33620 V1 080-199 Unit 2

William Shakespeare1564-1616

Shakespeare is considered one of the greatest and most prolifi c writers of all time. And he is also one of the most studied and researched. It is estimated that about 4,000 new works are written about Shakespeare every year. His works are the most performed and quoted, in every language and yet almost nothing is known about Shakespeare the person. Not even exactly what he looked like as the only three existing images of him cannot be authenticated. The only facts we know for certain are:• He was born in Stratford-upon-Avon. • He married Anne Hathaway and had three children. • He left his family and went to London.• In London he became an actor and playwright.• He returned to Stratford and died there.

He produced over a million words of text but we only have a few words written in his own handwriting – his signatures. And yet he is responsible for the English language as we know it today, having shaped, moulded and invented many of the words and expressions we use every day. It is said he introduced 2,000 words into the English language, inventing a word to suit his needs. Here are just some expressions found in Shakespeare’s works which we still use today. Can you think of Italian equivalents?

• When we can’t think of anything to say:English = to be tongue tied Italian =

• When something/someone can’t be found:English = She/he/it has vanished into thin air. Italian =

• When something is di� cult to understand:English = It’s all Greek to me. Italian =

• When someone or something is really ugly:English = She/he/it is an eyesore. Italian =

APPROACHING THE WRITER

Anonymus, Parade of Shakespeare’s Characters, c. 1840. Oil on canvas.

VIDEO

William Shakespeare and Stratford-upon-Avon Watch the video about William Shakespeare and Stratford-upon-Avon.

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MAIN WORKS• Romeo and Juliet (1595)• A Midsummer Night’s Dream

(1595)• Julius Caesar (1599)• Hamlet (1600-01)• Macbeth (1605-07)• Sonnets (published in 1609)

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William Shakespeare left behind a legacy of 39 plays and 154 sonnets and is considered one of the greatest of all playwrights, but very

little is known of Shakespeare the person. Although he made a good living from his plays he was not concerned about their publication and could never have imagined the resounding success they would have in the coming centuries. This was mainly thanks to his two friends and colleagues, John Heminge and Henry Condell, who, after his death, collected and published his plays into one volume in 1623, known as the First Folio. It included 36 plays, 16 of which had never been printed before. As far as his life is concerned we know, from public documents, that he was born into a fairly wealthy family in the small town of Stratford-upon-Avon in Warwickshire. His father was a prosperous trader and respected member of the community, becoming mayor of Stratford. We also know that in November 1582, at the age of 18, he married Anne Hathaway (eight years his senior) and that they had three children. There then followed a period, from 1585 to 1592, known as ‘the lost years’ in which we know nothing of his movements until he is mentioned in a pamphlet by a London playwright, Robert Greene. This is proof that Shakespeare was certainly in London by 1592 and had begun to establish himself as an actor and playwright. Shakespeare remained in London for the next 20 years working as an actor but mainly as a playwright, returning to Stratford occasionally to see his wife and family. His plays brought him enough wealth and popularity to buy a house and some land in Stratford, where he retired in 1611 and died in 1616. 2014 marked the 450th anniversary of Shakespeare’s birth and this event was celebrated throughout the world with an increase in performances of his work.

Shakespeare’s geniusShakespeare is outstanding in the history of the theatre for many reasons. First and foremost is his unique use of language. Writing at a time when the English language was still evolving and developing, Shakespeare brilliantly moulded this language to meet his every need. If he could not fi nd a word which expressed exactly what he wanted to say he would simply invent one. Over 2,000 words in the English language were introduced by Shakespeare and hundreds of idiomatic expressions we still use today derive from Shakespeare’s plays.

Complete.

1 Number of plays written by Shakespeare:

2 Number of sonnets:

3 The friends who published his work after his death:

4 Name of fi rst collection of plays published:

5 Age when Shakespeare married:

6 Dates of ‘the lost years’:

7 First known date when he was in London:

8 Presumed number of years spent in London:

9 Date of his death:

1

In 2014 in France another edition of the First Foliowas discovered in a library where it had been lying for over 200 years. It is thought that there were originally 800 copies printed but now only 230 exist in the world. Although several pages are missing from the beginning of the book, including the title page, it is still said to be one of the most valuable books in the world.

The Renaissance and the Puritan Age

Shakespeare’s bust, Verona.

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William Shakespeare

Shakespeare’s language, though, was not only poetic and full of imagery but also technically perfect. As an artist uses his brush, Shakespeare created scenes and emotions with words, making them come alive for the audience in a theatre which had no props or special e� ects. Beyond his language we can fi nd another form of Shakespeare’s genius and that is his profound understanding of human nature and the immutable characteristics of mankind that are valid in every culture and every age. In his plays and sonnets he explored every conceivable human expression and feeling: ambition and anger in Macbeth, pride in The Taming of the Shrew, prejudice in The Merchant of Venice, revenge in Hamlet, tenderness in Romeo and Juliet, jealousy in Othello, passion in Antony and Cleopatra, betrayal in King Lear. Everything is there and we can all identify ourselves with one or many of Shakespeare’s characters. If we also add to this his psychological analysis of the human soul we can see how he can be regarded as a modern-day thinker and how all his works have an ‘ever-green’, timeless quality.

Shakespeare’s careerThe Elizabethan Renaissance is known as the ‘golden age’ of English literature and drama and it is especially remarkable for the quality and quantity of works produced during that period. English drama went through a real revolution thanks to the ‘university wits’, Marlowe, Lyly and Kyd. Plays moved away from their predominantly religious themes and abandoned their rigid rhyme schemes which meant that both subject matter and language could become more fl exible and varied giving writers a lot more freedom. Add to this the fact that for the fi rst time plays were being performed in professional theatres. It became clear that the moment was ripe or, to use a theatrical term, the ‘stage was set’, for new writers who could produce work quickly as this new form of popular entertainment took over any other available in this period. This was the fertile ground which Shakespeare found waiting for him when he arrived in London. Shakespeare began his career by mainly rewriting old plays and then

Answer.

1 Why can Shakespeare be considered outstanding in the history of the theatre? (Give at least three reasons.)

2 Why can he also be regarded as a modern day thinker?

Answer true or false.

1 The Elizabethan period was not a success for English drama. T F

2 Plays became more religious in content. T F

3 Professional theatres were used for the fi rst time. T F

4 The theatre provided the most popular form of entertainment. T F

5 Shakespeare always wrote original works. T F

2

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Performance of Julius Caesarat the Globe Theatre, London.

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moved on to produce his own work, concentrating fi rst on comedies, like The Comedy of Errors (1594), or his comic masterpiece As You Like It (1599-1600). In the 1590s he also wrote histories, Henry IV (1596-98) and Henry V (1598-99).There then follows a period of more sombre plays which seem to blend tragedy with comedy and for this reason are called the ‘problem plays’ as it is di� cult to allocate them to any category; plays such as Troilus and Cressida (1602) and Measure for Measure (1603). In the 1600s we then have the period of Shakespeare’s great tragedies, Hamlet (1600-01), Othello (1603), King Lear and Macbeth (both 1605-07).In his last period Shakespeare wrote a group of plays which were entirely di� erent to anything he had written before: Pericles (1607-08), Cymbeline(1609-10), The Winter’s Tale (1610-11) and The Tempest (1611-12). These plays are often called his ‘romances’ because, once again, they do not fi t into any of the previous categories. Although these plays have happy endings they cannot be compared to the early comedies as many of the characters have experienced sadness and su� ering and share a common theme of reconciliation.Shakespeare was not, however, only a playwright but also wrote 154 sonnets. Many of these were written between 1592-94, when the London theatres had to be closed due to outbreaks of the plague. His two long narrative poems, Venus and Adonis (1592-93) and The Rape of Lucrece(1593-94) were also written in this period.

A scene from The Tempest, by Julie Taymor.


1 Shakespeare’s fi rst works were comedies. T F

2 His fi nal plays were known as romances. T F

3 Shakespeare stopped writing during the plague. T F

4

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Middle Ages 1300s-1400s Miracle and morality plays. Miracle plays were religious, telling stories from the Bible, such as the Creation, the Nativity and the Resurrection. They were performed in the church or churchyards. In the 12th and 13th centuries they became more elaborate and were performed in the streets by trade guilds, especially during the main religious festivities (p. 38).Morality plays developed in the 15th century. No longer based

on religious themes, morality, plays dealt with man’s battle to be good and resist temptation. They were often symbolic and allegorical and always taught a moral. The most famous of these was Everyman, which was written in 1485.

Middle Ages 1300s-1400s plays were religious, telling stories from the Bible, such as the Creation, the Nativity and the Resurrection. They were performed in the church or churchyards. In the 12th and 13th centuries they became more elaborate and were performed in the streets by trade guilds, especially during the main religious festivities (p. 38).Morality plays developed in the 15th century. No longer based

William Shakespeare

Source and structure of Shakespeare’s playsMany of Shakespeare’s plays were inspired by, and quite often closely based on, existing and published stories. This lack of originality when writing plays was common in Shakespeare’s time, and even seen as a more professional way of working as past works guaranteed a certain mark of approval.Typically Shakespeare’s plays consist of fi ve acts of varying lengths and are introduced by a prologue. But it must be remembered that this fi ve-act format was brought into Shakespeare’s plays by 18th-century editors for easier reference and not by the playwright himself. In Shakespeare’s time plays would have been continuous, shorter than modern plays and without any interruptions. As there were few props, there were no scene changes. The audience had only the language to rely on or the Chorus to tell them of changes in time and place. It was this lack of props and special e� ects which led to the creation of some of the most beautiful language

Underline the correct option.

Before the 18th century plays had 1two intervals / no intervals. After the 18th century plays were divided into 2fi ve acts / three acts. There was 3no scenery / a lot of scenery. Shakespeare used 4blank verse and prose / a variety of stylesin his plays.

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TRENDS IN THE THEATRE OVER THE AGES

1500s Revival of classical drama in the mid-16th century, as a result of the Renaissance in Europe. Seneca’s nine tragedies and the comedies of Plautus were translated into English. Historical plays, also known as chronicles, were also popular at this time. Raphael Holinshed’s Chronicles, published in 1577, were often later used by Shakespeare as a base for many of his great plays. Christopher Marlowe’s plays, especially Doctor Faustus (1604), showed a clear break with the medieval morality plays (man was always reconciled with God in the end) and the new mind of the Renaissance thinker (man rejects God for knowledge).

Late 1500s By the late 16th century the arts and especially the theatre in England were fl ourishing, due to patronage from Queen Elizabeth I. The fi rst permanent theatre was built in 1576, called ‘The Theatre’ and actors became professional. Fixed theatre groups were established and the plays themselves became more complicated. The clash between the monarchy, which loved the theatre, and the Puritan civic authorities was solved by moving theatres in London to the opposite side of the river, outside the jurisdiction of the council. The most famous theatre of the time was the one managed by Shakespeare, The Globe.

1600s Jacobean drama, during the reign of James I, saw a revival of the classics with Ben Jonson as the best example.

also popular at this time. Raphael Holinshed’s Chronicles, published in 1577, were often later used by Shakespeare as a base for many of his great plays. Christopher Marlowe’s plays, especially Doctor Faustus (1604), showed a clear break with the medieval morality plays (man was always reconciled with God in the end) and the new mind of the Renaissance thinker (man rejects God for knowledge).

Theatre’ and actors became professional. Fixed theatre groups were established and the plays themselves became more complicated. The clash between the monarchy, which loved the theatre, and the Puritan civic authorities was solved by moving theatres in London to the opposite side of the river, outside the jurisdiction of the council. The most famous theatre of the time was the one managed by Shakespeare, The Globe.

1300 1400 1500 1600

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ever written. Shakespeare’s plays also consisted of a combination of a great variety of styles: blank verse, prose, solemn speeches, songs, music and even dances.

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Answer the following questions.

1 In the theatre of this time there were few special e� ects and props. What did the audience have to rely on?

2 Apart from plays what else did Shakespeare write?

COMPETENCE In pairs research on the Web and fi nd out and answer.

1 How many fi lms and TV productions have been based on Shakespeare’s work?

2 Which play has the most productions?

3 Write the names of any reproductions you have seen.

1

2

1648-1760s Theatres closed or pulled down by the Puritans and their strict laws, who saw them as immoral. When they reopened in the 1660s they had a strong light-hearted and decadent theme expressed in the Comedy of Manners, of which William Congreve (p. 207) was one of the best representatives. No longer a popular form of entertainment for all, mainly created for the upper classes. In this period women began to act on stage. The second half of the 18th century was predominantly the age of the novel.

1760-1837 The theatre became less popular. Closet dramas were mainly performed, written in verse and not usually staged. Poetry and prose were the dominant literary forms.

1837-1900s Theatres had become more elaborate in stage design, scenery and costumes and were once again popular with all city dwellers but there was mainly a revival of Shakespeare. Only two great playwrights stand out, Oscar Wilde (Unit 5) and George Bernard Shaw (Unit 5). Shaw revolutionised the theatre and shocked the public with his socialist themes and criticism of Victorian society.

In pairs research on the Web and fi nd out and answer.

How many fi lms and TV productions have been based on

Write the names of any reproductions you have seen.

1900-1950s No major new trends in British theatre. George Bernard Shaw continued to produce plays and poets, W.B. Yeats and T.S. Eliot (Unit. 6) created verse plays. Yeats aimed at reviving the Irish theatre with his Irish National Theatre Society, fusing realism with a poetic form. The USA produced signifi cant works with a strong social and moral impact. Playwrights such as Arthur Miller (Unit 7), Tennessee Williams (Unit 7) and Eugene O’Neill all focused on individuals and their struggles in life.Major contribution from European drama in this period. With great names such as: Henrik Ibsen (Norway), August Strindberg (Sweden), Bertolt Brecht (Germany), Luigi Pirandello (Italy), Anton Chekhov (Russia).

1950s Theatre of the absurd. Representing the absurd and meaningless purpose of man’s existence. Anti-conventional in staging, structure and dialogue. Situations presented were both humorous and tragic. Alienation, solitude and desperation are the main themes. Irish dramatist Samuel Beckett (Unit 7) is seen as the founder. Harold Pinter and Tom Stoppard (Unit 7) were the main representatives in English drama. The ‘kitchen-sink’ dramas of the 1950s gave a voice to working class playwrights, who presented their working class environments and the political injustices of the period. John Osborne (Unit 7) and Arnold Wesker were the main representatives of what became known as ‘The Angry Young Men Movement’ in drama. This political vein has continued in British theatre to today.

1700 1800 1900 2000

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Written in the earlier part of Shakespeare’s career, Romeo and Julietis often considered to be his fi rst masterpiece as it already has

impressive examples of characterisation and a moving poetic language, which will be echoed and further perfected in his later works.The play stands out from other works of this early period as it is a tragedy and because it focuses on the story of two young lovers instead of famous historical fi gures. The only other similar tragedy by Shakespeare is Antony and Cleopatra, written much later in 1606.

