In Love and Trouble

Undervisningsforløb til Engelsk A

Mette Hermann

Mette Hermann

Kernestof William Shakespeare: Romeo and Juliet: the Prologue, act I, scene I, act II, scene I + act V, scene III, 1595 Fra: New Swan Shakespeare. Longman, 1998

William Shakespeare: Sonnets 18, 29 and 130, 1609 Fra: http://www.shakespeares-sonnets.com/

John Dowland: Flow My Tears, 1600 John Dowland: Come again, 1597 Fra: http://www.recmusic.org/lieder/d/dowland.html

Annie Proulx: Brokeback Mountain, 1997 Fra: Udsen, Lotte: You Gotta Try Everything Once, Systime 2003

Charlotte Brontë: Jane Eyre, Chapter 26 Fra: http://www.readprint.com/chapter-688/Charlotte-Bronte

Supplerende materiale

The English Dramatic Tradition Fra: William Shakespeare: Macbeth, v/ Ole Juul Lund, Gyldendal, 1993

John Dowland Fra: http://en.wikipedia.org/wiki/John_Dowland

Sting performing “Flow my Tears” Fra: http://www.youtube.com/watch?v=SQMukijlj5k

Sting performing “Come Again” Fra: http://www.youtube.com/watch?v=55jnH3rqcoU&feature=related

Henry Wallis: The Death of Chatterton, 1855-56 Fra: http://www.victorianweb.org/books/suicide/pl2.html

Nicholas Hilliard: Young Man Among the Roses, 1588 Fra: http://www.uni-bielefeld.de/lili/personen/fleischmann/d_archsuse05/299_ept_gesamt.htm

Summary of ”Romeo and Juliet” Fra: http://www.sparknotes.com/shakespeare/romeojuliet/section1.rhtml John Madden: Shakespeare in Love, 1998 Baz Luhrman: Romeo and Juliet, 1996

Mette Hermann

Romeo and Juliet

Getting Started I: Look at the pictures and summarize the movie:

Mette Hermann

Getting Started II

From: www.teachervision.com

Mette Hermann

Romeo and Juliet

The Prologue

In the prologue of ”Romeo and Juliet” the chorus gives a preview of the play. The prologue is written as a sonnet, which is a poem in a certain format.

You can identify a sonnet if the poem has the following characteristics:

1. 14 lines. All sonnets have 14 lines which can be broken down into four sections called quatrains.

2. A strict rhyme scheme. The rhyme scheme of a Shakespearean sonnet is ABAB / CDCD / EFEF / GG (note the four distinct sections in the rhyme scheme).

3. Written in iambic Pentameter. Sonnets are written in iambic pentameter, a poetic meter with 10 beats per line made up of alternating unstressed and stressed syllables.

4. A sonnet can be broken down into four sections called quatrains. The first three quatrains contain four lines each and use an alternating rhyme scheme. The final quatrain consists of just two lines which both rhyme.

5. Each quatrain should progress the poem as follows:

First quatrain: This should establish the subject of the sonnet.

Second quatrain: This should develop the sonnet’s theme.

Third quatrain: This should round off the sonnet’s theme.

Fourth quatrain: This should act as a conclusion to the sonnet.

Adapted from: http://shakespeare.about.com/od/thesonnets/a/what_is_a_sonnet.htm

Exercises

1. Read the prologue aloud.

2. Identify the rhyme scheme and the quatrains.

3. Give each quatrain a title.

4. Point out vital words from the prologue.

5. Transform the prologue into modern English.

6. What themes of the play are mentioned in the prologue?

Mette Hermann

Character Map of “Romeo and Juliet”

From: http://www.cliffsnotes.com/study_guide/literature/Romeo-and-Juliet-Character-Map.id-165,pageNum-258.html

Mette Hermann

Romeo and Juliet: Act I, Scene V

Love at first sight – The first meeting

Digging into the Text

Please work in pairs and answer the following questions:

1. We learn from Romeo’s soliloquy that he is struck by love at first sight when he sees Juliet at the party. Paraphrase Rome’s speech (lines 43-53). To what does he compare Juliet?

