Loudoun County Public Schools
Romeo and Juliet
by William Shakespeare
[pic]
English 9A/Davidson
Overview:
The over-arching ideas presented in Romeo and Juliet can be related to the lives of many adolescents. Although dated around the mid 1590s, these themes transcend time and place. While some people would argue that something written so long ago is outdated, issues of love, rebellion, death, and acceptance are prevalent in the lives of most students as well as the play. The insecurities and obstacles of today’s adolescents resonate with those faced by Romeo and Juliet. Issues in Romeo and Juliet transcend and connect cultures, and the hope is students will see that something written centuries ago can still reflect problems in today’s society.
“One of the interests of teens is love - from frivolous to sensuous, from friendship love to romantic love” (Chance, 2002, p. 139). Romeo and Juliet is often recognized as the most renowned love story ever written. Its historical and literary significance commands its presence in the majority of schools’ curricula. The readers of this work are widespread, and it has impacted modern writers around the world. Much of what is written and said in American culture requires a basic reading and understanding of Romeo and Juliet and its language. This play is referenced in writing, the media, movies, television, and even conversation. Therefore this work not only connects with students’ individual lives, but also with the culture and mass media that they are surrounded by.
Essential Questions for the "Romeo and Juliet" Unit:
• Why read a play that's over 400 years old?
• How is drama different from other literary forms?
• Are Shakespeare's views on love, loyalty, friendship, and fate still relevant today?
Goals for the "Romeo and Juliet" Unit:
Through reading/viewing William Shakespeare's Romeo and Juliet, students will:
1. Explore the role of fate, the effects of hate, and the many facets of love.
2. Employ strategies to analyze plot in literature.
3. Demonstrate their understanding of the text on four levels: factual, interpretive, critical and personal.
4. Practice higher-level thinking skills by synthesizing written material.
5. Recognize and understand Shakespeare's use of poetic conventions as a principle of dramatic structure in Romeo and Juliet.
6. Analyze characters to better understand motivation for action.
7. Be exposed to background information about Shakespeare, Elizabethan drama, and Romeo and Juliet.
8. Will be given the opportunity to practice reading aloud and silently to improve their skills in each area.
9. Will answer questions to demonstrate their knowledge and understanding of the main events and characters in Romeo and Juliet as they relate to the author's theme development.
10. Will enrich their vocabularies in conjunction with the play
Instructional Objectives:
You will:
• Understand the characteristics of a Shakespearean tragedy (romantic tragedy)
• Read and analyze a Shakespearean drama
• Familiarize with the historical aspects of the play and Shakespeare’s life
• Connect personal experiences to learning through reading and discussion of Romeo and Juliet
• Identify and discuss the over-arching themes of conflict with authority, various types of love
• Comprehend, identify and write examples of soliloquies, asides, dramatic irony, puns, paradox
• Compare and contrast Shakespeare’s work with modern adaptations of the play through charts and writing
• Analyze character development through discussions, writing and reading
• Present a final project based on student choice
• Comprehend and analyze Shakespeare’s diction
Assignment Grading Breakdown:
20%= Daily Grades & Participation: Compare and contrast
assignment, love lesson assignment, two journal entries, daily
quizzes, and Venn diagram (tentative)
30%= Test Grades: Compare and contrast essay, body
biographies
50%= Final Project: See attached
Shakespeare Historical Notes
I. Biography
A. Born in 1564/Died April 23, 1616 (rumored to be his birthday)
B. Born in Stratford-upon-Avon
C. Thought to have attended Stratford Grammar School (he left school at the age of
fifteen and never pursued further formal education)
D. Married Anne Hathaway at the age of eighteen (she was eight years older)
1. She gave birth to his first daughter six months later
2. Two years later they had twins (one of which was a son who died at eleven)
3. Five years after his marriage to Anne Hathaway Shakespeare moved to London
E. Began working at the Globe Theatre
F. He first appeared as a poet in 1593 with “Venus” and “Adonis”
G. 36 of Shakespeare’s 38 plays were published in the 1st Folio of 1623
H. Retired in 1611 and moved back to Stratford
I. Buried in the Church of the Holy Trinity in 1616
1. Died after an evening’s drinking with some theatre friends
2. Gravestone says: “Good frend for Jesus sake forebeare,
To dig the dust encloased heare,
Bleste be ye man yt spares these stones,
And curst be he yt moves my bones.
