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ChoiceandConsequenceWithin
VictorLaneDecemberThirteen,MMVIII
ELAN7408Dr.Smagorinsky
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TableofContents
1. GoalsandRubric(pages3‐4)2. UnitRationale(pages5‐8)3. WorksCited(page9)4. UnitSchedule(pages10‐20)5. Appendices(pages21‐38)
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GoalsandRubric
ThissectioncontainsthegoalsandrubricsfortheconceptualunitthatusesWilliamShakespeare’sMacbethasitscentraltext.Theunitwillcoverfiveandahalfweeks,anditwillbeusedtoteachfiveperiodsofCollegePrepBritishLiteraturetoseniorsthatmeet5daysaweekfor50minutes.Theabbreviationsthatfolloweachgoalcorrespondtothe12thgrade/BritishliteraturecompositionstandardsforthestateofGA.See:(http://www.georgiastandards.org/english.aspx).
A. EndofUnitGoals.Studentswill:
1. Developavocabularytodialogueabouttheircriticalanalysisofthetextsbothfordiscussioninclass,andintheirwriting(ELABLRL1,ELABLRL5,ELABLRC3).
2. Analyzeandevaluatechoicesmadewithinthetextsoftheunit,andhowthosechoicesinfluenceconsequence,ifthetwoarealwaysconnected(ELABLRL2).
3. Producetextsthatspanavarietyofgenres,purposes,andaudiencesculminatinginpersonalportfolios(ELA12W2).
4. Demonstrateanunderstandingthattext,evenacanonicalonelikeMacbeth,hasnofixedmeaning;meaningisrelative,anactofindividualinterpretation.Toacknowledgeandworktowards“wobble”withintheirownreadingandwritingprocesses(Fecho).
B. PortfolioRubric.Belowistherubricforassessingthefinalwritingportfoliostudentswillbecontributingtooverthecourseoftheunit.Itwillbetheprimarymeansofassessment,participationinsmallgroupsandclassdiscussionbeinganother.Throughouttheunit,studentswillbeassignedsmallwritingassignmentsinconjunctionwithwhatthey’rereading,whichwillbecollectedprimarilytochecktomakesurestudentsarekeepingupwiththeirwork.Itwillbeassessedbyitsfinalform,theportfolio,soastoallowreflectionandrevision.Thefullportfolioisworthtwicethevalueofthetest,200points.Hereistherubricforthatportfolio:
1. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“A:” Demonstratesauthenticinsightsintostudents’learningprocessesandproducts. Isorganizedandstructuredsuchthatitenhancestheportfolio’soverallappearance. Containsconventionsthatarenotonlyreadableandsensible,butalsocontributeto
thework’soverallmeaning/theme. Containsatleastthreeportfoliopieces.Oneofthosehasmultipledrafts.
2. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“B:” Demonstratesgoodinsightsintostudents’learningprocessesandproducts. Isorganizedandstructuredinalogicalway. Containsconventionsthatarereadableandsensible. Containsatleastthreeportfoliopieces.Oneofthosehasmultipledrafts.
3. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“C:” Demonstrateslimitedinsightsintostudents’learningprocessesandproducts.
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Islargelyunorganizedandunstructuredsuchthatitdetractsfromtheportfolio’soverallappearance.
Containsconventionsthatsporadicallyaresensiblesuchthatitmakesitdifficulttoreadandfollow.
Containsoneortwoportfoliopieces.Oneornoneofthosehasmultipledrafts.4. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“F:”
Demonstrateslittleornoinsightsintostudents’learningprocessesandproducts. Isentirelyunorganizedandunstructured. Containsconventionswhichareunreadableandimpossibletofollow. Containsoneornoportfoliopieces.Nodrafts.
C. Quizzes/TestRubric.Therearethreequizzestotalandafinaltest.Eachquizwillbeweightedso
thatthethreecombinedcountasmuchasthetestdoes.Thetestwillbeworth100points,soeachindividualquizwillbeworth33.Eachquizandtestwillconsistofmatching,quoteidentifications,andshortanswers.
GradeBreakdown:A:90‐100B:80‐89C:70‐79F:0‐69
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Rationale
“Out,out,briefcandle!Life’sbutawalkingshadow,apoorplayerthatstrutsandfretshishouruponthestageand then is heardnomore: it is a tale toldby an idiot, full of soundand fury, signifyingnothing.”(MacbethActV,SceneV)
Inpiecingtogetherthisrationale,Istartedinthesameplacemostteachersprobablydo:asking
notonlyhowwillthestudentsbenefitfromreadingandwritingaboutthetextsI’vechosentoread,but
alsoisitpracticaltobeteachingthesetexts?DoIhaveenoughcopiesofthebooks?DoIhavethe
technologytoshowmediaclipstothestudents?ItmaybethatonetextworksfantasticwithMacbeth,
buttheschooldoesnothavethetextavailabletothestudents.Whatwehaveavailabletousas
teachersinfluenceswhatwecanteach.Fortunately,teachingatextlikeMacbeth,whichisanthologized
innearlyeverytwelfthgradeBritishliteraturetextbook,thesesortsofconstraintsarelessofaconcern.
But,itdoesbringmetothefirstquestionIhadindraftingthisrationale.Andthatis:doesthe
factthatthistextisanthologizedaswidelyasitisgrantitsomesortofliteraryamnestyfromcriticism?
Oneofthereasonsteachersdrawsofrequentlyfromthetextbookswe’reissuedisbecauseitiswhat’s
availabletous.Itmeetspracticalnecessities.Butanotherreasonisthatit’ssafetodoso.Weknowthat
ifwepickatextfrominsideouranthology,studentsmightquestionwhetherornotthetextis
interesting,butweknowtheywon’tquestionitsappropriateness.Anthologiesprovidethatstampof
authorityunderwhichallquestionsorcriticismscanbefiled.Becausewhenthatquestionof
appropriatenessisraisedwehaveanentirelaundrylistofeditorsandpublishersdefendingourchoice.
Mostofwhomwe’veprobablynevermet,andwhosereasonsforincludingthetextwe’llneverknow,
butstill,thetextisinsidethisintricatelyillustratedandornatelyboundanthology,andthat’sallthat
matters.Right?
InpartfourofMysteryandManners,FlanneryO’Connorexplainsthat:
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Thehigh‐school English teacherwill be fulfillinghis responsibility if he furnishes the student aguidedopportunity,throughthebestwritingofthepast,tocome,intime,tounderstandingthebest writing of the present. He will teach literature, not social studies or little lessons indemocracyorthecustomsofmanylands.Andifthestudentfindsthatthisisnotsuitabletohistaste?Well, that ismost regrettable.Most regrettable.His taste shouldnotbeconsulted; it isbeingformed.(140)
IincludethisexcerptherebecauseO’Connor,asshedoesinmuchofherotherprose,isadeptat
identifyinganddialoguingexplicitlyaboutsubjectsthatpromotecontroversy.Maybethatspeakstothe
successofherwritingmorethananythingelse.ForO’Connor,theEnglishteacher’sjobissimple.Heis
teachinga“discipline”(128),thepurposeofsuch“technicalstudy”istoprovidestudentswith
knowledgeofthe“conventions”ofwritingwhichsheterms“manners”soastoaidthemindetermining
whatthewriterhastosayaboutthe“mysteryofourpositiononearth.”(124)Hencethetitleofthe
book,MysteryandManners.
SomeoftheassumptionsgoverningherrationaleIlike.Thenotionthatreadingliteraturefrom
thepastshouldpromotereadingliteratureofthepresentisrighton.ItborrowsfromJohnDewey’s
theoryofcollaterallearning,whichholdsthat“themostimportantattitudethatcanbeformedisthatof
desiretogoonlearning.”(48)Theactofteachingthen,touseaclichéofametaphor,istokindleand
stokeafireratherthantoextinguishit.Ilikethewaysheproposesgettingatthemysteryofwritingby
groundingreadingintechnical,formalanalysisofthetextitself.Ithinkthesecriticalreadingskillsare
beneficialforallstudentstopossess.
