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Final Essay for Freshmen English - Exam Date: Friday, June 29th - 8:00 am - 9:30 am

Directions: You are required to come to our final exam scheduled for Friday, June 29th - 8:00 am - 9:30 am. I am giving you the opportunity to get started on the exam. Choose one of the following prompts and two major works from the list below. Compose a 2-3 page essay that shows the complex relationship between your works of choice using the thematic prompt you chose to explore. The essay will be due to Turnitin.com at 9:30 on exam day. You may begin as soon as you like. Take your time and work to the best of your ability.


Major Works

Allegory of a Cave by Plato
Oedipus the King by Sophocles
Romeo and Juliet by William Shakespeare
Animal Farm by George Orwell
Big Fish by Daniel Wallace
Minority Report (2002)
Persepolis (2007)


Final Essay Prompts


Love is one of the most powerful human emotions. It can cause people to act against their self interests, make irrational choices, and even sacrifice everything they have. Picking two or more texts we’ve read this year, analyze the role love has played as a driving force in the texts and character’s lives.


Fate is the idea that our destinies are predetermined by a higher power. This could be named gods, or even just the ideas of “the stars” or heavens determining how things work out. Picking two or more texts we’ve read this year, analyze the role fate plays in controlling characters in and the outcome of the texts.


Violence, found in all cultures throughout history, may be an inherent element of human nature. What role has violence played in our texts this year? How have our authors treated the idea of violence? Picking two or more texts we’ve read this year, analyze the role violence has played as a driving force in the texts.



Family can greatly shape the people we become, but are we destined to turn out like our parents/families? Picking two or more texts we’ve read this year, analyze the role families play in the lives and choices of our characters.



Human Nature is a topic that many authors like to comment on, often using their texts a means of making commentary on the way humans (collectively and historically) behave. Picking two or more texts we’ve read this year, analyze a common element of human nature critiqued by our authors.



Remember:

• It might be helpful to think of these ideas in terms of themes. Do any of these texts have a theme in common with the topic at hand? What commonalities do you see?

• Your essay should look at two or more works but unite them through a common idea. You should NOT focus on a different idea in each work (In other words, the two works should be used in conjunction with one another.  Do not just write two totally separate arguments in the same paper.  The two works should play off one another in terms of similar theme.  You should show the differences along with the commonalities within the theme).

Romeo and Juliet: The Musical!

“If Music be the food of love, play on

Give me excess of it…”

                                                                       Orsino from Twelfth Night (I,i,1-2)

Company Name:  The Admirals Men were a theatre troupe in Shakespeare’s day.  Give yourselves a name.  Something that says, “Hey, we know our Shakespeare.  Hire us, okay?”

Timeline:  Two Classes: Writing Script   One Class:  Rehearsal   One Class:  Performances

Group 1:

Music Director: Kyle

Lead Script Writer: Emily H. and Amanda S.

Lead Actors: James Gio Jane

Group 2:

Music Director:  Tim

Lead Script Writers:  Danique Anya

Lead Actors: Austin  Josh  Maeve 

Group 3:

Music Directors: Jasmine Emma

Lead Script Writer: Brig

Lead Actors: Owen  Erica  Ally

Group 4:

Music Director: Amanda O.

Lead Script Writers: Maya Emily R.

Lead Actors: Jolfy  Ashley  Leila

Script:  Ten-minute Shakespeare: We should see a script with 50% Shakespearean text and 50% popular music lyrics.  You must choose a theme and express it in either a series of moments in the play or you can do a quick cross section of the major moments.  You must, however, have a unified beginning and end for the piece.

Soundtrack:  How will you incorporate music into the piece?  Will you develop a pop music soundtrack to line-up with the performance?  Remember, that we also need to hear the actors.  Will you use a classic music backdrop?  Whatever you do, MAKE SURE THAT THE MUSIC FITS WITH YOUR THEME AND OVERALL VISION.  In other words, if you choose a hip hop soundtrack, that will certainly influence the performance and theme.  It may also influence how you cut the script.  Maybe lines from the play can be sung or performed in spoken word (It certainly was meant to be sung, in a sense).  Will you go Glee or Moulin Rouge and sing a pop song at major intervals.  KEY:  TAKE PRE-EXISTING SONGS AND TURN THEM INTO DUETS.  CHANGE AND TWEEK LYRICS TO FIT PURPOSE.