J. Bard of Avon=poet of Avon
II. Shakespeare’s World
A. Elizabethan Age
1. Queen Elizabeth I
2. Great Virgin Queen/ruled 1558-1603
B. Age of Discovery
1. Pursuit of scientific knowledge and the exploration of human nature
2. Assumptions concerning feudalism openly challenged (optimism concerning humanity)
C. Shakespeare’s works deal with civil harmony, either restoring or maintaining it
1. War of the Roses (Lancaster v. York)
D. The Reformation
1. England is a Protestant/Anglican country
2. Continuous religious strife
3. Queen Margaret/“Bloody Mary”=Catholic sister of Elizabeth
E. The Renaissance
1. The cultural rebirth of Europe (14th-17th centuries)
2. Based on the rediscovery of the literature of Greece and Rome
3. Music of Shakespeare=Baroque
a. Strings, woodwinds and brass
b. Vivaldi, Bach, Handel, Corelli
III. The Globe
A. Shakespeare’s Globe Theatre was built in 1598 in the Bankside district of London
B. Open-air octagonal amphitheater that could seat up to 3000
C. All shows occurred during the day (no lighting)
D. No scene changes (props and costumes used)
E. The “pit” is the floor surrounding the stage where “one-penny” spectators stood
F. Brought together social elite and common drunks
G. “Principal Actors”
1. Richard Burbage=most significant tragedian of Elizabethan stage
2. Initiated performances of “Hamlet, Lear, and Othello
3. Shakespeare wrote many tragic hero roles with Burbage in mind
4. Will Kemp=leading comic actor
5. Shakespeare as an actor=do not over-estimate, playwright and producer take precedence
H. 1613 the Globe Theatre burned down
1. Thought to be caused by a canon in a performance of Henry VII
I. New Globe built and operated until 1642
1. Puritans closed it down
2. 1644 the Globe was torn down by Cromwell’s orders and tenements were constructed
J. The new Globe Theatre opened in May 1997 by Queen Elizabeth II
Marriage, Love, and the Elizabethan Comic Relief
• Through the examination of arts and entertainment, much can be learned about people.
• Theater, for example, is a mirror of the people and society from which it springs.
• Through the ages, plays have been used as forms of worship, educational tools, forces for political and social change, forms of personal expression, and sources of entertainment.
• Music, poetry, literature and drama flourished under Elizabeth's reign, largely due to the
Queen's love of the arts.
• During this time, young women (like Juliet) were controlled specifically by their fathers.
They were expected to marry within their own class. This play is a reflection of the time
in which it was written.
• The women’s say so in whom they wanted to marry was only a mention. Juliet’s father
says “My will to her consent is but a part” [I.ii.15].
• Many marriages were simply arranged and there was nothing that could be done about it.
• Love was not really known back then, or at least it did not matter. Marriages were
arranged in order to promote status and wealth within families, like the Capulets.
• Comic relief is defined in a tragedy as a short comic scene that releases some of the builtup tension of the play - giving the audience a momentary “relief” before the tension
mounts higher.
• Note in Scene three the comedy of the nurse.
- The nurse’s low-end humor (sexual punning)
- Being a servant she has no social etiquette
- “I would say thou hads’t suck’d wisdom from thy teat” [I.iii.76]
• In the best tragedies, comic relief also provides an ironic counterpoint to the tragic action
Shakespeare Literary Terms
Review: Create Your Own “Memory” Game
Make “Memory” cards with the terms. The term should be on one card and the definition on another. The object is to match the term with the definition through remembering their placement. You have 10 minutes to create the cards and then 20 minutes to play the game with your peers.