Romeo and Juliet: the plot Set in Verona, Romeo, a Montague, is infatuated by a girl called Rosaline, a Capulet. He goes to a fancy-dress party organised by Lord Capulet to see her. Once there, however, he sees and instantly falls in love with Juliet, also a Capulet, completely forgetting Rosaline. Romeo and Juliet’s families, the Montagues and Capulets, are bitter enemies and although the young couple realise everything is against them they declare their love for each other and their desire to get married.The following afternoon they are married secretly by Friar Laurence. However, before their wedding night, Romeo kills Juliet’s cousin in a duel, and in the morning is forced to leave her. Friar Laurence tells Romeo to wait in Mantua until things calm down. If he ever returns to the city, he will be put to death.Juliet is then told she must marry Paris, who has been chosen by her parents, who do not know she is already married. She refuses – then agrees because she plans to fake her death and escape to be with Romeo, helped by Friar Laurence. She takes a sleeping potion and appears to be dead thus escaping marriage to Paris. Her parents lay her in a tomb. The Friar writes to Romeo to tell him of the plan but the letter never

Complete.

Romeo and Juliet is considered a masterpiece because:

• the characterisation is 1

• the language is 2 and 3

• it focuses on two 4 and not 5 fi gures

1

Romeo and Juliet (1595)WilliamShakespeare

because she plans to fake her death and escape to be with Romeo, helped by Friar Laurence. She takes a sleeping potion and appears to be dead thus escaping marriage to Paris. Her parents lay her in a tomb. The Friar writes to Romeo to tell him of the plan but the letter never

Actress Claire Danes in the fi lm William Shakespeare’s Romeo + Juliet

directed by Baz Luhrmann, 1996.

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The Renaissance and the Puritan Age 2The Renaissance and the Puritan Age

arrives. Romeo only hears the o� cial news from his servant that Juliet is dead so he rushes back to Verona and to the Capulet vault. He fi nds her ‘dead’, and kills himself. Juliet fi nally wakes up, fi nds Romeo dead, and then kills herself. The tragic story is then revealed to the two families by Friar Laurence and they begin to understand how their hatred has ruined so many young people’s lives. They fi nally agree to bring their feud to ‘a glooming peace...’ (una lugubre pace).

Shakespeare’s sourceThe Italian Masuccio Salernitano had already written a story of two tragic lovers in 1475 and this was rewritten and modifi ed later by other Italian and French authors. In 1562 it was written for the fi rst time in English by a poet, Arthur Brooke, The Tragicall Historye of Romeus and Juliet. It is mainly this version, along with parts of a prose version by William Painter, which Shakespeare used as the basis of his story.

The themes: love and hateRomeo and Juliet is famous as a play about love and the possible tragic consequences of its youthful passion. But this is not the only aspect of love in the play. Through the di� erent characters Shakespeare explores many forms of love:• infatuation – which Romeo has at the beginning of the play for Rosaline;• paternal love – how Juliet’s father’s good intentions try to convince her

to marry Paris;• love in friendship – Mercutio’s love for his friend Romeo, for which

he will pay with his life;• pure love – Romeo and Juliet’s love, which in the end

triumphs over hate.All these di� erent forms of love, however, exist against a background of feudal hate which will have tragic consequences for every relationship. It is this love/hate relationship which gives Shakespeare’s characters a depth and reality which previous writers had often overlooked. Shakespeare saw how nobody is completely pure or completely evil. The fate of Romeo and Juliet has to be seen as the complex consequence of everything going on around them which is beyond their control. It is true that they acted quickly, secretly and against the will of their parents but they did this because their parents were caught up in a web of hate. It is this hate which ultimately kills the couple. The play, however, does not end with their deaths but with the consequences their deaths have on those around them.

Answer.

Which was Shakespeare’s main source?

Complete.

Love is the main theme of the play but it exists against a background of 1 .

Romeo and Juliet can be seen as the 2 of this. Shakespeare’s characters have greater 3 and 4 and he felt that no one is completely 5 or 6 . The lovers’ tragic deaths, however, have 7 consequences on the two families as they see the destructive power of their 8 .

2

3

love in friendship – Mercutio’s love for his friend Romeo, for which

pure love – Romeo and Juliet’s love, which in the end

All these di� erent forms of love, however, exist against a background of feudal hate which will have tragic consequences for every relationship. It is this love/

evil. The fate of Romeo and Juliet has to be seen

caught up in a web of hate. It is this hate which

consequences their deaths have on those around

Frontispiece of Act I of Romeo and Juliet.

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William Shakespeare Romeo and Juliet

Read the opening lines of the play, the ‘Prologue’, and see if you can discover what e� ect Romeo and Juliet’s deaths had on the two families: the Capulets, Juliet’s family, and the Montagues, Romeo’s family.

1

BEFORE READING

The star-cross’d lovers Act 1, Prologue

CHORUS. Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge1 break to new mutiny, Where civil blood makes civil hands unclean.

5 From forth the fatal loins2 of these two foes3

A pair of star-cross’d4 lovers take their life; Whose misadventur’d piteous overthrows Do with their death bury their parents’ strife5. The fearful passage of their death-mark’d love,

10 And the continuance of their parents’ rage, Which, but their children’s end, naught6 could remove Is now the two hours’ traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil7 shall strive8 to mend.

15 Exit

1. grudge: rancore.2. loins: lombi.3. foes: nemici.4. star-cross’d: nati sotto stelle avverse.

5. strife: faida.6. naught: niente.7. toil: lavoro.8. shall strive: cercherà.

AUDIO CD 1 - TR 09/MP3 09

Leonardo DiCaprio and Claire Danes in the fi lm William Shakespeare’s

Romeo + Juliet directed by Baz Luhrmann, 1996.

Answer.

1 Line 1: Who are the‘two households’?

2 Line 6: ‘take their life’: can you think of another way of saying this?

3 Line 11: ‘but their children’s end’: how can you substitute the word ‘but’?

4 Line 12: What does ‘the two hours’ tra� c’ refer to?

5 Line 14: Who does ‘our’ refer to?

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The Renaissance and the Puritan Age 2The Renaissance and the Puritan AgeO

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UNDERSTANDING THE TEXT

From the chorus, what do we learn about the two feuding families? Choose the correct alternative.

1 Both families are

A wealthy B poor

2 They have recently

A become friends again B begun to quarrel again

3 The children from these two families

A have fallen in love B also hate each other

4 The children are destined

A to die B to live happily ever-after

5 The death of Romeo and Juliet

A reinforces the families’ feud B fi nally reconciles the two families

Now go back to the original English text and underline the words which support your choice.

ANALYSIS AND INTERPRETATION

The ‘Prologue’ is written in the form of a sonnet. Can you identify the rhyme scheme?

What type of sonnet is this?

What do the fi nal lines of the sonnet (ll. 12-14) tell us about the play and what the actors hope for?

DISCUSSION It was quite usual for Shakespeare to outline the story in his introductory prologue. For you, personally, does the fact that we know how the play will end:

1 make you want to read on to learn how things happened the way they did?

OR

2 reduce the element of surprise for you. You would have preferred not to have known the ending?Discuss in class.

1

2

3

4

5

6

Complete using the words below.

reconcile • begins • in vain • background • deaths • develop • themes • price • confl ict • destined •role • context

The chorus presents the story to the audience and how it will 1 before the play 2 . It also explains the 3 of the two families involved and their history of hate and 4 . Romeo and Juliet’s love for each other is presented in this 5 and the speaker reveals how their love is inevitably 6 to end in tragedy, the tragedy of their 7 . The speaker concludes by stating that the tragedy of the play is not 8 as it forces the two feuding families to fi nally 9 and put their di� erences aside after having paid such a high 10

for them. In this short prologue all the 11 of the play are touched upon; the powers of love, hate and the 12 of destiny in our lives.

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The balcony sceneAfter the party Juliet is on her balcony day dreaming of Romeo. Unaware that Romeo has managed to get into the garden and is listening to her, Juliet describes her love for him.

Act II, Scene II

JULIET. O Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not1 be, but sworn2 my love, And I’ll no longer be a Capulet.

5 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

10 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, Retain3 that dear perfection which he owes

15 Without that title. Romeo, doff4 thy name; And for that name, which is not part of thee, Take all myself. ROMEO. I take thee at thy word. Call me but love, and I’ll be new baptiz’d;

20 Henceforth I never will be Romeo.


The balcony scene in Romeo and Juliet is one of the most well-known scenes in Shakespeare’s work. What makes it so memorable? Write down what you know about it before reading.

1

BEFORE READING

Answer.

1 In the fi rst part of the text who is Juliet talking to?

2 What do we call this type of speech in drama?

3 Line 5: Who is Romeo talking to?

4 Lines 8-10: Juliet says that the name Montague

A is not his real name

B is not a physical part of Romeo

5 Line 15: Why is the word ‘do� ’ better than give up, renounce?

A It has a stronger and almost comical sound.

B It is shorter, more e� ective.

6 Line 19: ‘I’ll be new baptiz’d’: can you paraphrase Romeo’s words?

2

Aside is used when a character makes a short, revealing comment to the audience. The words are not meant to be heard by the other actors.


Romeo and Juliet, 1879.

1. wilt not: will not.2. sworn: giurato.3. retain: mantenere.4. do� : rinuncia.

Henceforth I never will be Romeo.

Romeo and Juliet, 1879.

will not. giurato. mantenere.

rinuncia.

128


JULIET. What man art thou, that, thus bescreen’d5 in night, So stumbles on my counsel6? ROMEO. By a name I know not how to tell thee who I am:

25 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 yet not drunk a hundred words Of that tongue’s uttering7, yet I know the sound:

30 Art thou not Romeo, and a Montague? ROMEO. Neither, fair maid, if either thee dislike. JULIET. How cam’st thou hither8, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art,

35 If any of my kinsmen9 find thee here. ROMEO. With love’s light wings did I o’erperch10 these walls; For stony limits cannot hold love out, And what love can do, that dares love attempt. Therefore thy kinsmen are no stop to me.

40 JULIET. If they do see thee, they will murther thee. ROMEO. Alack!11 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.

45 ROMEO. I have night’s cloak12 to hide me from their eyes; And but thou love me, let them find me here; My life were better ended by their hate Than death prorogued, wanting of thy love.

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1 Juliet thinks names are very important. T F

2 It is morning. T F

3 Juliet’s family allowed Romeo into the courtyard. T F

4 Juliet thinks it is dangerous for Romeo to be there. T F

5 They declare their love for each other. T F

6 Romeo is frightened of Juliet’s family. T F

When does Romeo decide to make his presence known?

Juliet knows it is Romeo who is present before she even sees him. How?

1

2

3

Answer.

1 Line 21: Can Juliet see Romeo at this point?

2 Line 28: Why is the word ‘drunk’ more e� ective than ‘heard’?

A It gives the impression of confusion.

B It gives the impression of total absorption.

3 Line 34: Why is this place ‘death’ for Romeo?

4 Line 36: ‘love’s light wings’ is an example of which literary device?

5 Line 45: The word ‘cloak’ refers to what?

3

5. bescreen’d: nascosto.6. ‘stumbles…counsel’: invadi così

i miei pensieri.7. uttering: parole.8. hither: qui.

9. kinsmen: famiglia.10. o’erperch: scavalcare.11. Alack: ahimè.12. cloak: mantello.

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Why do you think Romeo eavesdrops (origlia) at the beginning of the scene instead of presenting himself to Juliet?

What do you think Romeo means when he says (ll. 47-48): ‘My life were better ended by their hate / Than death prorogued, wanting of thy love.’ Choose.

It’s better to die a victim of their hate than live without your love

It’s better to live longer and have more time to think of you.

From what you know about the story, in what way are these words a foreboding (un presentimento)?

In the extract Juliet uses the words ‘death’ and ‘murder’. Find them and say what or who they are associated with. Choose from the following.

A Romeo’s family

B the night

C Juliet’s family

In this extract we can fi nd examples of three di� erent types of speech: dialogue, monologue and aside. Go back through the extract and identify which lines deal with each type.

1 dialogue = lines 2 monologue = lines 3 aside = line

We can see that the styles of the two extracts studied are very di� erent. In the second extract Shakespeare uses blank verse. What e� ect does this have on the dialogue in your opinion? Choose.

It makes it seem more formal.

It makes it seem more natural.

DISCUSSION Which lines do you fi nd the most romantic? Would you like to be spoken to in this way? Why/Why not? Discuss in class.

DISCUSSION In lines 11-12 Juliet says:

What’s in a name? That which we call a rose By any other name would smell as sweet.

implying that names are not important. Advertising companies would disagree as they spend so much time choosing the right name for their product.

Look at the following popular brand names and discuss in groups why you think they are so successful. Look up the actual meaning of the words on the Internet if necessary.• Apple• Sony• Adidas• Lego

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1111


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Complete with the words below.

premonition • courtyard • darkness • determination • fancy dress • fi rst sight • balcony scene • keep away •overwhelmed • refl ect • revealing • romantic • sleep • sweet • titles • warns

This extract is normally referred to as ‘the 1 ’ and has become one of the most famous scenes in Shakespeare’s works and one of the most 2 . After meeting at the 3 party and falling in love ‘at 4 ’ both Juliet and Romeo fi nd they cannot stop thinking of each other. Juliet goes out onto the balcony as she can’t5 and refl ects on her love for Romeo and also the dangers of loving a Montague but her fears are 6 by her love for him. The same applies to Romeo who could not 7 from her home, even if it is dangerous for him to be there. Before 8 his presence to Juliet and protected by the 9 of the night, Romeo overhears her talking about him and saying how names are only 10 we give to things but do not 11 the actual person or object itself. Just as a rose ‘By any other name would smell as 12 ’. On hearing these words Romeo reveals his presence and o� ers to change his name if she were to call him love. Juliet then 13 Romeo of the dangers of being in her family 14 and is frightened for him but he reiterates his 15 that nothing can keep him away saying, ‘thy kinsmen are no stop to me.’ His fi nal words, however, ‘My life were better ended by their hate,’ are a 16 of what lies ahead.

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Fill in the missing information about the play.

1 Name: Romeo, Surname:

2 Name: Juliet, Surname:

3 The story is set in .

4 It is one of Shakespeare’s most famous .

Which two works did Shakespeare use as the source of his play?

Complete the following sentences.

1 The ‘Prologue’ at the beginning of the play is a good example of a .

2 Romeo and Juliet died not as a consequence of their love for each other but as a consequence of

.

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LITERATUREIN EUROPE

Shakespeare and Italy

There is no evidence that Shakespeare could read Italian. What is certain is that, among other sources, he frequently used Italy as a setting and Italian works as source material. In fact 13 of his plays are based or part-based in Italy: the romantic tragedy of Romeo and Juliet in Verona, the historical play of Julius Caesar in Rome, the jealousy drama of Othello in Venice.

Italian settingsThe settings of Shakespearean plays are often more than a simple background. In some ways they become a character in their own right and thanks to Shakespeare their fame has increased around the world. Verona, for example, before Romeo and Juliet, did not have the reputation it has today as the city of romance.