OtherassumptionsgoverningherrationaleIdon’tsomuchlike.O’Connordoesnotplacemuch
valueintheopinionsandinterestsofstudents.Theyarenottobeconsulted;rather,teachersshould
onlyconsider“thebestwritingofthepast.”(140)O’Connorconstructsamodelwherestudents
passivelyreceivewhattheteacherstellthemtheyneedtoknow.Andteacherscanonlyteachthebest
texts.Itisamodelwithlittleornoroomfornegotiation.Teachersteachthebestwriting,andstudents
aresupposedtoabsorbit.Manyquestionsemergefromtheseassumptions.Whoisdecidingwhichtexts
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arethebestwritten?EventheGeorgiaPerformanceStandardsdonotprescribespecifictextsthat
teachersmustcover.Besidesbeingasubtleendorsementforliteraryanthologies,foracloseteachingto
the“classics,”IcanthinkoffewotherpotentialthingsO’Connormighthavemeantwiththisvague
phrasing.Eventheexpertsdifferonwhatconstitutesaclassic.Youcouldhaveasmanylistsofthebest
writingasyoudoscholarswithPhDs.
Thereareseveralothers,mostofwhicharesimilarlycriticalofanabundanceofwhatMikhail
Bakhtinwouldlabelascentripetaltendencies;thosethattrytostabilizeandunifycurriculum.Ithink
Bakhtin’sheteroglossicidealdoesextendintotheactofplanning.Teachersshouldaccountfortheir
individualstrengthsandinterests,andtheyshouldalsoaccountforwhothey’reteaching,andwhattheir
students’interestsandmotivationsare.Ithinkitisintheactofnegotiatingthesecentrifugaland
centripetalconsiderationsthatteacherscannegotiateabetterfunctioningcurriculum.Anditishere
thatIwanttointroducesomeofthereasonswhyIchosetoteachMacbethasacentraltexttomy
conceptualunit.
LiterarysignificanceseemstobethebiggestandmostobviousjustificationMacbethhasgoing
forit.Shakespeare’splayshavebeentaughtforcenturies,andmuchofsubsequentliteraturedraws
fromorextendsoffoftheliterarycachethatisfoundinthem.Studentsstandtogainthenfrom
exposuretohiswritingbecauseoftheaddedperspectiveitprovidesinreadingliteraturethatfollowed.
ThisjustificationtiesdirectlyintowhatO’ConnorwastalkingaboutinMysteryandManners.Anditalso
leadsmetomynextjustificationforreadingMacbeth:itisalignedwiththeGeorgiaPerformance
StandardsforBritishLiterature.Itprovidesauniquegenreandtimeperiodthatstudentscanuseto
compareandcontrastagainstothers(ELABLRL3).Itprovidesnumerousopportunitiesfortextualanalysis
andinterpretation(ELABLRL1,2).Itdefinitelygivesthemthechancetoexpandupontheirvocabulary
(ELABLRL5).SoitdrawsmuchsupportfromthestandardsthatgovernteachingBritishliteratureinthe
stateofGeorgia.
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Thesefirsttwojustificationswouldbeconvincingtoparents,administrators,andotherteachers,
buttotellthemtostudentswouldonlyelicitconfusedlooksatlikeIhadlobsterscrawlingoutofmy
mouthinsteadofintelligiblewords.Mostofthemattheiragecouldcarelessaboutliterarysignificance
orstatestandards.Mostofthemcouldcarelessaboutthestandardsattheirownschool.Theyhave
somestakeintheclass,soatsomelevel,thetextstheyreadshouldberelevanttothem.Ithink
Macbethinsomewaysisaccessible,andinsomeothers,isnotaccessibletotheaveragestudentreader.
Thelanguageisprobablythemostinaccessiblepartoftheplay.Theconceptof“dramatic”heightened
language,asRexGibsonreferstoit,islargelyforeigntothem(47).ItisaconventionthatShakespeare’s
contemporarieswouldhaveexpectedataplay,somethingthathasnotquitetranslatedintotwenty‐first
centurytheatre.Thelanguagewouldbeanobstacletoteachingit,butwithscaffolding,Ithinkitis
somethingthatstudentsintimecouldhurdle.Ithinkthisiswhyreadingandactingtheplayasaclassis
soimportant.Ithinkit’sanotherreasonwhybringinginvideorepresentationsofitistoo.Butreturning
totheoriginalpointofrelevance;whatstudentcouldnotidentifywithMacbeth’sthirstforpower:the
allconsumingdesireforsomethingthatpropelsyoutostabyourbestfriendintheback?Andonce
attainingthatpower,whatstudentcouldn’tidentifywithclingingtoitandone’srighttoittothebitter
end?TheactualstoryofMacbethpromptsallsortsoftopicsfordiscussionandpointsofentryfor
teacherstocraftwhatApplebeecalls“curricularconversations.”AndsoIthinkstudentswillfindthe
playtoberelevanttotheirownexperiences.
WhatIhopethisrationaleindicatesifnothingelseisthatthistextisvaluablenotjustforits
acclaim.ThereisagooddealofmysterytoitthatIthinkisworthtakingalookat.Iapologizeifit
seemedlikeIwastakingO’Connortotask.Herwritinghasalwaysbeenaspringboardformyown
thoughts.Ithinkthatliteratureisneveranendinitself,butshouldalwaysbethemeanstotheend,and
MysteryandMannerscrystallizesthatforme.
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WorksCited:
1.Applebee,Arthur.CurriculumasConversation:TransformingTraditionsofTeachingand
Learning.Chicago:UniversityofChicagoPress.1996.
2.Bakhtin,Mikhail.TheDialogicImagination.Austin:UniversityofTexasPress.1982.
3.Dewey,John.ExperienceandEducation.NewYork:Touchtone.1997.
4.GeorgiaPerformanceStandards.
[http://www.georgiastandards.org/DMGetDocument.aspx/Reading%20and%20British%20Literature%20
with%20tasks.pdf?p=6CC6799F8C1371F69A89D10CBF5448F89CFECE47BFF8091870B3CAE7404EB870&T
ype=D]
5.Gibson,Rex.TeachingShakespeare.Cambridge:CambridgeUniversityPress.1998.
6.O’Connor,Flannery.MysteryandManners.NewYork:Farrar,Straus,andGiroux.1969.
7.Schultz,HollyandYork,Brandon.Fortheirdeeptreasuretrovesoffilingcabinetsandteaching
experienceasmymentorteachers.
8.Shakespeare,William.Macbeth.
9.Smagorinsky,Peter.TeachingEnglishbyDesign.Portsmouth:Heinemann.2008.
10.TheFolgerLibrary.ShakespeareSetFree.NewYork:WashingtonSquarePress.1993.
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DayOne(Monday)
5minutes:Attendanceandhousekeeping.Briefintroductiontothetextwe’llbereadingnext.
15minutes:Distributeopinionnairestotheclass,readovertheinstructions,askifthere’sanyquestions.Everyoneshouldfilltheseoutindividuallytostartout,beingcertaintoincludereasonsandexamplestosupporttheiranswers.
15minutes:Onceitlookslikeeveryone’sfinishedfillingouttheopinionnaire,studentsaretoformgroupsoffour,discusstheiranswers,andarriveatagroupconsensusandrationaleforeachofthe10statementsthattheycanusetorelaytheirdecisionstotherestoftheclasslaterintheperiod.
15minutes:Fullclassdiscussiontopollandseehowcomparableordissonantthegroup’sopinionsare.Onepersonfromeachgroupwillbedesignatedasthegrouporacle,andasIreadoffeachstatement,theseoraclesaretoraisetheirhandsandindicatewheretheirgrouplandedwiththeirfingers.Iwillkeepatallyonthesmartboardforeachquestion,andafterthe“fingerpolls,”Iwillaskgroupstogivetheirreasonsandmakenoteofwheretheclassisunanimousintheiropinionsandwherethey’redivided.
