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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.