...Discuss the extent to which Macbeth and Shylock are victims and villains The protagonists of each play, Macbeth and Shylock, both fall victim and succumb to villainous natures, however a difference is apparent between the two in representing these traits. Macbeth more so displays villainous behaviours, whereas Shylock is subjected to ordeals which victimise him. That is not to say that Macbeth does not become victimised, and that Shylock does not contain the capability to carry out acts of a villainous essence, such as going against his faith for power, and losing sense of morality and rationality. Different factors such as race and prejudice are integral to the contextual themes of The Merchant of Venice as anti-Semitic views towards Jews are upheld by the Christians in Venice, placing Shylock in a position of submission and awakening his inner villain, which is the ultimate point of differentiation between the two in terms of being either a villain or a victim. Early in Macbeth it becomes apparent that the witches have corrupted Macbeth, thus falling victim to the supernatural. This causes him to conjure questions, "Why do I yield to that suggestion?", which catalyses a rising action. The word 'suggestion' connotes the idea is being fed to him via a supernatural force, and that it is uncontrollable as he 'yields' to it. "My thought, whose murder is fantastical, shakes my state", emphasises how much Macbeth is against the idea of murder, shining light on how these thoughts...
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...Macbeth, when written in 1606, was a revolution in theater. Telling the story of the titular Scottish king, Macbeth is a dark story with heavy themes of murder, vengeance, blood, ambition, greed, paranoia, power, and cruelty. These dark and interesting themes combined with its flowing poetic language has led to Macbeth being one of the most widely produced plays throughout history, with many unique variations. While the text to a modern audience may not seem as dramatic and edgy, for its age it must have been quite a powerful and dark experience. In my version of Macbeth, it is that experience that I want to capture. A modern of production of Macbeth that attempts to keep the spirit of the original ought to seek to create an audience experience...
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...Macbeth is one of William Shakespeare’s most famous plays. The theme is about how one’s ambition can lead to their fall if they let it get out of hand. Lady Macbeth is one of the most aggressive and ambitious characters of Shakespeare’s plays. Much of the fame of Macbeth should be credited to her because it was her ruthless and almost man-like nature that set her apart from other women in Shakespeare’s plays. She is a round and dynamic character in this play because she changes and develops as the story’s proceedings unfold and conflicts emerge. Throughout the play, Lady Macbeth gradually changes from being driven nearly entirely by ambition, to being manipulative of her husband to get her ways, and finally to becoming the complete opposite of her once strong-willed self. Lady Macbeth is seen as a woman of ambition in the beginning of Macbeth. Upon her discovery of Macbeth’s prophecies to become king, she immediately started to think about how to fulfill them. As her ambitious and cold nature overcame her conscience, she mapped out the murder of King Duncan with Macbeth. She came off as being very strong in the opening of the play. Shakespeare’s indirect characterization of her makes her unique from other female characters in his works, which is what sets Macbeth apart from the rest. Lady Macbeth has just as much ambition driving her as Macbeth has, if not more. Lynn M. Zott writes that Lady Macbeth’s ambition may be more aimed towards Macbeth’s successes and not solely hers...
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...Shakespeare’s Characters: Self-Gratification Over Human Kindness William Shakespeare wrote in his tragedy, Julius Caesar, “The evil, that men do lives after them; The good is oft interred with their bones.” It is shown that Shakespeare’s lead characters are concerned with their need for self-satisfaction, gratitude, and dignity. They lack the solicitude for human kindness and the thought of others. The more the audience analyzes the characters, the more they see the true ambition and reasoning for their evil deeds. During Shakespeare’s time, it wasn’t unusual for men to seek such power. For instance, Taming of the Shrew is a play that focuses on the desire for marriage; but the emotions of young couples were not the main consideration in courtship (McDonald 267). Katherina actions portray her as the shrew, but the audience knows her ultimate desire was to receive genuine love from a man. Richard III makes it abundantly clear that he desires to take over the English thrown and do whatever it takes to grasp it. Additionally, Hamlet seeks revenge and is motivated to do so by his supernatural spirit of his father (Sobran 45). The need for wealth, power, ambition, and greed lead many of Shakespeare’s characters to satisfy their own self gratitude over the basic ideas of human kindness. London, during the sixteenth century, was a time of extreme corruption. Gender roles were unequal, marriage was spurious, and seeking wealth or power of some sort became every man’s objective. The...
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...Shakespeare tragedy often follows the same basic story line with a fatal tendency, and Othello is no exception. Shakespeare stories are often about one hero, and the story builds up to the eventual death of this character. The hero often starts the story with happiness and no obvious problems, and as the story develops the character’s life begins to crumble and eventually leads to their death after everything has been lost. Othello is a prime example of this Shakespearian story line, where we see everything Othello has at the start of the story fall to pieces and end in tragedy with the character’s suicide. Jealousy and deception are central themes in many of Shakespeare’s plays, and are often what leads to the hero’s downfall. There are a number of key scenes in Othello that represent these themes of jealousy, deception and tragedy throughout the play. In Act 2 Scene 3 Iago uses different techniques in order to deceive Othello and change his opinions of Cassio. Iago says: ‘I would rather have this tongue cut from my mouth, then it should do offense to Michael Cassio.’ Iago is setting up his later deception, as he is tricking Othello into thinking that he likes Cassio and would never speak ill of him, which enables him to seem more believable when he later deceives Othello about Desdemona’s affair. This deception is confirmed when Othello says ‘I know Iago, thy honesty, and love doth mince this matter, making it light to Cassio.’ Othello is suggesting that Iago may not tell...