Drama- a story written to be acted for an audience
Tragedy- a play, novel, or other narrative that depicts serious and important
events in which the main character comes to an unhappy end
Prologue- a short introduction at the beginning of a play that gives a brief overview of the plot
Sonnet- fourteen-line lyric poem that is usually written in iambic pentameter and that has one of several rhyme schemes (Shakespearean-3 four-line units or quatrains, followed by a concluding two-line unit, or couplet; ababcdcd efef gg)
Prose- direct, unadorned form of language, written or spoken, in ordinary use
Chorus- a group who says things at the same time
Verbal irony- a writer or speaker says one thing, but really means something completely different
Dramatic irony- the audience or reader knows something important that a character in a play or story does not know
Monologue- a speech by one character in a play
Soliloquy- an unusually long speech in which a character who is on stage alone expresses his or her thoughts aloud
Foil- character who is used as a contrast to another character; writer sets off/intensifies the qualities of 2 characters this way
Oxymoron- a combination of contradictory terms (EX: jumbo shrimp)
Aside- words that are spoken by a character in a play to the audience or to another character but that are not supposed to be overheard by the others onstage
Pun- a play on the multiple meanings of a word, or on two words that sound alike but have different meanings
Comic relief- humor added that lessens the seriousness of a plot
Blank Verse- (“unrhymed”-no rhyme at the end of lines) poetry written in unrhymed iambic pentameter (“pent”=5; “meter”=measure); each line of poetry contains 5 iambs, or metrical feet, that consist of an unstressed syllable followed by a stressed syllable
Couplet- two consecutive lines of poetry that rhyme; couplets often signal the EXIT of a character or end of a scene
Paradox- a seemingly contradictory statement, or statement that contradicts itself, but in reality bears some truth
Foreshadowing- the act of presenting material(s) that hint at events later to come in a story; helps readers make predictions about story/play, draw inferences
Personification- a figure of speech in which an idea, animal or thing is described as if it were human; giving inanimate objects human characteristics (i.e. The sun rays reached out and caressed my shoulders.)
ROMEO AND JULIET
A monologue from the play by William Shakespeare
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.
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. This is that very Mab
That plats the manes of horses in the night
And bakes the elflocks in foul sluttish hairs,
Which once untangled much misfortune bodes.
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage.
This is she!
Format for Compare/Contrast Essay
Introduction: ASSERTION!
Background information as to why you chose the two types of love
Purpose / Focus of essay
First Body Paragraph (PROOF * with EXPLANATION)
First type of love description and quote from play
Second Body Paragraph (PROOF * with EXPLANATION)
Second type of love description and quote from play
Third Body Paragraph (COMPARE)
Similarities between the two
Fourth Body Paragraph (CONTRAST)
Differences between the two
Conclusion
Summarize main points, re-state ASSERTION
No Personal Pronouns – stick to facts
* Remember to include important character information with your quotes from the text, as in Act, Scene, Line # and character name (i.e. Mercutio, Act 3, Scene 4, Lines 13-25)
Romeo and Juliet: Final Project Goals
This is 50% of your unit grade!
Throughout this unit we have studied multiple interpretations of the same work, Romeo and
Juliet. We have looked at two movie versions, the annotated text/notes, and worked individually, in groups and as a class, to create our own meaning of the work. In some cases, there has been disagreement concerning the interpretation of specific scenes.
Your task is to rewrite, draw, or perform a scene of your choice from Romeo and Juliet to convey your understanding of the play. To do so, you must meet the following criteria:
• Choose a scene from Romeo and Juliet with the teacher’s approval.
• Display knowledge of the scene.
• Respond creatively to the scene through writing, visual art, or performance. These must show evidence of individuality, hard work, and an understanding of the scene.
• If working in groups, delegate responsibilities. Who will provide props? Who will ensure that you stay on task? Who is a strong writer? Who is directing? What will everyone contribute?
• Practice presentations or create rough drafts of writing and visual art.
• Use the time provided in and out of class efficiently. This includes staying on task to ensure a well-thought-out product.
• Turn in a one to two page paper explaining your decisions. If working in a group you must explain your contributions as well.
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