Italy as a source of inspiration Shakespeare’s fascination with Italy is a constant element in his work and this is shown not only in the setting but also in the plots, many of which are inspired by Italian literature. This was quite normal during the period as many writers of the 16th and 17th centuries would use and modify works by other writers.Some famous examples are Cymbeline, which was inspired by Boccaccio’s Decameron; Much Ado about Nothing inspired by Ludovico Ariosto’s Orlandofurioso (1516) and by Matteo Bandello’s Novelle (1554-73); Measure for Measureand Othello ispired by Giambattista Giraldi’s Ecatommiti (1565), a collection of 112 short stories from the second part of the 16th century.

Romeo and JulietNobody knows who the original author of Romeo and Juliet was. The story started in folklore and it was written down for the fi rst time by the Italian Masuccio Salernitano in 1476. The setting was not Verona, but the Siena of the 15th century and the lovers were called Mariotto and Giannozza. The story was then rewritten by Luigi da Porto (1485-1529) from Vicenza, who changed the names to Romeo and Giulietta. His Giulietta e Romeoor Historia novellamente ritrovata di due nobili amanti was set in Verona in the 14th century and was published in 1530. The fi rst passage is from Shakespeare’s Romeo and Juliet, the second one from Giulietta e Romeo by Luigi da Porto.

Caspar van Wittel, Verona: A View of the River Adige at San Giorgio in Braida.

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Read the passages a fi rst time, then answer these questions.

1 Where are Romeo and Juliet?

2 Shakespeare writes his play in verse; what about the text by Da Porto?

Focus on the di� erences between the two texts.

1 The fi rst great di� erence between the two texts regards the presence of dialogue.

In Shakespeare’s Romeo and Juliet

In Luigi Da Porto’s text

2 Is the language in Shakespeare’s play more straightforward and simple? Or more complex and imaginative?

Did Shakespeare maintain any expressions or words in his work or did he recreate the whole passage? (Give examples.)

1 The orchard walls are high and hard to climb (line 2). Shakespeare adds the description of the surroundings of the house to increase the e� ect of the di� culties the young man had in order to get close to Juliet.

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3

DISCUSSION In the paragraph The themes: love and hate (p. 125) it is stated that:

Shakespeare saw how nobody is completely pure or completely evil.

To what extent do you agree/disagree with this statement? Are there any people in history who you would defi ne as either completely pure or evil? Discuss in groups.

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Romeo and Juliet JULIET. How cam’st thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here.5 ROMEO. With love’s light wings did I o’erperch these walls; For stony limits cannot hold love out, And what love can do, that dares love attempt. Therefore thy kinsmen are no stop to me.

Giulietta e RomeoOnde ella conosciutolo e per nome chiamatolo, gli disse: Che fate qui a quest’ora così solo? Ed egli, già conosciuta avendola, rispose: Quello che amor vuole. E se voi ci foste colto, disse la donna, non potreste voi morirci di leggieri? Madonna, rispose Romeo, sì bene che io qui potrei agevolmente morire; e ci morrò di certo una notte se voi non mi aiutate. Ma, perciocché io sono ancora in ogni altro luogo così presso alla morte, come qui, procaccio di morir più vicino alla persona vostra ch’io possa.

ROMEO. With love’s light wings did I o’erperch these walls;

The balcony and statue of Juliet, Verona.

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IN ENGLISH Practice Tests

READING AND USE OF ENGLISHPART 2

Read the text below and think of the word which best fi ts each gap. Use only one word in each gap.

Love and Marriage from the Renaissance to Today

In 1964 the world famous pop group, The Beatles, had a great hit with their song, Can’t Buy Me Love. The lyrics are quite simple: ‘I don’t care too much for money, cos money can’t buy me love…’.In the Renaissance, however, 1 could, and usually did, buy, if not love, at least a wife. Marriage at that time was a very serious business. A 2 in which feelings, love or even compatibility was 3 even considered. It was all about class, and financial and political power.Marrying out of a financial need or for security has been the case throughout 4 and it has only been in recent years that men and women could actually choose to marry a person because of 5 . This has now become the most important reason we have for marrying someone – yet almost 50% of all 6 in Britain end in divorce. So, now that people don’t have to get married if they don’t want to, would it be better to stay 7 ? According to recent studies apparently not. Studies have shown that ‘singles’ die 8 , drink more, smoke more cigarettes and generally have more health9 and have more weight problems. So, while marriage is a risk staying single is even riskier!

IELTSFCE

Scene from the fi lm Bride Wars, 2009, directed by Gary Winick.

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2

Hamlet (1600-01)William Shakespeare

The longest and most famous of Shakespeare’s tragedies, Hamlet, is set in Denmark in the 13th century.

Hamlet: the plotPrince Hamlet is the son of King Hamlet of Denmark, who died two months before the beginning of the story. Denmark is now ruled by Hamlet’s uncle, Claudius, who has married Hamlet’s mother, Queen Gertrude. In the fi rst act Hamlet meets his father’s ghost who tells him that he was murdered by his brother, Claudius, and asks him to avenge him but not to harm his widow, Gertrude. Hamlet is enraged by this news and pretends to have gone mad to cover his intentions of revenge. King Claudius, troubled by the change in Hamlet, orders two courtiers, Rosencrantz and Guildenstern, to spy on him and discover what has caused this change. Meanwhile Hamlet rejects Ophelia, Polonius’ daughter, who is in love with him. When Hamlet mistakenly kills Polonius Ophelia becomes mad with grief and drowns herself. King Claudius sends Hamlet to England and orders Rosencrantz and Guildenstern to kill him. Hamlet, however, is kidnapped by pirates who return him to Claudius after he pays a ransom. Claudius makes another attempt to eliminate Hamlet by arranging a duel between him and Laertes, Ophelia’s brother. But the tip of the sword is poisoned, as is the victor’s cup, so the tragedy ends with the death of all the characters. The sword kills Hamlet, Laertes and Claudius, while Gertrude dies after drinking the poisoned wine. Ironically Hamlet does fi nally kill Claudius but it is a spontaneous, sudden action while he himself is dying and revenge for himself, not his father, but it is all too late.

Complete.

1 King Hamlet dies. The new king is , Prince Hamlet’s . The new king has married , Prince Hamlet’s . The ghost is prince Hamlet’s . The ghost tells him he was by and asks Hamlet to him. To do this Hamlet pretends he is .

2 Ophelia is daughter. She is in love with but he her. Hamlet Polonius by mistake and then Ophelia herself.

3 The king decides to . His fi rst attempt is unsuccessful so he organises a , hoping Ophelia’s will kill him but all the characters in the fi nal scene.

1

Statue of Hamlet.

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The themes of the playShakespeare’s source for Hamlet was the Historia Danicae by the Danish historian of the 13th century, Saxo Grammaticus. Hamlet has a standard revenge plot, characterised by bloody deeds and intrigue, all typical Elizabethan themes. But this drama is much more than just a story of revenge as it contains many di� erent themes, the most important ones being those of the mask and of madness. It can be said that every character in Hamlet wears a mask, beginning with Hamlet himself who feigns madness but is not mad. All the characters fi rst reveal one side of their character which, in the course of the play, becomes transformed into something completely di� erent. It becomes a game of reality and illusion, nothing is what it seems and all appearances deceive. Even the ghost is a double illusion. He seems to be the spectre of Hamlet’s dead father, bringing him the message to be cautions of Claudius, his murderer. But he also, inadvertently, is responsible for Hamlet’s own death. The theme of madness is represented by Hamlet and Ophelia and is cleverly woven into the plot by Shakespeare. Hamlet uses madness as a mask, to arrive at the truth of his father’s murder, which also leads him to bring about Ophelia’s real and tragic madness. Action versus inaction is also a major theme in the play and Prince Hamlet focuses on this especially in his famous soliloquy ‘to be, or not to be.’ In this famous speech his uncertainties and indecision develop into a meditation on life in general, its di� culties, its challenges, as he tries to decide how to react and avenge his father’s death. The issue is further complicated by the fact that anything Hamlet knows about his father’s death has come from a ghost, an inexistent entity. Can one trust a ghost? Consequently Hamlet prefers to analyse and philosophise rather than take action and this is his greatest weakness. The play develops in an atmosphere pervaded by evil and corruption, expressed in the recurrent images present in the drama. Evil and corruption, however, are not things which surround the characters but something inherent in them.

Answer.

What are the main themes in Hamlet?

Translate into Italian the expressions underlined in the text.

Complete.

Hamlet’s father’s ghost complicates things for him because he inadvertently 1 and how can a person 2 information from a ghost?

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A soliloquy is a type of monologue in which a character directly addresses the audience while alone on stage or while the other actors are silent. It is not meant to be heard by the other characters. It is used when the playwright needs to show the audience a character’s inner thoughts and feelings.

William Shakespeare Hamlet

Hamlet played by Benedict Cumberbatch.

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Hamlet the characterHamlet remains probably the most popular Shakespearian tragedy, a popularity in many ways due to the beautiful soliloquies Shakespeare gives the main character, seven soliloquies in total in which the protagonist shares his intimate feelings, doubts and concerns with the audience. Hamlet represents the Renaissance tragic hero who is di� erent from the traditional heroic fi gure. While the traditional hero shows courage, nobility and a self-sacrifi cing spirit, the Renaissance hero possesses many of these qualities but also has weaknesses that contribute to his ruin. Thus, the noble Hamlet su� ers because of his error of judgment and his lack of decision. Hamlet is not a man of great will or passion but a man of great sensitivity and power of refl ection. His actions are the result of rash spontaneity and are not premeditated. On important occasions, when he should act, he does not. He hesitates, pondering and uncertain, spending precious time refl ecting on life.

What is the nature of a ghost? Can it be trusted? Hamlet becomes obsessed by this question and doubts if the ghost is ‘a spirit of health or goblin damned’, but he calls him ‘Hamlet, King, father, royal Dane’ and gets ready to listen to him. What do you think Hamlet’s state of mind could be when faced with this ghost? Choose the correct alternative.

A frightened B confused C worried D sceptical

1

BEFORE READING

The ghost sceneBack home from his university study at Wittenberg, Prince Hamlet fi nds his father dead and his mother married to his uncle. He falls into a distracted state of mourning and of grief over his mother’s quick remarriage, which is also emphasised by his complex and melancholy nature. The meeting with his father’s ghost on the battlements of the castle of Elsinore at night marks the beginning of Hamlet’s dramatic internal confl ict in trying to decide how he should react.

Act I, Scene V

GHOST. [...] Now, Hamlet, hear: ’Tis given out that, sleeping in mine orchard, A serpent stung me1; so the whole ear of Denmark Is by a forged2 process of my death

5 Rankly3 abus’d; but know, thou4 noble youth,

Answer true or false. Correct the false statements:

1 It is Shakespeare’s most popular tragedy. T F

2 Hamlet is the traditional heroic fi gure. T F

3 Renaissance heroes have courage and also weaknesses. T F

4 Hamlet’s strengths are his will and passion. T F

5 Hamlet does not act when he should. T F

5


Answer.

1 Line 2: What does ‘given out’ mean?

2 Line 3: Who or what is ‘the whole ear of Denmark’?

2

1. stung me: mi punse.2. forged: falsifi cato.

3. Rankly: falsamente.4. thou: you.

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What does the ghost reveal to Hamlet about his death?

Who or what is the ‘serpent’ the ghost refers to in line 6?

A Prince Hamlet’s uncle, Claudius

B Prince Hamlet’s mother, Gertrude

C a snake

Line 7: ‘Now wears his crown’. Who wears whose crown?

What is the ghost saying about himself in lines 16-18 with these words?

• dignity • vow • marriage

In the fi nal lines of the extract the ghost compares Claudius, his brother, with himself:

Upon a wretch whose natural gifts were poorTo those of mine!

In your own words, what is he saying?

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Hamlet speaks with his father’s ghost, 1899.

The serpent that did sting thy father’s life Now wears his crown. HAMLET. O my prophetic soul! My uncle!

10 GHOST. Ay, that incestuous, that adulterate beast With witchcraft5 of his wit6, with traitrous7 gifts, O wicked wit and gifts, that have the power So to seduce! won to his shameful lust8

The will9 of my most seeming-virtuous queen. 15 Hamlet! what a falling-off was there;

From me, whose love was of that dignity That it went hand in hand even with the vow10

I made to her in marriage; and to decline Upon a wretch11 whose natural gifts were poor

20 To those of mine! […]

5. witchcraft: stregoneria.6. wit: ingegno.7. traitrous: traditori.8. lust: lussuria.

9. will: volontà.10. vow: promessa.11. wretch: indegno.

Answer.

1 Line 6: What does ‘sting thy father’s life’ mean?

2 Line 10: What words does the ghost use to describe Hamlet’s uncle?

3 Line 14: How does the ghost describe the queen?

4 Line 15: How could you paraphrase ‘falling-o� ’?

5 Line 16: What word does the ghost use to describe his love?

6 Line 19: Who is the ‘wretch’ the ghost describes?

3

whose natural gifts were poor

promessa.indegno.

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Put the following sentences in order to create a summary of the extract.

a He describes himself as a man who respected his marriage vows.

b Hamlet is shocked to learn his uncle is a murderer.

c Claudius seduced Gertrude with his intelligence and gifts.

d In contrast he describes his brother, Claudius as inferior.

e The ghost reveals to Hamlet that he was murdered by his brother.

f Claudius now ‘wears his crown.’

g The ghost describes himself as a man of dignity.

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The soliloquy ‘to be or not to be’Having been visited by his father’s ghost who tells him that he was murdered by his own brother, who is now king, Claudius, Hamlet must now decide whether or not to avenge his father’s murder by killing his uncle. He becomes overpowered by his thoughts which lead him to refl ect upon his position, pondering whether it is better to live or to die, i.e. commit suicide. What becomes clear here is Hamlet’s main weakness, which is his tendency to procrastinate, choosing inaction above action as he becomes lost in his thoughts. He tries to fi nd answers to some of the fundamental questions of man’s complex nature. Inevitably the questions concern life and death and are linked with the theme of truth and honesty. Hamlet asks questions about things which are not his own exclusive concerns, in fact he never uses the words ‘I’ or ‘me’. His soliloquy becomes a philosophical debate, which takes his dilemma from a personal to a universal level.

Complete.

This soliloquy focuses on Hamlet’s 1 to avenge or not his 2 murder.

He fi nds it 3 to decide. His thoughts become gradually more and more 4 .

He even considers committing 5 . His thoughts gradually develop into a 6 debate about man and centring around fundamental arguments of 7 and death.

1

What function does the ghost have for the development of the plot?

What other convention is often used by Shakespeare to the same e� ect?


According to the ghost how did Claudius ‘so seduce’ Gertrude to his ‘shameful lust?

In line 14 the ghost refers to Gertrude as ‘my most seeming-virtuous queen.’ Why does he use the word ‘seeming’ in your opinion?

What could he be implying?

COMPETENCE For an Elizabethan audience the entry of a ghost on stage would have been a thrilling moment in the theatre. Stages, however, were very simple at that time, with little scenery or special e� ects. How would you have presented the ghost? In pairs create the scene:

• think of its appearance• how would it move?

• what about lighting? • would you provide any sound e� ects?

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Referring to the preceding commentary can you now explain what this fi rst famous line from the soliloquy might mean?

