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MADNESS MACBETH MACDUFF WITCHES LADY MACBETH REVENGE JEALOUSY
ENGLISH II - PERIODS 3/4/7/8 - LAST NINE WEEKS
GREAT SOURCE FOR MACBETH - ANNOTATIONS - INTERPRETATIONS
ADDITIONAL SOURCES - POETRY - TPCASTT -
TIME LINE OF 1606:
VIRTUAL TOUR FOR STUDENTS - IT GIVES THEM A DEEPER INSIGHT INTO MACBETH - EACH PAGE ASKS THE STUDENT QUESTIONS ABOUT SHAKESPEARE:
http://hrsbstaff.ednet.ns.ca/engramja/Svtour.htmlhttp://hrsbstaff.ednet.ns.ca/engramja/Svtour.html#STOP # 1
Stop # 1
Stop # 2
Life During Shakespeare's Time
Stop # 3
The Globe Theatre
Stop # 4
Plays for Study
CARTOON VIRTUAL TOUR OF THE GLOBE THEATER:
LEADING QUESTION: On first thought, it strikes one as somewhat anomalous that the finest and deepest moral effects produced through the study of poetry should come through the study of evil and failing characters. But, anomalous or not, a moment's reflection convinces one that it is so. Not the perfect characters but the imperfect and evil characters make the deepest appeal; make, indeed, any kind of effective appeal to our imagination and to our moral sense.
Decisions, Actions, and Consequences
What is the relationship between decisions and consequences?
How do we know how to make good decisions?
How can a person’s decisions and actions change his/her life?
How do the decisions and actions of characters reveal their personalities?
How do decisions, actions, and consequences vary depending on the different perspectives of the people involved?
FOLLOW DIRECTIONS AND CAN COMPLETE THAT ASSIGNMENT TO THE BEST OF MY ABILITY
I CAN UNDERSTAND THE CONCEPT OF MADNESS, BUT ALSO, FORMULATE MY OWN DEFINITION OF THE WORD USING VARIOUS RESEARCH METHODS: BOOKS, GOOGLE SCHOLAR OR REFERENCE RESOURCES SUCH AS DICTIONARY.COM.
I CAN DEFINE CONSEQUENCES BUT ALSO, FORMULATE MY OWN DEFINITION OF THE WORD USING VARIOUS RESEARCH METHODS: BOOKS, GOOGLE SCHOLAR OR REFERENCE RESOURCES SUCH AS DICTIONARY.COM.
I CAN APPLY BOTH THE FRISCO AND SEBKUS STRATEGIES LISTED BELOW:
I CAN USE INTERTEXTUALITY TO UNDERSTAND BETTER THE MADNESS OF MACBETH
I CAN APPLY ONE OF THE LITERARY CRITICISMS TO MACBETH AT VARIOUS TIMES WHEN READING MACBETH
ALTHOUGH MACBETH WAS WRITTEN CIRCA 1599 and 1606 SOME 400 YEARS AGO - IT’S THEMES STILL RESONATES WELL WITH US TODAY: The Corrupting Power of Unchecked Ambition, The Relationship Between Cruelty and Masculinity, The Difference Between Kingship and Tyranny - Motifs, Hallucinations, Violence, Prophecy, Symbols Blood, AND The Weather.
Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Does Shakespeare’s MACBETH include such acts of betrayal? In a well-written essay, analyze the nature of the betrayal and show how it contributes to the meaning of the work as a whole.
What is the nature of betrayal?
Choose a relationship that illustrates betrayal
How does the nature of betrayal manifest itself in the relationship
What is the meaning of the work
How does the nature of betrayal contribute to the meaning of the work.
Choose a complex and important character in a novel or a play of recognized literary merit who might—on the basis of the character’s actions alone—be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we might otherwise think. Avoid plot summary.
1. Write a eulogy for FOR ONE OF THE CHARACTERS
2. Use the Internet to help you formulate a great speech
ARCHETYPAL CRITICISM – Archetypes are universal symbols – images, characters, motifs, or patterns that recur in the myths, dreams, oral traditions, songs, literature, and other texts of peoples widely separated by time and place. Archetypal criticism deals with the similarities of these patterns in the literatures of widely diverse cultures. For example, most cultures have stories that present the hero’s journey.
HISTORICAL CRITICISM – While acknowledging the importance of the literary text, the Historical approach recognizes the significance of historical information in interpreting literature. This perspective assumes that texts are both influence and influenced by the times in which they were created. For example, an interpretation of Things Fall Apart by Chinua Achebe may be enhanced by an understanding of the effects of colonialism in present-day African life.
FEMINIST CRITICISM – Feminist interpretation focuses on relationships between genders. It examines the patterns of thought, behavior, values, enfranchisement, and power in relations between and within the sexes. A feminist reading of Their Eyes Were Watching God, for example, may examine the novel as an example of a heroine’s journey.
MARXIST CRITICISM – Marxist criticism asserts that economics provides the foundation for all social, political, and ideological reality. The presence of economic inequalities is a power structure that drives history and influences differences in religion, race, ethnicity, and gender. For example, status in the community of Their Eyes Were Watching God can be examined from an economic point of view.
READER RESPONSE CRITICISM – Reader Response criticism focuses on a reader’s active engagement with a piece of print or non-print text. The reader’s response to any text is shaded by the reader’s own experiences, social ethics, moral values, and general views of the world. For example, the response to To Kill A Mockingbird may depend on the reader’s sense of outrage on behalf of someone who unjustly accused of a crime.
CULTURAL CRITICISM – Cultural criticism examines how differing religious beliefs, ethnicities, class identification, political beliefs and individual viewpoints affect how texts are created and interpreted. What it means to be part of – or excluded from – a specific group contributes to and impacts our understanding of texts in relation to culture. For example, in Things Fall Apart, the way missionaries treat natives suggests they see the native culture as inferior.
HOW TO READ LITERATURE LIKE A PROFESSOR - VIOLENCE - DON’T READ WITH YOUR EYES
11. …More Than It’s Gonna Hurt You: Concerning Violence
a. Violence can be symbolic, thematic, biblical, Shakespearean, Romantic, allegorical, transcendent.
b. Two categories of violence in literature
i. Character caused—shootings, stabbings, drownings, poisonings, bombings, hit and run, etc
ii. Death and suffering for which the characters are not responsible. Accidents are not really accidents.
c. Violence is symbolic action, but hard to generalize meaning
d. Questions to ask:
i. What does this type of misfortune represent thematically?
ii. What famous or mythic death does this one resemble?
iii. Why this sort of violence and not some other?
25. Don’t Read with Your Eyes
a. You must enter the reality of the book; don’t read from your own fixed position in 2005. Find a reading perspective that allows for sympathy with the historical movement of the story, that understands the text as having been written against its own social, historical, cultural, and personal background.
b. We don’t have to accept the values of another culture to sympathetically step into a story and recognize the universal qualities present there.
CRITICAL THINKING SKILLS:
The three underlying strategies are “Reflection, Reasons, Alternatives” (RRA):
1. Urge students to be Reflective, to stop and think, instead of making snap judgments, or accepting the first idea that comes into their heads, or automatically accepting whatever is presented in the media.
2. Gently ask such questions as “How do you know”, "What are the reasons?" and “Is that a good source of information?” thus prodding them to have good Reasons for their views and to seek reasons for others' views.
3. Emphasize alertness for Alternative hypotheses, conclusions, explanations, sources of evidence, points of view, plans, etc.
21. To supplement the underlying strategies, “RRA”, urge mid-level students to use the following acronyms and their associated guidelines: “FRISCO” and “SEBKUS”.
FRISCO: When appraising a position, whether yours or another’s, attend at least to these elements:
F for Focus: Identify or be clear about the main point, that is, the conclusion
R for Reasons: Identify and evaluate the reasons
I for Inference: Consider whether the reasons establish the conclusion, given the alternatives
S for Situation: Pay attention to the situation
C for Clarity: Make sure that the meanings are clear
O for Overview: Review your entire appraisal as a unit
SEBKUS: When doing appraisals and planning investigations and other actions, make full use of and try to expand your Sensitivity, Experience,Background Knowledge, and Understanding of the Situation. Critical thinking does not occur in a vacuum.