Rehearsing and Choreography:  THIS IS WHAT I WILL ALSO BE THINKING ABOUT WHEN I GRADE YOUR FINAL PERFORMANCE.  MOVE AROUND PEOPLE!  I will help you during rehearsals.  For the songs (at least) have the lines and cues memorized.  All prose and Shakespearean verse should be memorized to help the performance flow.  Also, make sure all costumes and sets are ready to go and easy to execute.  Also, make sure you have the music cued up and ready to go.  Rehearsals are key.

Performances.  If you are sick or cannot make it, you need to make the necessary arrangements with your group and Mr. Pellerin.  Treat this assignment with the same respect as an exam. If you leave your group high and dry on performance day with no phone call or explanation, expect an F on the assignment.

So, what do I hand in?

1. A final cut script with song lyrics.

2. A timeline explaining what was accomplished, as well as a list of who did what and when.

3. An actual performance. No more than 10 minutes long.

NOTE:  Use of class/homework time will be a huge factor in your grade!!!

This will count as 1-2 major assessment grades

Full Text of Romeo and Juliet

http://shakespeare.mit.edu/romeo_juliet/full.html

A complete example from Romeo and Juliet:

SCENE 1 – You Just Haven't Met Juliet.

LADY MONTAGUE

O, where is Romeo? Saw you him to-day?

Right glad I am he was not at this fray.

BENVOLIO

Madam, an hour before the worshipp'd sun

Peer'd forth the golden window of the east,

A troubled mind drave me to walk abroad;

Where, underneath the grove of sycamore

That westward rooteth from the city's side,

So early walking did I see your son:

Towards him I made, but he was ware of me

And stole into the covert of the wood:

I, measuring his affections by my own,

That most are busied when they're most alone,

Pursued my humour not pursuing his,

And gladly shunn'd who gladly fled from me.

MONTAGUE

He, his own affections' counsellor,

Is to himself--I will not say how true--

But to himself so secret and so close,

So far from sounding and discovery,

As is the bud bit with an envious worm,

Ere he can spread his sweet leaves to the air,

Or dedicate his beauty to the sun.

Could we but learn from whence his sorrows grow?

We would as willingly give cure as know.

Enter ROMEO

BENVOLIO

See, where he comes: so please you, step aside;

I'll know his grievance, or be much denied.

Exeunt MONTAGUE and LADY MONTAGUE

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

With whom?

ROMEO

Rosaline and she'll not be hit

With Cupid's arrow; she hath Dian's wit.

BENVOLIO

Then she hath sworn that she will still live chaste?

ROMEO

She hath, and in that sparing makes huge waste -

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!

Where shall we dine?

O me! What fray was here?

Yet tell me not, for I have heard it all.

Here's much to do with hate, but more with love.

Why, then, O brawling love! O loving hate!

O any thing, of nothing first create!

O heavy lightness! serious vanity!

Mis-shapen chaos of well-seeming forms!

Feather of lead, bright smoke, cold fire,

sick health!

Still-waking sleep, that is not what it is!

This love feel I, that feel no love in this.

Dost thou not laugh?

BENVOLIO

No, coz, I rather weep.

ROMEO

Good heart, at what?

(Servant enters and hands Benvolio and invitation and exits)

BENVOLIO

At thy good heart's oppression.

Coz, I just obtained an invitation to a party

At this same ancient feast of Capulet's

Sups the fair Rosaline whom thou so lovest,

With all the admired beauties of Verona:

Go thither; and, with unattainted eye,

Compare her face with some that I shall show,

And I will make thee think thy swan a crow.

ROMEO

When the devout religion of mine eye

Maintains such falsehood, then turn tears to fires;

And these, who often drown'd could never die,

Transparent heretics, be burnt for liars!