To be, or not to be: that is the question.

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BEFORE READING

Hamlet’s dilemma Act III, Scene I

HAMLET. To be, or not to be: that is the question. Whether ’tis nobler in the mind to suffer

The slings and arrows of outrageous fortune1, Or to take arms against a sea of troubles,

5 And by opposing end them? To die: to sleep;No more; and by a sleep to say we end

The heart-ache and the thousand natural shocksThat flesh is heir to2, ’tis a consummationDevoutly to be wish’d. To die, to sleep;

10 To sleep: perchance to dream: ay, there’s the rub3; For in that sleep of death what dreams may come When we have shuffled off4 this mortal coil5, Must give us pause. There’s the respect That makes calamity of so long life;

15 For who would bear the whips and scorns6 of time, The oppressor’s wrong, the proud man’s contumely7, The pangs of dispriz’d love8, the law’s delay, The insolence of office, and the spurns9

That patient merit of the unworthy takes, 20 When he himself might his quietus10 make

With a bare bodkin11? who would these fardels bear, To grunt and sweat12 under a weary life, But that dread13 of something after death, The undiscover’d country from whose bourn


Answer.

1 Line 2: ‘nobler in the mind to su� er’ – Line 4: ‘or to take arms’

These lines indicate the contrast between what?

A being or not being

B action or inaction

2 Line 6: Why does Hamlet use ‘we end’ and not ‘I end’?

3 Line 7: The words he uses to describe life tell us that he sees life as extremely di� cult or exciting?

4 Lines 14-15: Does he consider a long life as something positive or negative?

5 Lines 11-21: What option does he say man has?

6 Line 24: What is the ‘undiscover’d country’ he refers to?

2


1. slings and…outrageous fortune: i colpi di fi onda e i dardi della fortuna.

2. fl esh is heir to: che la carne eredita.3. rub: problema, di� coltà.4. shu� ed o� : districati da.5. mortal coil: groviglio funesto.6. whips and scorns: le frustate e le ingiurie.7. contumely: l’oltraggio.

8. pangs of…love: le angosce dell’amore disprezzato.

9. spurns: umiliazioni.10. quietus: quietanza.11. bare bodkin: nudo pugnale.12. grunt and sweat: grugnire e sudare.13. dread: terrore.

he heart-ache and the thousand natural shocks

3;or in that sleep of death what dreams may come

of time, The oppressor’s wrong, the proud man’s contumely7,

? who would these fardels bear,

le angosce dell’amore

Hamlet, 1896. Poster advertising a production of Hamlet.

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Hamlet continues his analysis of the consequences of living or dying. What two alternatives does he indicate? Can you explain them in your own words?

What does he compare death to (l. 5)?

What is the consideration that follows in lines 8-13? Choose from the following.

A That suicide could be desirable.

B That suicide is not possible.

C That living is much better than dying.

Why does he also reject the alternative of sleep? Choose from the following.

A He could have bad dreams.

B He thinks that man must endure the di� culties in life and not escape them.

C Sleeping is like dying.

From line 14 Hamlet makes a long list of the negative aspects of life. Identify the lines in which he speaks about:

1 problems of love Line:

2 political oppression Line:

3 bureaucracy Line:

4 the passing of time Line:

5 the arrogance of some men Line:

In spite of these problems men decide to live. Why? Can you identify the lines in which he gives his own explanation for this?

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4

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6

25 No traveller returns, puzzles the will14, And makes us rather bear15 those ills we have Than fly to others that we know not of? Thus conscience does make cowards16 of us all; And thus the native hue17 of resolution

30 Is sicklied o’er with the pale cast of thought18, And enterprises of great pith19 and moment With this regard their currents turn awry20, And lose the name of action.

14. puzzles the will: confonde la volontà.15. bear: sopportare.16. cowards: codardi.17. hue: colore.

18. Is sicklied...thought: s’illividisce all’ombra pallida del pensiero.

19. pith: rilievo.20. their currents turn awry: le loro correnti

si sviano dal loro corso.

Answer.

1 Line 28: What does he say conscience makes men?

2 Lines 30-34: What does he say the ‘pale cast of thought’ leads to?

A Lack of action

B Decisive action

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Here we can fi nd the metaphor of sleeping = death. Death is seen as something

A positive B negative C neutral

What two similarities do death and sleep have according to Hamlet?

In the fi nal part of his soliloquy Hamlet’s choice of words tell us that he has a negative view of man’s ‘conscience’. Why? Which words give this impression?

What does this soliloquy reveal about Hamlet’s state of mind?

What do you think of the language used by Shakespeare in this soliloquy? Choose from the following.

A simple but rich in meaning

B obscure and charged with imagery

C easy and colloquial

This is the most famous soliloquy in the history of the theatre. Most people know the opening lines even though they may not know the play. In this soliloquy Hamlet deals with some of the existential problems of human life. Which ones? Choose from the following.

A fear of death

B meaning of love

C meaning of life

D family ties

E idea of suicide

F di� culty of fi nding truth

G link between thought and action

Do you think that by speaking universally and not personally Hamlet is trying to... (More than one alternative is possible.)

philosophise in general on life

relieve himself of his individual responsibility to act

justify his inaction

DISCUSSION Revenge is not justice but is revenge ever justifi ed?

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people • option • life • existence • develop • inaction • cowards • personal • soliloquy • avenge

One of the most famous speeches in literature, Hamlet’s 1 centres around his thoughts as he tries to decide whether or not to 2 his father’s murder. Whether to act or not. Hamlet’s thoughts, however, soon 3 into a complex meditation on 4 itself and he does not speak of his own, 5 dilemma but sees his situation as being universal and relevant to all 6 at some time or another. He speaks of the problems all men must face in life and also states that man could easily end his own7 ‘under a weary life’ but says that even this is not a valid 8 as there is the ‘dread of something after death’. Conscience turns men into 9 , therefore, and conscience, thought and doubt may lead men to prefer 10 over action.

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Answer with one or two words.

1 Where is Hamlet set?

2 Whose death is Hamlet mourning?

3 Who genuinely goes mad in the play?

4 What are the names of Hamlet’s ‘would-be’ murderers?

5 What happens at the end of the play?

Choose the correct alternative.

1 Hamlet is (more than one alternative is correct)

A a comedy

B a revenge drama

C a love story

D a thriller

E a tragedy

2 Shakespeare took his inspiration for the play from

A an Italian short story

B a historical chronicle

C a Latin poem

3 Which themes are present in the play? (more than one alternative is correct)

A reality versus illusion

B madness

C the thirst for knowledge

D friendship problems

E action and inaction

4 The play is particularly famous for

A its original plot

B the protagonist’s soliloquies

C its beautiful language

5 Hamlet is (more than one alternative is correct)

A brave

B strong

C passionate

D indecisive

E sensitive

F thoughtful

G mad

6 Ophelia is

A Laertes’s daughter

B Polonius’s daughter

C Hamlet’s wife

7 Apart from Hamlet all the characters are

A negative

B positive

C neither negative nor positive

8 The dominant atmosphere in the play is one of

A joy and serenity

B evil and corruption

C thrills and romanticism

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Hamlet

Scene 1 – Meeting His Father’s GhostWatch this important scene from the beginning of the play which dictates how Hamlet will think and behave in the future

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Hamlet is visited by his father’s ghost. Watch the scene for the fi rst time and underline the correct option.

1 Hamlet is on the castle wall / in the dining hall.

2 It is morning / night time.

3 Hamlet seems calm / agitated.

4 His father’s ghost seems determined / depressed.

What elements of body language best communicate Hamlet’s mood?

Without looking at the fi lm script can you say what the ghost tells Hamlet about his death?

Now read the fi lm script on the next page and watch the scene again. What is the ghost asking Hamlet to do?

How would you describe the atmosphere in this scene?

DISCUSSION What di� erent thoughts and emotions might now be going through Hamlet’s mind after what he has just heard? Discuss.

Film director, Franco Ze� relli, only provides half of the ghost’s speech and is only faithful to 30% of Shakespeare’s original text throughout the fi lm. How do you fi nd this choice?

damaging to the original work by Shakespeare

a sensible way of making Shakespeare more appealing to modern audiences

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DIRECTED by Franco Ze� relli (1990)

STARRINGMel Gibson Glenn CloseAlan Bates

VIDEOHamlet (1990)by Franco Zeffirelli – Scene 1Meeting His Father’s Ghost

Scene from the fi lm Hamletby Franco Zeffi relli.

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ON/OFF SCREENON/OFF SCREEN

GHOST. I am thy father’s spirit, Doomed for a certain term to walk the night, And for the day confi ned to fast in fi res, […] But that I am forbid

5 To tell the secrets of my prison house, I could a tale unfold whose lightest word Would harrow up thy soul, […] List, list, oh list! If thou didst ever thy dear father love –

10 […] Revenge his foul and most unnatural murder. HAMLET. Murder? GHOST. Murder most foul, as in the best it is, But this most foul, strange, and unnatural. […] ’Tis given out that, sleeping in my orchard,

15 A serpent stung me. […] but know, thou noble youth, That serpent that did sting thy father’s life Now wears his crown. HAMLET. O my prophetic soul!

20 My uncle?

Scene 2 – To Be or Not to BeAfter being visited by his father’s ghost Hamlet has decided to pretend he is mad while planning his course of action, although he remains doubtful and uncertain of what to do. Now watch and listen to the fi rst part of Hamlet’s famous soliloquy, which comes later in the play, and answer the questions below.

ON SCREEN VIDEOHamlet (1990)by Franco Zeffirelli – Scene 2To Be or Not to Be

Glenn Close playing Gertrude.

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Ze� relli chose a crypt for the scene of this famous soliloquy.

1 Why is this a suitable choice?

2 What part of Hamlet’s speech is highlighted by this environment?

3 In what ways is Hamlet’s mood now di� erent from the fi rst scene? (Look at facial expressions, tone of voice.) Choose from the following.A hysterical

B pensive

C relieved

D tormented

E resigned

F refl ective

Is Mel Gibson’s Hamlet convincing in your opinion?

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A tragedy in fi ve acts, Macbeth is set in 11th-century Scotland. The plot is derived from Raphael Holinshed’s Chronicles of England,

Scotlande and Irelande (1577).

Macbeth: the plotThere is a war between Duncan, King of Scotland, and the King of Norway. Two brave generals, Macbeth and Banquo, help defeat the enemy. When returning from battle, they encounter three witches who o� er them three predictions: that Macbeth will become Thane (medieval for ‘Scottish aristocrat’) of Cawdor and then King of Scotland, and that Banquo’s descendants will become kings. In return for his bravery in battle Macbeth is indeed made Thane of Cawdor, the witches’ fi rst prediction therefore comes true. Once home his wife, Lady Macbeth, talks him into killing Duncan in order to turn the witches’ second prophecy into a reality. Macbeth secretly stabs Duncan to death and consequently becomes King of Scotland. However, thinking that Banquo is suspicious of him and fearing the third prediction (that Banquo’s descendants will also be kings), Macbeth decides to kill Banquo and his son. His plan goes wrong, however, as although he manages to kill Banquo his son escapes. When Macbeth sees Banquo’s ghost he begins to think he is going mad. Lady Macbeth, obsessed with thoughts of Duncan’s death, becomes deranged and dies. More predictions arrive from the witches and they tell Macbeth to beware of Macdu� , an important lord. Unable to reach Macdu� , who is in exile in England raising an army with Duncan’s son Malcolm, Macbeth, instead, kills Macdu� ’s family. He still thinks he is safe, however, but all of the witches’ prophecies come true when he is fi nally killed in battle by the avenging Macdu� . He will take Macbeth’s head to Malcolm who will then become King of Scotland.

Answer true or false. Correct the false statements.

1 Macbeth takes place in Scotland. T F

2 Macbeth is not a brave general. T F

3 Macbeth meets four witches. T F

4 Macbeth becomes Thane of Cawdor. T F

5 He does not want to become king. T F

6 Macbeth sees Duncan’s ghost. T F

7 Lady Macbeth dies of madness. T F

8 Macbeth himself dies from poisoning. T F

Complete.

1 The witches tell Macbeth he will and then .

2 Macbeth kills .

3 Macdu� is .

4 Malcolm is .

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Macbeth (1606)WilliamShakespeare

Banquo his son escapes. When Macbeth sees Banquo’s ghost he begins to think he is going mad. Lady Macbeth, obsessed with thoughts of Duncan’s death,

More predictions arrive from the witches

exile in England raising an army with

instead, kills Macdu� ’s family. He still

John Singer Sargent, Ellen Terry Playing Lady Macbeth, 1889. Oil on canvas.

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The protagonistMacbeth is a tragic hero: at the beginning of the play he shows his courage and his loyalty to the king by fi ghting and defeating the Danes. He is presented as a noble and good-natured man, but when tempted he soon ‘falls’ and, driven by his great ambition, commits crime after crime, transforming himself from hero into villain. However, when he does become a villain, he is greatly troubled by his conscience. This feeling of guilt begins to poison Macbeth’s life. After his fi rst crime, he continues to murder those he once saw as his friends but now sees as his enemies. He kills to maintain and increase his power but receives no joy from his position, simply becoming more isolated, fearful and suspicious of everyone. Through his crimes his previous values of love, loyalty and justice disintegrate, and he even loses his wife. In the fi nal part of the play he defi nes life as: ‘a tale told by an idiot, full of sound and fury, signifying nothing’.

The other characters Lady Macbeth initially comes across as a ruthless woman without scruples. She is stronger than her husband and encourages him to murder Duncan so that he can become king. She acts out of ambition, but also out of love for her husband. In the end, the same sense of guilt which persecutes Macbeth also a� ects her and is symbolised by her repetitive action of trying to wash her hands clean of blood, which eventually drives her mad. The contrast between good and evil is further emphasised as Macbeth and his wife become counterparts to the positive characters of Duncan, Malcolm and Macdu� .

The three witchesThey appear several times in the play to predict Macbeth’s future and would have been a thrilling presence for Elizabethan audiences. The witches introduce an element of the supernatural and symbolise the obscure power of evil which tempts man; their prophecies represent Macbeth’s hidden desires. Their words have an ambiguous meaning which

Complete the following about Macbeth’s character and how it changes during the play.

At the beginning he is

.

At the end he has become

.

3

Answer.

1 What personality trait do Macbeth and his wife both share?

2 What feeling do they both su� er from?

3 How does this feeling manifest itself in Lady Macbeth?

4 If Macbeth and Lady Macbeth come to represent evil in the play who represents good?

4

Write at least three elements that the witches add to the play.

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Macbeth and Banquo Meet the Three Witches, illustration from Chronicles of England, Scotlande and Irelande, by Raphael Holinshed, 1577. Engraving.

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Macbeth does not immediately understand: they insinuate that things are not what they seem (‘fair is evil, and foul is good’), so preparing Macbeth and the audience for the events to come, setting the scene, which is one of immediate thrills and suspense.