AppendixI:Opinionnaire.
DayTwo(Tuesday)
5minutes:Attendance,housekeeping,introducethevideowe’llbewatching,distributeviewingguides.
45minutes:Play“ShakespeareintheClassroom”fromShakespeareinLove.Afteritconcludes,askwhatstudentsthought,iftheyhaveanyquestionsaboutit.Theyshouldholdontotheseviewingguidesforthebackgroundandcontextualinformation:mightjustseesomeofitagain.
AppendixII:Viewingguide.
DayThree(Wednesday)
10minutes:Attendance,housekeeping,moredetailedintroductiontotheunit,assessment.
Letthestudentsknowabouttheendofunitexpectationssurroundingtheassessments.Formostofthem,theportfoliowillprobablybeanewmethodofassessment,sostudentswillrequireadetaileddescriptionofwhattheendproductwilllooklikesothey’renotlost.Theywillneedafolderornotebooktohouseeverythingthey’llbeworkingonthroughouttheunit.Theywillneedtobringtheirtextbooktoclasseveryday.Theywillhaveaquizfollowingeachactoftheplay,averagingaboutaquizaweek.Theywillhaveatestfollowingtheplay’sconclusion.Studentswillbeabletousenotestheytakeinclassonthesequizzes.Also,letthemknowabouttheextracreditoptionformemorizingandperformingoneoftheplaysnumeroussoliloquies.Aftergoingoverthesemajorassessments,andhandingouttheportfoliorubric,askforquestions.
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20minutes:IntroductiontoShakespeare,Macbeth.
Mostlybackgroundinformationaboutthegenreofplays,andhowourreadingofMacbethwillmanifestitselfinavarietyofforms,sincethistextismeanttobepartofaperformance.Somedaysthestudentswillread/actthepartsthemselves,somedaysthestudentswilllistentoothertroops’readings,andsomedaysthestudentswillwatchitonfilm.Regardlessoftheformthereadingstake,studentsshouldalwaysberegisteringandcritiquingtheimpressionsthatthetextsmakeonthem.ThepointhereistobeginmovingawayfromthecommonperceptionthatShakespeareiswritinginanancientlanguage.Shakespeare’swordsarethick,hisdialoguefullofmeaning,andripeforuniqueinterpretations.
Introductoryactivity:ActI,SceneOne.PutupthetextontheSmartBoard,andplayanaudioclip.Havestudentsfollowalongandjottingdownquestionsasitplays.Afterthewitchesfinish,openthefloortothestudentsforquestions;wordstheydon’trecognize,orphrasesthatmayneedmoderntranslations.ProceedtomodelinghowIwouldreadthisscene,thesortofquestionsImightraise,whatImightguesshappensinthefuture.
20minutes:ContinuingActOne,SceneTwo.
Choosestudentstoreadthepartsneeded(5).Everyoneelseshouldbetakingnotesandfollowingalong.Stopthemperiodicallyafteraparttheyseemconfusedabout,askingthemtoreiteratewhattheyheardintheirownwords.Basedonwhattheygatherfromwhat’sspokeninthisscene,cantheyguesswhatisgoingtohappentoMacbeth,Banquo,andMacdonwald?
AppendixIII:Portfoliohandout.
DayFour(Thursday):
5minutes:Attendance,housekeeping.
10minutes:Askforfivevolunteers.Giveeachvolunteeraslipofpaperwithoneofthequotesbelow.Aftergivingthemamomenttoreadoverandthinkabouttheirlines,tossatennisballtoone,andaskthemtodramaticallyreadwhatthey’vegot.Afterreading,theypasstheballtothenextpersonwhoreadshis/hersinturn,andsoon.Asthequotesareread,theclassistoconsiderwhattheymightmean,andbywhomtheymightbeuttered.Wewilldothesequotesinonefashionoranotherforeachactoftheplay,sobytheend,everyoneintheclassshouldhaveachancetoreadone.
• “Adrum,adrum!Macbethdothcome.”–WitchThree• “SofoulandfairadayIhavenotseen.”–Macbeth• “ThethaneofCawdorlives:whydoyoudressmeInborrow'drobes?”–Macbeth• “But‘tisstrange:Sometimes…theinstrumentsofdarknesstellustruths,Winuswithhonest
trifles,tobetrayusIndeepestconsequence.”–Banquo• “Twotruthsaretold,AshappyprologuestotheswellingactOftheimperialtheme.”—Macbeth
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25minutes:PlayActOne,SceneThreefromRomanPolanski’sMacbeth.Asktheclasstowatchforthesequotesinthemovie,toseeiftheirguessesonwhospokethemwereright,andtocomparetheactors’presentationofthemtotheirclassmates’.HowcanweanticipatetheKing’sreceptionofMac&Banq?10minutes:AskforfourvolunteerstoreadActOne,SceneFour.WhathappenstotheformerThaneofCawdor?NotewhatDuncanmuttersasMacbethenters.HowdoesMacbethtakethenewsofDuncannamingMalcolmPrinceofCumberlandandheirtothethrone?Afterreadinghisaside,wherecanweanticipateMacbethgoingnextafterheexitsDuncan’sthroneroom?DayFive(Friday):50minutes:PlayScenesFivethroughSevenofPolanski’sMacbeth.Pauseintermittentlyanddiscussasaclass,reviewingkeyideas,quotes.Attheendoftheperiod,studentsshouldfeelpreparedforanopennotequizonthecontextoftheplay,Shakespeare’sbiography,andthecentralplotpoints/quotesfromthefirstact.DaySix(Monday):40minutes:PassoutthequizzesforActOne.10minutes:IntroduceActTwo.
AppendixIV:QuizforActOne.DaySeven(Tuesday):30minutes:Breaktheclassintofivegroups,givingeachgrouponeofthesequotes.Withoutknowingwhosaidthem,eachgroupischargedto1)rewritethequoteusingmoderndaylanguage,2)bepreparedtotalkaboutwhatthequotemaymean,itspossiblesignificance,and3)predictwhichcharacterspeakstheselines,orifthey’renotsurewhospecificallysaidthem,whattypeofpersonmightsaythem.Aftertheyfinishwiththeseinstructions,theyaretopresenttheirlinetotheclasswithadramaticreading,andthentalkabouthowtheytranslatedit,whotheythinksaidit,andwhattheythinkitmeans.