EMBEDDED ASSESSMENT: SPRINGBOARD
Your assignment is to research, analyze, and present an oral interpretation of a monologue. Your monologue should represent a point of view or cultural experience reflected in a work of literature from outside the United States. You will need to use vocal and visual delivery to convey a complex character’s voice. You will write a character sketch of the character you are portraying. You will also evaluate your own and other students’ performances and write a reflection on your oral interpretation.
1. Write a eulogy FOR ONE OF THE CHARACTERS
2. Use the Internet to help you formulate a great speech
Planning: Take time to make a plan for your oral interpretation.
How will you select a monologue from your independent readings, research, or class readings that conveys a complex character?
What strategies will you use (such as SMELL) to analyze the speaker’s character, tone, and motivations?
How will you mark the text to indicate vocal and visual delivery?
Drafting: Write an introduction to your monologue.
What research will you need to do to find more information about your source text, such as the title and author?
How will you describe the motivations and complexities of your character in your character sketch?
How will your introduction place this monologue in context of the play as a whole?
Rehearsing: Practice the delivery of your oral interpretation.
How many times do you need to read your monologue aloud to grow comfortable with the pacing, volume, and pronunciation?
How can you record your reading or use peer responding to help you revise your oral interpretation?
Presenting and Listening: Deliver your oral interpretations within a group.
How will you engage with your audience during the oral interpretation by using eye contact as well as vocal and visual delivery?
What note-taking strategy will you use to respond to other students’ oral interpretation skills and to record notes about the characters and texts?
Write a reflection evaluating your overall performance.
What steps did you take to help you understand the text and plan your delivery?
What were the strengths and challenges of your overall performance?
What did you learn about oral interpretation and characterization from your own and your peers’ performances[unclear]
HISTORICAL BACKGROUND OF MACBETH:
INTRODUCTION TO MACBETH:
INDEPENDENT READ: MEDEA
What is Madness?
Daily Fast writes:
ONLINE TEXT: http://www.shakespeare-online.com/plays/macbeth_3_1.html
VARIOUS TEXTS ONLINE:
Macbeth Unit Plan:
LINKS TO BOOKS, ETC – TYPE IN MACBETH
Macbeth and Issues of Gender – Yale Initiative:
The Forgotten Story of Orson Welles' All-Black 'Macbeth' Production
What happened when the federal government fought Jim Crow with Shakespeare? Two words: 'Voodoo Macbeth.'
SEXUALITY, WITCHCRAFT, AND VIOLENCE IN MACBETH:
MASTER HAROLD AND THE BOYS:
THE CURSE OF THE PLAY:
THE REAL OR ASSUMED MADNESS OF HAMLET
Women who Wreak Havoc:
MACBETH: THE LAST KING OF SCOTLAND, THRONE OF BLOOD, AND MEN OF RESPECT – VARIOUS DEPICTIONS OF MACBETH.
The Last King of Scotland
THRONE OF BLOOD
Men of Respect (1990)
Contrary to the wording of the film's coda, three hostages died during Operation Entebbe. The body of a fourth hostage, 75-year-old Dora Bloch, who was killed by Ugandan Army officers at a nearby hospital in retaliation for Israel's actions, was eventually returned to Israel. Some historians believe the film and its depiction of Amin are comparable with the Shakespearean character Macbeth. According to Giles Foden, the author of the book on which the screenplay is based, adapting William Shakespeare's title character from Macbeth as a third-world dictator is arguably plausible.
A jealous wife sends an unthinkable message to her cheating husband. A lord, urged on by his aggressive lady, murders his king. A mistreated stepdaughter engages with magic for love and happiness. Three plays from two millennia of populist theatre—Greek tragedy, Elizabethan drama and American musical comedy. But you will be astonished by how these separate stories of ambition interweave into one revelatory whole that builds to an unexpected climax.
Although Throne of Blood is a fairly straightforward adaptation of Macbeth, director Akira Kurosawa’s most significant innovation was transposing the action from 11th century Scotland to feudal Japan. Macbeth becomes Taketoki Washizu (Toshiro Mifune), with his scheming wife Lady Macbeth transformed into the equally power-hungry Asaji (Isuzu Yamada).
Macbeth as a gritty mob drama feels like an obvious choice — and it was. Long before Men of Respect, the 1955 film Joe MacBeth did just that. But Men of Respect is a little less obvious. John Turturro stars as Macbeth stand-in Mike Battaglia, who — at the urging of his Lady Macbeth-esque wife Ruthie (Katherine Borowitz) — plans a hostile mob takeover
MEANING OF MACBETH’S NAME INSPIRATION FOR MACBETHMACBETH/CHINA
Surname MACBETH. USAGE: Scottish. Derived from the Gaelic given name Mac Beatha meaning "son of life", which denoted a man of religious devotion. This was the name of an 11th-century Scottish king, and the name of a play based on his life by William Shakespeare. Home » Names.
The name "Macbeth" means "son of life", and is a Christian name rather than a patronymic (hence the "b" is lower case.) Macbeth would have signed his friends' high school yearbooks "Macbeth mac Findlaech" (McFinley). There are MacBeth families in Scotland and Nova Scotia.
Holinshed's Chronicles, also known as Holinshed's Chronicles of England, Scotland, and Ireland, is a collaborative work published in several volumes and two editions, the first in 1577, and the second in 1587. It was a large, comprehensive description of the British history.
The Chronicles are a source of interest to many because of their links to Shakespeare's plays.
The Chronicles and Macbeth
A generic picture of Lords meeting Ladies used amongst other things for illustrating "Macbeth and Banquo encountering the witches" in the first edition of Holinshed's Chronicles.
Shakespeare used Holinshed's work extensively in Macbeth, but, in modified form. An instance is the witches, who Holinshed describes as "creatures of the elderwood ... nymphs or fairies". Nymphs and fairies are generally viewed as beautiful and youthful, but Shakespeare's three witches in Macbeth are ugly, dark, and bizarre. It is believed that he made the change to heighten the suspense and darkness of the play. However, the Chronicles were lacking any description of Macbeth's character, so Shakespeare improvised on several points. The characters Banquo and Fleance were also taken from Holinshed’s works, but they are now considered by many historians to be mythical, created by the rulers of Scotland at the time of the publication of the Chronicles.
It would not do for a member of the politburo to be accused of involvement in the murder of a foreigner or the corruption in which his family must have indulged to support its lifestyle. That would have meant that the party, which officially is never mistaken, had been fooled. So the blame had to be heaped on Gu, who is accused of killing Heywood after a business dispute to protect her son. Bo will, no doubt, be sanctioned, expelled from the party and kept under house arrest but he will escape the supreme punishment.
Though official reports of the case last week convicted her in advance, Gu may be saved from execution by her mental state and the argument that she acted to protect her son from Heywood. But the key factor for the leadership is to put a distance between what happened in the Chongqing hills and the political movement that has ruled China since 1949. For all its economic progress, the bottom line remains the preservation of political power. The error of Bo and Gu was to imagine themselves bigger than the system. In today's China, that is the cardinal sin.
MACBETH IN AFRICA
Msomi melds the plot of “Macbeth” with the history of Africa’s great warrior king of the 19th century, Shaka Zulu. Shakespeare’s bloodthirsty Scottish clans become African tribes, the bard’s witches become witch doctors. The parallels are striking and unstrained, yet the streamlined plot presentation strips the tale of psychological nuance and subtlety.
The large cast, headed by Thabani Patrick Tshanini as Mabatha (Macbeth) and Dieketseng Mnisi as Ka Madonsela (Lady Macbeth), does well in differentiating characters despite the language barrier, and the Zulu regalia (the production’s costuming is uncredited) provides color and flash to the bare stage.
But it’s the choreography (by Thuli Dumakude, Mduduzi Zwane and Mafika Mgwazi) that brings “Umabatha” to life. The extended tribal dance that ends the production is the payoff to a show that otherwise seems to have outlived itself.