One fairer than my love! the all-seeing sun

Ne'er saw her match since first the world begun.

BENVOLIO

Tut, you saw her fair, none else being by,

Herself poised with herself in either eye:

But in that crystal scales let there be weigh'd

Your lady's love against some other maid….

BENVOLIO begins singing “I Just Haven’t Met You Yet” by Michael Buble

BENVOLIO

I'm not surprised

Not everything lasts

You've broken your heart so many times

I stopped keeping track.

ROMEO

Talk myself in,

I talk myself out.

I get all worked up

Then I let myself down.

I tried so very hard not to lose it

BENVOLIO

You came up with a million excuses

ROMEO

I thought I thought of every possibility

BENVOLIO

And I know someday that it'll all turn out

She'll make you work so you can work to work it out

And I promise you kid that you'll give so much more than you get

You just haven't met Juliet

Mmmmm ....

BENVOLIO

You might have to wait

ROMEO

I'll never give up

BENVOLIO

I guess it's half timing

ROMEO

And the other half's luck

BENVOLIO

Wherever you are

ROMEO

Whenever it's right

BENVOLIO

She'll come out of nowhere and into your life

JULIET enters

ROMEO (to JULIET)

And I know that we can be so amazing

JULIET (to ROMEO)

And baby your love is gonna change me

ROMEO

And now I can see every possibility

Hmmmmm ......

ROMEO and JULIET holding hands and singing in unison

ROMEO and JULIET

And somehow I know that it'll all turn out

And you'll make me work so we can work to work it out

ROMEO

And I promise you kid I'll give so much more than I get

JULIET

You just haven't met me yet

ROMEO

They say all's fair

JULIET

In love and war

ROMEO

But I won't need to fight it

JULIET

We'll get it by it

ROMEO and JULIET

We'll be united

ROMEO and JULIET dance during the interlude

ROMEO

And I know that we can be so amazing

JULIET

And being in your life is gonna kill me

ROMEO

And now I can see every single possibility

Hmmm .....

JULIET exits

ROMEO

And someday I know it'll all turn out

BENVOLIO enters

 And I'll work to work it out

BENVOLIO

Promise you kid

ROMEO

I'll give more than I get

Than I get, than I get, than I get!

MERCUTIO enters

BENVOLIO, ROMEO and MERCUTIO (Dancing like the Rockettes)

Oh you know it'll all turn out

And you'll make me work so we can work to work it out

And I promise you kid to give so much more than I get

Yeah I just haven't met Juliet

ROMEO at center stage

ROMEO

I just haven't met Juliet

Oh promise you kid

To give so much more than I get

MERCUTIO and BENVOLIO

I said love love love love love love love .....

ROMEO

I just haven't met you yet

MERCUTIO and BENVOLIO

I said love love love love love love love .....

ROMEO

I just haven't met you yet

BENVOLIO

So come with me, Romeo

That I will show you shining at this feast,

And she shall scant show well that now shows best.

ROMEO

I'll go along, no such sight to be shown,

But to rejoice in splendor of mine own.

Exeunt

SCENE 2:  Can We Rewrite the Stars?

JULIET

O Romeo, Romeo! wherefore art thou Romeo?

Deny thy father and refuse thy name;

Or, if thou wilt not, be but sworn my love,

And I'll no longer be a Capulet.

ROMEO

[Aside] Shall I hear more, or shall I speak at this?

JULIET

'Tis but thy name that is my enemy;

Thou art thyself, though not a Montague.

What's Montague? it is nor hand, nor foot,

Nor arm, nor face, nor any other part

Belonging to a man. O, be some other name!

What's in a name? that which we call a rose

By any other name would smell as sweet;

So Romeo would, were he not Romeo call'd,

Retain that dear perfection which he owes

Without that title. Romeo, doff thy name,

And for that name which is no part of thee

Take all myself.

ROMEO

I take thee at thy word:

Call me but love, and I'll be new baptized;

Henceforth I never will be Romeo.