2. How does this speech about his love for Juliet compare to his speeches about being in love with

Rosaline? 3. Tybalt recognizes Romeo’s voice and tries to start a fight. What two reasons does Lord Capulet

give for stopping him (lines 65-69)? 4. What threat does Tybalt make as he agrees to withdraw? (Lines 90-91) 5. In lines 92-105 Romeo and Juliet speak to each other. Their lines form a sonnet. Identify the

rhyme scheme and the quatrains. Find the religious imagery that Romeo makes use of and explain why he does so. Paraphrase the lines of the sonnet.

6. Dramatic Irony is when the audience knows something the characters do not. What is ironic

about Juliet’s line 134? From: http://jc-schools.net/tutorials/eng9/RJstudyguideshortversion.doc

Ford Madox Brown: Romeo and Juliet, 1870

Mette Hermann

Romeo and Juliet: Act II, Scene I The Balcony Scene

While-Reading Activity I: Lines 43-95 (Romeos description of Juliet)

� Read the excerpt of the scene aloud to each other. Make sure to take turns. Discuss what this passage of the play is about.

� Pick out the essential words. Based on these words, write a brief summary of the passage.

� Comment on the style and language of the play. What do you think is typically “Shakespearian”?

� How does Romeo describe Juliet and what images does he use? Explain the images.

While-Reading Activity II: Lines 121 – 180 (Juliet declares her love to Romeo)

� Read the excerpt of the scene aloud to each other. Make sure to take turns. Discuss what this passage is about.

� Pick out the essential words and phrases. Based on these words, write a brief summary of the passage.

� Explain the different images used by Romeo and Juliet in this passage.

� How does Juliet describe Romeo and what worries does Juliet talk about in her monologue?

� Juliet’s “fain would I dwell on form” suggests that she would gladly stick to formality and ceremonial politeness. But her “farewell compliment” shows her rejecting stiff, customary ways of behaving and speaking. Do you think that she succeeds in her wish to speak simply and truly?

� What plans are made at the end of the play?

Written Exercise

Choose one of the two exercises:

Write in modern English a love letter from Romeo to Juliet. The letter should be based on the contents of this first part of the scene II.

Write in modern English a love letter from Juliet to Romeo. The letter should be based on the contents of this excerpt of scene II.

Mette Hermann

Romeo and Juliet: Act V, Scene III The Death Scene

While Reading I: Act 5, Scene 3, ll. 74 – 120 (Romeo’s last words)

Read the excerpt of the scene aloud to each other. Make sure to take turns. Discuss what this passage is about.

Pick out the essential words and phrases. Based on these words, write a brief summary of the scene.

Explain the different images used by Romeo in this passage.

What does Romeo call 'death' in lines 103-104 and why?

Why does he think death is keeping Juliet in this dark place?

What reason does Romeo give for committing suicide?

Throughout the play Romeo says that he is a victim of fate. In which line does Romeo repeat that destiny has been cruel to him?

While Reading II: Act 5, Scene 3, ll. 229 – 269 (Friar Lawrence’s explanation of events)

Read the excerpt of the scene aloud to each other. Make sure to take turns. Discuss what this passage is about.

Pick out the essential words and phrases. Based on these words, write a brief summary of the passage.

Comment on the style and language of the play. In what way does this passage differ from the rest of the play?

Mette Hermann

Songs by John Dowland (1562 – 1626)

