Wednesday, May 8, 2013

May 8, 2013: Romeo and Juliet, Unit 4, Shakespeare's Metaphors

Learning Map: Romeo and Juliet, Unit 4 Springboard ( Check as we complete each).

Essential Question: What strategies might help us to better understand drama and, specifically, Shakespeare’s plays?

I. ____Do Now: Quiz (8 minutes). Identify in four complete sentences why Romeo and Juliet’s marriage to each other would be either an offense against social rules of the time or would defy and offend specific people that are known to or loved by either Juliet or Romeo?

II. ____Mini-Lecture and Exercise. 
Shakespeare’s Metaphors (15 minutes).
      We recently had some fun with puns. Shakespeare also used comparisons, or, more properly, metaphors in his plays. He describes one thing in terms of another? How can that be? Here is an example in which he describes the new moon in terms of a silver bow:
And then the moon, like to a silver bow
New bent in heaven. [ A Midsummer Night’s Dream ]
       If we were to remove from this statement the stuff about the bow being newly bent in heaven ready to release its arrow, we have left only the notion of the new moo. We could say quite simply, “there’s a new moon tonight.” This is called literal language. When we say that the moon when it is new is like a silver bow, bent in heaven, we are speaking in figurative or metaphorical language. This is the language of poetry and the poetic imagination.
       In the following exercises you will find the kind of comparison that says literally that one thing is like  or (depending upon the structure of the statement) as something else. The new moon was like a silver bow. This type of metaphor is often called a simile
       You are to extract from the comparison the literal statement. That is, you are to remove one side of the comparison, and take away the metaphor. (Often you can express the literal force of the metaphor with a word like very or easily.)
I can suck melancholy out of a song as a weasel sucks eggs. [ As You Like It ]
Answer:  I can easily get a great deal of melancholy out of a song. 

  1. They’ll take suggestion as a cat laps milk. [Henry the Sixth]
2. Yet they say we are
        Almost as like as eggs. [The Winter’s Tale]
3.  His speech was like a tangled chain---nothing impaired, but all disordered.
[ A Midsummer Night’s Dream]
4.       And in his brain,
      Which is a dry as the remainder biscuit
      after a voyage.
                         [ As You Like It ]

5. Love comforteth like sunshine after rain. [Venus and Adonis]
6.       So we grew together,
       Like to a double cherry.
                        [ A Midsummer Night’s Dream]
7.       Look like the innocent flower
       But be the serpent under ‘t. 
8.       Oh were it but my life, 
      I’d throw it down for your deliverance
      as frankly as a pin. [ Measure for Measure ]
9. Thy head is as full of quarrels as an egg is full of meat. [ Romeo and Juliet]
10. As flies to wanton boys are we to the gods,
      They kill us for their sport. [King Lear]
11. Our peace shall stand as firm as rocky mountains.  [Henry the Fourth]  
12.      I take thy hand, this hand
      as soft as dove’s down and as white as it. 
[The Winter’s Tale]
III. ____Embedded Assessment, page 319-325. You were to look at Activity 4.16, pages 285-286 (2 minutes).

  • Formulate theater companies ( groups of four ).
  • Pick Scene to act

Go over Questions 1 & 2 as a whole group on page 287.

IV. ___Read and finish play to the end of Act III. Begin Act IV (25 minutes)

Homework: You will be completing a comparison and contrast essay. This will compare and contrast the style devices of Baz Luhrmann and Franco Zeffirelli as well identify the cinematic techniques used in the two film interpretations of Romeo and Juliet. We will be gathering notes for this purpose on the block day this week.To get started, go to the Pages document you labeled “comparison and contrast essay” on your computer. Identify in writing on that Pages document  style devices (color, lighting, sound/music, costumes, setting, or props) used by Luhrmann and Zeffirelli and for what purpose that you have already recognized from our viewing of Act I and II.  

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