JULIET

What man art thou that thus bescreen'd in night

So stumblest on my counsel?

ROMEO

By a name

I know not how to tell thee who I am:

My name, dear saint, is hateful to myself,

Because it is an enemy to thee;

Had I it written, I would tear the word.

JULIET

My ears have not yet drunk a hundred words

Of that tongue's utterance, yet I know the sound:

Art thou not Romeo and a Montague?

ROMEO

Neither, fair saint, if either thee dislike.

JULIET

How camest thou hither, tell me, and wherefore?

If they do see thee, they will murder thee.

ROMEO

Alack, there lies more peril in thine eye

Than twenty of their swords: look thou but sweet,

And I am proof against their enmity.

JULIET

I would not for the world they saw thee here.

By whose direction found'st thou out this place?

ROMEO

By love, who first did prompt me to inquire;

He lent me counsel and I lent him eyes.

I am no pilot; yet, wert thou as far

As that vast shore wash'd with the farthest sea,

I would adventure for such merchandise.

JULIET

Dost thou love me? I know thou wilt say 'Ay,'

And I will take thy word: yet if thou swear'st,

Thou mayst prove false; at lovers' perjuries

Then say, Jove laughs. O gentle Romeo,

If thou dost love, pronounce it faithfully:

ROMEO

Lady, by yonder blessed moon I swear –

JULIET

O, swear not by the moon, the inconstant moon,

That monthly changes in her circled orb,

Lest that thy love prove likewise variable.

ROMEO

What shall I swear by?

JULIET

Do not swear at all;

Or, if thou wilt, swear by thy gracious self,

Which is the god of my idolatry,

And I'll believe thee.

ROMEO

If my heart's dear love--

JULIET

Well, do not swear: although I joy in thee,

I have no joy of this contract to-night:

It is too rash, too unadvised, too sudden;

Too like the lightning, which doth cease to be

Ere one can say 'It lightens.'

ROMEO

O, wilt thou leave me so unsatisfied?

JULIET

What satisfaction canst thou have to-night?

ROMEO

The exchange of thy love's faithful vow for mine.

(Romeo begins to sing “Rewrite the Stars” from The Greatest Showman)

ROMEO

You know I want you

It's not a secret I try to hide

I know you want me

So don't keep saying our hands are tied

You claim it's not in the cards

Fate is pulling you miles away

And out of reach from me

But you're here in my heart

So who can stop me if I decide

That you're my destiny?

What if we rewrite the stars?

Say you were made to be mine

Nothing could keep us apart

You'd be the one I was meant to find

It's up to you, and it's up to me

No one can say what we get to be

So why don't we rewrite the stars?

Maybe the world could be ours

Tonight

JULIET

You think it's easy

You think I don't want to run to you

But there are mountains

And there are doors that we can't walk through

I know you're wondering why

Because we're able to be

Just you and me

Within these walls

But when we go outside

You're going to wake up and see that it was hopeless after all

No one can rewrite the stars

How can you say you'll be mine?

Everything keeps us apart

And I'm not the one you were meant to find

It's not up to you

It's not up to me

When everyone tells us what we can be

How can we rewrite the stars?

Say that the world can be ours

Tonight

ROMEO and JULIET

All I want is to fly with you

All I want is to fall with you

So just give me all of you

JULIET

It feels impossible (it's not impossible)

ROMEO

Is it impossible?

JULIET

Say that it's possible

ROMEO and JULIET

How do we rewrite the stars?

Say you were made to be mine?

Nothing can keep us apart

'Cause you are the one I was meant to find

It's up to you

And it's up to me

No one can say what we get to be

And why don't we rewrite the stars?

Changing the world to be ours

JULIET

You know I want you

It's not a secret I try to hide

But I can't have you

We're bound to break and my hands are tied...

I gave thee mine hand before thou didst request it:

And yet I would it were to give again.

ROMEO

Wouldst thou withdraw it? for what purpose, love?

JULIET

But to be frank, and give it thee again.

At what o'clock to-morrow

Shall I send to thee?