MACBETH IN AUSTRALIA
Macbeth is a 2006 Australian adaptation of William Shakespeare's Macbeth. It was directed by Geoffrey Wright and features an ensemble cast led by Sam Worthington in the title role. Macbeth, filmed in Melbourne and Victoria, was released in Australia on 21 September 2006.
Wright and Hill wrote the script, which — although it uses a modern-day Melbourne gangster setting, and the actors deliver the dialogue in Australian accents — largely maintains the language of the original play.
Macbeth was selected to screen at the Toronto International Film Festival in September 2006.
FREUD’S INTERPRETATION OF MACBETH
I dream of Oedipus: Freud’s interpretation of Macbeth
Macbeth is the ultimate story of betrayal, ambition and greed. The play is written in a dreamlike state, sometimes considered a dream itself, and the two leading characters have been analyzed by more psychologists and scholars alike than almost any other character in literature. However, few can agree on how to interpret them. Even the great Sigmund Freud didn’t have much to say on the matter. He claimed it was “impossible to come to any decision” as the play progresses far too quickly for any singular character to develop fully (Freud E-2). Yet this has not stopped his students from coming up with a sufficient analysis of Lord and Lady Macbeth, and the analysis have attempting to discover a motive for the couple to jump to the conclusion of murder.
There are a few approaches one can take when psychoanalyzing the Lord and Lady Macbeth. First off, one has to decide to read the characters as such or as real people. For the purposes of psychoanalysis, it makes the most sense to assume the latter of the two. Once that is decided, it can then either be assumed that Lord and Lady Macbeth are two separate entities or that they are two parts of one being.
Taken as herself, Lady Macbeth originates the stronger of the two conspirators. There is no hesitation in her will for Duncan to die. According to Norman Holland’s book Psychoanalysis and Shakespeare, Lady Macbeth is discouraged by her husband’s impotence. She therefore decides to focus all of her energies on her husband’s ambitious plans (Holland p 65). She even goes so far as to give up all that is womanly and dedicate herself to cruelty, in order to gain status (Davis p 213).
FREUD’S: ID, EGO, AND SUPER-EGO
ID - The id is the most basic part of the personality, and wants instant gratification for our wants and needs. If these needs or wants are not met, a person becomes tense or anxious.
EGO - The ego deals with reality, trying to meet the desires of the id in a way that is socially acceptable in the world. This may mean delaying gratification, and helping to get rid of the tension the id feels if a desire is not met right away. The ego recognizes that other people have needs and wants too, and that being selfish is not always good for us in the long run.
Read more at http://examples.yourdictionary.com/examples-of-id-ego-and-superego.html#h4ud2F6OoUUX3Aom.99
SUPER-EGO - The superego develops last, and is based on morals and judgments about right and wrong. Even though the superego and the ego may reach the same decision about something, the superego’s reason for that decision is more based on moral values, while the ego’s decision is based more on what others will think or what the consequences of an action could be.
Id in Macbeth Macbeth's Ego and Super-Ego are what keeps him from wanting to kill at first. His Ego is what takes other people into consideration. His Ego tells him that he shouldn't kill Duncan because he's a guest in his home and that's inconsiderate. His Super-Ego tells him that it's morally wrong to kill another person. Ego/Super-Ego in Macbeth "People occasionally fall ill precisely when a deeply-rooted and long-cherished wish has come to fulfillment." The Id is the first to develop in a person.
QUESTION TO PONDER: Is political assassination like the one in Macbeth ever justified? Why? [POLITICAL Assassination is the murder of a prominent person, often but not always a political leader or ruler, usually for political reasons or payment. An assassination may be prompted by religious, political, or military motives; it is an act that may be done for financial gain, to avenge a grievance, from a desire to acquire fame or notoriety, or because of a military, security or insurgent group's command to carry out the homicide.]
ACTIVITY_1: AS YOU LOOK AT THE LIST OF ASSASSINATED POLITICAL LEADERS, FOCUS ON 5 OF THE VICTIMS, WRITE TWO PARAGRAPHS WITH TEXTUAL EVIDENCE EXPLAINING YOUR FINDINGS: VICTIM'S’ NAME, OFFICE HELD, SITE, METHOD, ASSASSIN’S NAME AND SUSPECTED MOTIVE - ARE THERE SIMILARITIES; ARE THERE DISTINCT DIFFERENCES?
ASSASSINATED AMERICAN POLITICAL FIGURES:
ACTIVITY_2_SUMMARIZE IN YOUR OWN WORDS THE VARIOUS TYPES OF MURDER - 2 PARAGRAPHS WITH TEXTUAL EVIDENCE.
DEGREES OF MURDER
First Degree or Capital Murder
First-degree murder, or capital murder as it is often called, is the most serious form of murder. In most states, a first degree murder involves elements like deliberate planning, premeditation, or malice. Deliberate means that the defendant makes a clear-headed decision to kill the victim. Premeditation involves showing the defendant actually thought about the killing before it occurred.
Read more: http://criminal-law.freeadvice.com/criminal-law/violent_crimes/degrees.murder.htm#ixzz4235FY3ck
Under Creative Commons License: Attribution
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Second Degree Murder
Second degree murder is killing another with malice - doing a harmful act without just cause or legal excuse - but without premeditation or deliberation. In other words, this means intentionally killing someone without planning to do so in advance. If a person becomes angry, walks over to a desk where he keeps a gun that is kept just for his protection, takes out the gun and shoots another person, that may be second-degree murder because there was no plan or advance decision to kill. It would still be second degree murder because the act of taking out the gun and shooting was intentional.
Read more: http://criminal-law.freeadvice.com/criminal-law/violent_crimes/degrees.murder.htm#ixzz4235NtY5D
Felony murder is a killing that happens during the course of the commission of a felony. The murder isn’t necessarily planned out or intended, it’s just a consequence of the other offense. Even a death that is an accident will be considered felony murder by most states if it happens while a felony is being committed.
Read more: http://criminal-law.freeadvice.com/criminal-law/violent_crimes/degrees.murder.htm#ixzz4235U18IL
Involuntary manslaughter is defined as the unlawful killing of a human being without malice aforethought. In order to be involuntary manslaughter, the killing must have been unintentional. Different states have different definitions of or requirements for involuntary manslaughter. Generally, there are two ways to commit involuntary manslaughter: when a person causes the death of another during a lawful act carried out with a high level of negligence, or when a person causes the death of another while committing or attempting to commit a low-level unlawful act.
Read more: http://criminal-law.freeadvice.com/criminal-law/violent_crimes/involuntary_manslaughter.htm#ixzz4235bcBa9
Voluntary manslaughter occurs when one person kills another after adequate provocation, that is, there has been action that was sufficient to incite an ordinary person to sudden and intense passion such that he loses self-control. Although the person may have intended to kill the victim in a voluntary manslaughter situation, it is not voluntary manslaughter if the killing was pre-meditated.
Read more: http://criminal-law.freeadvice.com/criminal-law/violent_crimes/voluntary_manslaughter.htm#ixzz4235nERs7 Under Creative Commons License: Attribution Follow us: @FreeAdviceNews on Twitter | freeadvice on Facebook
Homicide is the killing of one person by another. Every state has some type of homicide statute, but the concept behind the homicide charge evolved from common law principles. Under common law, homicide is classified in three ways including justifiable homicide, excusable homicide, and criminal homicide. How a defendant is charged with homicide will usually depend on the intent and actions of a defendant. If a defendant takes the life of another person, but did not intend the result, they would face a lower punishment or homicide charge. Conversely, a person that actually intended to harm someone without a good reason would face a higher homicide charge and punishment range.
FIRST DEGREE MURDER
SECOND DEGREE MURDER
DEFINITION OF ASSASSINATION:
http://www.merriam-webster.com/dictionary/assassinateAssassinate | Definition of Assassinate by Merriam-Webster
MACBETH AND MODERN SOCIETY:
Supreme Hereafter: Power Parallels in Shakespeare's Macbeth and American Horror Story: Coven
How is Macbeth relevant to us today/modern time /things reflected in Macbeth? and how can we make a 2009 modern adaption of Macbeth
Tcase of Patti and Rod Blagojevich of Illinois carries some elements of Macbeth in terms of the coveting of power.