John Dowland

Introduction: John Dowland

John Dowland (1563 – buried 20 February 1626) was an English composer, singer, and lutenist. He is best known today for his melancholy songs such as "Come, heavy sleep" (the basis for Benjamin Britten's Nocturnal), "Come again", "Flow my tears", "I saw my Lady weepe" and "In darkness let me dwell", but his instrumental music has undergone a major revival, and has been a source of repertoire for classical guitarists during the twentieth century. Very little is known of Dowland's early life, but it is generally thought he was born in London. Irish historian W. H. Grattan Flood claimed that he was born in Dublin, but no corroborating evidence has ever been found. In 1580 Dowland went to Paris, where he was in service to Sir Henry Cobham, the ambassador to the French court, and his successor, Sir Edward Stafford. He became a Roman Catholic at this time. In 1594 a vacancy for a lutenist came up at the English court, but Dowland's application was unsuccessful - he claimed his religion led to his not being offered a post at Elizabeth I's Protestant court. However, his conversion was not publicized, and being Catholic did not prevent some other important musicians (such as William Byrd) from having a court career in England. In 1597 Dowland published his "First Book of Songs" in London. This collection of lute-songs was set out in a way that allows performance by a soloist with lute accompaniment or various combinations of singers and instrumentalists. From 1598 Dowland worked at the court of Christian IV of Denmark, but he continued to publish in London. He returned to England in 1606 and in early 1612 secured a post as one of James I's lutenists. There are no compositions dating from the moment of his royal appointment until his death in London in 1626. While the date of his burial is recorded, the exact date of his death is not known. Most of Dowland's music is for his own instrument, the lute. It includes several books of solo lute works, lute songs (for one voice and lute), part-songs with lute accompaniment, and several pieces for viol consort with lute. The poet Richard Barnfield wrote that Dowland's "heavenly touch upon the lute doth ravish human sense." Dowland's music often displays the melancholia that was so fashionable in music at that time. […] In October 2006, Sting, who has been described as a fan of Dowland's music [4], released an album featuring Dowland's songs titled Songs from the Labyrinth, on Deutsche Grammophon, in collaboration with Edin Karamazov on lute and archlute. From: http://en.wikipedia.org/wiki/John_Dowland

Mette Hermann

John Dowland: Flow My Tears, 1600

Flow, my tears, fall from your springs! Exiled for ever, let me mourn; Where night's black bird her sad infamy sings, There let me live forlorn. Down vain lights, shine you no more! No nights are dark enough for those That in despair their lost fortunes deplore. Light doth but shame disclose. Never may my woes be relieved, Since pity is fled; And tears and sighs and groans my weary days Of all joys have deprived. From the highest spire of contentment My fortune is thrown; And fear and grief and pain for my deserts Are my hopes, since hope is gone. Hark! you shadows that in darkness dwell, Learn to condemn light Happy, happy they that in hell Feel not the world's despite.

From: http://www.recmusic.org/lieder/d/dowland.html

Sting performing “Flow my Tears” http://www.youtube.com/watch?v=SQMukijlj5k

Mette Hermann

Henry Wallis: The Death of Chatterton, 1855-56

From: http://www.victorianweb.org/books/suicide/pl2.html

John Dowland: Come again, 1597

Come again: Sweet love doth now invite, Thy graces that refrain, To do me due delight, To see, to hear, to touch, to kiss, to die, With thee again in sweetest sympathy. Come again That I may cease to mourn, Through thy unkind disdain: For now left and forlorn, I sit, I sigh, I weep, I faint, I die, In deadly pain and endless misery. All the day That sun that lends me shine By frowns doth cause me pine And feeds me with delay: Her smiles, my springs that make my joys to grow, Her frowns, the winters of my woe. All the night My sleep is full of dreams,

Mette Hermann

My eyes are full of streams, My heart takes no delight To see the fruits and joys that some do find, And mark the storms to me assigned, Out, alas, My faith is ever true, Yet will she never rue, Nor yield me any grace; Her eyes of fire, her heart of flint is made, Whom tears nor truth may once invade. Gentle Love, Draw forth thy wounding dart, Thou canst not pierce her heart, For I that to approve, By sighs and tears more hot than are thy shafts, Did tempt, while she for mighty triumph laughs.