Good night, good night! parting is such

sweet sorrow,

That I shall say good night till it be morrow.

Exit above

ROMEO

Sleep dwell upon thine eyes, peace in thy breast!

Would I were sleep and peace, so sweet to rest!

Hence will I to my ghostly father's cell,

His help to crave, and my dear hap to tell.

Due Thursday, May 17th - Final Essay for Romeo and Juliet by William Shakespeare

FRIAR LAURENCE

 O, mickle is the powerful grace that lies
In herbs, plants, stones, and their true qualities:
For nought so vile that on the earth doth live
But to the earth some special good doth give,
Nor aught so good but strain'd from that fair use
Revolts from true birth, stumbling on abuse:
Virtue itself turns vice, being misapplied;
And vice sometimes by action dignified.
Within the infant rind of this small flower
Poison hath residence and medicine power:
For this, being smelt, with that part cheers each part;
Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant.


OVERVIEW: In the above soliloquy, Friar Laurence explains the duality of man and nature. How have we seen this play out in the characterization of Romeo in the play? Please use the quotations and outline below in your essay.  NOTE:  Do not use quotations in their entirety, but select the parts which help prove the argument. You are free to use other moments from the play, too.


INTRODUCTION:  Use the above quotation from the Friar.  How does Shakespeare describe the duality of humankind using foil characters? Focus on the central character of Romeo.  Here is an example of the introductory format:

"The Duality of Love and Hate in Romeo and Juliet"

Two such opposed kings encamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant (II,iii,56-60).

Friar Laurence from William Shakespeare’s Romeo and Juliet

      In the above soliloquy, Friar Laurence explains the duality of man and nature. All human beings have the capacity for good and the “worser,” hatred. If the hatred is more “predominant” than the...


BODY PARAGRAPH(S) 1:  Analyze the feud that sets the scene for the play.  How does Shakespeare use foil characters to show the various ways people could respond to the duality of love and hate.

Two households, both alike in dignity
(In fair Verona, where we lay our scene),
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents' strife.
The fearful passage of their death-marked love
And the continuance of their parents' rage,
Which, but their children’s end, naught could remove,
Is now the two hours' traffic of our stage—
The which, if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

BENVOLIO
I do but keep the peace. Put up thy sword,
Or manage it to part these men with me.

TYBALT
What, drawn, and talk of peace? I hate the word,
As I hate hell, all Montagues, and thee.
Have at thee, coward!


PRINCE
Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturbed the quiet of our streets
And made Verona’s ancient citizens
Cast by their grave-beseeming ornaments,
To wield old partisans in hands as old,
Cankered with peace, to part your cankered hate.



PARAGRAPH 2: Explore the initial characterization of Romeo in the play. What role does he serve in this feud? How does he differ from Benvolio and Tybalt?  How does fate play a role in the events?  How do the friar's words fit into this idea?


LADY MONTAGUE
Oh, where is Romeo? Saw you him today?
Right glad I am he was not at this fray.


ROMEO
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.


ROMEO
I fear, too early: for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life closed in my breast
By some vile forfeit of untimely death.
But He, that hath the steerage of my course,
Direct my sail!


ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.


TYBALT
This is a Montague, our foe,
A villain that is hither come in spite,
To scorn at our solemnity this night.


TYBALT
What? You take out your sword and then talk about peace? I hate the word peace like I hate hell, all Montagues, and you. Let’s go at it, coward!



PARAGRAPH 3:  In Act III, scene i how does Romeo change as a result of the feud?  What are the root cause?  Does fate come into play?  Is fate connected to the feud?


TYBALT
Romeo, the love I bear thee can afford
No better term than this: thou art a villain.

ROMEO
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting. Villain am I none.
Therefore, farewell. I see thou know’st me not.

TYBALT
Boy, this shall not excuse the injuries
That thou hast done me. Therefore turn and draw.

ROMEO
I do protest I never injured thee,
But love thee better than thou canst devise,
Till thou shalt know the reason of my love.
And so, good Capulet—which name I tender
As dearly as my own—be satisfied.
alive in triumph—and Mercutio slain!
Away to heaven, respective lenity,
And fire-eyed fury be my conduct now.