In American History, the actions of Richard Nixon and his desire to want to solidify power at all costs is reminiscent of Macbeth ideas.
This is similar to many problems of society today, especially in teenage boys. Many people believe physical violence is the only way to fix their problems, which actually, it will most likely only cause a bigger one. Fights can never end up good - someone will always come out of it second best, and the other may even be caught out by the police or teachers! This leads to my next point, masculinity.
Like Macbeth, Macduff and Lady Macbeth, people nowadays still 'need' to prove their masculinity by violence, especially teenage boys, and that is why the theme of violence is so relevant in today's society.
Macbeth’s Relevance in Today’s Society
Shown through events like the 2008 stock market crash and the United States’ war on Iraq, our modern society reflects that of Macbeth. An entire country was thrown into chaos because the greed and lust for power of one man, and yes, that happened in Macbeth too. Like Macbeth himself, people in our society so often disregard the needs and well-being of others in their desire for wealth and power. Comparable to the controllers of oil stock and lending institutions of Wall Street pre 2008, Macbeth is so bent on achieving glory and power he does not consider the greater consequences of his dishonesty and treachery. The result of this is Scotland being thrown into chaos, similar to our economy six years ago.
Another theme that can be seen in Macbeth and our modern society is the capitalization on others’ disorder. The U.S. used “chaos” in Iraq to justify a war, one that just happened to profit them greatly. Syria would have been a similar case if it weren’t for Russia’s influence. Alike, England in Shakespeare’s tragedy took advantage of Scotland’s frenzied state to further their power and better their economy. Sometimes our society’s actions are done for the greater good of others with legitimate justification (i.e. Afghanistan), but the greed and dishonesty seen in Macbeth holds eerie parallel to that which surrounds us.
Hollywood's Liberal Use Of Violence Makes It The Modern Lady MacBeth
Kurt Sutter, the writer-producer of such TV shows as”Sons of Anarchy” and “The Shield,” … “Woke up to the news about shooting,” he said in a Twitter message last Friday after 12 people were killed and 58 injured. “This kinda thing always makes me question my liberal use of violence in storytelling.”
In November 1605, the infamous Gunpowder Plot took place in which some Catholics, most famously Guy Fawkes, plotted to blow up James I, the first of the Stuart kings of England. The story is remembered each November 5th when ‘Guys’ are burned in a celebration known as “Bonfire Night”.
The story appears to be very simple.
Catholics in England had expected James to be more tolerant of them. In fact, he had proved to be the opposite and had ordered all Catholic priests to leave England. This so angered some Catholics that they decided to kill James and put his daughter Elizabeth on the throne ensuring that she was a Catholic. This led to a plot to kill not only the king of England, James, but also everyone sitting in the Houses of Parliament at the same time as James was there when he opened Parliament on November 5th, 1605.
"Sex, Drugs, Rock & Roll" Inspiration: We hate to love these three movies about the unchecked greed of 1980's Wall Street
Michael Douglas's infamous character Gordon Gekko in the film "Wall Street" wasn't just an example of a highly corrupt and deeply selfish fictional character, it was synonymous with an entire mindset of the stock brokers, traders, and salesmen that descended upon the Financial District every day.
"The Wolf of Wall Street," made thirty years after the 80's stock boom ended, can barely contain its glee as it shows the traders plowing through hookers, drugs, and the savings' of the poor and clueless with reckless abandon. Every character in this film is aggressively unlikeable and their actions are truly terrible, but yet, we're still fascinated.
Hyper-violent and slick as blood, "American Psycho" shows a trader named Patrick Bateman whose calm veneer masks an axe-wielding need to murder.
In the 1980's, the line "Greed is Good", uttered by Michael Douglas's infamous character Gordon Gekko in the film "Wall Street" wasn't just an example of a highly corrupt and deeply selfish fictional character, it was synonymous with an entire mindset of the stock brokers, traders, and salesmen that descended upon the Financial District every day.
The easily abused tension in Shakespeare’s play between the supernatural mechanisms of destiny that the sisters represent and the free choices that Macbeth makes in response to their prophesizing is nicely navigated here. It’s true that these are creatures of unholy power, but Macbeth is the one who embraces their nightmare vision, and for that the sin lies with him.
It is a strong moral warning: As we struggle through life, sensitive to the rhythms of grace and temptation, let us not play midwife to the new birth of evil, which only needs a listening ear to prove effective.
MACBETH: APPETITE ALCOHOLISM, RELIGION/SUFFERING, RACE, GENDER, SEX, EVIL BABIES AND CHILDREN, ECONOMY, WARFARE, SOCIAL CLASS, GEOGRAPHY, AND FASHION/CLOTHING.
Appetite and Ambition: The Influence of Hunger in Macbeth
Abstract: This article examines the prevalence of food and food-related imagery in Macbeth, arguing that the severe anxiety about the provision of food that affected a large proportion of the population of early modern England has a profound influence on the play.
Dressed in Drunk Hope: Alcoholism in Shakespeare’s Macbeth
To understand the significant role of alcohol in Shakespeare’s plays, one must take into account its history in Renaissance England. In Drink: A Cultural History of Alcohol, Iain Gately explains that alcohol, commonly found in the form of ale or wine, was a dietary staple in Shakespeare’s time (106). Due to the lack of clean water, alcohol was the primary form of liquid nourishment. Up until the Protestant Reformation, people remained relatively indifferent on the subject of alcohol.
Religion and Suffering in Macbeth
Though Macbeth is a murdering tyrant, the play constantly makes us aware of his intense suffering, which he himself identifies with his rejection of grace.
Macbeth is the most explicitly religious of all Shakespeare's tragedies, including those A. C. Bradley called "the famous four." In Bradley's view, religion is almost wholly subsumed by the imagination, which explains Macbeth's character. He is a "man of action" who "has, within certain limits, the imagination of a poet" (352), and Bradley treats this quality first in his analysis of the play, because he maintains that Shakespeare's interest lay "in action issuing from character, or in character issuing in action," and "the supernatural" in tragedy "is always placed in the closest relation with character" (14).
"This rich and provocative collection of essays is a compilation of historical, theoretical and interdisciplinary viewpoints on ways in which performances of Macbeth have engaged issues of race . . . Weyward Macbeth leaves a reader strangely unsettled as, of course, does Macbeth. I closed the volume with a new sense of Macbeth's importance to issues of race in the United States, more acutely aware of the ferment and potential of engaging with this intersectional study, and yet also conscious of the still fragmented state of this aptly named 'weyward' pursuit . . . Many diverse perspectives are at work in this volume, and not always towards the same ends. But in the last analysis, that diversity seems utterly appropriate: the move here is not to establish a new orthodoxy but to break down received ideas about race and Shakespeare . . . Newstok and Thompson's volume corroborates that vision of multiple Shakespeares and multiple Shakespeareans, both within 'the confines of the script' and beyond it." - Nicholas Jones, Shakespeare Bulletin
The world that Shakespeare has created in Macbeth is a world of men and women living with gender stereotypes: crossing them, fighting against them, and the blurring of roles. Interestingly, according to Holinshed's Chronicles of Scotland, the inspiration for many of Shakespeare's plays, we learn that in the days of the historic Macbeth, once the actual King of Scotland, women were not kept in a quiet, weak, uninvolved role. We learn from Carolyn Asp that "Holinshed actually writes of this period that 'in the daies also the women of our countries were of no lesse courage than the men; for all stout maidens and wives. . .marched as well in the field as did the men, and so soone as the armie did set forward, they slue the first living creature that they found, in whose bloud they not onlie bathed their swords, but also tasted thereof with their mouthes"(158).