From: http://www.recmusic.org/lieder/d/dowland.html

Sting performing “Come Again”

http://www.youtube.com/watch?v=55jnH3rqcoU&feature=related

Nicholas Hilliard: Young Man Among the Roses, 1588

From: http://www.uni-bielefeld.de/lili/personen/fleischmann/d_archsuse05/299_ept_gesamt.htm

Mette Hermann

Elizabethan Entertainment - Songs by John Dowland

Worksheet

Elizabethan Entertainment

Read the text and fill in the missing words listed below:

Elizabethan Entertainment was extremely ___________ to people who lived in the Elizabethan

___________. The lives of Elizabethans were___________, the ___________ rate was high due to

frequent outbreaks of the ___________and life expectation was low. Elizabethan entertainment was

popular whenever there was something to ___________: A betrothal, ___________, victories and

___________. Court entertainment was regular, often a nightly ___________combined with feasts

and banquets often accompanied by ___________ and dancing. But the poor people enjoyed

entertainment from acting troupes, ___________, dancing, trained animals, mystery plays,

___________ and strolling players. Tournaments, Games, Sports, Gaming and ___________ also

played an important part in Elizabethan ___________.

Gambling - festivals - celebrate - mortality - hard – music - important – jugglers - era - Bubonic Plague – wedding – occurrence – tournaments – entertainment

Types of Elizabethan Entertainment and Elizabethan Entertainers

Match the words in the left column with a correct definition in the right column.

1. Feast A. A ceremonial dinner honoring a particular guest.

2. Mystery Plays B. A fool at Elizabethan courts.

3. Jester C. Travelling musician who sang of legends.

4. Plays D. A series of tilting matches between knights.

5. Banquet E. A large, elaborately prepared meal, usually for many persons and often accompanied by court entertainment. Often celebrated religious festivals.

6. Troubadour F. Re-enacting stories from the Bible.

7. Tournaments G. Starting as plays enacted in town squares followed by the actors using the courtyards of taverns or inns (referred to as Inn-yards ) followed by the first theatres and then the introduction of indoor theatres called Playhouses.

8. Minstrel H. Travelling musician who sang of courtly love.

Source: http://www.elizabethan-era.org.uk/elizabethan-entertainment.htm

Mette Hermann

John Dowland: Flow My Tears (1597) + Come Again (1596)

Part I:

Work in pairs and prepare a short oral presentation of one the two poems. Your presentation should include:

- A translation into Danish

- A short summary of each stanza

- A discussion of the themes and message of the poem

- Finally discuss how the painting “The Death of Chatterton” by Henry Wallis can be related to the poem

Part II:

Find a new partner who has worked with the other song. Present your work to each other and discuss afterwards what the two songs have in common.

Part III: Class discussion.

Nicholas Hilliard: Young Man Among the Roses (1588)

This is a miniature portrait from 1588 of an unnamed young man by Nicholas Hilliard. In 1570 Hilliard was appointed court miniaturist by Elizabeth I.

1. Describe this miniature: the young man's pose, clothes, gesture, the background. What conclusions can we draw about the themes and message of the picture?

2. What might his right hand on his chest symbolize?

3. What might be the purpose of depicting the young man outside surrounded by roses?

4. Describe the mood.

5. What do you think miniatures were used for?

6. Relate the portrait to Shakespeare’s sonnets and the songs by John Dowland.

Mette Hermann

The Shakespearean Sonnet: An Overview

By Michael J. Cummings

William Shakespeare wrote 154 sonnets. A sonnet, a form of poetry invented in Italy, has 14 lines with a

specific rhyme scheme. The topic of most sonnets written in Shakespeare's time is love–or a theme

related to love. Poets usually wrote their sonnets as part of a series, with each sonnet a sequel to the

previous one, although many sonnets could stand alone as separate poems. Sonnets afforded their author

an opportunity to show off his ability to write memorable lines. In other words, sonnets enabled a poet to

demonstrate the power of his genius in the same way that an art exhibition gave a painter a way to show

off his special techniques.

Shakespeare addresses Sonnets 1 through 126 to an unidentified young man with outstanding physical

and intellectual attributes. The first 17 of these urge the young man to marry so that he can pass on his

superior qualities to a child, thereby allowing future generations to enjoy and appreciate these qualities

when the child becomes a man. In Sonnet 18, Shakespeare alters his viewpoint, saying his own poetry

may be all that is necessary to immortalize the young man and his qualities.