ThemesThe main theme of the play is ambition. It is usually said that ambition is the key to success, but this is not the case for Macbeth, because his ambition is an uncontrollable desire for power that does not stop in the face of anything, including murder. This ambition eventually brings about the downfall of the two protagonists and their loss of all human values. The role of Lady Macbeth, who, in the fi rst part of the play, is even more ambitious and resolute than her husband and is crucial to his downfall, will progressively lose importance in the second part of the play.Macbeth can be seen as the symbol of man’s prey to corruption. While the witches represent temptation, it is the protagonist who makes his choices, and his choices are for violence and destruction. Ambition also leads to a reversal of the ideal Elizabethan world, which was seen as harmonious and divinely ordered. Macbeth’s crimes, especially his killing the king, destroy this system and transform it into something horrendous. For this reason Shakespeare had to show Macbeth’s fall from power, to re-establish the divine order and underline the moral of the play.

Symbols Macbeth is the shortest of Shakespeare’s tragedies. Written in blank verse with parts in prose it is a drama rich in recurrent images and symbols. In the scene you are about to read the owl is seen as a sign of death and the persistent knocking on the door symbolises the outer world invading the scene of the crime. Visions and hallucinations, which embody the protagonists’ fears and their subconscious, contribute to creating a desolate and nightmarish atmosphere and make Macbeth comparable to a modern-day thriller.

What are the consequences of Macbeth’s and his wife’s ambition? Complete.

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2

Say what the following symbols represent in the play.

1 the owl:

2 continuous knocking:

3 visions and hallucinations:

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Johann Heinrich Füssli, The Weird Sisters or The Three Witches, 1783. Oil on canvas; Kunsthaus, Zürich.

William Shakespeare Macbeth

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1. deed: atto.2. owl: gufo.3. crickets cry: i grilli frinire.4. Hark!: Ascolta!

Referring back to the summary of the plot, answer this quiz before reading the extract. Choose the correct alternative.

1 When is the tragedy set?A in a remote classic past

B at the time of Shakespeare

C some centuries before Shakespeare

2 Who is Duncan?A King of England

B King of Scotland

C a thane of the king

3 Who do Banquo and Macbeth meet when returning from battle?

A Lady Macbeth

B three witches

C Duncan’s sons

4 Who is the fi rst to be murdered? A Macdu� ’s sons

B Duncan

C Banquo

5 Why does Macbeth continue killing?A he goes mad

B he is encouraged by his wife

C he becomes afraid and suspicious of everybody

6 What happens to Lady Macbeth?A she goes mad

B she falls in love with someone else

C she is killed by Macbeth’s enemy

7 How does the tragedy end?A with Macbeth’s death

B with everybody’s death

C with Macbeth’s victory over his enemies

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BEFORE READING

I have done the deedMacbeth returns after murdering Duncan. On his way to his chamber he passes the room where two guards are sleeping. Lady Macbeth is waiting for him.

Act II, Scene II

[Enter MACBETH, carrying two bloodstained daggers.] MACBETH. I have done the deed1. Didst thou not hear a noise? LADY MACBETH. I heard the owl2 scream and the crickets cry3. Did not you speak?

5 MACBETH. When? LADY MACBETH. Now. MACBETH. As I descended? LADY MACBETH. Ay. MACBETH. Hark!4


Answer.

1 Line2: What is ‘the deed’ Macbeth refers to?

2

Scene from Macbethat the Princess’ Theatre,

1845. Engraving.

149

10 Who lies i’ the second chamber? LADY MACBETH. Donalbain. MACBETH. [Looking on his hands.] This is a sorry sight5.

LADY MACBETH. A foolish thought, to say a sorry sight. MACBETH. There’s one did laugh in’s sleep, and one cried ‘Murder!’

15 That they did wake each other: I stood and heard them; But they did say their prayers, and address’d them Again to sleep. LADY MACBETH. There are two lodg’d together6. MACBETH. One cried ‘God bless us!’ and ‘Amen’ the other:

20 As they had seen me7 with these hangman’s hands8. Listening their fear, I could not say ‘Amen’ When they did say ‘God bless us!’ LADY MACBETH. Consider it not so deeply. MACBETH. But wherefore could not I pronounce ‘Amen’?

25 I had most need of blessing, and ‘Amen’ Stuck9 in my throat. LADY MACBETH. These deeds must not be thought After these ways; so, it will make us mad. MACBETH. Methought I heard a voice cry ‘Sleep no more!

30 Macbeth does murder sleep’, the innocent sleep, Sleep that knits up the ravell’d sleave of care10, The death of each day’s life, sore labour’s bath11, Balm of hurt minds12, great nature’s second course, Chief nourisher in life’s feast13, –

35 LADY MACBETH. What do you mean? MACBETH. Still it cried, ‘Sleep no more!’ to all the house: ‘Glamis14 hath murder’d sleep, and therefore Cawdor15

Shall sleep no more, Macbeth shall sleep no more! LADY MACBETH. Who was it that thus cried? Why, worthy thane,

40 You do unbend16 your noble strength, to think So brainsickly17 of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place? They must lie there: go, carry them, and smear18

45 The sleepy grooms with blood. MACBETH. I’ll go no more: I am afraid to think what I have done; Look on’t again I dare not. LADY MACBETH. Infirm of purpose19!

50 Give me the daggers. The sleeping and the dead Are but as pictures. ’Tis the eye of childhood That fears a painted devil. If he do bleed, I’ll gild the faces of the grooms withal;

Answer.

1 Lines 14-17: Macbeth speaks about the guards sleeping as he passed their room. They were talking in their sleep. What did they say/do?

2 Line 21: What couldn’t Macbeth say?

3 Line 29: What does Macbeth feel he will no longer be able to do?

4 Line 42: What is the ‘fi lthy witness’ on Macbeth’s hands?

5 Lines 51-52: What is Lady Macbeth comparing her husband to?

3

5. sorry sight: vista penosa.6. lodg’d together: che stanno insieme

nella stanza.7. As they...me: come se mi avessero visto.8. hangman’s hands: mani da boia.9. Stuck: bloccato.10. Sleep that...care: il sonno che dipana la

massa imbrogliata dell’ansia.11. sore labour’s bath: il bagno dell’amara fatica.12. Balm...minds: il balsamo degli animi feriti.

13. Chief nourisher...feast: il nutrimento principale nella festa della vita.

14. Glamis: Thane of Glamis era il precedente titolo di Macbeth.

15. Cawdor: Thane of Cawdor era il titolo che Duncan gli conferì dopo la battaglia.

16. unbend: sprechi.17. brainsickly: in modo dissennato.18. smear: imbratta.19. Infi rm of purpose: Privo di fermezza.


Johann Heinrich Füssli, Macbeth, Banquo and the Witches on the

Heath, detail, 1793. Oil on canvas.

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For it must seem their guilt. 55 [Exit. Knocking within.]

MACBETH. Whence is that knocking? How is’t with me, when every noise appals me20? What hands are here! Ha! they pluck out21 mine eyes! Will all great Neptune’s ocean wash this blood

60 Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine, Making the green one red22. [Enter LADY MACBETH.] LADY MACBETH. My hands are of your colour, but I shame

65 To wear a heart so white. [Knocking within.] I hear a knocking At the south entry; retire we to our chamber; A little water clears us of this deed;

70 How easy is it, then! Your constancy Hath left you unattended. [Knocking within.] Hark! more knocking. Get on your night-gown, lest23 occasion call us,

75 And show us to be watchers. Be not lost So poorly in your thoughts. MACBETH. To know my deed, ’twere best not know myself. [Knocking within.] Wake Duncan with thy knocking! I would thou couldst!

80 [Exeunt.]

20. appals me: mi spaventa. 21. pluck out: strappano. 22. The multitudinous seas...green one red: tutti i mari...mutando il verde in rosso.23. lest: dovesse.

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Read the extract again and answer the following questions.

1 In lines 1-9 there are fi ve short questions and answers. What e� ect does Shakespeare create by this?A the tiredness of the two protagonists

B Macbeth’s guilt and agitation

2 Macbeth has killed Duncan. Now he is worried because he cannot say ‘Amen’. Why?

3 What does his wife advise him to do?

4 Macbeth hears a voice saying ‘Macbeth does murder sleep’. What is Lady Macbeth’s advice?

5 What did the guards do while Macbeth was in the king’s chamber?

6 What does Macbeth refuse to do? Why?

7 Lady Macbeth o� ers to do it. She says there is no need to be afraid. Why?

8 At the end of the scene in line 64 what colour are Lady Macbeth’s hands and why?

9 Why does she tell Macbeth to put his nightgown on?

1

Answer.

1 Lines 56-57: How would you describe Macbeth’s mind?

A one of determination

B one of anger

C one of panic and fear

2 Line 58: Are the hands Macbeth sees his own or imaginary?

3 Lines 63-64: What is Lady Macbeth implying about her husband and his ‘heart so white’?

4 Lines 75-76: ‘Be not lost...in your thoughts,’ how could we best paraphrase this?

A stop dreaming

B stop worrying

C stop wasting time

5 Line 77: What is Macbeth admitting?

4

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Macbeth is tormented by his sense of guilt. Quote two examples from the text which show this.

Focus on Lady Macbeth. Consider what she says in lines 12, 23, 27-28 and 39-45: when does she try to calm her husband down and when does she reproach him? Can you fi nd other reproaches from her?

From what we know about the plot, why are Lady Macbeth’s words ironic in lines 27-28?

What is Macbeth emphasising in lines 37-38?

Glamis hath murder’d sleep, and therefore Cawdor Shall sleep no more, Macbeth shall sleep no more!

Who shows more cold-blooded determination? Lady Macbeth or her husband? Support your answer with quotations from the text.

The tragedy is pervaded by hallucinations and visions. Identify them in the text.

The tragedy is also rich in imagery and symbols. Answer the following questions.

1 What does the owl represent in the drama?

2 Sleep is an important symbol used throughout the tragedy. How do you interpret the sentence: ‘Sleep no more! Macbeth does murder sleep’? Choose from the following. (More than one alternative is possible.) A He feels too guilty to sleep.

B He is afraid to sleep in case he also becomes a victim.

C He can’t sleep because, as a king, he will have much to do.

D He doesn’t want to sleep in case he is persecuted by his victims’ spirits.

COMPARE AND CONTRAST Reread Hamlet’s soliloquy lines 3-12 and Macbeth’s words in lines 29-34. In what ways do they interpret sleep di� erently? How do their di� erent characters and circumstances refl ect these interpretations?

In both Hamlet and Macbeth the actions of the two protagonists are dictated by their contact with the supernatural. Write a paragraph stating in what circumstances both characters were contacted and the consequences of this meeting (or meetings) on their behaviour and fi nal destiny. Use this plan to help you, focus on:

1 where the contact took place

2 how it a� ected their behaviour

3 what problems/dilemmas it caused them

4 their fi nal destiny

DISCUSSION In pairs discuss how the ‘striking of the hour’ in Doctor Faustus (p. 112) and the repetitive knocking in the extract from Macbeth both serve a similar purpose; what is that purpose and what e� ect would it have had (and still has) on audiences? Use the following guidelines for comparing texts or extracts:

1 refer back to both texts and reread them;

2 look at what you’re being asked to do;

3 does the sound e� ect in both texts cause a similar or di� erent reaction on the protagonists and on the audiences? To answer this question look at how both characters react to the knocking.

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Read the following text.

FREUD ON MACBETH:Sigmund Freud (1856-1939), considered to be, not only the father of psychoanalysis, but one of the most influential thinkers of all time, often interpreted literary texts and their characters, applying to them his psychoanalytic theories and giving his own interpretations of their behaviour and thought. One such character was Shakespeare’s Macbeth, whom he analysed, along with Lady Macbeth, in Some Character Types Met with in Psycho-Analytical Work (1916). In this work Freud states that the brutal actions carried out by Macbeth and his wife are a result of their frustrations for not having satisfied their primordial need of reproduction. In other words, the absence of children and the (apparent) impossibility of building a real family spark1 feelings of aggression and violence in the couple that lead to ferocious and vile murders. In the second part of the play both characters become overwhelmed2 by a sense of guilt. Freud sees Duncan as having the role of Macbeth’s ‘metaphorical’ father, consequently Duncan’s murder can be seen as patricide. When considering Lady Macbeth, Freud interestingly points out that her sense of guilt only reveals itself when she is asleep and unable to control her thoughts. Her gesture of continuously washing her hands clearly demonstrates her interior guilt which she is unconsciously trying to expel.

DISCUSSION Discuss in groups. Focusing on the highlighted parts of Freud’s interpretation of the play answer the following questions.

1 Do you accept these two points as a valid interpretation? Why/Why not?

2 Thinking of Shakespeare’s writing at that time, does Freud’s interpretation detract from what Shakespeare may have been trying to do (create an Elizabethan thriller)?

3 Looking at Freud’s interpretation in the light of today’s society why might you criticise it?

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AT T

HE

CRIT

ICS

SAY

5

10

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control • sleep • shock • wash • murdering • coward • daggers • wake • suspicion • accusing • regrets •hallucinations

Macbeth returns after 1 Duncan. Lady Macbeth is waiting for him. Macbeth is agitated and seems to be in a state of 2 . His hands are covered with blood and he is still carrying the 3 . Lady Macbeth tells him to go back and return them but he is too frightened. Lady Macbeth takes 4 of the situation and takes the daggers herself and tells Macbeth to 5 the blood from his hands, she then leaves. He feels that the blood will never wash from his hands and he will never again 6 . His mental state is such that he has 7 , seeing hands, constantly hearing sounds. Lady Macbeth returns and tells him to pull himself together, 8 him of being a 9 . She then tells him to put on his nightgown and return to their chamber so as not to arouse 10 , telling him not to think anymore about it but Macbeth 11 his actions and wishes only that the constant knocking could 12 Duncan, bringing him back to life.

14

SUM

MA

RY


1 Macbeth and Lady Macbeth act together to kill Duncan. T F

2 Macbeth becomes king. T F

3 In the play there are supernatural elements. T F

4 Macbeth feels remorse for the crimes he has committed. T F

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Macbeth

The Queen, My Lord, Is DeadJustin Kurzel’s gives a gritty and authentic fi lm version of Macbeth. Most of the scenes were shot in Scotland and Kurzel, although using an abridged version of the script, was faithful to Shakespeare’s language.

Over 30 fi lm versions have been made of Macbeth. One of the most famous being Orson Welles’s version of 1948. Another acclaimed version was later made by Roman Polanski in 1971. Few, however, have captured, as brilliantly as Kurzel’s, the harsh and rugged landscape of

the Scottish Highlands which is so intrinsically connected to the brutality of the story.

The story on screen so far...In the scene you are about to see Lady Macbeth has just died from her madness and Macbeth gives his moving soliloquy.

ON SCREEN

DIRECTED by Justin Kurzel (2015)

STARRING Michael FassbenderMarion Cotillard

VIDEOMacbeth (2015)by Justin Kurzel – The Queen, My Lord, Is Dead

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Watch the scene the fi rst time without sound and answer the following observation questions.