The consensus of critical opinion appears to be that sexuality has little structural or thematic importance in Macbeth. Thus, for example, a recent critic can refer to the play as "the purest of Shakespeare's tragedies," in which the Porter's remarks about drink and sex might easily seem incongruous.1 Some later writers, however, have drawn attention to a sexual element in the exchanges between Macbeth and his wife. Jan Kott remarks that Lady Macbeth "demands murder from Macbeth as a confirmation of his manhood, almost as an act of love," and that the "two are sexually obsessed with each other." Ian Robinson sees a perverse passion as the source of Lady Macbeth's influence over her husband in the murders of Duncan and Banquo:
Macbeth examines the nature of evil and the corruption of the human soul. In Macbeth evil is the opposite of humanity, the deviation from that which is natural for humankind, yet evil originates in the human heart. Supernatural and unnatural forces are the agents of human beings, not their instigators. The witches’ words do not seduce Macbeth. He is compelled by his own ambition and his wife’s ruthlessness. Similarly, spirits do not solicit Lady Macbeth, rather she invokes their aid for her purposes.
MACBETH AND BABIES AND CHILDREN
The Scottish economy of this period was dominated by agriculture and by short-distance, local trade. The principal grain grown on arable land was bere (a primitive form of barley), oats and rye. Instead of coins, cattle were used as a form of currency in11th century Alba. The proportions of the main farmed species were probably:
º 50% Cattle º 30% Sheepº 20% Pigs
-In the northern third on the island of Great Britain.
-Divided into three different regions- The Highlands, The Central-Lowlands, and the Southern Uplands.
-Many lowlands, narrow sea lochs, and fjords
-Began in the Middle Ages, with the education of boys based around Church choir schools and grammar schools.
-Education was encouraged by the Education Act 1496, which made it mandatory for the sons of barons and freeholders of substance (upper class) to attend the grammar schools, which in turn helped increase literacy among the upper classes.
-The people generally wore Renaissance and Medieval costume clothing. For Macbeth, he would likely have worn a knee-length tunic, probably with sleeves attached. In battle, chainmail was worn over a padded leather shirt. For formal occasions, a floor-length gown would be worn over the tunic.
-Characters in Macbeth and 11th century Scotland were very ambitious and sought to seize as much land and power as possible
-Most fighting was down with swords, metal armor, and bows and arrows. Macbeth takes place in the Medieval age and portrays mostly Medieval technology.
-The attitude toward women in medieval times, particularly held by the Church, was that they were inferior to men.
-Serfs were a step higher than slaves. Even though they were very maltreated, they still possessed some rights and privileges
-Then of course there were Kings & Queens, the Royals.
-England and Scotland have shared a monarch since 1603 and a parliament since 1707
-Shakespeare's Macbeth bears little resemblance to the real 11th century Scottish king.
The way these characters keep talking about clothes, you'd think there was a 30% off sale at Old Navy. But clothes aren't just keeping the nobles warm in their drafty castles; they're also functioning symbolically to represent these people's stations in life—earned, or stolen.
When Macbeth first hears that he's been named the Thane of Cawdor, he asks Angus why he is being dressed in "borrowed robes" (1.3.115).
MACBETH: PRESIDENT LINCOLN, WHITE HOUSE, ETHICS, AND CIVILIAN LIFE.
Lincoln was a model writer of English prose—but he was also something else: a model of how a decent man comes to terms with the darker aspects of his own character. In Lincoln’s confession of his fascination with Macbeth he has left us a clue which, when taken together with certain passages from his speeches, and certain asides to his friends, amounts to the most elaborate and fascinating kind of confession. Those clues allow us to reconstruct, however imperfectly, the inner drama of a soul perplexed by its own ambitious yearnings—and permit us to glimpse the moral imagination of a civilized man in action.
Any comprehensive interpretation of Lincoln must acknowledge how central a place Macbeth occupied in his imagination. If the Lincoln whom Garry Wills gave us, in Lincoln at Gettysburg, Americanized the funeral oration of Pericles, if the Lincoln whom Edmund Wilson gave us, in Patriotic Gore, Americanized the King James version of the Gospels, we must set beside these Lincolns still another Lincoln, the Lincoln who Americanized Macbeth, and who acted out something of its drama in his life.
Like Shakespeare’s protagonist, Lincoln, too, was a man of "vaulting ambition."9 His law partner, William Herndon, thought him "inordinately ambitious," and likened the ambition that drove him to a "little engine" that "knew no rest."10 At low points in his career, when his ambitious desires went unsatisfied, Lincoln became sullen and dejected. In the dingy law office in Springfield he would sit, for hours at a time, "staring vacantly out the windows."11
THE WHITE HOUSE AND MACBETH
John Adams’s search for wisdom in the Great Bard began early. “Let me search for the Clue, which Led great Shakespeare into the Labyrinth of mental Nature!” he wrote in his diary during December 1758. “Let me examine how men think. Shakespeare had never seen in real Life Persons under the Influence of all those Scenes of Pleasure and distress, which he has described in his Works, but he imagined how a Person of such a Character would behave in such Circumstances, by analogy from the Behaviour of others that were most like that Character in nearly similar Circumstances, which he had seen.”6
MACBETH AND ETHICS
That it takes courage to lead ethically goes without saying. But if the corporate culture trades on
personal ambition, the profit motive and greed, it can be doubly difficult. There were undoubtedly
many occasions where it was becoming obvious that the greater good of companies like Enron or
RBS was being sacrificed to the ambition of a few, but even when documented by the Financial Times’
Gillian Tett in her 2006 book Fool’s Gold: How Unrestrained Greed Corrupted a Dream, Shattered
Global Markets & Unleashed a Catastrophe, few chose to listen or felt in a position to act. Does this
matter? When the fallout is global, the organisation ceases to function and the effect is felt by
everyone, then personally and professionally the answer has to be, yes.
MACBETH AND MILITARY SERVICE/TRANSITION BACK TO CIVILIAN LIFE:
His transition from military hero to ordinary nobleman was certainly not smooth. In the first act of the play of the same name, Macbeth is introduced as the savior of Scotland, who has almost single-handedly vanquished
the King's enemies with his “bloody” sword. After a moment of praise and glory, he is directed to return
immediately to civilian life, no longer in a position of authority but docile and content with what he sees as
meager rewards. The disastrous events that follow are well known: regicide, tyranny, madness, murders and
finally his death back on the battlefield.
QUESTIONS TO PONDER:
The key question that Shakespeare seems to ask is this. Is human society fundamentally amoral, dog-eat-dog? If so, then Macbeth is right, and human life itself is meaningless and tiresome.
Or do the hints of a better life such as King Edward's ministry, Malcolm's clean living, the dignified death of the contrite traitor, and the doctor's prescription for pastoral care, display Shakespeare's Christianity and/or humanism?
Is the message of Macbeth one of despair, or of hope?
To include this page in a bibliography, you may use this format: Friedlander ER (1999) Enjoying "Macbeth" by William Shakespeare Retrieved Dec. 25, 2003 from
COMPARE AND CONTRAST PRESIDENT ABRAHAM LINCOLN TO MACBETH - HOW ARE THEY SIMILAR AND HOW ARE THE UNIQUELY DIFFERENT - WHY WOULD PRESIDENT LINCOLN SEE MACBETH AS A CHARACTER WORTH STUDYING?
Shakespeare’s play Macbeth may not, at first glance, appear to be the place to look for unique
insights on courageous leadership, it has much to teach modern leaders about the dangers of
“vaulting ambition”, and the need to exercise the “royalty of nature” if corporate disasters like Enron, the RBS and Exxonmobil, are to be avoided in the future - ELABORATE AND EXPLAIN MACBETH’S ROLE, _ALTHOUGH FICTION, AND HOW IT ACCURATELY DEPICTS THE HIDDEN PITFALLS OF FLAWED LEADERSHIP, IN A NONFICTION WORLD[unclear]
_HOW DID MACBETH’S TRANSITION FROM A WAR-HERO TO A CIVILIAN SPIRAL HIM INTO AREAS SUCH AS MADNESS, MURDER, AND DEATH - ELABORATE WITH NONFICTION ARTICLES ON TRANSITIONING BACK AFTER WAR.
