (Assonance and Alliteration) Assonance is the repetition of vowel sounds (“How now brown cow”) and alliteration is the repetition of consonant sounds (“Peter Piper picked a peck of pickled peppers”). What do repeated sounds suggest about a character’s emotion?

NURSE O woe! O woeful, woeful, woeful, day! Most lamentable day, most woeful day That ever, ever, I did yet behold! Romeo and Juliet, Act 4, scene 5

JULIET Farewell! God knows when we shall meet again. I have a faint cold fear thrills through my veins That almost freezes up the heat of life: Romeo and Juliet, Act 4, scene 3

MERCUTIO Alas, poor Romeo, he is already dead, stabbed with a white wench’s black eye, run through the ear with a love-song, the very pin of his heart cleft with the blind bow-boy’s butt-shaft; and is he a man to encounter Tybalt? Romeo and Juliet, Act 2, scene 4

Antithesis Antithesis is the setting up of opposites in the text. These are wonderful to play with. It is important to use the language to help convey meaning and paint specific pictures for the audience.

CAPULET All things that we ordained festival, Turn from their office to black funeral: Our instruments to melancholy bells, Our wedding cheer to a sad burial feast; Our solemn hymns to sullen dirges change; Our bridal flowers serve for a buried corse; And all things change them to the contrary. Romeo and Juliet, Act IV, scene 5

Monosyllabic Lines Through the use of monosyllabic lines, Shakespeare is telling you to slow down. The character is speaking something that is vitally important or difficult to say or understand.

CAPULET Sir Paris, I will make a desperate tender Of my child’s love: I think she will be ruled In all respects by me; nay, more, I doubt it not. Wife, go you to her ere you go to bed, Acquaint her here of my son Paris’ love, And bit her – mark you me? – on Wednesday next But soft, what day is this? Romeo and Juliet, Act 3, scene 4 6

“Big But” Words Transitional words help the audience follow the thoughts of the character. Through transitional words, Shakespeare is indicating a change of thought. It is then appropriate to give words (such as: but, yet, therefore, however, if, or, so, thus, etc.) a little extra emphasis.

JULIET O gentle Romeo, If thou dost love, pronounce it faithfully; Or if thou think’st I am too quickly won, I’ll frown and be perverse, and say thee nay, So thou wilt woo, but else not for the world. Romeo and Juliet, Act 2, scene 2

Lists Shakespeare loves lists. They are everywhere in his plays. As you read a list, play with stressing each new item with growing urgency. As the character works to be understood, pressure builds on the words used.

CAPULET God’s bread, it makes me mad! Day, night, work, play, Alone, in company, still my care hath been To have her matched; Romeo and Juliet, Act 3, scene 5

Rhymes Shakespeare’s characters are proud of their ability to use language, and he uses rhymes to demonstrate how clever they think they are. Do not shy away from rhymes. Consider these possible reasons Shakespeare used rhymes:

• To end a scene and/or to create an exit MACBETH I go, and it is done: the bell invites me. Hear it not, Duncan; for it is a knell That summons thee to Heaven, or to Hell. Macbeth, Act 2, scene 1

• To make an especially pithy or aphoristic statement PRINCE Bear hence this body, and attend our will. Mercy but murders, pardoning those that kill. Romeo and Juliet, Act 3, scene 1

• To make a prediction or a spiritual curse BRABANTIO Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee. Othello, Act 1, scene 3

• To end a play DROMIO E. Nay then, thus: we came into the world like brother and brother; And now let’s go hand in hand, not one before Another. The Comedy of Errors, Act 5, scene 1 7

Double Entendre Double entendre refers to the “dirty bits.” Shakespeare took a very curious and lively interest in sex. He used these sexual puns to amuse his audiences. Let the power of the word and your subtext work on the audience.

MERCUTIO Nay, I am the very pink of courtesy.

ROMEO Pink for flower.

MERCUTIO Right.

ROMEO Why then is my pump well flowered.