• “IsthisadaggerwhichIseebeforeme,Thehandtowardmyhand?Come,letmeclutchthee.”–Macbeth
• “Alittlewaterclearsusofthisdeed.Howeasyisitthen!”–LadyMacbeth• “OurseparatedfortuneShallkeepusboththesafer:whereweare,There’sdaggersinmen’s
smiles;thenearinblood,Thenearerbloody.”–Donalbain
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• “HadIbutdiedanhourbeforethischanceIhadliv’dablessedtime;for,fromthisinstant,There’snothingseriousinmortality.Allisbuttoys;renownandgraceisdead,Thewineoflifeisdrawn,andthemereleesIsleftthisvaulttobragof.”–Macbeth
• “Confusionnowhathmadehismasterpiece!MostsacrilegiousmurderhathbrokeopeTheLord’sanointedtemple,andstolethenceThelifeo’thebuilding!”–Macduff
20minutes:ReadActTwo,SceneOnewiththeclass.NeedthreevolunteerstoreadBanquo,Fleance,andMacbeth.Talkabouttheuseofsymbols,specificallytheentranceanddepartureofthetorchcarriedbyhisservant,andthebellringingoff‐stage.DayEight(Wednesday):5minutes:Quickreviewofwhereweleftoffthedaybefore,withMacbeth’scliff‐hangerbell‐tollingsoliloquymutteredinthedarknessofInvernesscastle.5minutes:GiveinstructionsforthedramaticreadingofActTwoSceneTwo.Breaktheclassintofourgroups,eachgroupchargedwithreadingthesamescene.Theyaretocondensethescenedowntofitintoaninetysecondwindow,doingwhatevereditingtothedialoguetheyfeelisnecessarytomeetthetimetableandtomakeitmoreunderstandabletoamodernaudience.Thereareonlytwoactorsneeded,buttherestshouldfindwaystocontributeeitherintheeditingprocessorwithprovidingthesoundeffects(someone’sgottobetheowlshrieking,ortheknockingfromthegates).Putupthepromptbookquestionsfrompages233‐234ofFolger’sShakespeareSetFreetohelpstudentsthinkaboutstagingtheirscene.40minutes:Workingonthescene,rehearsing,andpresentingtotheclass.Talkaboutthedifferentspinsthegroupstookonthescene,hopefully,andthewaysthoseweresmartandfaithfultotheoriginaltext.Therearenorightchoices,justastherearenowrongonesaslongastheyaresupportedbycharacter,setting,anddialogue.DayNine(Thursday):5minutes:Reviewofwhereweleftoff,withthedirtydeedcompletedandthepoundingatthegates.Thelastfewsceneshavebeendramaticandintense,ShakespearechangesthingsupalittlebithereatthebeginningofthescenewiththeporterandhisFalstaff‐esquelines.45minutes:AskforvolunteerstoreadActTwo,SceneThree.Needaporter,Macduff,Lenox,Macbeth,Banquo,LadyMacbeth,Malcolm,andDonalbain.Thisscenebringsinjustabouteverycharacterintheplay,soitservesasagoodopportunitytoreviewwiththeclasswhoallthesepeopleare,andwhattheirrelationshipwaswiththedeceasedKingDuncan.BesuretotalkaboutMacbeth’sfirstpubliclinesreactingtothenewsthatDuncanisdead,whetherornottheclassthinkstheyarebelievable,andcomparethoselinestosomeoftheothers(likeMacduff’sandBanquo’s).IsMacbethagoodliar?Or
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doesLadyMacbethbailhimoutwithherswooning?Finally,whatdowemakeofDonalbainandMalcolm’ssuddenflighttoIrelandandEngland?DayTen(Friday):5minutes:Attendance,housekeeping.Quickreviewofwhatunfoldedthedaybefore.15minutes:AskforthreevolunteerstoplaytheOldMan,Ross,andMacduff.FinishActTwo.30minutes:WatchRomanPolanski’sversionofActTwo.Noquizthisweek,butstudentsshouldholdontotheirnotes,astheywillhaveacumulativequizafterActThree.Beforestarting,I’llaskthemtohavetheirbooksoutandopentothescenessotheycanmakenotesabouttheartisticchoicesPolanskimadeinhispresentationoftheplay.Ifwedon’thavetimetotalkaboutthesetoday,we’llleadoffwiththemthenextday.DayEleven(Monday):5minutes:ReviewanddiscussionofthePolanskifilmifneeded.Passbackgradedquizzes.15minutes:Introductiontothewordwebactivity,drawnfrompages226‐227ofFolger’sShakespeareSetFree.Usebloodasthecenterofourwordweb.CircleitinthemiddleoftheSmartBoard,andgivestudentsafewminutestocomposealistoftentotwentywordsthattheyassociatewithbloodfromtheplay.Afterthey’vehadtimetocompiletheirownlistsindividually,askforvolunteerstoputtheirchoicesupontheSmartBoard,andhavethemexplainthebasisfortheconnectionstotherestoftheclass.20minutes:Breaktheclassintofourgroups,givingeachgroupitsownword.Thegroupsaretocreatetheirownwordwebs,anddescribehowdifferentcharactersfromtheplayareassociatedintheweb.Aftercreatingalistofwordsassociatedwiththeonetheyweregiven,theyaretochoosethreethatrelatetoaspecificcharacter,andcomposeasentencethatexplainstheconnections.10minutes:Comebacktogetherasaclass,andsharethewordwebs,writingthemupontheboard,anddrawingconnectionsbetweenthevariousgroups’websastheypresentthem.DayTwelve(Tuesday):5minutes:Handoutthewordwebassignment.Studentsaretocreatetheirownwordwebforhomeworkthatusesacharacter’snameasthecentralword.Thesewillbeturnedinattheendoftheunitwiththeirportfolio.Itwillalsogetthemstartedonthesortofthinkingthatwillmakesomeofthelaterprojectsalittleeasier.
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30minutes:Dividetheclassintofivegroups,andgiveeachgrouponeofthefollowingquotes.Withoutknowingwhosaidthem,eachgroupischargedto1)rewritethequoteusingmoderndaylanguage,2)bepreparedtotalkaboutwhatthequotemaymean,itspossiblesignificance,and3)predictwhichcharacterspeakstheselines,orifthey’renotsurewhospecificallysaidthem,whattypeofpersonmightsaythem.Aftertheyfinishwiththeseinstructions,theyaretopresenttheirlinetotheclasswithadramaticreading,andthentalkabouthowtheytranslatedit,whotheythinksaidit,andwhattheythinkitmeans.
• “Thouhastitnow,King,Cawdor,Glamis,all,Astheweirdsisterspromised,andIfearThouplayed’stmostfoullyfor’t.”–Banquo
• “Uponmyheadtheyplac’dafruitlesscrown,Andputabarrenscepterinmygripe,Thencetobewrench’dwithanunlinealhand,Nosonofminesucceeding.”–Macbeth
• “Therethegrownserpentlies;thewormthat’sfledHathnaturethatintimewillvenombreed,Noteethforth’present.”–Macbeth
• “Nought’shad,all’sspent,Whereourdesireisgotwithoutconsent:‘TissafertobethatwhichwedestroyThanbydestructiondwellindoubtfuljoy.”–LadyMacbeth
• “SomeholyangelFlytothecourtofEnglandandunfoldHismessageerehecome,thataswiftblessingMaysoonreturntothisoursufferingcountryUnderahandaccrs’d!”–Lennox
15minutes:ReadActThree,SceneOne.NeedvolunteerstoreadBanquo,Macbeth,LadyMacbeth,Attendant,FirstMurderer,andSecondMurderer.
AppendixV:Wordwebportfolioassignment.DayThirteen(Wednesday):5minutes:Reviewpreviousscene,thedepartureofthetwomurdererstodispatchBanquoandhisson,Fleance.5minutes:Giveinstructionsforthescenethestudentsaretocomposefortoday.Ingroupsoffive,studentsaretocomposeascriptthatcondensesallofActThree,ScenesOnethroughThreeintoaquicktwominuteperformancethatstillhitsallthehighpointsinthescenes.AllperformancesshouldendwithatableauxorstillshotofhowtheythinkMacbethwillreacttohearingtheassassinsreport.Putupthepromptbookquestionsfrompages233‐234ofFolger’sShakespeareSetFreetohelpstudentsthinkaboutstagingtheirscene.40minutes:Workingonthescene,andrehearsing,andpresentingtotheclass.Takepicturesofthetableauxeachgrouppresents,andsavethemdigitally.DayFourteen(Thursday):
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5minutes:Giveafewminutesforeachgrouptomakefinalpreparationsfortheirpresentations.10minutes:Eachgrouppresents.Talkabitaboutthesimilaritiesanddifferencesinthescripts.35minutes:SequeintoreadingActThree,SceneFourwiththetableaux.NowwegettoseeMacbeth’sreactiononhearingFleanceisalive.NeedaMacbeth,LadyMacbeth,Murderer,Lennox,Ross;therestoftheclasswillreadthelinesoftheLordsinunison.WhatdowemakeofMacbeth’sreaction?Whatdoeshehaveinstoreformurdererthenexttimetheymeet?Ishegoingtokickhisass,murderthemurdererforfailinghim?Orgivehimasecondgotoredeemhimself?Notethatwedon’teverfindoutwhathappenstothemurderer,allweknowisthatFleancelivestotheendoftheplay.DayFifteen(Friday):10minutes:AssignpartsforActThree,SceneSix.NeedaLennoxandaLord.(Note:Sincemostscholars
agreeSceneFivewithHecatewasaddedsometimeafter1609bysomeoneotherthanShakespeare,andsinceitdoesn’treallyaddmuchtotheplayotherthananothercrazyrhymingwitch,I’vecutthisscenefromthereading.I
don’tthinkthestudentswillmindtoomuch.)40minutes:WatchRomanPolanski’sversionofActThree.ReviewforthequizonMondaycoveringActsTwoandThree.DaySixteen(Monday):5minutes:Askforquestionsaboutthelasttwoacts.Oncetheseareanswered,handoutthequizzes.45minutes:QuizoverActsTwoandThree.