_EXAMINE THE IRONY IN MACBETH IN RELATIONSHIP TO HIS NAME, WHICH MEANS, ‘SON OF LIFE” - WHY DO YOU THINK SHAKESPEARE CHOSE THIS NAME FOR MACBETH?
_1 JOHN 5:2 “King James Bible He that hath the Son hath life; and he that hath not the Son of God hath not life.
ACTIVITY 3: DEVELOP A MIND MAP OF THE FOLLOWING ITEMS ABOVE MACBETH: PRESIDENT LINCOLN, WHITE HOUSE, ETHICS, AND CIVILIAN LIFE: https://www.mindmup.com/#m:new-a-1457267117484
SHARE YOUR MINDMAP WITH ME AT
MACBETH AND COMPARISONS TO OTHER DYSTOPIAN NOVELS, ETC.
Explore the ways George Orwell and William Shakespeare present conflict in Animal Farm/Macbeth.
In Animal Farm, the best intentions of the animals go awry because the leaders are corrupted by the possibility of power. The idealists are overthrown. In Macbeth, the whole problem is born of ambition.
Explore the ways Napoleon and Macbeth are alike in their ideology on absolute power and corruption.
He does not begin with vision of a Scotland for all thanes and peasants. We can draw parallels between Macbeth (the guy) and Napoleon. Both seek power in absolute terms and both become absolutely corrupt.
Macbeth and 1984
Great topic! You may want to go with the idea of illusion versus reality. Macbeth features witches, ghosts, and apparitions, all of which can arguably be factors and determinants for how the plot moves along and why certain characters do the things they do. 1984, things are hardly as they seem -- one day Oceania is at war Eastasia, next it's Eurasia. Mr. Charrington seems helpful, but is actually Thought Police.
MACBETH AND BRAVE NEW WORLD
As many a reader is aware, in Shakespeare's Macbeth, "ambition conspires with unholy forces to commit evil deeds" [enotes]; likewise, in Huxley's Brave New World ambition leads to misdeeds that produce evil consequences. And, in this ambition and pursuit of power there is a deflection of guilt and equivocation that leads to the ruination of the characters. This motif of Equivocation and Dissembling is illustrated throughout both Macbeth and Brave New World since Macbeth and Lady Macbeth in their lust for power equivocate and dissemble as does Bernard Marx in his attempt to attain social success and superiority.
Macbeth - A Journey Through Wonderland
How are Lady Macbeth and Antigone similar? how are they different?
well obviously they both defy gender roles
they are powerful women, have a mind of their own
Lady Macbeth helps/eggs on Macbeth b/c she wants him to have power, while Antigone does what she does out of conscience...a feeling of morality or whatever (no personal gain really)
Antigone explores a contrast between the behavior expected of women and the reality of their role in society.
Lady Macbeth is power defined but then lost because once she sets off a stream of actions she is left behind.
MACBETH AND NO COUNTRY FOR OLD MEN
Compare Llewelyn Moss (CHARACTER IN MOVIE) to Macbeth, to explore the idea of how power/wealth corrupts. The drug money in NCFOM is like the kingdom of Scotland; Llewelyn and Macbeth both know that they didn't really "earn" it, and try to rationalize to themselves why it's nevertheless ok for them to possess these things. Ultimately they lose what they have gained, leading to their deaths, and the deaths of their families.
WHAT IS MADNESS?
WHAT IS REVENGE?
WHAT IS TYRANNY?
WHAT IS ABSOLUTE POWER?
WHAT IS CORRUPTION?
WHY STUDY FALLING CHARACTERS: all are evil or failing characters, failing rather than inherently evil, no doubt, if we see deep enough, 1 but all alike lacking in precisely those moral qualities which a study of their characters consistently inspires. Why is this?
Macbeth and Lady Macbeth,
Brutus and Julius Caesar
Hamlet and Ophelia
Othello and lago
Satan in Paradise Lost,
Lancelot and Guinevere
The Duke in My Last Duchess,
Andrea del Sarto and Lucrezia
Macbeth Characters: https://www.playshakespeare.com/macbeth/characters
Duncan, King of Scotland
Duncan is the King of Scotland, an old, gracious, pious and gentle man, who resembles Lady Macbeth’s father in his sleep.
Macbeth is Thane of Glamis. A superb general, he is a physically powerful man, able in a fight to eviscerate a man with an upward stroke.
Macduff is the Thane of Fife. Commanded by Duncan to visit him early in the morning at Macbeth’s castle, he discovers the King’s body.
Lady Macbeth is a ruthless woman. More openly ambitious than her husband, she does not shy from murder, and pushes Macbeth towards it.
Lady Macduff is a realist. Horrified at her abandonment by her husband, she castigates him in his absence for a lack of wisdom and normal human feeling.
The First Witch seems to be the leader of the trio of witches.
The Second Witch speaks of present things, rather than past or future.
The Third Witch speaks of future things. Like her sisters, she can command winds.
The Fourth Witch attends on Hecat and adds some ingredients to the witches’ brew.
The Fifth Witch attends on Hecat and adds some ingredients to the witches’ brew.
The Sixth Witch attends on Hecat and adds some ingredients to the witches’ brew.
Hecat is the queen of witches.
Copyright © 2015 by PlayShakespeare.com.
Visit http://www.playshakespeare.com/license for details.
Essential Question: The idea of this topic is to cause students to think seriously about the adequacy of the portraiture and the probability of the actions in the stories?
ESSAY PROMPT: Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Does Shakespeare’s MACBETH include such acts of betrayal? In a well-written essay, analyze the nature of the betrayal and show how it contributes to the meaning of the work as a whole.
TRAGIC HERO TRAGIC HERO TRAGIC HERO TRAGIC HER0
TRAGIC HERO - GREEK
IS MACBETH A TRAGIC HERO?
Macbeth differs from the ancient Greek tragic hero. Aristotle’s tragic hero is someone who commits an “act of injustice” either through ignorance or from a conviction that some greater good will be served. He is unaware of his moral shortcomings; he acts out of his good intentions and benefits from a greater awareness of self
Macbeth is tragic in the sense that he predicts his downfall but cannot control his ambition. He is also tragic in the sense that, as a fine and noble soldier, he becomes corrupted. As a tyrant, he becomes steeped in blood for evil purposes.
Macbeth is not a tragic hero according to Aristotle’s definition of the ancient Greek hero. Macbeth is aware of his flaw — his uncontrollable desire for power fuelled by his ambition. He knows that he will “murder” sleep and betray his honour.
Macbeth is plagued by contradictory thoughts: his ambition is fascinated by his role in the “swelling act”, but he also knows that he must act honourably
Shakespeare depicts Macbeth as a person who is morally astute, honourable and loyal; fearing his dishonourable intentions, and his “horrible imaginings” Macbeth concludes, “if chance will have me king, why, chance may crown me, Without my stir”.
Even before he greets Lady Macbeth, Macbeth reveals his capacity for deception owing to the fact that King Duncan did not appoint him as successor. He states, “let not light see my deep and dark desires.” As a result, the prophecies set in train the nightmarish sequence of events.
CALENDAR: MARCH 14 - 18
STUDENTS WILL CLICK ON LINKS BELOW AND DEVELOP AN OUTLINE OF THE FOLLOWING ITEMS: MARTIN LUTHER/SHAKESPEARE/ELIZABETHAN LITERATURE (10 ITEMS FOR EACH OF THE ITEMS BELOW)
WHO IS MARTIN LUTHER - 95 THESES?
WHO IS SHAKESPEARE?
http://hrsbstaff.ednet.ns.ca/engramja/Svtour.htmlStop # 1
http://hrsbstaff.ednet.ns.ca/engramja/Svtour.html#STOP # 1
a. You must enter the reality of the book; don’t read from your own fixed position in 2005. Find a reading perspective that allows for sympathy with the historical movement of the story, that
understands the text as having been written against its own social, historical, cultural, and personal background.