MERCUTIO Sure wit! Follow me this jest now, till thou has worn out thy pump, that when the single sole of it is worn, the jest may remain, after the wearing, solely singular. Romeo and Juliet, Act 2, scene 4

Bibliography of Suggested Texts

Boyce, Charles. Shakespeare A to Z. New York: Dell Publishing, 1991. https://zcmediastudies.files.wordpress.com/2018/02/the-shakespeare-a-to-z.pdf

Crystal, David, and Ben Crystal. Shakespeare's Words: A Glossary and Language Companion. London: Penguin, 2002. http://www.shakespeareswords.com/Glossary.aspx

Edelstein, Barry. Thinking Shakespeare. New York: Theatre Communications Group, 2018.

Long, Kevin, and Mary T. Christel. Bring on the Bard: Active Drama Approaches for Shakespeare’s Diverse Student Readers. National Council of Teachers of English, 2019.

Partridge, Eric. Shakespeare’s Bawdy. New York: Routledge, 1955.

Schmidt, Alexander. Shakespeare Lexicon and Quotation Dictionary. Vols. I and II. New York: Dover Publications, Inc., 1971. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.03.0079

THANK YOU BILL!

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I’ve read (and re-read) the script aloud Text Work Sweep Sheet Your Name______and marked How can I play with these clues to these

Text Clue What does this mean? How do I score the text? better understand the text? clues.

Become a “Lexicon Master” by looking up all Circle the unfamiliar word. Write the Refer to your definitions as you read the text until Definitions unfamiliar words in a lexicon—a special dictionary definitions in the margin. you feel confident in your understanding. for Shakespeare. Only three punctuation marks signal the end of a Mark an “F” next to each period, Question Marks: wait for an answer. Full Stops thought when they appear at the end of a verse question mark and exclamation point at Periods and Exclamation Points: formulate your next line: a period, question mark, or exclamation point. the end of a verse line. thought before you continue speaking. Full stop punctuation (period, question mark or Mark an “M” above each period, When a mid-stop occurs, the need to continue is Mid-stops exclamation point) that occurs in the middle of a question mark and exclamation point in great—do not breathe! Jump to the next thought verse line. the middle of a verse line. with a great deal of energy.

Two (or more) characters shared a full verse line A diagonal line with an arrow Pick up the cue from your scene partner without a Shared Lines (usually, 10 beats between them). connecting the 2 (or 3!) lines pause!

Words or phrases that are repeated in the text Repeated Underline the repeated word or phrase When you come to a repeated word or phrase, try may appear in the same or adjacent lines, but Words and once the first time it occurs, twice the “lifting” or “punching” the repeated word(s) each they might even appear in a conversation second time it occurs, and so on... time it is repeated to help the repetition stands out. Phrases between two characters.

__ Try exaggerating the repeated sounds. What might Repeated consonant sounds (alliteration) or Please place an accent mark over each Repeated ´ __ ´ ´ the repeated sounds suggest about a character’s repeated vowel sounds (assonance) that appear repeated consonant sound and a long Sounds __ ´ __ emotional state? Playing with the sounds may lead in the same or neighboring lines. dash over each repeated vowel sound. to character insights. Words or phrases in the text that have opposite Try stressing the opposites in the lines so that listeners Circle the two words or phrases that are Antithesis meanings—often used to explain a problem a can connect the opposing thoughts with one opposite—draw a line connecting them. character is working through. another.

Monosyllabic Lines that contain all (or almost all) one-syllable Write MONO next to each monosyllabic Take your time as you read, letting the weight of

Lines words. line or phrase. each word resonate.

Small words like “but,” “yet,” “and” and “if” often Stress the small words as you read out loud. Does “Big But” indicate a character’s thought process taking a Draw a box around these words. the character’s argument seem to change Words turn in direction. direction when you encounter these words? Sometimes one example isn’t enough! So a As you read a list, play with stressing each new item Lists character add another and another until the idea Number each new item in the list. with growing urgency. As the character works to be has been thoroughly expressed. understood, pressure builds on the words used.

An “O” in the script indicates an emotional Ecphonesis O Draw a circle around each “O.” Cry out with any sound other than “Oh.” exclamation.