AppendixVI:QuizforActsTwoandThree.DaySeventeen(Tuesday):10minutes:Askforfivevolunteers.Giveeachvolunteeraslipofpaperwithoneofthequotesbelow.Aftergivingthemamomenttoreadoverandthinkabouttheirlines,tossatennisballtoone,andaskthemtodramaticallyreadwhatthey’vegot.Afterreading,theypasstheballtothenextpersonwhoreadshis/hersinturn,andsoon.Asthequotesareread,theclassistoconsiderwhattheymightmean,andbywhomtheymightbeuttered.
• “Double,doubletoilandtrouble;Fireburnandcauldronbubble…Bytheprickingofmythumbs,Somethingwickedthiswaycomes.”–Witches
• “Infectedbetheairwhereontheyride,Anddamn’dallthosethattrustthem!”–Macbeth
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• “Wisdom!Toleavehiswife,toleavehisbabes,hismansionandhistitlesinaplaceFromwhencehimselfdoesfly?Helovesusnot…Allisthefearandnothingisthelove;Aslittleasthewisdom,wheretheflightSorunsagainstallreason.”–LadyMacduff
• “Butcruelarethetimes,whenwearetraitorsAnddonotknowourselves,whenweholdrumorFromwhatwefear,yetknownotwhatwefear,butfloatuponawildandviolentseaEachwayandmove.”–Ross
• “But,gentleheavens,Cutshortallintermission;fronttofrontBringthouthisfiendofScotlandandmyself;Withinmysword’slengthsethim;ifhe‘scape,Heavenforgivehimtoo!”–Macduff
40minutes:ReadActFour,SceneOne,areintroductiontothewitches,Macbeth’sfinalprophecy,andtheforeshadowingofhisfinalshowdownwithMacduff.Sharewiththestudentsthatthisisoneofthescenesfromtheplaythatinvitesthemostspecialeffectswork.Aswereadit,theyshouldthinkofhowtheywouldportraytheapparitions/visionsthatemergefromthecauldron,howtheywouldsetit(onlydirectiongivenisitistobesetinacavern),howtheyseeMacbethenteringandexitingthiscavern,andhowtheywouldexpectMacbethtoreactonseeingeachindividualapparitionandhearingthepropheciestheyrelate.NeedninevolunteerstoreadFirst,Second,ThirdWitches,Hecate,Macbeth,First,Second,ThirdApparitions,andLennox.
AppendixVII:Witches’prophecieshandout.
DayEighteen(Wednesday):
20minutes:ReadActFour,SceneTwo,themurderofMacduff’sfamily.NeedfivevolunteerstoreadLadyMacduff,Son,Ross,Messenger,andMurderer.AstheyreadanotherglimpseintothehomeofanotherScottishnoble,studentscanconsiderhowLadyMacduffcomparestoLadyMacbeth.Whatarethethingstheybothholdvaluable?Howdotheyseemdifferent?
30minutes:BeginreadingActFour,SceneThree,thestagingoftheinvasioninEngland,theemo‐lamentingofMalcolm,andMacduff’spledgetoendMacbeth’sreign.NeedfourvolunteerstoreadMalcolm,Macduff,Doctor,andRoss.IsthereanythingthatMalcolmsaysinthisscenethatisredeeming?Ishealikeablecharacter,oronethatwejustwanttosteadyandslaprepeatedlyacrosstheface?HowdoyouthinkMacdufffeelshearingMalcolmsayallthesethingsabouthowbadandwickedarulerheanticipateshewouldbeifgivenpower?ThisisthepersonhewouldputtingonthethroneifhesucceedsinoverthrowingMacbeth,isheanybetterthanthe“fiendofScotland”hedespises?Thisisalongerscene,soifwedon’tfinishtoday,we’llfinishreadingittomorrow.
DayNineteen(Thursday):
10minutes:FinishreadingActFour,SceneThree.
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40minutes:WatchRomanPolanski’sversionofthisAct.(Note:Thefirstsceneofthisacthassomeold
wrinklywitchnudityinit,soitwouldneedsomeprefacing.Iwouldletthemknowwhattoexpect,askifeveryoneis
okwithit,orifIneedtocensortheshortsnippetswhenbarebreasts/buttsareshown.)Afterfinishing,reviewwiththestudentswhathastranspiredinthelastthreescenestoensureeveryonerecognizesjusthowShakespeare’ssethisstagefortheconcludingactoftheplay.ThiswillbeimportantforfuturereadingwhenwehitActFivenextweek,butitwillalsobeimportantforthenextclass,whentheywillbecomposingtheirpredictionsforhowtheplaywillconclude.
DayTwenty(Friday):
10minutes:Distributeandgooverthedirectionsfortheportfoliopiecethey’llbecomposingabouthowtheyforeseetheplayconcludinginthefifthact.Sharethepoemwiththem.
40minutes:In‐classtimetoworkontheportfoliopiece.Whattheydon’tfinish,theycanworkonathome.Thiswillbedueattheendoftheunitwiththeportfolio.
AppendixVIII:Predictionportfoliopieceinstructions.
DayTwenty‐One(Monday):5minutes:Attendance,housekeeping.Returnlastweek’sgradedquizzes.QuickreviewofwhereweleftoffinActFour.Advisetheclassthatthepaceoftheplayquickensfromhereonout.20minutes:Askforfivevolunteers.Giveeachvolunteeraslipofpaperwithoneofthequotesbelow.Aftergivingthemamomenttoreadoverandthinkabouttheirlines,tossatennisballtoone,andaskthemtodramaticallyreadwhatthey’vegot.Afterreading,theypasstheballtothenextpersonwhoreadshis/hersinturn,andsoon.Asthequotesareread,theclassistoconsiderwhattheymightmean,andbywhomtheymightbeuttered.