FAST WRITE - FRANKENSTEIN
FASTWRITES ARE LOCATED ON BLACKBOARD
LINK TO FASTWRITES: https://dochub.com/drkimberlyhandy/zl37Wk/daily-fastwrites?dt=b20i460l92ovgp5q
STUDENTS WILL READ QUOTE BELOW, AND FORMULATE A SUMMARY OF THE QUOTE USING SPECIFIC VOCABULARY TERMS.
ALL FASTWRITES HAVE A CONNECTION TO MACBETH’S THEMES.
STUDENT WILL COPY AND PASTE ANSWERS HERE:
Diction (/ˈdɪkʃᵊn/; Latin: dictionem (nom. dictio), "a saying, expression, word") in its original, primary meaning, refers to the writer's or the speaker's distinctive vocabulary choices and style of expression in a poem or story.
Animism (from Latin animus "soul, life") is the worldview that non-human entities (animals, plants, and inanimate objects or phenomena) possess a spiritual essence..
Archetype is a generic, idealized model of a person, object, or concept from which similar instances are derived, copied, patterned, or emulated. In psychology, an archetype is a model of a person, personality, or behavior. This article is about personality archetypes, as described in literature analysis and the study of the psyche.
Quote 3: "The world was to [him] a secret which [he] desired to divine. Curiosity, earnest research to learn the hidden laws of nature, gladness akin to rapture, as they were unfolded to [him], are among the earliest sensations [he] can remember . . . It was the secrets of heaven and earth that [he] desired to learn; and whether it was the outward substance of things or the inner spirit of nature and the mysterious soul of man that occupied [him], still [his] inquiries were directed to the metaphysical, or in it highest sense, the physical secrets of the world." Chapter 2, pg. 22-3 (Shelly’s Frankenstein)
ANALYZE MOVIES FOR COMPONENTS OF MADNESS
MACBETH (2015) – MOVIE CLIP: MACBETH Official UK Teaser Trailer (2015) - Michael Fassbender HD: https://www.youtube.com/watch?v=3Q3EnDtbg8w
SUPERBOWL CLIPS: https://www.youtube.com/watch?v=5rWhvIJTSzI:
0:00 X-Men Apocalypse 0:31 Independence Day: Resurgence 1:13 Jason Bourne 1:43 Teenage Mutant Ninja Turtles: Out of the Shadows 2:29 Captain America: Civil War 2:59 Deadpool 3:31 The Secret Life of Pets 4:05 10 Cloverfield Lane 4:37 The Jungle Book 7:01 Gods of Egypt 8:11 Batman V Superman: Dawn of Justice - Metropolis trailer 9:21 Batman V Superman: Dawn of Justice - Gotham City trailer_
--A BLOODY DEED --OTHELLO --BATMAN: THE JOKER -UNBREAKABLE THE WATCHMEN
--ALICE AND WONDERLAND --LOVELY BONES
--DIARY OF A MAD BLACK WOMAN
--THE PERFECT GUY --TERMINATOR
--THE BURNING BED
--THE BOY NEXT DOOR
--FATAL ATTRACTION --RISE: BLOOD HUNTER
--12 YEARS A SLAVE
--PRIDE PREJUDICE (ZOMBIES): --FRANKENSTEIN
--STRAIGHT OUTTA COMPTON --Snow White and the Huntsman Trailer 2012 --THOR - LOKI
--Snow White and the Seven Dwarfs- Adriana Caselotti, Harry Stockwell, Lucille La Verne --Sneaky Little Hobbitses - The --Lord of the Rings: The Two Towers --Collateral Movie Trailer
STUDENT WILL COPY AND PASTE ANSWERS HERE TO THE QUOTE.
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=0m00s0:00 X-Men Apocalypse
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=0m31s0:31 Independence Day: Resurgence
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=1m13s1:13 Jason Bourne
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=1m43s1:43 Teenage Mutant Ninja Turtles: Out of the Shadows
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=2m29s2:29 Captain America: Civil War
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=3m31s3:31 The Secret Life of Pets
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=4m05s4:05 10 Cloverfield Lane
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=4m37s4:37 The Jungle Book
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=7m01s7:01 Gods of Egypt
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=8m11s8:11 Batman V Superman: Dawn of Justice - Metropolis trailer
http://www.youtube.com/watch?v=5rWhvIJTSzI&t=9m21s9:21 Batman V Superman: Dawn of Justice - Gotham City trailer_
--A BLOODY DEED
--OTHELLO --BATMAN: THE JOKER
--UNBREAKABLE THE WATCHMEN
--Snow White and the Seven Dwarfs- Adriana Caselotti, Harry Stockwell, Lucille La Verne --Sneaky Little Hobbitses
- The --Lord of the Rings: The Two Towers --Collateral Movie Trailer
CONTINUE ANALYZING MOVIES FOR MADNESS
ACTIVITY: AS YOU LOOKED AT THE LISTED OF ASSASSINATED POLITICAL LEADERS, FOCUS ON 5 OF THE VICTIMS, WRITE TWO PARAGRAPHS EXPLAINING YOUR FINDINGS: VICTIM'S’ NAME, OFFICE HELD, SITE, METHOD, ASSASSIN’S NAME AND SUSPECTED MOTIVE.
—Skills: Students will learn about the
characteristics of a tragedy and how
multiple meanings of words affect
interpretation of Shakespeare.
CC: RL.11.12.1; W.11-12.1a-e
Sample Essay Outline
These analytical papers are designed to review your knowledge of the drama and apply that knowledge to a critical paper. The topics may request that you examine the conflicts, themes, or question a standard theory about the play.
The term tragic hero refers to a central character who has a authoritative status in the drama, but through a flaw in his or her character brings about his or her demise. The flaw may consist of a poor decision that is made and creates a situation the character cannot change or control. The tragic hero recognizes his or her flaw, however there is nothing that can be done to avert tragedy. Macbeth is seen as a tragic hero. Write a paper tracing the sequence of events that contribute to Macbeth’s demise and tragic end.
I. Thesis Statement: Macbeth is seen as a tragic hero. He compromises his honor and negates moral responsibility to attain power and position which result in his tragic end.
II. Definition and characteristics of a tragic hero
3. Poor decision making resulting in a catastrophe
4. Realization of flaw but unable to prevent tragedy
III. The Witches
A. Plan to meet Macbeth
B. Statement that fair is foul, and foul is fair
IV. Allegiance to Scotland and Duncan
A. Battle with Macdonwald
B. Battle with the King of Norway
C. Duncan’s Response
1. Honor bestowed on Macbeth
2. Duncan’s opinion of Macbeth
V. Witches on the battlefield
A. The prophecy
B. Macbeth’s Response
C. Banquo’s Response
VI. Macbeth’s meeting with Duncan
A. Duncan greets Macbeth with respect
B. Macbeth’s reaction to Duncan naming Malcolm as his successor
VII. Decisions made before Macbeth is king
A. Lady Macbeth’s plan
1. Macbeth’s response
2. Lady Macbeth’s Influence on Macbeth
3. Macbeth’s decision
B. Eve of the Murder
1. Floating Dagger
2. Macbeth’s reaction
C. Duncan’s Murder
1. Murder of the guards
D. Discovery of Duncan’s body
1. Macbeth’s reaction
2. Duncan’s sons
3. Macbeth named as king
VIII. Decisions made as King
1. Fear of prophecy
2. Hires Murderers
1. Reaction to Murderers
C. Meeting with the Witches
1. Response to Prophecy
2. Macduff and family
3. Leaving for Dunsinane in England
D. Battle with Malcolm’s forces
1. Dunsinane prophecy
2. Young Siward
3. False sense of security
E. Reactions to Lady Macbeth’s illness and death
F. Meeting Macduff
2. Revealing prophecy to Macduff
3. Macbeth’s realization that the Witches told him half-truths
IX. Macbeth’s tragic end
A. Macduff’s victory
B. Malcolm’s speech
Examples of high and low scores on essays! AP: 8 – 9 Essay HIGH SCORE: A man slaps his wife violently across the face. Upon finding that his close, long-standing friend has been killed, he doesn’t even shed a tear. Rather, he rushes forward to smother his young, delicate and innocent bride with a pillow from their bed. By looking at actions alone, Othello, the Moor of Venice, would certainly be considered evil. However, William Shakespeare creates a character decidedly more complex—a complexity we can see through a transformation in language and development of plot and character. When Othello is first presented to the reader, he is a brave warrior, well-regarded for his military skill. When he first speaks, he is eloquent in describing how Desdemona fell in love with him. His composure and articulate speech, however, do not stay with him through to the finish. Just before and during his ‘evil’ acts of violence, Othello is much less articulate. His speech is not flowing, but rather disrupted. Many of his lines in exclamation points. He can’t seem to get through a speech without a handful of pauses and erratic exclamations. This speech is the product of a distracted mind. More and more confused and overwhelmed by what he thinks is happening around him, Othello thinks not with a calm mind, but rather with a passionate heart.