ROMEO

Now, Tybalt, take the “villain” back again 

That late thou gavest me, for Mercutio’s soul
Is but a little way above our heads,
Staying for thine to keep him company.
Either thou or I, or both, must go with him.


PARAGRAPH(S) 4:  By Act V, how has Romeo come full circle in the feud between the Capulets and Montagues?


ROMEO
Whate'er thou hear’st or seest, stand all aloof,
And do not interrupt me in my course.
Why I descend into this bed of death
Is partly to behold my lady’s face,
But chiefly to take thence from her dead finger
A precious ring, a ring that I must use
In dear employment. Therefore hence, be gone.
But if thou, jealous, dost return to pry
In what I farther shall intend to do,
By heaven, I will tear thee joint by joint
And strew this hungry churchyard with thy limbs.
The time and my intents are savage, wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.


PARIS
(aside) This is that banished haughty Montague,
That murdered my love’s cousin, with which grief,
It is supposed the fair creature died.
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
(to ROMEO) Stop thy unhallowed toil, vile Montague!
Can vengeance be pursued further than death?
Condemnèd villain, I do apprehend thee.
Obey and go with me, for thou must die.


ROMEO
I must indeed, and therefore came I hither.
Good gentle youth, tempt not a desperate man.
Fly hence and leave me. Think upon these gone.
Let them affright thee. I beseech thee, youth,
Put not another sin upon my head
By urging me to fury. O, be gone!
By heaven, I love thee better than myself,
For I come hither armed against myself.
Stay not, be gone. Live, and hereafter say
A madman’s mercy bid thee run away.

PARIS
I do defy thy commination
And apprehend thee for a felon here.

ROMEO
Wilt thou provoke me? Then have at thee, boy!

PARIS
(falls) Oh, I am slain! If thou be merciful,
Open the tomb. Lay me with Juliet.


Paragraph 5:  Yet, how does Romeo differ from Tybalt? But how has his rash actions hurt his loved ones?  How does the cycle of violence impact others?


ROMEO
In faith, I will.—Let me peruse this face.
Mercutio’s kinsman, noble County Paris.
What said my man, when my betossèd soul
Did not attend him as we rode? I think
He told me Paris should have married Juliet.
Said he not so? Or did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so?—O, give me thy hand,
One writ with me in sour misfortune’s book.
I’ll bury thee in a triumphant grave.


JULIET
What’s here? A cup, closed in my true love’s hand?
Poison, I see, hath been his timeless end.—
O churl, drunk all, and left no friendly drop
To help me after? I will kiss thy lips.
Haply some poison yet doth hang on them,
To make me die with a restorative.
(kisses ROMEO)
Thy lips are warm.


JULIET
Yea, noise? Then I’ll be brief. O happy dagger,
This is thy sheath. There rust and let me die.
(stabs herself with ROMEO’s dagger and dies)


PARAGRAPH 6 - Conclusion - How do the Friar's words fit into the ending of the play and make a point about the idea of love and hate being at odds with one another?  What final conclusion could one make about the power of love and hate.  How has fate come into play in this story?  What final remarks do you want to make on the play?

PRINCE

Where be these enemies?—Capulet! Montague!
See what a scourge is laid upon your hate,
That heaven finds means to kill your joys with love!
And I, for winking at your discords, too
Have lost a brace of kinsmen. All are punished. 

FRIAR LAURENCE
O, mickle is the powerful grace that lies
In herbs, plants, stones, and their true qualities:
For nought so vile that on the earth doth live
But to the earth some special good doth give,
Nor aught so good but strain'd from that fair use
Revolts from true birth, stumbling on abuse:
Virtue itself turns vice, being misapplied;
And vice sometimes by action dignified.
Within the infant rind of this small flower
Poison hath residence and medicine power:
For this, being smelt, with that part cheers each part;
Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant.