1 Where does the scene take place?

2 Apart from Macbeth and his dead wife, who else is in the scene?

3 What does Macbeth do with his wife’s body?

4 Comment on the lighting in the scene. What mood does it create? A happy B sad C depressing

5 How would you describe Macbeth’s body language and his reactions to his dead wife? Does he seem...? (More than one alternative is possible.)

shocked

upset

indi� erent

relieved

tender

brutal

1

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ON/OFF SCREENON/OFF SCREEN

In this second video we will listen to Michael Fassbender speaking about playing the role of Macbeth.

OFF SCREEN

Now watch and listen to the scene after reading the text from your anthology. Remembering that Macbeth was mentally unstable at this point of the play how does Michael Fassbender refl ect this? (More than one alternative is possible.)

By interpreting a character who is indi� erent to all su� ering now.

By interpreting a character who is indi� erent to his wife.

By interpreting a character who is indi� erent to life now.

Go back to the text and choose expressions to justify your choices in exercice 2. Focus on the fi nal lines.

Before killing the king, Macbeth was a respected soldier and noble. From Michael Fassbender’s interpretation in this scene how would you now defi ne Macbeth? Discuss in pairs.

Do you agree with Fassbender’s interpretation?

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Before watching fi nd out about post-traumatic stress disorder (PTSD) and what it is normally associated with.

In this sequence the interviewer begins by asking Michael Fassbender what angle, or what perspective he chose for the role of Macbeth. Watch the interview for the fi rst time and put the points Fassbender mentions in the correct order:

a It would be on the curriculum and so maybe they would go to see it in the cinemas...

b I wanted 15-year-olds to be excited about Shakespeare...

c I just wanted to make it personable...

d They would... see things that maybe they didn’t see or learn about at school...

e I did it for the kids...

Watch again and complete what director Justin Kurzel thought about Macbeth on the fi rst day of rehearsals.

He said: ‘This is a guy su� ering from...’

When speaking about Shakespeare, Fassbender says he was

A behind the times B ahead of his time

As you will have learnt in exercise 1 post-traumatic stress disorder is something we often associate with soldiers who come back from war zones. Can you see any similarities between a modern soldier and the fi gure of Macbeth – reread the plot if necessary.

DISCUSSION Michael Fassbender said that in interpreting the role of Macbeth he ‘wanted to get 15-year-olds excited about...’ to help them see and learn things about Shakespeare they didn’t learn at school. If you have watched any play by Shakespeare either at the theatre or cinema, did it inspire you and help you understand the play(s) better? Discuss in class, comparing what you have seen.

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Now watch and listen to the scene after reading the text from your anthology. Remembering that Macbeth was mentally unstable at this point of the play how does Michael Fassbender refl ect this?

By interpreting a character who is indi� erent to all su� ering now.

Go back to the text and choose expressions to justify your choices

Before killing the king, Macbeth was a respected soldier and noble. From Michael Fassbender’s interpretation in this scene how would

VIDEOMacbeth (2015)by Justin Kurzel – Being Macbeth

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Othello: the plotOthello, the Moor of Venice, is a powerful and skillful general who has won the heart of Desdemona, the daughter of a Venetian senator. They marry secretly but their marriage and happiness is threatened and eventually destroyed by Iago, an envious lower o� cer. Iago is jealous of Cassio because Othello made him lieutenant in his army. In order to gain revenge on both Othello and Cassio Iago decides to provoke Othello’s jealousy and ruin his happiness by telling him that his wife is being unfaithful to him with Cassio. Othello is called to Cyprus as he must defend it from a possible attack from the Turks and it is during this period away from Venice that Iago begins to put his plan into action. He gradually builds evidence to support his allegations, slowly convincing Othello of his wife’s betrayal with Cassio. Othello is fi nally convinced when he sees Cassio with Desdemona’s handkerchief and his love for his wife now turns to hatred and anger, which is so strong that he murders his wife. It is only later that, ironically, Iago’s wife Emilia, reveals to Othello the true story. Realising what he has done Othello kills himself. The play ends with Iago’s imprisonment and Cassio’s promotion to the governorship of Cyprus.Apart from the fi rst act, which is set in Venice, the story takes place in Cyprus, and is compressed into 36 hours, gradually building up to a climax of tension. There are only a few main characters in this play and no sub-plot. For these reasons the play is one of Shakespeare’s most well-contained and traditional in structure, following Aristotle’s rules for drama.

Shakespeare’s source The seventh novella of the third decade of the Hecatommithi (1566) by Giovanni Battista Giraldi provided the plot for Othello, which Shakespeare used in the original Italian version (1504-73). As with other plays, Shakespeare changed the original story, in particular through the triangle Othello, Iago, Desdemona. But not only, a constant state of tension is maintained throughout the play as a result of the confl icting stages of emotions between characters attraction/repulsion, love/hatred, light/darkness (black/white).

Match the characters with their defi nition.

0 c Othello

1 Iago

2 Emilia

3 Desdemona

4 Cassio

a Othello’s wifeb Iago’s wifec powerful generald lieutenante lower o� cer

1

BEFORE READING

Underline the correct option.

1 Iago is friendly with / jealous of Cassio.

2 He wants to make Othello happy with / suspicious ofDesdemona.

3 Iago tells Othello his wife is betraying him with the Venetian senator / Cassio.

4 Finally Othello kills / believes Iago.

5 As a result Desdemona / Cassio is murdered.

6 By the end of the scene two people / three people are dead.

7 Most of the play takes place in Cyprus / Venice.

2

Answer.

1 What was the name of Shakespeare’s source?

2 What do the confl icting stages of emotions create in the play?

3

Othello (1603)William Shakespeare

murders his wife. It is only later that, ironically, Iago’s wife Emilia, reveals to Othello the true story. Realising what he has done Othello kills himself. The play ends with Iago’s imprisonment

Edmund Kean, British actor as Othello. Lithograph.

156


Read the introduction and say what elements of darkness and light there will be in the scene.

Darkness:

Light:

Answer.

1 Line 1: What is ‘the cause’ of Othello’s actions he refers to?

2 Lines 4-5: What do ‘snow’ and ‘alabaster’ refer to?

3 Line 7: What do the two references to ‘light’ refer to?

4 Lines 8-9: What is the ‘fl aming minister’ whose light Othello can ‘restore’? Choose:

A Desdemona’s life

B Othello’s own life

C the candle

5 After kissing Desdemona what is Othello ‘almost’ persuaded to do?

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Light and darkness are two contrasting images used frequently in literature to express opposite concepts, characters or themes. In Othellothe main character is a black Moor whose values and principles contrast the evil, dark soul of the white Iago. Can you think of any examples from texts you have read in English or other literatures which use this contrasting theme of light and dark?

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BEFORE READING

Yet I’ll not shed her bloodThe following extract is from Act V, Scene II, near the end of the tragedy. The scene of Desdemona’s murder opens with a poignant speech by Othello. He has entered her bed chamber and is looking at her as she sleeps. It is night: darkness is needed for the crime, but images of light are introduced into the dominant darkness of the scene. It is the light of a candle, but it is also the light of Desdemona’s life which will be put out. Light and darkness are also related to white (Desdemona’s purity) and black (Othello’s complexion as a Moor).

Act V, Scene II

OTHELLO. It is the cause, it is the cause, my soul, Let me not name it to you, you chaste stars! – It is the cause. Yet I’ll not shed1 her blood; Nor scar2 that whither skin of hers than snow,

5 And smooth3 as monumental alabaster. Yet she must die else she’ll betray more men, Put out the light and then put out the light: If I quench4 thee, thou flaming minister, I can again thy former light restore,

10 Should I repent me; but once put out thy light, Thou cunning’st pattern5 of excellent nature, I know not where is that Promethean heat6

That can thy light relume7. When I have pluck’d thy rose I cannot give it vital growth again,

15 It needs must wither8: I’ll smell it on the tree. – [Kissing her.] O balmy breath9, that dost almost persuade Justice to break her sword! One more, one more. – Be thus when thou art dead, and I will kill thee,

20 And love thee after. One more, and this the last: So sweet was ne’er10 so fatal. I must weep But they are cruel tears: this sorrow’s heavenly It strikes11 where it doth love. She wakes.

1. shed: verserò.2. scar: scalfi rò.3. smooth: liscia.4. quench: spengo.5. cunning’st pattern: bellissimo prodotto.6. Promethean heat: Prometeo, nel mito greco,

rubò il fuoco agli dei e ne fece dono agli uomini.

7. relume: riaccendere.8. It needs...wither: dovrà inevitabilmente

languire.9. balmy breath: dolce respiro.10. ne’er: (never) mai.11. strikes: colpisce.


H.C. Selous, Othello, from the exhibition of the British Institution, 1854.

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William Shakespeare Othello



1 Where is the scene set?

2 What is Desdemona doing?

3 What does Othello do after entering the room?

There are three keywords in Othello’s monologue:

1 cause

2 light

3 rose

Which of the following meanings can you associate with each word?

a Desdemona’s life

b Desdemona’s beauty

c Desdemona’s imagined infi delity

d Desdemona’s love for Othello

e Othello’s jealousy

f Othello’s wish to avenge his honour

g A burning candle on a bedside table

h The restoration of justice and moral order

What do the references to ‘snow’ and ‘alabaster’ in lines 4-5 imply about Desdemona?

What does this tell us about Othello’s feelings as he looks at her?

In line 6 what is Othello trying to do here?

Underline the contrasting words in lines 20-24. What do they tell us about Othello’s state of mind?


Two contrasting colours appear in Othello’s speech. What are they?

DISCUSSION Underline the words and expressions that represent them. What do these colours symbolise? Discuss.

What role has Othello chosen for himself in this monologue? Choose from the following. (Give evidence from the text.)

A a jealous husband Lines:

B a raving mad killer Lines:

C a judge who is expected to punish an o� ender Lines:

What do lines 17-24 tell us about Othello’s contrasting feelings for Desdemona? Choose the correct alternative.

A He loves her but needs to kill her.

B He hates her and wants to kill her.

C He sees her as an object of desire.

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Looking at Othello’s words in this extract how would you describe his behaviour towards Desdemona during this scene? Choose the correct alternative.

A brutal B indi� erent C tender

The fact that Desdemona is sleeping while Othello speaks contributes to her being seen as... Choose the correct alternative.

A the guilty partner

B the victim

Othello repeats the word ‘cause’ three times in the opening three lines of his soliloquy. For the Elizabethans, ‘cause’ had several meanings:

• an action which prompts a reaction (Desdemona’s infi delity);• a morally justifi able end one is pursuing (e.g. ‘all in a good cause’);• a legal usage meaning an accusation brought against someone in court (Othello sees himself as an agent

of impartial justice).

Which of the above meanings would apply to Othello considering his situation and state of mind at this point in the play?

DISCUSSION Iago is made great by Shakespeare in his personifi cation of evil. From the beginning of the play he makes his plans known to the audience, so making the audience complicit with his actions. He represents the tradition of the devil of medieval history plays, Judas and the fallen angels in the Bible and of Vice in the morality plays. Do you know any other great villains in literature?

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skin • kisses • plan • decides • blood • betray • die • sleeps

Othello has entered Desdemona’s chamber and is looking at her while she 1 . He reasons with himself why Desdemona must 2 . He wouldn’t like to shed her 3 and scar her perfect, white 4 , but he has to do so otherwise she will 5 other men. He 6 her several times and nearly abandons his 7 to kill her, but in the end 8 she must die.

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1 Which kind of Shakespearean play is Othello?A A history play B A tragedy C A comedy

2 What is the main theme of the play?A Racism B Jealousy and revenge C Power

3 The play takes place overA a short period of time B a long period of time

4 During the play Shakespeare creates growingA dramatic tension B suspense C fear

5 The play takes place mainly inA Venice B Italy C Cyprus

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J ulius Caesar was the fi rst of Shakespeare’s three plays dealing with the history of Rome, the others being Coriolanus and Antony and

Cleopatra. After its foundation Rome was ruled by oppressive kings until the Romans rebelled and a republic was formed made up of the Senate (who dealt with civil justice) and the Tribune, who represented the people. Julius Caesar became a consul in 59 BC and distinguished himself with his leadership ability and ambition, extending Rome’s power extensively outside Italy. His greatest rival was Pompey whom he defeated along with his sons, thus gaining absolute military power. It was after this victory that Caesar returned to Rome in triumph and it is here that Shakespeare’s story begins. Many critics feel that the work should actually be entitled ‘Marcus Brutus’ as he is the main character, Caesar being assassinated at the beginning of Act III. The whole play, in fact, revolves around Brutus’s internal confl ict which stems from his love and devotion to Caesar but his fear that he will become absolute dictator and his love for the Roman Republic. Caesar, however, is the instigator of all the action and remains the central force in the hearts and minds of the characters throughout the play, so justifying its title.

Julius Caesar: the plotPompey and his family have now been defeated. Caesar holds supreme power and as a result a confl ict has emerged in Rome between those who conspire against Caesar and fear a growing dictatorship (Brutus, Cassius and others) and those who support him (Antony and Octavius). While most of the conspirators are motivated by envy and ambition Brutus, Caesar’s close friend, has only the interests of Rome at heart and is fi nally tricked into becoming one of the conspirators by Cassius, who led him to believe (through false letters) that the people of Rome no longer supported Caesar. Caesar is warned of approaching danger, ‘Beware the Ides of March’ (15th March), yet feels invincible and goes to the Senate that day. It is then that he is assassinated, each conspirator stabbing him with Brutus giving him the fi nal blow. The conspirators, using the much-loved Brutus as spokesman, then face the crowd, declaring they acted in the interests of Rome and its people. Brutus gives a convincing speech but, in allowing Caesar’s supporter, Mark Antony, to speak after him, proves himself to be a naïve politician. Antony, slowly and eloquently turns public opinion in his favour, until fi nally, after showing them Caesar’s dead body, he incites them to drive the conspirators out of Rome. The last to survive battle is Brutus who fi nally commits suicide. Antony, however, pays him a fi nal tribute by stating that he was: ‘the noblest Roman of them all’.

Shakespeare’s sourcesThe main source of Shakespeare’s play is the work by Plutarch, Lives of the Noble Grecians and Romans in its Elizabethan translation by Sir Thomas North. This was a very popular and much read piece of work

Answer.

1 Who has Caesar just defeated at the beginning?

2 Who supports Caesar? and .

3 Who is against him? and with others.

4 Who tricks Brutus into conspiring against Caesar?

5 Brutus loves Caesar so why does he conspire against him?

A Because he wants to rule Rome.

B Because he loves Rome more than Caesar.

6 What warning does Caesar receive?

7 After the warning why does he still go to the senate?

A Because he feels invincible.

B Because he wanted to confront his enemies.

8 Why is Brutus chosen as the spokesman for the conspirators?

9 What e� ect does Anthony’s speech have on the crowd?

10 Who does Antony describe as the ‘noblest Roman’?

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Julius Caesar (1599)WilliamShakespeare

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in Shakespeare’s time and Shakespeare could have depended on the fact that much of his audience would have known the story.