What is the source of such confusion? Though Shakespeare plants a variety of unfortunate circumstances, his character Iago is the one who capitalizes on each of them. The introduction of the Machiavellian Iago, whose cunning and manipulativeness are paramount, is what ultimately causes Othello to turn from brave warrior to a rambling and vulnerable person. Iago, through hints and handkerchiefs, instills doubt in the too-trusting Othello. Iago knows well that where suspicion is planted, jealousy will grow. Thinking that Desdemona is sleeping with Cassio, Othello is driven by jealousy and insecurity. Who, after wedding someone like Desdemona, “too good to be true,” would not have doubts when presented with evidence from a trusted colleague? Thus by the final scene of Othello, we see that Othello is not a barbarian who smothered his wife solely out of evil, but is a vulnerable soul whose actions are very understandable when considering his vast manipulation by Iago. In the end Othello wishes to be remembered not for his horrible actions, but only for loving “too well.” This response to the open-ended question in extremely well-written and answers the question fully. Sentences are complex and make use of elevated language. The essay begins with a creative introduction that, though not required, distinguishes the essay, intrigues the reader, and begins to explain the sympathy Shakespeare is able to evoke. The author establishes a cogent argument supported by examples. These include a well-developed presentation of Iago’s machinations and of the proclivity of Othello to doubt Desdemona and trust Iago. Also included is a logical analysis of the diction that traces Othello’s descent into apparent evil. Finally, the author concludes by linking the arguments and providing a quote that typifies Shakespeare’s ability to justify to the reader a passionate, misguided heart.
Low score: 3-4 LOW SCORE: In Shakespeare’s Othello, Iago is portrayed as a character devoid of morale and human decency. Concerned only with his own selfish desires, Iago will stop at nothing. From his complex plots aimed at gaining the lieutenancy he felt he deserved, to his murderous acts upon his wife and Rodrigo, Iago further epitomizes evil. The full presentation of his character does in fact evoke sympathy from the reader, though not towards him. As more and more of Iago’s character is revealed, the reader further sympathizes with the other characters in the play. At the opening of Othello, Iago feels cheated out of the lieutenancy. He felt that Cassio was given the post because of his friendship towards Othello, rather than deeds on the battlefield. His jealousy sparks a plot which is the backbone of the play’s action, in which Iago plans to have Cassio expelled from the lieutenancy and become his replacement. Since Cassio has done nothing wrong or immoral, the reader will sympathize with him, rather than the envious Iago, who is power-hungry. Iago knows what he wants, and is a genius in his own right in going about getting it. He turns innocent characters against each other while earning the trust of each. Othello is convinced that his wife Desdemona has cheated on him with his best friend Cassio. For Iago’s intricate plot was able to persuade him. Iago used his wife Emilia to obtain Desdemona’s handkerchief before planting it upon Cassio. Roderigo believes that Desdemona will soon break up with Othello, simply because Iago told him. He is thus willing to plot with Iago to break up the new marriage. The other characters are oblivious to Iago’s plans, but the reader is not. The reader reacts sympathetically towards the innocent. Iago’s apparent lack of human feelings is what sets him apart from the other characters. Othello and Rodrigo were prepared to kill out of love. Iago has killed, but for a much different reason. Both Roderigo and Emilia were ready to expose Iago’s plan when Iago killed them. Iago felt no compunction about tearing apart a new couple in love because of his own desires. He hates Othello not only because Cassio was given the lieutenancy, but also because Othello is a Moor. While Iago’s outward actions can be considered evil or immoral, they only tell half the story. His inward motives and character traits are much more indecent and thus evoke sympathy from the reader towards the other characters. This essay is well-written, and chooses as its subject a character that is indisputably evil: Iago, from Shakespeare's Othello. Despite the writer’s excellent description of Iago’s immoral acts, however, s/he has failed to consider that the other half of the question requires an explanation of how the readers of the play or novel feel sympathetic toward the character. Although the essay does attempt to justify Iago’s actions, it is still difficult to feel sympathy for him. Ultimately, Iago was a poor choice of a character, primarily because the full portrayal of him in the play does not make him seem to be a better person; in fact, many of his speeches and soliloquies emphasize his manipulative nature. Since the essay did not completely answer the question, it could score at most a 4, which was its final grade. Although the student appears to have control of the language, his/her failure to choose an appropriate subject seriously affected the score.
AP Literature Essay Questions Choose a complex and important character in a novel or a play of recognized literary merit who might—on the basis of the character’s actions alone—be considered evil or immoral. In a well-organized essay, explain both how and why the full presentation of the character in the work makes us react more sympathetically than we might otherwise think. Avoid plot summary. You may base your essay on one of the following or choose another appropriate work.
Great Expectations Othello Hedda Gabler The Stranger Jane Eyre Crime & Punishment Light in August Antigone Wuthering Heights Richard III Doctor Faustus Major Barbara Brighton Rock Moby-Dick Native Son Billy Budd Skills: Students will learn about the characteristics of a tragedy and how multiple meanings of words affect interpretation of Shakespeare. Also, how soliloquies and monologues are an essential component of this play.
LINK TO STUDENT’S WORK:
NOTES NOTES NOTES NOTES NOTES NOTES NOTES NOTES NOTES NOTES
VARIOUS ACTIVITIES: STILL UNDER CONSTRUCTION
MAJOR PAPER:: With an awareness of rhetoric, appeals, and argument in the background, students read Shakespeare’s Macbeth. During the unit students work in small groups, becoming experts on one of several key scenes. Then they get to apply their knowledge of rhetoric to a pivotal scene. They write an essay in which they analyze the rhetoric of both Macbeth’s and Lady Macbeth’s arguments in act 1, scene 7, and explain why Macbeth is persuaded by his wife to murder King Duncan. They are asked to consider such elements as the use of appeals, choice of details, and audience. In this way they apply their appreciation of the language of the play and their understanding of rhetoric and appeals in an evaluation of argument.
After the paper has been completed, students view Roman Polanski’s film version of Macbeth and consider how its visual elements correspond with the language of the play and its themes.
Common Core State Standards Initiative. (2010). English Language Arts Standards. Retrieved from http://www.corestandards.org/ELA-Literacy/RL/11-12
IRA/NCTE. (2006). Elizabethan language terms. Retrieved from
Librivox. (2009). The tragedy of Macbeth [Podcast]. Retrieved from
Quicken DocStoc. (2008). Learn how to speak like Shakespeare [pdf]. Retrieved from http://www.docstoc.com/docs/2814930/LEARN-TO-SPEAK-LIKE-SHAKESPEARE-THEE-THOU-THY-THINE-YE-NEVER-use-you-except-when-addressing-someone-superior-to-you-such-as-the-Qu
Shakespeare, W. (1992). The tragedy of Macbeth. Mowat, B. & Werstine, P. (Eds.). New York, NY: Simon and Schuster Paperbacks.
Sparknotes. (2003). No fear Shakespeare: Macbeth. Retrieved from
Vacca, R. T., Vacca, J. L., & Mraz, M. (2014). Content area reading: Literacy and learning across the curriculum. Boston, MA: Pearson.
23speeches and soliloquies emphasize his manipulative nature. Since the essay did not completely answer the question, it could score at most a 4, which was its final grade. Although the student appears to have control of the language, his/her failure to choose an appropriate subject seriously affected the score.