PRINCE
A glooming peace this morning with it brings.
The sun, for sorrow, will not show his head.
Go hence, to have more talk of these sad things.
Some shall be pardoned, and some punishèd.
For never was a story of more woe
Than this of Juliet and her Romeo.

Due Tuesday, May 7th - Quiz on Romeo and Juliet - Act IV

Please bring completed study guides for Act IV to class and be prepared for a quiz on Romeo and Juliet. Same format as the last three quizzes. This work should be finished, as we had class time to work on Act IV.

Due Tuesday, April 24th - Romeo and Juliet - Act III

Please bring completed study guides for Act III to class and be prepared for a quiz on Romeo and Juliet.  Same format as the last two quizzes.  This work should be finished, as we had class time to work on Act III.

I am not assigning Act IV because I would like you to take the time to relax and enjoy vacation.  Look over the Act III material the night before you return to school in preparation for the quiz.

Then



Now

Everything You Need to Know About - SONNETS

                                                               I. Petrarchan Sonnets or Italian Sonnets

The sonnet, as a poetic genre, began in Italy in the thirteenth century, and, under the later influence of the Italian poet Petrarch, became internationally popular. Petrarch established the basic form of the so-called Petrarchan sonnet Also called Italian sonnet: 14 lines divided into two clear parts, an opening octet (8 lines) and a closing sestet (6 lines) with a fixed rhyme scheme (abbaabba cdecde). Often the octet will pose a problem or paradox which the sestet will resolve. Petrarch also established the convention of the sonnet sequence as a series of love poems written by an adoring lover to an unattainable and unapproachable lady of unsurpassed beauty. The Petrarchan sonnet convention, in other words, established, not merely the form of the poem, but also the subject matter.


"Sonnet 292" from the Canzoniere,
translated by Anthony Mortimer


The eyes I spoke of once in words that burn,
the arms and hands and feet and lovely face
that took me from myself for such a space
of time and marked me out from other men;
the waving hair of unmixed gold that shone,
the smile that flashed with the angelic rays
that used to make this earth a paradise,
are now a little dust, all feeling gone;
and yet I live, grief and disdain to me,
left where the light I cherished never shows,
in fragile bark on the tempestuous sea.
Here let my loving song come to a close;
the vein of my accustomed art is dry,
and this, my lyre, turned at last to tears.

II. Shakespearean Sonnets or English Sonnets

The Shakespearean sonnet consists of three quatrains (four-line stanzas), rhyming abab cdcd efef, and a couplet (a two-line stanza), rhyming gg. Because each new stanza introduces a new set of rhyming sounds, the Shakespearean sonnet is well-suited to English, which is less richly endowed than Italian with rhyming words.

As with the structure of the Petrarchan sonnet, that of the Shakespearean sonnet influences the kinds of ideas that will be developed in it. For example, the three quatrains may be used to present three parallel images, with the couplet used to tie them together or to interpret their significance. Or the quatrains can offer three points in an argument, with the couplet serving to drive home the conclusion


Sonnet 116

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken.
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me prov'd,
I never writ, nor no man ever lov'd.


Sonnet 18

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed.
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.


Sonnet 147

My love is as a fever, longing still
For that which longer nurseth the disease,
Feeding on that which doth preserve the ill,
Th' uncertain sickly appetite to please.
My reason, the physician to my love,
Angry that his prescriptions are not kept,
Hath left me, and I desperate now approve
Desire is death, which physic did except.
Past cure I am, now reason is past care,
And frantic-mad with evermore unrest;
My thoughts and my discourse as mad men's are,
At random from the truth vainly expressed.
For I have sworn thee fair, and thought thee bright,
Who art as black as hell, as dark as night.

III. Metaphysical Poetry and the work of John Donne

John Donne was born in 1572 in London, England. He is known as the founder of the Metaphysical Poets, a term created by Samuel Johnson, an eighteenth-century English essayist, poet, and philosopher. His wife, aged thirty-three, died in 1617 shortly after giving birth to their twelfth child, a stillborn. The Holy Sonnets are also attributed to this phase of his life.