• “Outdamnedspot!Out,Isay!ThethaneofFifehadawife;whereisshenow?What,willthese
handsne’erbeclean?”–LadyMacbeth• “TomorrowandtomorrowandtomorrowCreepsinthispettypacefromdaytodayTothelast
syllableofrecordedtime,AndallouryesterdayshavelightedfoolsThewaytodustydeath.Out,outbriefcandle!Life’sbutawalkingshadow,apoorplayerThatstrutsandfretshishouruponthestageAndisthenheardnomore.ItisataleToldbyanidiot,fullofsoundandfury,Signifyingnothing.”–Macbeth
• “NowdoeshefeelHissecretmurdersstickingonhishands;Nowminutelyrevoltsupbraidhisfaith‐breach;Thosehecommandsmoveonlyincommand,Nothinginlove;nowdoeshefeelhistitleHanglooseabouthim,likeagiant’srobeUponadwarfishthief.”–Angus
• “Ihavenowords;Myvoiceisinmysword,thoubloodiervillainthantermscangivetheeout!”–Macduff
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• “ThoughBirnamwoodbecometoDunsinane,Andthouoppos’d,beingofnowomanborn,YetIwilltrythelast:beforemybodyIthrowmywar‐likeshield.Layon,Anddamn’dbehimthatfirstcries,‘Hold,enough!’”–Macbeth
15minutes:ReadActFive,SceneOne,aglimpseatLadyMacbeth’sdescentintomadness.Askforthreevolunteerstoplaydoctor,gentlewoman,andLadyMacbeth.10minutes:ReadActFive,SceneTwo,aglimpseintothecampsthatclaimloyaltytoMacbeth.AskforfourvolunteerstoreadMenteith,Angus,Caithness,andLennox.DayTwenty‐Two(Tuesday):5minutes:Attendance,housekeeping.QuickreviewoftheprevioustwoscenesofActFive.15minutes:ReadActFive,SceneThree,whereMacbethlearnsofhiswife’ssickness.NeedfourvolunteerstoreadMacbeth,Servant,Seyton,andDoctor.ItisbecomingmoreandmoreapparentatthispointthatthingsarefallingapartforMacbeth.10minutes:ReadActFive,SceneFour,whereMalcolm’sarmyismakingitsapproach,takingupthetreesofBirnamWoodtohidetheirnumbers.NeedfourvolunteersforMalcolm,Menteith,Siward,andMacduff.Theclasswillreadthesoldier’slineinunision.20minutes:ReadActFive,SceneFive,thedeathofLadyMacbeth,andtheabjectmiseryofMacbeth.NeedthreevolunteerstoreadMacbeth,Seyton,andMessenger.Thisleavesthefinalthreebattlescenesfortomorrow.DayTwenty‐Three(Wednesday):5Minutes:ReadActFive,SceneSix,thedescentintobattlefromtheMalcolmcamp.NeedthreevolunteerstoreadMalcolm,Siward,andMacduff.15Minutes:ReadActFive,SceneSeven,thedeathofYoungSiwardatMacbeth’shand.NeedtwovolunteerstoreadMacbethandYoungSiward.Thesetwowillstandinfrontoftheclassandperformtheparts.NeedthreeothervolunteerstoreadthepartsofMacduff,Siward,andMalcolm.30Minutes:ReadActFive,SceneEight,thefinalbattlebetweenMacbethandMacduff,andresolution.Likeyesterday,needtwovolunteerstoreadandactthepartsofMacbethandMacduff.AlsoneedthreevolunteerstoreadMalcolm,Siward,andRoss.TherestoftheclasswillreadthelineofAll.Afterfinishing,talkaboutthefinalsequenceofevents.Asktheclassifthiswassimilartowhattheypredictedwouldhappen.DoesMacbethgetwhathedeserves?IsMalcolm’sascensiontothethronea“happy
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ending”afterwhatwelearnabouthimfromhisownlipsearlier?Ordoesthisendingfitthemoldofatragedy?DayTwenty‐Four(Thursday):45Minutes:WatchPolanski’sversionofActFive.5Minutes:ReviewforthequiztomorrowoverActsFourandFive.DayTwenty‐Five(Friday):5Minutes:Attendance,housekeeping.45Minutes:DistributequizzesoverActsFourandFive.
AppendixIX:QuizforActsFourandFive.DayTwenty‐Six(Monday):5Minutes:Distributeandgoovertheinstructionsforthefinalcreativewritingportfoliopieces.45Minutes:In‐classtimetoworkontheportfoliopieces.RemindtheclassthatthefinaltestwillbetwodaysfromnowonWednesday.
AppendixX:Instructionsforthefinalportfoliopieces.DayTwenty‐Seven(Tuesday):30Minutes:In‐classtimetoworkontheportfoliopieces.RemindtheclassthesewillbeduethefollowingMonday.20Minutes:In‐classreviewforthefinaltest.Fieldanyquestionsthestudentshave,remindthemthebestreviewistolookbackoverthequizzes.Thetestwillbematching,shortanswer,andanessay.DayTwenty‐Eight(Wednesday):50Minutes:Distributethetests.RemindtheclassthatthefinalportfolioswillbedueonMondayfollowingtheweekend.
AppendixXI:Finaltests.
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AppendixContents:I. Opinionnaire.II. “ShakespeareintheClassroom”ViewingGuide.III. PortfolioOverviewHandout.IV. ActOneQuiz.V. WordWebPortfolioAssignment.VI. ActsTwoandThreeQuiz.VII. Witches’PropheciesHandout.VIII. PredictionPortfolioPieceInstructions.IX. ActsFourandFiveQuiz.X. InstructionsfortheFinalPortfolioPieces.XI. FinalTest.
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Macbeth:Astoryofambition,greed,remorse,self‐deception,fate,andexpectationsofgenderroles.
Asyoureadthefollowingstatements,circlethereactionthatmatchesupwiththewayyoufeelaboutthem.Onthelinesbelow,writeabriefnoteortwowithreasonsorexampleswhyyoufeelthatway.Wewilldiscusstheseafteryoufinish,sobepreparedtodefendyourposition.10statements,frontandback.
1(Stronglydisagree)2(Disagree)3(Ambivalent/Unsure)4(Agree)5(Stronglyagree)
1.Ambitionisagoodanddesirabletraitinaperson.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
2.Beinginapositionofpowermeansyouarehappy.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
3.Everyoneiscapableoflying,betrayal,andviolence.Allthreearepartofbasichumannature.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
4.Theworldisjust;ifyoudosomethingwrongyouwillbepunishedforit.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
5.Whoweare,ouressentialcharacterandtemperament,isfixedandunchangeable.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
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6.Togetaheadinlifeyouhavetodothingsthatothersmightconsiderimmoralorwrong.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
7.Men’sactionsaremorelikelytoresultinviolencethanwomen’s.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
8.Womenfeelmorecompassionthanmen.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
9.Fortune‐tellersandpsychicsgenerallytellthetruth,andwhattheysayshouldbebelieved.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
10.Witcheshavealwaysexisted;theystilldotoday.
1 2 3 4 5
__________________________________________________________________________________________________________________________________________________________________________
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ViewingGuideforShakespeareVideo
I. FactsaboutWill–• Bornintheyear_________inthecountryof__________________
• MarriedAnnHathawayintheyear__________• Threekidsfrom1583‐1585named:
_____________ _______________ ________________
• Diedintheyear_________attheageof______
II. Hisplayswereverypopularinhistime,andstillaretoday,400yearslater.WhataresomeofthereasonsforthisloveandinterestinShakespeare?
• Heknows_______________________________________________________________
• Hewroteforandabout____________________________________________________
• Thesubjectsorthemeshewroteabout,whichareeverlasting: ________________________________________________________________________
III. LondoninShakespeare’sTimes–Everyonewenttothetheater,boththerichandthepoor.Itwasthegreat________________________.IV. Whatarethementalkingaboutwhentheysay:
“Isshefertile?”“Ohshewillbreed.Ifnot,sendherback.”“Issheobedient?”“Asanymule.”
V. Werewomenpermittedtoact?__________________VI. Whyisthisperiodcalled“ElizabethanEngland”?_______________________________________
VII. Thetheatersfacedconstantoppositionfromthelawandfromthechurch.Whydidtheystayopen?____________________________________________________________________________
ExtraNotes:_______________________________________________________________________________________________________________________________________________________________
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MacbethPortfolioBritishLiterature Name:____________________
Mr.Lane Date:____________________
Overview:AsweprogressthroughreadingMacbeth,youwillbegivenavarietyofwritingassignments.Someofthesewillcomeearlyintheplay,andsomewillcomelateron.Bytheendoftheplay,youwillbeexpectedtohaveatotalofTHREEofthesewritingpiecesinyourportfolio.Atthattimeyouwillsubmityourportfoliowithallthreepiecestome.Thismeansyouwillneedtoholdontoalltheworkyoudooverthecourseoftheplay.Theideabehindthisistogiveyoutheopportunitytorevisit,revise,andaddontoyourwritingasyou’vehadmoretimetothinkabouttheplay.Inadditiontohavingthethreewritingpiecesinyourportfolio,oneofthosepieceswillneedtohavemorethanonedraftwithitthatshowsthisrevisionprocess.Sowhenyouturninyourfinalportfoliotomeattheendoftheplay,itshouldcontainthreewritingpieces,andtheroughdraft(s)thataccompanythem.
Hereistherubricfortheportfolio:
1. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“A:” Demonstratesauthenticinsightsintostudents’learningprocessesandproducts. Isorganizedandstructuredsuchthatitenhancestheportfolio’soverallappearance. Containsconventionsthatarenotonlyreadableandsensible,butalsocontributetothe
work’soverallmeaning/theme. Containsatleastthreeportfoliopieces.Oneofthosehasmultipledrafts.
2. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“B:” Demonstratesgoodinsightsintostudents’learningprocessesandproducts. Isorganizedandstructuredinalogicalway. Containsconventionsthatarereadableandsensible. Containsatleastthreeportfoliopieces.Oneofthosehasmultipledrafts.
3. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“C:” Demonstrateslimitedinsightsintostudents’learningprocessesandproducts. Islargelyunorganizedandunstructuredsuchthatitdetractsfromtheportfolio’soverall
appearance. Containsconventionsthatsporadicallyaresensiblesuchthatitmakesitdifficulttoreadand
follow. Containsoneortwoportfoliopieces.Oneornoneofthosehasmultipledrafts.
4. Portfoliosthatmeetthefollowingcriteriawillreceiveagradeof“F:” Demonstrateslittleornoinsightsintostudents’learningprocessesandproducts. Isentirelyunorganizedandunstructured. Containsconventionswhichareunreadableandimpossibletofollow. Containsoneornoportfoliopieces.Nodrafts.
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Macbeth Act I Quiz Name:____________________I.Matching:Matchthefollowingcharacterswiththedescriptionsaboutthem.(4pointstotal)______1.Banquo a.KingofScotland______2.Duncan b.PrinceofCumberland,EldestSonoftheKing______3.Macbeth c.Apredictionmakeshimconsidermurder______4.Malcolm d.BestfriendofMacbethII.ShortAnswer:Answerthefollowingquestionsincompletesentences.(20pointstotal) 5.WhoruledEnglandduringShakespeare’searlycareerasaplaywright? 6.WhoruledEnglandatthetimeMacbethwasfirstperformed?
7.Shakespeare’splayswereverypopularduringhistime.Theyarestillpopulartoday.Onereasonforthisisthathisplay’scoverthemesthatareeverlasting.Listthreeofthesethemesorsubjectsthatfrequentlycomeupinhisplays.
____________________________ ___________________________
______________________________
8.WhatwasprophecythewitchesmadeforBanquo’sfuture?9.WhenMacbethmeetsthethreewitches,heisThaneofGlamis.WhichtwotitlesdothewitchespredictMacbethwillobtain?
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10.Whoseemstobethemostambitiousandevilofthetwo,MacbethorLadyMacbeth?Why?11.HowdoMacbethandLadyMacbethplantomurdertheKing?12.WhatdoesLadyMacbethmeanwhenshesays,“unsexmehere”?
III.QuoteIdentification.Identifythespeakerandexplainthemeaningand/orsignificanceofeachofthefollowingquotesfromthefirstactoftheplay.(9pointstotal)
13.“But‘tisstrange:Sometimes…theinstrumentsofdarknesstellustruths,Winuswithhonesttrifles,tobetrayusIndeepestconsequence.”Speaker:Significance:14.“ThethaneofCawdorlives:whydoyoudressmeInborrow'drobes?”Speaker:Significance:
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WordWebPortfolioPieceDirections:Usingoneofthewordsaboveasthecenterofyourpiece,constructawebthathasnofewerthantenwordsthatyouassociateorconnecttoit.Then,composethreesentencesaboutthreedifferentcharactersintheplaythatuses1)yourcenterword,and2)threeofthewordsthatyouassociatewiththatcenterword.Ineachsentenceyoushouldunderlinetheassociatedwordsanddoubleunderlinethecenterword.Undereachsentenceyoushouldalsoincludeabriefexplanationforwhattheseassociationsrevealtoyouabouthowyouthinkaboutthesecharacters,andhowthatmightbeconsistentwithwhatShakespeareintendedorhowthatmightbedifferent.CommonlyusedwordsinMacbeth:Fear(35times),Hand(33times),Sleep(26times),Thought(24times),Death(20times),Love(19times),andNight(17times).Youmayuseanyoftheseasthecentertermforyourwordweb,oranyothersthatstoodouttoyouasbeingparticularlypowerfulandthought‐provokingsofarintheplay.
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Macbeth Acts II & III Quiz Name:____________________ActIIShortAnswer.Answerthefollowingquestionsincompletesentences.(13pointstotal)1.AscomicreliefinSceneThree,whatdoesthePorterrambleonandonabout?(Therearemorethanonepossibletopics,chooseatleastone)2.AtthetimeMacbethiscrownedking,whoarethefourmainsuspectsinvolvedinDuncan’smurder?3.WhatreasondoesMacbethgiveformurderingDuncan’sguards?4.Whydidhereallymurdertheguards?ActIIQuoteIdentification.Identifythespeakerandexplainthemeaningand/orsignificanceofeachofthefollowingquotesfromthesecondactoftheplay.(8pointstotal)5.a.“WillallofgreatNeptune’soceanwashthisbloodCleanfrommyhand?No:thismyhandwillratherThemultitudinousseasincarnadine,Makingthegreenonered.”b.“Alittlewaterclearsusofthisdeed.Howeasyitisthen!”Speakers:a.____________________b._______________________Whatdothesetwoquotessignifyaboutthecharacters?Whatdoweseeabouttheirpersonalities?
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6.“Whatwillyoudo?Let’snotconsortwiththem:ToshowanunfeltsorrowisanofficeWhichthefalsemandoeseasy.”“OurseparatedfortuneShallkeepusboththesafer:whereweare,There’sdaggersinmen’ssmiles;thenearinblood,Thenearerbloody.”Whoarethetwospeakershere?__________________and____________________.Whatisthesignificanceofthisconversation?ActIIIShortAnswer.Answerthefollowingquestionsincompletesentences.(8pointstotal)7.Onceking,whatisthemainreasonMacbethseesBanquoasathreat?Whatdoesheplantodealwiththisthreat,andhowishesuccessfulandunsuccessful?8.WherehasMalcolmfledto,andwhatisheplanningthere?ActIIIQuoteIdentification.(4pointstotal)9.a.“Avaunt!Andquitmysight!Lettheearthhidethee!Thybonesaremarrowless,thybloodiscold;ThouhastnospeculationinthoseeyesWhichthoudostglarewith.”b.“Iprayyou,speaknot;hegrowsworseandworse;Questionenrageshim.Atonce,good‐night;Standnotupontheorderofyourgoing,Butgoatonce.”Speakers:a._____________________andb._________________________Significanceofthisconversation:
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TheFinalWitches’PropheciesInthefirstsceneofactfourweobserveMacbeth’sfinalencounterwiththewitches.Aswereadthescenetoday,makenoteofthethreeapparitionsorimagesthatemergefromthecauldronandthecorrespondingmessagestheydeliver.ApparitionOne:ApparitionTwo:ApparitionThree:
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PredictionPortfolioPieceDirections:Actsonethroughfourhaveseenagradualriseofsuspenseandtension.ActfourconcludeswithalinedrawninthesandbetweenMacbethhasbeengivenaseriesofpropheciesthathaveyettoberesolved.Thefinalactoftheplayprovidesresolutiontomanyofthequestionshehasaboutthem,including: WhyshouldMacbethfearMacduffifhehastofearnomanwhoiswomanborn? WhyshouldMacbethbeconcernedifittakesanactofmovingthetreesofBirnamForestallthe
waytoDunsinaneHillwherehiscastlestands? HowdoBanquo’schildrencometoacquirethethroneandruleforeight+generations?Forthisportfoliopiece,youaretodraftyourownfinalactoftheplaythatresolvesthesequestions.Theformthispiecetakesisuptoyou;itcanbeapoem,aseriesofpictures(graphicnovel),adialoguebetweentheplay’smajorcharacters,oritcanjustbeaplainpredictionasyouseethingshappeninginthenextact.Whatevergenreyouchooseforthispiece,rememberthatitneedstoprovidesomesortofanswertothesemajorquestions,andatabasiclevel,itneedstoprovideasummaryofwhatyouthinkwillhappen.