ThemesOne of the main themes of the play is the struggle for political power and how it can transform those involved. Through the characters Brutus, Antony, Cassius and Caesar Shakespeare draws four di� erent political profi les. The honest, honourable yet naïve character of Brutus; the cunning, opportunistic yet heroic fi gure of Antony; the corrupt, cynical and ruthless Cassius – the perfect antagonist for Brutus; and Caesar himself, a complex fi gure, undoubtedly charismatic and an e� cient leader yet physically weak and blind to the dangers stemming from those closest to him, the result of his megalomania and a fi xed belief in his own invincibility. The problem of a successor was something which would have also touched the hearts of Shakespeare’s audiences at the time and one which Shakespeare was well aware of. Queen Elizabeth was coming to the end of her reign and still there was no legitimate heir to the throne. The peaceful transition which was to follow under James I was not something the Elizabethan audience could have predicted. Therefore the power struggle and an uncertainty for the future we can fi nd in the play were things Shakespeare’s audience could have identifi ed with. The malleability of the masses is another theme throughout the play as we can see in the two speeches below how quickly they can change their allegiance.

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After reading about the themes create the four character profi les Shakespeare develops with the words below:

opportunistic • e� cient leader • corrupt • physically weak • believes in own invincibility • honest • blind to danger •megalomania • cunning • charismatic • honourable • cynical • heroic • ruthless • complex • naïve

1 Caesar:

2 Brutus:

3 Antony:

4 Cassius:

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audience could have predicted. Therefore the power

fi nd in the play were things Shakespeare’s audience

masses is another theme throughout the play as we can see in the two speeches below how quickly they Scenography from Julius

Caesar: portrayal of a warrior with shield, scene

and costumes by Piero Zuffi , 1953-54, Milan.

Answer.

Were the stories of ancient Rome well known in Shakespeare’s time?

Complete.

Identify three main themes of Julius Caesar:

1 the struggle 2 the problem of 3 the malleability

Answer.

Which two themes would have been signifi cant for Elizabethan audiences?

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In the introduction we read how one of the main themes of the play is the malleability of the masses. Can you think of any famous leaders of the past who were successful in controlling their people through speeches?

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BEFORE READING

If you have tears...We are going to look at two very important speeches in the play. Caesar has just been assassinated. Read and listen to this short speech by Brutus in which he explains to the people of Rome why he took part in Caesar’s murder.

Act III, Scene II

BRUTUS. [...] Romans, countrymen, and lovers! hear me for my cause, and be silent, that you may hear [...] If there be any in this assembly, any dear friend of Caesar’s, to him I say, that Brutus’ love to Caesar was no less than his. If then

5 that friend demand why Brutus rose against Caesar, this is my answer: Not that I loved Caesar less, but that I loved Rome more. Had you rather Caesar were living and die all slaves, than that Caesar were dead, to live all free men? [...] Who is here so base, that would be a bondman1? If any, speak; for

10 him have I offended. Who is here so rude2 that would not be a Roman? If any, speak; for him have I offended. Who is here so vile, that will not love his country? If any, speak; for him have I offended. I pause for a reply. ALL. None, Brutus, none. [...]


Answer.

1 What reasons does Brutus give for taking part in Caesar’s assassination? Underline the relevant line(s).

2 In which line does he express the most patriotism?

3 What does he appeal to in his listeners to persuade them that his actions were justifi ed?

A their fear

B their morality

C their patriotism

4 In lines 4-6 he seems to suggest that he acted for all the people of Rome. Why?

5 Does he convince the people of Rome?

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William Shakespeare Julius Caesar

1. bondman: schiavo. 2. rude: barbaro.

Heinrich Friedrich Füger, Assassination of Julius Caesar, Historisches Museum

der Stadt, Vienna.

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Brutus agrees to let Mark Antony speak to the crowd after him.

[...] ANTONY. If you have tears, prepare to shed3 them now. You all do know this mantle4: I remember The first time ever Caesar put it on; ’Twas on a summer’s evening, in his tent,

5 That day he overcame the Nervii5. Look! in this place ran Cassius’ dagger6 through: See what a rent7 the envious Casca8 made: Through this the well-beloved Brutus stabb’d9, And, as he pluck’d his cursed steel away10,

10 Mark how the blood of Caesar follow’d it, As rushing out of doors, to be resolv’d11

If Brutus so unkindly knock’d, or no; For Brutus, as you know, was Caesar’s angel: Judge, O you gods! how dearly Caesar lov’d him!

15 This was the most unkindest cut of all; For when the noble Caesar saw him stab, Ingratitude, more strong than traitors’ arms12, Quite vanquish’d him: then burst his mighty heart13; And, in his mantle muffling up his face14,

20 Even, at the base of Pompey’s statua15

Which all the while ran blood great Caesar fell. O! what a fall was there, my countrymen; Then I, and you, and all of us fell down, Whilst bloody treason flourish’d over us16.

25 O! now you weep17, and I perceive you feel The dint of pity18; these are gracious drops. Kind souls, what weep you when you behold19

Our Caesar’s vesture wounded20? Look you here, Here is himself, marr’d, as you see with traitors21.

30 FIRST CITIZEN. O piteous spectacle! SECOND CITIZEN. O noble Caesar! THIRD CITIZEN. O woeful day! FOURTH CITIZEN. O traitors! villains! FIRST CITIZEN. O most bloody sight!

35 SECOND CITIZEN. We will be revenged. ALL. Revenge! – About! – Seek! – Burn! – Fire! – Kill! – Slay!22

Let not a traitor live!

3. shed: spargerle.4. mantle: mantello.5. Nervii: una feroce tribù conquistata

da Cesare.6. dagger: pugnale.7. rent: strappo.8. Casca: un altro cospiratore contro Cesare.9. stabb’d: trafi tto.10. as he...away: quando tirò fuori il suo

maledetto acciaio.11. As rushing...resolv’d: come si precipitasse

fuori di casa per assicurarsi.12. traitors’ arms: delle braccia dei traditori.13. burst...heart: si spezzò il suo grande cuore.

14. in his mantle mu� ing...face: nascondendo il volto nel mantello.

15. Pompey’s statua: statua del generale romano, antagonista di Cesare (anche lui assassinato).

16. Whilst...over us: mentre il sanguinoso tradimento trionfava sopra di noi.

17. weep: piangete.18. dint of pity: morso della pietà.19. behold: vedete.20. vesture wounded: la veste (di Cesare) ferita.21. marr’d as...traitors: straziato, come vedete,

dai traditori.22. Revenge...slay!: Vendetta! Tutt’intorno!

Cercate! Bruciate! Incendiate! Uccidete! Trucidate!

Answer.

1 Line 1: Who is the ‘you’?A Brutus

B the people of Rome

2 What does Antony show the crowd?

3 Line 6: With the word ‘Look!’ Antony draws attention to what?

4 Who are Cassius, Casca and Brutus?

A The conspirators against Caesar

B Caesar’s friends

5 Line 11: What seemed to be ‘rushing out of doors’?

6 Line 13-14: According to Antony what did Caesar think of Brutus?

7 Line 16: Who does ‘him’ refer to?

A Cassius

B Brutus

C Casca

8 Line 18: Whose ‘mighty heart’ burst?

9 Lines 20-21: Where did Caesar fall and how was the scene?

10 Line 25: Who is weeping?

11 Lines 28-29: ‘Look you here, Here is himself’, who or what does Antony present to the people?

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1 At the end of Brutus’s speech the crowd supported him. Who does the crowd support now?

2 What is the mood of the crowd at the end of Antony’s speech? Choose.A sad and melancholic B angry and revengeful

3 What does the crowd want to do?


Antony begins his speech to the crowd with the words: ‘If you have tears, prepare to shed them now.’ Does the crowd shed any tears during his speech?

Antony’s speech is very di� erent from Brutus’s speech. What does Antony appeal to in the crowd? Choose the correct alternative.

A their reason B their religion C their emotions

Brutus’s speech is in prose. What is the result of this? What was Shakespeare saying about the two men?

With regard to Caesar what response is Antony trying to get from the crowd in the fi rst ten lines of his speech? Choose the correct alternative.

A pity B anger C contempt


1 What is a synonym for the ‘cursed steel’ (l. 9) Brutus used?

2 Why is Brutus’s cut ‘the most unkindest cut of all’ (l. 15)?

3 According to Antony how has Caesar’s fall (death) a� ected Rome and its people?

4 Why do you think Antony fi nally showed the crowd Caesar’s dead body?

Which was the most successful speech, Brutus’s or Antony’s? (Give reasons for your answer.)

Compare both speeches. In which speech can you fi nd the following features?

Brutus Antony

1 speaks in prose

2 speaks in verse

3 develops a logical argument

Brutus Antony

4 incites the crowd’s emotions

5 mourns his friend’s death

6 identifi es himself with the crowd

DEVELOP YOUR COMPETENCE How to write and present a speech

How well can you prepare a speech? Divide the class into four groups. Each group must prepare a convincing speech, of about 10-15 minutes long, on one of the following topics and then choose a spokesperson to present it to the rest of the class. Here are some helpful tips:

1 Choose from the following topics.

• In favour of a global increase in the use of nuclear energy• In favour of making euthanasia an individual’s free choice

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• In favour of banning all petrol driven vehicles• In favour of legal adoption for singles

2 First do some research to know your topic and collect interesting statistics and relevant Information.

3 Structure your speech with an introduction, main body and conclusion.

4 Use a persuasive but clear language and do not be too technical.

5 If possible, introduce some humour.

6 Practice your speech to avoid speaking in a monotone voice. You need to be professional but also entertaining enough to keep your audience’s attention.

COMPETENCE In the commentary we read how one of the themes of the play is the malleability of the crowd, or the masses. In small groups:

• consider what makes a good speech; • look at some famous speeches in history on the Web and say why they were successful;• in class decide which speech you fi nd the most successful and why.

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brutality • ambition • emotion • stab • tears • body • necessary • people • revenge • mistake • mantle • slaves • Brutus • freedom • shocking • bloody • emotions • reason • unjustifi ed

The conspirators have just murdered Caesar. Brutus was the last to 1 him with his dagger. He now speaks to the people of Rome to explain why it was 2 to eliminate Caesar. Brutus appeals to the crowd’s 3 and speaks plainly and without4 . He says that Caesar’s success and 5 would have resulted in himmaking all Romans 6 to increase his power. He underlines that while he loved Caesar he loves Rome and its 7 more and wanted to protect their 8 . The crowd are convinced and believe Brutus but Brutus then makes the 9 of inviting Antony to speak to them. From the beginning of his speech Antony appeals to the crowd’s 10 . He presents the crowd with the 11 Caesar was wearing when he was murdered with the aim of 12 them and inciting pity for Caesar. He points out the 13 holes where Caesar was stabbed and indicates the fi nal, deadly hole made by 14 . He speaks of Caesar’s love for Brutus which emphasises even more the 15 of Brutus’s action, making his the ‘unkindest cut of all.’ Antony moves the crowd to 16 and then shocks them by presenting Caesar’s 17 , showing Caesar as the victim whose death was wrong and 18 . By the end of Antony’s speech the crowd are hungry for 19 and the death of all the traitors.

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1 Julius Caesar is the only play by Shakespeare about the history of Rome. T F

2 The main character in the play is Brutus. T F

3 Elizabethans were very interested in Roman history. T F

4 In Rome Caesar has obtained complete power. T F

5 Brutus hates Caesar. T F

6 Brutus stabs Caesar last. T F

7 Brutus’s speech is more convincing than Antony’s. T F

8 One of the main themes of the play is the malleability of the people. T F

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IN ENGLISH Practice Tests

READING AND USE OF ENGLISHPART 6

You are going to read an article about Richard III, one of Shakespeare’s famous villains. Six sentences have been removed from the article. Choose from sentences A-G the one which fi ts each gap 1-6. There is one extra sentence which you do not need to use.

Richard III, the King in the Car ParkBringing the Past Back to LifeOn 22nd August 1485 at the Battle of Bosworth King Richard III was killed by Henry Tudor’s army. [1 ] Richard’s body was mutilated and buried in a crude grave in Greyfriar’s Monastery in the city of Leicester. The monastery was destroyed in 1538 with Henry VIII’s dissolution of the monasteries. [2 ]On 24th August 2012, over 500 years later, a search began for this lost grave. This search was carried out by the Richard III Society, led by Philippa Langley. This society was formed in 1924 with the aim of challenging what they saw as the injustices to Richard’s reputation. [3 ] Shakespeare depicts him as a wicked tyrant, responsible for the murders of the two young princes in the tower. He is also described as a deformed hunchback:‘a foul, bunch-backed toad.’ (un vile rospo con la gobba; Act IV, Scene IV, Richard III) [4 ]After much research it was suggested that the site of Richard’s tomb could be located beneath what was now a modern car park in the centre of Leicester. Digging was to begin and when Philippa Langley saw a parking space with the large letter ‘R’ on it (for Reserved parking) she decided that this was propitious. [5 ] After much digging, under that letter ‘R’, a skeleton was found. [6 ]Carbon dating of the bones and DNA tests (Richard still has an ancestor alive in Canada) finally confirmed, on 4th of February 2013, that it was, in fact, the skeleton of King Richard III! While this astonishing discovery does confirm that his spine was curved it cannot, however, say anything about his reputation!

A It was clear that the person had died from multiple injuries and that there was a distinct curvature of the spine.

B There was a growing feeling of suspense.

C This fi nally brought the Wars of the Roses to an end.

D Was he really so bad?

E As a result Richard’s grave was lost.

F She stated that digging should begin there.

G The society also questioned the idea that he was deformed.

IELTSFCE

Richard III’s skeleton found in a car park in Leicester.

After much research it was suggested that the site of Richard’s tomb could be located beneath what was now a modern car park in the centre of Leicester. Digging was to begin and when Philippa Langley saw a parking space with the large letter ‘R’ on it (for Reserved parking) she decided that this

of February

Richard III’s skeleton found in a car park in Leicester.

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2

William Shakespeare wrote 154 sonnets between 1592 and 1600, when the theatres were closed by an outbreak of the plague.

They were published in 1609. The collection does not focus on one specifi c person, but on two di� erent fi gures: a young man and a mysterious ‘dark lady’. They are traditionally divided into three sections:• Sonnets 1-17 urge a young man to marry and have children;• Sonnets 18-126 are dedicated to a young man;• Sonnets 127-154 are dedicated to a so-called ‘dark lady’.Their structure consists of 14 lines, the last two lines are a rhyming couplet which draws the sonnet to a conclusion or may be a contradiction to the previous 12 lines, revealing the true intent of the sonnet. Each sonnet is written in iambic pentameter, all lines having fi ve stressed and fi ve unstressed syllables.

The themesThe themes of Shakespeare’s sonnets are conventional: namely love, beauty, the passing of time and its e� ects on people and things. Although this conformism he deals with them with great originality and depth. We know that Shakespeare did not invent the sonnet form, derived in fact from the Petrarchan model, but he transformed it into something completely new. They are di� erent to other sonnets written at the time for example those by Sir Philip Sidney (p. 190), as they do not tell a story, unless you read them as a sequence, and they rarely refer to a specifi c incident or place. There is also no temporal perspective. His sonnets are predominantly an expression of internal emotions and feelings in monologue form, a meditative moment in which the speaker seems to be thinking aloud. Since most of the sonnets are passionate and intense, they have been seen by many critics as referring to the author’s personal experiences, but there is no evidence of this.