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...* CLASSIFICATION OF LITERATURE ACCORDING TO FORM * POETRY * -one of the three major types of literature * -divided into lines, stanzas, with diverse and unique characteristics and often employ regular rhythmic patterns or meters. * -most poets make use of imagery, figurative language, and special devices * ELEMENTS OF POETRY 1. Persona or the voice- “speaker”, may be a poet or completely different character 1 2. Theme- insight into life revealed by the poem 3. Rhythm and Rhyme-2 (pattern of stressed and unstressed syllables in a line of poetry ,3 repetition of sound at the ends of words, * 4. Form/Genre (Lyric, Narrative, Dramatic)4-6 * 5. Diction (Connotative, Denotative) * 6. Literary Devices (Techniques, Figures of Speech) * Miscellaneous elements: * Tone-attitude of the writer 7 * Mood-atmosphere or general feeling * TYPES AND FORMS OF POETRY 1. LYRIC POETRY- meant to be sung to the accompaniment of a lyre -short, simple and easy to understand 8 A. Kinds of Lyric Poetry B. Sonnets- 14 lines with a formal rhyme scheme or pattern 9 C. Elegy- expresses lament or mourning for the dead 10 3. Ode- noble feeling, expressed with dignity and praises * TYPES AND FORMS OF POETRY * 4. Songs- poem w/ or w/o definite number of syllables and stanza and always accompanied by musical instrument * 5. Psalms- song praising God or the Virgin Mary and containing philosophy in life 11 * 6. Simple...
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...Bartlett's Familiar Quotations. His works rival the King James Bible (also produced in the 1600s) as a source of oft-quoted English phrases. Shakespeare is known as "the Bard of Avon," in a nod to his birthplace, and many of his plays were originally performed in the famous Globe Theater in London. Among his best-known plays are Romeo and Juliet, Hamlet, and MacBeth. He is also known for his poetry, especially his sonnets. (Who2biographies) * William Shakespeare married Anne Hathaway in 1582. Their daughter Susannah was born in 1583, and the twins Judith and Hamnet were born in 1585. Hamnet died in 1596... William Shakespeare's precise birthdate is not known; he was baptized on 26 April 1564, and over time 23 April has become the accepted date of birth, in part because he also died on 23 April in 1616.( Who2biographies) * Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, and these are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. ( Wikipedia) Summary: * He's a moody kid with suicidal tendencies, a penchant for wearing black mourning clothes,...
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...Spelling not yet standardized, thus name spelled in different ways • Shakespeare, Shakspere, Shackspere, Shaxper, Shagspere, Shaxberd, etc. Shakespeare: The most well known playwright of Elizabethan times is Shakespeare. But there were also other writers who in their time were just as, or even more famous than him. WHAT MAKES SHAKESPEARE STAND OUT? – The volume of his works Plays firmly attributed to Shakespeare ■ 14 COMEDIES – funny play – with amusing events – ended in marriage / or happily o Midsummer Night’s Dream, Merchant of Venice, Twelfth Night, As You Like It, Much Ado about Nothing… ■ 10 HISTORIES – Richard III, Richard II, Henry IV… ■ 10 TRAGEDIES – ends in death ← Hamlet, Macbeth, Romeo and Juliet, Othello, Julius Caesar… ■ 4 Romances – ( chivalry and love) Pericles,...
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...refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts while staying in the third person. Gustave Flaubert pioneered this style in Madame Bovary, as in this passage: “Sometimes she thought that these were after all the best days of her life, the honeymoon, so-called.” Objective narration: A style in which the narrator reports neutrally on the outward behavior of the characters but offers no interpretation of their actions or their inner states....
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...G U I D E T E A C H E R’S A TEACHER’S GUIDE TO TWELVE YEARS A SLAVE BY SOLOMON NORTHUP bY Jeanne M. McGlInn anD JaMes e. McGlInn 2 A Teacher’s Guide to Twelve Years a Slave by Solomon Northup Table of Contents SYNOPSIS......................................................................................................................................3 ABOUT THE AUTHOR...............................................................................................................3 INTRODUCTION TO THE STUDY GUIDE............................................................................3 MEETING COMMON CORE STANDARDS.............................................................3 THE SLAVE NARRATIVE GENRE...............................................................................3 HISTORICAL OVERVIEW..........................................................................................................4 DURING READING.....................................................................................................................6 SYNTHESIZING DISCUSSION QUESTIONS.......................................................................9 ENRICHMENT ACTIVITIES.......................................................................................................9 ACTIVITIES FOR USING THE FILM ADAPTATION........................................................ 11 ADDITIONAL RESOURCES.....................................................................................
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...23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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