In Sonnets 127 through 154, Shakespeare devotes most of his attention to addressing a mysterious "dark

lady"–a sensuous, irresistible woman of questionable morals who captivates the poet. References to the

dark lady also appear in previous sonnets (35, 40, 41, 42), in which Shakespeare reproaches the young

man for an apparent liaison with the dark lady. The first two lines of Sonnet 41 chide the young man for

"those petty wrongs that liberty commits / when I am sometime absent from thy heart," a reference to

the young man's wrongful wooing of the dark lady. The last two lines, the rhyming couplet, further

impugn the young man for using his good looks to attract the dark lady. In Sonnet 42, the poet charges,

"thou dost love her, because thou knowst I love her."

Shakespeare wrote his sonnets in London in the 1590's during an outbreak of plague that closed theaters

and prevented playwrights from staging their dramas.

Generally, Shakespeare's sonnets receive high praise for their exquisite wording and imagery and for

their refusal to stoop to sentimentality. Readers of his sonnets in his time got a taste of the greatness

that Shakespeare exhibited later in such plays as Hamlet, Macbeth, King Lear, Othello, and The Tempest.

Sonnets 138 and 144 were published in 1599 in a poetry collection entitled The Passionate Pilgrime

[Pilgrim]. The other sonnets were published in 1609 in Shake-speares [Shakespeare's] Sonnets. It is

possible that the 1609 sequence of sonnets is out of its original order

The Shakespearean sonnet (also called the English sonnet) has three four-line stanzas (quatrains) and a

two-line unit called a couplet. A couplet is always indented; both lines rhyme at the end. The meter of

Shakespeare's sonnets is iambic pentameter (except in Sonnet 145). The rhyming lines in each stanza

are the first and third and the second and fourth. In the couplet ending the poem, both lines rhyme. All of

Shakespeare's sonnets follow the same rhyming pattern.

Source: http://www.cummingsstudyguides.net/xSonnets.html

Mette Hermann

Sonnet 18: Shall I compare thee to a summer's day?

1 Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date:

5 Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature's changing course untrimm'd;

But thy eternal summer shall not fade

10 Nor lose possession of that fair thou owest;

Nor shall Death brag thou wander'st in his shade,

When in eternal lines to time thou growest:

So long as men can breathe or eyes can see,

So long lives this and this gives life to thee.

Notes and glossary temperate (1): i.e., evenly-tempered; not overcome by passion. the eye of heaven (5): i.e., the sun. every fair from fair sometime declines (7): i.e., the beauty (fair) of everything beautiful (fair) will fade (declines). nature's changing course (8): i.e., the natural changes age brings. that fair thou ow'st (10): i.e., that beauty you possess. in eternal lines...growest (12): The poet is using a grafting metaphor in this line. Grafting is a technique used to join parts from two plants with cords so that they grow as one. Thus the beloved becomes immortal, grafted to time with the poet's cords (his "eternal lines"). For commentary on whether this sonnet is really "one long exercise in self-glorification", please see below.

Nicholas Hilliard: Elizabeth I playing the lute, 1580

Mette Hermann

Sonnet 29: When, in Disgrace with Fortune and Men’s Eyes 1 When, in disgrace with fortune and men's eyes,

I all alone beweep my outcast state

And trouble deaf heaven with my bootless cries

And look upon myself and curse my fate,

5 Wishing me like to one more rich in hope,

Featured like him, like him with friends possess'd,

Desiring this man's art and that man's scope,

With what I most enjoy contented least;

Yet in these thoughts myself almost despising,

10 Haply I think on thee, and then my state,

Like to the lark at break of day arising

From sullen earth, sings hymns at heaven's gate;

For thy sweet love remember'd such wealth brings

That then I scorn to change my state with kings.

Notes and glossary

in disgrace (1): out of favor. beweep (2): weep over (my outcast state). outcast state (2): The poet's "outcast state" is possibly an allusion to his lack of work as an actor due to the closing of the theatres in 1592 (during an outbreak of plague). It also could be a reference to the attack on Shakespeare at the hands of Robert Greene. Please see the commentary below for more on Shakespeare and Greene. bootless (3): useless. look upon myself (4): i.e., I become occupied with self-reflection.

featured like him (6): i.e., the features (physical beauty) of some other more attractive man.