Complete the following about Shakespeare’s sonnets.

1 Themes:

2 Sonnets are di� erent from other writings because

.

3 Sonnets are an expression of .

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Sonnets (1609)WilliamShakespeare

those by Sir Philip Sidney (p. 190), as they do not tell a story, unless you read them as a sequence, and they rarely refer to a

There is also no temporal perspective. His sonnets are predominantly an expression of internal emotions and feelings in monologue form, a meditative moment in which

Since most of the sonnets are

have been seen by many critics

personal experiences, but there

Complete.

1 Number of sonnets:

2 Theatres were closed because of the .

3 Mainly focus on and a mysterious .

4 Traditionally dividedinto sections.

5 Structurally they have lines, ending with a rhyming .

6 The couplet is either a or with the previous 12 lines.

7 They are all written in =5 stressed and 5 unstressed syllables.

8 Published in .

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Statue of Shakespeare in Leicester Square, London.

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Shakespeare wrote this and many of his sonnets to a young man. What are your reactions to this fact?

This is a joyous poem. Listen to and read the poem and say how the rhythm refl ects this.

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BEFORE READING

‘Shall I compare thee to a summer’s day...’ This is one of the most famous passages in English literature, together with the soliloquy

‘To be or not to be’ from Hamlet and ‘What’s in a name? That which we call a rose / By any other name would smell as sweet’ from Romeo and Juliet. There are several reasons which contribute to its popularity: fi rst its simplicity; this sonnet is more direct and straightforward than many of the others written by Shakespeare. It is also a hymn to Shakespeare’s originality. He begins with the conventional theme of love and the power of poetry. He then elaborates on these themes making the friendship for his friend immortal, as it remains forever captivated within the sonnet’s fourteen lines. Being part of the second group of sonnets that Shakespeare wrote, this sonnet is dedicated to a young male. The speaker in the sonnet not only celebrates the beauty and perfection of his friend, but he also celebrates the power of poetry and of himself.

‘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 May1, And summer’s lease hath all too short a date2.

5 Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d3, And ev’ry fair from fair4 sometime declines, By chance or Nature’s changing course untrimmed5; But thy6 eternal summer shall not fade7,

10 Nor lose possession of that fair thou ow’st8; Nor shall Death brag thou wand’rest in his shade9, When in eternal lines to time thou grow’st10. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee11.

1. Rough...May: Venti tempestosi scuotono i cari boccioli di maggio.

2. And...date: E la durata dell’estate ha una scadenza troppo breve.

3. his...dimm’d: il suo aspetto dorato è oscurato.

4. ev’ry...fair: ogni bellezza dalla bellezza. 5. untrimmed: privata di ornamenti.

6. thy: your.7. shall not fade: non appassirà.8. Nor...ow’st: né perderà possesso di quella

bellezza di cui sei in debito.9. Nor...shade: né si vanterà la morte che tu

vaghi nella sua ombra.10. thou grow’st: tu crescerai.11. thee: you.


Answer.

1 Line 1: Who is the ‘I’?

2 Line 5: What is the ‘eye of heaven’?

3 Line 9: Who does the ‘thy’ refer?

4 Line 12: What are the ‘eternal lines’?

5 Line 14: What does the word ‘this’ refer to?

3

Nicholas Hilliard, miniature painting of an unidentifi ed young man, c. 1600.

William Shakespeare Sonnets

168


VER

TO

YO

U UNDERSTANDING THE TEXT

What does the poet wonder in the fi rst line?

In the second line he answers the question by saying that

In lines 3-6 he explains why his friend is di� erent from a summer’s day. Explain it in your own words.

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 dimm’d,

Choose the correct alternative. In lines 7-8 the poet states that

A all beautiful things are doomed to decline

B all human beings are destined to die

C poetry is immortal


In the third quatrain the poet wants to underline the di� erences between his friend and a summer’s day. In line 9 he compares him again to summer, but what kind of summer is it?

In the following lines of the quatrain the poet suggests that his friend’s beauty, unlike the beauty of summer, will last forever. Why?

What does the poet state in the fi nal couplet?

Focus on the form of the sonnet. How is it structured?

In which lines can we fi nd examples of personifi cation?

In the fi nal couplet all the words have only one syllable. What e� ect does this have relating to the message of the poem?

What power is attributed to poetry?


The poem ends on a note of

A triumph

B tragedy

C sadness

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2

3

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6

7

8

9

10

11

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169

DEVELOP YOUR COMPETENCE How to analyse a poem

Read the following guidelines about how to analyse a poem.

• Remember, when asked to analyse any piece of literature you should read the piece more than once!Especially with poetry it is better to read the poem aloud.

• First identify the metrical pattern (its rhythm), marking stressed and unstressed syllables.• Secondly, identify the rhyme scheme: is it...?

– regular (abab)

– irregular

– blank verse (no rhyme)

– free verse (no regular metre)

• Does the poet make use of any sound techniques, e.g. alliteration, onomatopeia, assonance (repeated vowel sounds), etc.?

• What form does the poem have? Is it a sonnet? How many lines are there in each stanza?• All of the above will help you to understand the tone or mood of the poem and will help you to arrive at the

meaning. What is the poem about?• To reinforce your idea of meaning look at any fi gurative language used, e.g. metaphor, personifi cation, symbols,

etc.• When you feel you have understood the poem and what the poet is saying you can then form your own

interpretation. Interpretations may vary but we should not ignore the most obvious message which all of the above points will help you to understand.

Now apply the following fi ve points to ‘Sonnet 18’:

1 identify the metrical pattern;

2 identify the rhyme scheme;

3 identify any sound techniques;

4 identify the form of the poem;

5 identify any examples of fi gurative language.

13

Complete.

The poem starts with a 1 addressing the friend. The poet asks if he can 2 him to a summer’s day. In line 2 the poet says what makes the young man 3 from the summer’s day and says he is 4 lovely and temperate. The next nine lines are devoted to the description of summer days. They tend to be extreme with 5 that shake the plants. The sun is also either too 6 or too dull. In line 8 the poet continues to speak about the defects of summer: he says it is too short and it leads to the destructive powers of 7 , as every beautiful thing inevitably begins to deteriorate. The poet then goes back to speaking about his friend and describes how he is di� erent from summer. He exalts his eternal ‘summer’, his everlasting 8 . That will not fade but will maintain its qualities forever. In the last quatrain the poet says that 9 will not boast of his ownership as he will be preserved by the 10

which is eternal. The fi nal couplet reinforces the idea of the eternity of poetry.

14

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Before reading and listening to the poem discuss in pairs the possible negative consequences falling in love can have on a person, e.g. loss of appetite. You may be able to refer to your own experiences!

Now read and listen to the poem and see if you can choose from the options below which negative e� ect falling in love has had on the poet/narrator.

he cannot eat

he cannot concentrate

he cannot sleep

1

2

BEFORE READING

This is another of Shakespeare’s sonnets about love, but it is more meditative than ‘Sonnet 18’. In ‘Sonnet 27’ the poet does not focus

on the happiness surrounding love but on the inner turmoil which love can create.

‘Sonnet 27’ Weary1 with toil2, I haste3 me to my bed, The dear repose4 for limbs5 with travel tired; But then begins a journey in my head To work my mind, when body’s work’s expired6;

5 For then my thoughts, from far where I abide7, Intend a zealous pilgrimage8 to thee, And keep my drooping eyelids9 open wide Looking on darkness which the blind do see, Save10 that my soul’s imaginary sight

10 Presents thy shadow to my sightless view, Which like a jewel hung in ghastly night11

Makes black night beauteous12, and her old face new. Lo thus13 by day my limbs, by night my mind, For thee, and for my self, no quiet14 find.

1. weary: stanco.2. toil: lavoro.3. haste: mi a� retto.4. repose: riposo.5. limbs: arti, il corpo.6. expired: fi nito.7. abide: abito.8. zealous pilgrimage: pellegrinaggio zelante.9. drooping eyelids: palpebre stanche.10. save: eccetto.11. ghastly night: notte spaventosa.12. beauteous: bella.13. Lo thus: per questi motivi.14. quiet: riposo.


Answer.

1 How does the poet feel?

2 Why does he feel like this?

3 Where is he in this specifi c moment?

4 What happens to him there?

5 Line 7: What keeps the poet’s ‘eyelids open wide’?

6 Lines 9-12: The poet says that he sees something in the dark, what?

3

Shakespeare’s bust in Verona.

to my sightless view,

, and her old face new.by day my limbs, by night my mind,

6 Lines 9-12: The poet says that he sees something in the dark, what?

Shakespeare’s bust in Verona.

171

OV

ER T

O Y

OU UNDERSTANDING THE TEXT


1 The concluding couplet describes the poet’s dilemma. What can’t he ever fi nd?

2 The poet is ‘weary’ but he nevertheless ‘hastes’ to his bed. Why, do you think?

3 In line 3 the poet states: ‘But then begins a journey in my head’. What does he mean by this and what e� ect does it have on him?

4 With his words, ‘zealous pilgrimage’ (l. 6) do you think the poet is happy to make this journey?

5 Find the lines/expressions the poet uses to give the idea of total darkness.

6 Who is the ‘thee’ and ‘thy’ of lines 6 and 10?

7 Whose ‘shadow’ does the poet see? (l. 10)


Write down the rhyme scheme of the sonnet.

Dividing the sonnet into four parts choose the appropriate heading for each.

1 Lines 1-4

2 Lines 5-8

3 Lines 9-12

4 Lines 13-14

a imagination takes over

b there is no peace for any lover

c love e� ects both body and mind

d restless thoughts cannot be controlled

The poet describes what he ‘sees’ in the dark but which words tell us that he doesn’t actually see anything?

What e� ect does the use of alliteration in line 7 have on the rhythm of the line and what does it emphasise about the narrator’s present state?

And keep my drooping eyelids open wide

In line 8 we have an example of an oxymoron:

Looking on darkness which the blind do see.

What does this line serve to underline about the narrator? Choose the correct alternative.

A his isolation B his depression C his sadness

What positive e� ect does the image of the lover have on the ‘ghastly night’?

Find an example of personifi cation in the poem.

As with all Shakespeare’s sonnets this is also written in iambic pentameter, but how does the rhythm of this sonnet di� er from ‘Sonnet 18? Is it slower or quicker?

1

2

3

4

5

6

7

8

9


172


Read Tolstoy’s view of Shakespeare’s works.

LEO TOLSTOY, 1906:I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best: King Lear, Romeo and Juliet, Hamlet and Macbeth, not only did I feel no delight, but I felt an irresistible repulsion and tedium [...] before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays [...] and I have felt, with even greater force, the same feelings, this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits, thereby distorting their aesthetic and ethical understanding, is a great evil, as is every untruth.

(Source: Leo Tolstoy, Tolstoy on Shakespeare: A Critical Essay on Shakespeare, The Project Gutenberg eBook of Tolstoy on Shakespeare, Gutenberg.org. 2009-01-07)


1 Is Tolstoy complimentary or critical towards Shakespeare’s works? (Give examples from the text to back up your answer.)

2 Underline in the passage the contrast between what Tolstoy expected to fi nd when reading Shakespeare and what he actually found.

3 How old was Tolstoy when he reread Shakespeare’s works?

4 What reputation does he say Shakespeare enjoys?

5 What infl uence does Tolstoy say Shakespeare has on writers of his time?

6 What do readers and theatre spectators fi nd in Shakespeare, according to Tolstoy?

7 What is Tolstoy’s defi nition of Shakespeare’s infl uence?

DISCUSSION In pairs say what you think Tolstoy is saying in a broader sense about reputations and how they develop and endure. Do you agree/disagree with him?

WH

AT T

HE

CRIT

ICS

SAY 13

5

10

14

15

What overall e� ect was Shakespeare trying to achieve? (Think about the theme of the sonnet.)

DISCUSSION Discuss the following.

1 The darkness and being alone let the narrator’s imagination take over. What other consequences can the night and darkness have on us?

2 Shakespeare’s sonnets have no titles but only numbers. Think of a suitable title you could give to this sonnet and compare with the rest of the class.

3 Referring again to line 8, in what ways do you think the ‘blind can see’? Discuss in pairs.

COMPETENCE Paraphrase the sonnet in your own words continuing from line 2:

Tired from my day’s work I quickly go to my bed

Where I can rest my tired body

But...

10

2011

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173


1 Shakespeare’s sonnets were all published posthumously. T F

2 He dedicated them to three women. T F

3 The sonnets are traditionally divided into two groups. T F

4 Shakespeare dealt with very original themes in the sonnets. T F

5 Shakespeare uses the traditional form of the sonnet. T F

6 In the sonnets there are a lot of biographical references. T F

7 Shakespeare’s sonnets are not set in a specifi c time or place. T F

8 ‘Sonnet 18’ is dedicated to a man. T F

9 Its main theme is beauty. T F

10 It is more simple and straightforward than other sonnets. T F

20

REV

IEW

Read Auden’s view of Shakespeare’s works.

W.H. AUDEN, 1947:There is a continual process of simplification in Shakespeare’s plays [...] He is holding the mirror up to nature. In the early minor sonnets he talks about his works outlasting time. But increasingly he suggests, [...] that art is rather a bore. [...] I find Shakespeare particularly appealing in his attitude towards his work. There’s something a little irritating in the determination of the very greatest artists, like Dante, Joyce, Milton, to create masterpieces and to think themselves important. To be able to devote one’s life to art without forgetting that art is frivolous is a tremendous achievement of personal character. Shakespeare never takes himself too seriously.

(Source: W.H. Auden, Lectures on Shakespeare, edited by Arthur Kirsch, Princeton University Press, Princeton (NJ) 2002)

DISCUSSION Can you think of any famous people whose reputations have changed over time, either in the past or more recently? What circumstances contributed to this change? (Think also of present day ‘infl uencers’ and role models, etc.) Discuss.


1 List three things that Auden likes about Shakespeare and his works.

2 Lines 1-2: Auden says that ‘he [Shakespeare] is holding a mirror up to nature’, what does he mean by this?

3 What does Auden say Shakespeare thought of art?

4 Does Auden agree/disagree with him? (Give evidence from the text.)

5 What does Auden fi nd ‘irritating’ about great writers?

6 What similarities/di� erences, if any, can you fi nd in what Tolstoy and Auden are saying?

7 In the work you have done on Shakespeare in this anthology and any personal experiences you may have had of his work (seen plays/fi lms, etc.) what is your opinion of William Shakespeare?

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5

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18


Complete using the words below

mind • rest • loves • hard • night (x2) • tired • close • concentrate

The speaker, after a 1 day’s work, fi nally goes to bed but despite feeling very 2 he cannot sleep. Although his body can now rest, his 3 begins to work as it is now free to 4 on the woman he 5 . His heavy eyes will not 6 but are fi lled with the image of his lover, which seems to light up the7 . In this way the speaker never has any 8 , either for his body during the day or his mind at 9 .

19

SUM

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RY

174

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33620 V1 080-199 Unit 2

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