The term "metaphysical poetry" is used to describe a certain type of 17th century poetry. The term was originally intended to be derogatory; Dryden, who said Donne "affects the metaphysics," was criticizing Donne for being too arcane. Samuel Johnson later used the term "metaphysical poetry" to describe the specific poetic method used by poets like Donne.

Metaphysical poets are generally in rebellion against the highly conventional imagery of the Elizabethan lyric. The poems tend to be intellectually complex, and (according to the Holman Handbook), "express honestly, if unconventionally, the poet's sense of the complexities and contradictions of life." The verse often sounds rough in comparison to the smooth conventions of other poets; Ben Jonson once said that John Donne "deserved hanging" for the way he ran roughshod over conventional rhythms. The result is that these poems often lack lyric smoothness, but they instead use a rugged irregular movement that seems to suit the content of the poems.

For an example of metaphysical rebellion against lyrical convention, one can look at Donne's Holly Sonnet VI, below:


Holy Sonnet VI.

Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so,
For those, whom thou think'st thou dost overthrow,
Die not, poor death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's deliverie.
Thou'rt slave to fate, chance, kings, and desperate men,
And dost with poyson, war, and sickness dwell,
And poppy, or charms can make us sleep as well,
And better than thy stroke; why swell'st thou then ?
One short sleep past, we wake eternally,
And death shall be no more, Death thou shalt die.



The poem personifies death through an extended metaphor. It speaks to death as if poking fun at its history of being known as “mighty and dreadful, for thou art not so” according to the narrator. The speaker even goes so far as to say “nor canst thou kill me.” This ends the first stanza and is much more interesting and off putting than “Shall I compare thee to a summer’s day” or Let me not to the marriage of true minds” by Shakespeare.

That the punctuation is just as vital to the meaning of the work. In addition to challenging the conventions of rhythm, the metaphysical poets also challenged conventional imagery. Their tool for doing this was the metaphysical conceit. A conceit is a poetic idea, usually a metaphor. There can be conventional ideas, where there are expected metaphors: Petrarchan conceits imitate the metaphors used by the Italian poet Petrarch. Metaphysical conceits are noteworthy specifically for their lack of conventionality. In general, the metaphysical conceit will use some sort of shocking or unusual comparison as the basis for the metaphor. When it works, a metaphysical conceit has a startling appropriateness that makes us look at something in an entirely new way.

In the sonnet above, he last line is what does it for me, though and it was utilized brilliantly in Maraget Edison’s Wit. Some editions of the text present the last line as follows:

And Death shall be no more; Death thou shalt die!

In the Gardner edition, it is presented as follows:

And death shall be no more, Death thou shalt die.

As stated in Edison’s play “Nothing but a breath. A comma separates life from eternal life.” Therefore, the metaphysical conceit of the sonnet is that when you die you live forever.



Holy Sonnet IV.

If poysonous minerals, and if that tree,
Whose fruit threw death on else immortal us,
If lecherous goats, if serpents envious
Cannot be damn'd, Alas ! why should I be?
Why should intent or reason, born in me,
Make sins, else equal, in me more heinous?
And, mercy being easie, and glorious
To God, in his stern wrath why threatens hee?
But who am I, that dare dispute with thee?
O God, Oh! of thine only worthy blood,
And my teares, make a heavenly Lethean flood,
And drown in it my sinnes blacke memorie.
That thou remember them, some claime as debt,
I thinke it mercy if thou wilt forget.


Holy Sonnet X. 

 
This is my play's last scene; here heavens appoint
My pilgrimage's last mile, and my race
Idly, yet quickly run, hath this last pace,
My span's last inch, my minute's latest point,
And gluttonous death will instantly unjoint
My body and soul, and I shall sleep a space,
But my ever-waking part shall see that face,
Whose fear already shakes my every joint.
Then, as my soul to heaven her first seat takes flight,
And earth-born body in the earth shall dwell,
So fall my sins, that all may have their right,
To where they're bred and would press me to hell.
Impute me righteous, thus purged of evil,
For thus I leave the world, the flesh, the devil.