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Macbeth Acts IV & V Quiz Name:____________________ShortAnswer.Answerthefollowingquestionsincompletesentences.(23pointstotal)1.WhydoesMacbethhaveMacduff’sfamilykilled?2.Duringhersleepwalkingepisode,LadyMacbethgoesthroughthemotionsofwashingherhands.Whyisthissignificant?WhatdoesitindicateabouthowshehaschangedsinceDuncan’smurder?3.ExplaineachofthepredictionsMacbethreceivesduringhissecondvisittothewitchesintheopeningsceneofactfour.Also,explainhoweachofthesecametrueinactfive.ApparitionOne(ArmoredHead):ApparitionTwo(BloodyChild):ApparitionThree(Crownedchild):
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4.HowdoesMacbethdie?Whoreplaceshimasking?QuoteIdentification.Identifythespeaker(s)andexplainthemeaningand/orsignificanceofeachofthefollowingquotesfromthefourthandfifthactsoftheplay.(10pointstotal)5.a.“Nay,hadIpower,IshouldPourthesweetmilkofconcordintohell,Uproartheuniversalpeace,confoundAllunityonearth.”b.“OScotland,Scotland!Onationmiserable…Theseevilsthourepeat’stuponthyselfHavebanish’dmefromScotland.Omybreast,Thyhopeendshere!”Speakers:a._______________________andb.________________________Significance:6.“Wisdom!Toleavehiswife,toleavehisbabes,HismansionandtitlesinaplaceFromwhencehimselfdoesfly?Helovesusnot…Allisthefearandnothingisthelove.”Speaker:Significance:
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EndofPlayPortfolioPieceDirections:Duringthenexttwodaysyouwillhaveclasstimetoworkonyourfinalportfoliopieces,andtoorganizeandrevisethoseportfoliopiecesyou’veworkedonpreviously.Remember,youwillbeturningalloftheseinasacompleteportfoliotomenextMonday.Foryourfinalportfoliopiece,youhaveachoicetowhatyoucanwriteon,drawingfromanyoftheideasbelow,oranyothersthatyouapprovewithme.1.Composeaone‐and‐a‐halftothreepagetyped,doublespacedanalyticalessaythatanswersanyofthefollowingquestions:
• Aclassictragicheroisapersonwithmanygoodqualitieswhoisdefeatedbyafatalflawinhisowncharacter.ExplainhowthisdefinitionfitsMacbethasatragichero.Besuretoexplainhisgoodqualitiesandhowhisflaw(s)progressedandultimatelyresultedinhisdownfall.
• LookbackoverthemurdersofDuncan,theguards,Banquo,andMacduff’sfamily.TraceMacbeth’sroleinthesemurders,andhowhisattitudeaboutthemchangeastheplayprogresses.
• Howdoestheimageryofdiseasefunctionintheplay?TracethewayinwhichevilworkswithinMacbethandonScotlandlikeasickness.Consider“sickness”asphysical,mental,andinnature.IsthecountryhealedbyMalcolm’soverthrowandsuccessiontothethroneofScotland?
2.Writeascenereferredintheplaywhichoccursoffstage.Thereareseveralpossibilitieshere,includingthemeetingbetweenMalcolmandKingEdwardofEngland,theprivatemeetingbetweenMacbethandhismurdererfollowingFleance’sescape,theactualmurderofDuncan,Malcolm’sreignasking,oroneofLadyMacbeth’searliersleepwalkingepisodes.3.Createafive‐stanzapoemsummarizingthemaineventsofeachactoftheplay,onestanzaperact.4.DraftanarticleforYeCawdorGazette,thelocalnewspaperthatwouldhavebeencoveringallthebigeventsthatunfoldintheplay.Somepossibleheadlinesinclude:
• ExclusiveInterviewwithMalcolminEngland• MacduffMournsLosses• DoctorRulesLadyMacbeth’sDeathaSuicide:OthersClosetotheFamilyInsistItToBeAnAccident
• MurderersConfess:King’sHiredBladeInstructedtoKillBanquo• SheProfessedAllWhileSleepwalking• ServantRecallstheNightofDuncan’sMurder
5.Sketchabodybiography,avisualandwrittenportraitillustratingseveralaspectsofthecharacter'slifewithintheliterarywork.Thebiographyshouldcontainthefivemostimportantquotesrelatingtoyourcharacter,visualsymbols,andanoriginaltextexplainingwhyyouselectedtheseforyourcharacter.
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Macbeth Final Test Name:____________________I.Matching.Matchthecharactertothedescriptionthatfitshim/herbest.(20pointstotal)______1.LadyMacbeth a.Providesthecomicreliefoftheplay______2.Duncan b.SeeksjusticeandkillsMacbeth______3.Fleance c.Loyalcompanionwhoismurdered______4.Macduff d.Atrustingkingwhoismurdered______5.Macbeth e.Ambitiousthanewhobecomesking______6.Banquo f.Banquo’ssonwhosurvivestheassasin’sblade______7.Malcolm g.DrivesMacbethtopower,latercommitssuicide______8.Witches h.Becomesrightfulkingattheendoftheplay______9.Porter i.RevealsthefutureofMacbethandBanquo
10.DialMforMacbeth.OrderthefollowingpeopleMacbethmurders(ororderstobemurdered)beforeandduringhisreignasking,startingwiththeearliest(1‐5):______Macduff’sfamily______Twoguards______Duncan______YoungSiward______Banquo
11.Witches’Prophecies.Sequencethefollowingpropheciesintheorderthatthewitchesgivethem,startingwiththeearliest(1‐5).______Macbeth’sassurancethatnomanwhoiswomanborncanharmhim______Macbeth’scautiontobewareofMacduff______Macbeth’sassurancethathewillneverbevanquisheduntilBirnamWoodcomestoDunsinane______Macbeth’spromisetobeThaneofGlamis,ThaneofCawdor,andKingofScotland______Banquo’spromisetogetkings,butbenone
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II.QuoteIdentification.Identifythespeaker(s)andexplainthemeaningand/orsignificanceofthefollowingquotesfromtheplay.(30pointstotal)
12.“Stars,hideyourfires:Letnotlightseemyblackanddeepdesires:Theeyewinkatthehand;yetletthatbeWhichtheeyefears,whenitisdone,tosee.”Speaker:Significance:13.“Fairisfoulandfoulisfair:Hoverthroughthefogandfilthyair.”“Adrum,adrum!Macbethdothcome!”“Double,doubletoilandtrouble;Fireburnandcauldronbubble.”Speakers:Significance:14.“Butgentleheavens,Cutshortallintermission;fronttofrontBringthouthisfiendofScotlandandmyself;Withinmysword’slengthsethim;ifhe‘scape,Heavenforgivehimtoo!”Speaker:Significance:
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III.ShortAnswer.ChooseTWOofthefollowingthreequestionstoanswerinafewparagraphsonyourownpaper.(50pointstotal) 15.MacbethandLadyMacbethbothchangedrasticallythroughouttheplay.Thepeopletheywereatthebeginningseemalmostunrecognizabletowhotheybecomebytheend.Explainthewayseachofthesetwocharacterschange,whetherthatbeinthought,motivation,and/oraction. 16.CompareandcontrastMacbeth,Macduff,andBanquo.Howaretheyalike?Howaretheydifferent?IsitpossibletoarguethatMacbethistheplay’svillainandMacdufforBanquoitshero,orisitmorecomplicatedthanthat? 17.OneofthethemesofMacbethcentersonthepowerofevilandgreedyambition.Macbeth,agoodandhonestman,iscorruptedbythispowerandusesittosuccessfullybecomethemostimportantpersoninScotland.DoyouthinkShakespearesawevilasstrongerthantheforcesofgood?Supportyouranswerwitheventsfromtheplay.IV.ExtraCredit.(2pointsforeachcorrectanswer) 1.NametheothersonofDuncanwhofleestoIrelandandisn’theardofagainintheplay. 2.Nameachangeoradditionthedirectorincludedinthemoviewewatchedthatwasn’tintheoriginalplay,andwhyyouthinkitmighthavebeenadded/changed.