Mette Hermann

Sonnet 130: My mistress' eyes are nothing like the sun

1 My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

5 I have seen roses damask'd, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

10 That music hath a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks, treads on the ground:

And yet, by heaven, I think my love as rare

As any she belied with false compare.

Notes and glossary

dun (3): i.e., a dull brownish gray.

than the breath...reeks (8): i.e., than in the breath that comes out of (reeks from) my mistress. As the whole sonnet is a parody of the conventional love sonnets written by Shakespeare's contemporaries, one should think of the most common meaning of reeks, i.e., stinks. Shakespeare uses reeks often in his serious work, which illustrates the modern meaning of the word was common.

rare (13): special.

she (14): woman.

belied (14): misrepresented.

with false compare (14): i.e., by unbelievable, ridiculous comparisons.

Portrait of Queen Elizabeth I flanked by Tudor Roses and Eglantine, 1588 Wood engraving

Mette Hermann

The English Dramatic Tradition

and The Elizabethan World Picture Vocabulary

Match the words in the left column with correct definitions in the right columns.

1. gentry A. a drama or literary work in which the main character is brought to ruin or suffers extreme sorrow, especially as a consequence of a tragic flaw, moral weakness, or inability to cope with unfavorable circumstances.

2. minstrel B. a class of persons distinguished by high birth or rank and in Great Britain including for instance dukes and duchesses and barons and baronesses.

3. clergy C. a person engaged in the purchase and sale of commodities for profit.

4. chivalry D. a dramatic work that is light and often humorous or satirical in tone and that usually contains a happy resolution of the thematic conflict.

5. nobility E. a group of knights or gallant gentlemen

6. tragedy F. the ministers, priests etc of the Christian religion

7. merchant G. a medieval wandering musician who performed songs or recited poetry with instrumental

accompaniment.

8. comedy H. the class of English landowners ranking just below the nobility.

Questions on the Text

Work in pairs and answer the questions below:

1. Describe the development of the English dramatic tradition before Shakespeare.

2. How did Thomas Kyd innovate the English tragedy?

3. What was a minstrel?

4. Describe an Elizabethan theatre and its dramatic conventions.

5. Briefly summarize the main principles of the Elizabethan Age with focus on:

• the position of the king/queen

• the impact of the reformation

• the order of the universe

• “the chain of being”

• the importance of the Fall of Man

• the four elements and the influence of the stars

Elizabethan Minstrels

Mette Hermann

All about the Theatre Vocabulary I: Match the words in the left column with the definitions on the right

1. Stage a. sunken area just in front of the stage where the orchestra plays.

2. Matinée b. instructions to actors and director about how the play should be performed.

3. Foyer c. the area where actors perfom.

4. Stage directions

d. the individual who writes a play.

5. Monologue e. clues given to the audience about upcoming events in the play.

6. Plot f. the personalities that actors become in a play; roles played by actors in a play.

7. Scene g. individual who is in charge of all aspects of the production of a play.

8. Foreshadowing h. selecting which actors will play which roles/characters.

9. Characters i. an afternoon performance.

10. Director j. a part of an act in a play.

11. Casting k. the entrance hall where people can meet or wait.

12. Playwright l. a work written to be spoken by just one person.

13. Pit m. what happens in a play; the order of events.

14. Soliloquy n. a speech in which an actor, usually alone on stage, speaks his or her thoughts aloud.

Vocabulary II: Complete the vocabulary network with the words from the box below

act, actor, actress, audience, backstage, box-office, booking office, cast, cloakroom, comedy, company, curtain, dialogue, director, downstage, dressing-room, foyer, monologue, props, playwright, prompt box, prompter, scene, scenery, stage directions , stage manager, stalls, tragedy, upstage, usher, usherette, wings,

Fra: Ord og tekst, Uddannelsesstyrelsens temahæfteserie nr. 25, 2000

Theatre

Play Stage

People Building