2. Go to this document in the Shakespeare Student Booklet where you will find the following questions: 1. When and where was Shakespeare born? 2. Why was his time period called the Elizabethan Period? 3. Describe the system of government during Shakespeare’s time. 4. Describe the social structure of the time: rich, poor, nobility, commoner, etc. 5. How were women dressed (everyday clothes and formal attire)? 6. Describe or provide an illustration of typical hairstyles.

3. 7. Describe crime and punishment during Elizabethan England. 8. Describe health care (treatment, humours). 9. What was the terrible disease during the 1500s? How many people died? 10. Describe the Elizabethan education system. 11. How did Elizabethans entertain themselves? 12. Describe sanitation during Shakespeare’s time. 13. Describe the origins of the Globe Theatre: How did people know there would be a play? How did actors learn their lines? How did they travel from town to town? What time of day were plays held? Why? Provide a detailed drawing of the Globe Theatre.

4. Shakespeare’s Globe: http://www.shakespeares-globe.org/http://www.shakespeares-globe.org/ BBC 60 second Shakespeare: What the Puck? http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/themes_midsummer.shtml http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/themes_midsummer.shtml No Fear Shakespeare: Text of A Midsummer Night’s Dream http://nfs.sparknotes.com/msnd/page_2.htmlhttp://nfs.sparknotes.com/msnd/page_2.html Timelines.TV: Shakespeare’s World http://timelines.tv/shakespeares_world.htmlhttp://timelines.tv/shakespeares_world.html Enjoying Shakespeare’s A Midsummer Night’s Dream: http://www.pathguy.com/mnd.htmhttp://www.pathguy.com/mnd.htm Words and Phrases coined by Shakespeare: http://www.pathguy.com/shakeswo.htmhttp://www.pathguy.com/shakeswo.htm Shakespearean Insult Kit: http://monster-island.org/tinashumor/humor/shakeins.htmlhttp://monster-island.org/tinashumor/humor/shakeins.html ISE -- Internet Shakespeare Editions: http://internetshakespeare.uvic.ca/Annex/links/index.html http://internetshakespeare.uvic.ca/Annex/links/index.html World Book on-line: Shakespearehttp://worldbookonline.com/advanced/article?id=ar504520&st=shakespearehttp://worldbookonline.com/advanced/article?id=ar504520&st=shakespeare Shakespeare Resource Centre:http://www.bardweb.net/england.htmlhttp://www.bardweb.net/england.html Shakespeare Glossary: http://www.pbs.org/shakespeare/glossary/index.htmlhttp://www.pbs.org/shakespeare/glossary/index.html

5. Cite the source you used for your response – put answers in your own words. Do not simply cut and paste information. Include images and interesting details wherever possible. Do all your work in Word and once it is complete, post this to your English 9 page on your blog.

7. the document on the SharePoint site explains in detail the use of Thee and Thou. Briefly, In Old English, thou was used for addressing one person; ye for more than one. Within these categories, thou and ye were used as subject, thee and you as object. Thou dost love me: I do love thee, fair lady. Ye do love me: I do love you, fair maidens. During Middle English, ye / you came to be used as a polite singular form alongside thou / thee, a situation which was probably influenced by French vous vs tu. Madame, ye do honour me; I bow to you here. Fair husband, thou art my true love; I kiss thee here.

8. Turn to this page in the booklet to re-order common sentences: Example: I lost my book. 1. My book I lost. 2. Book of mine I lost. 3. I did lose my own book. 4. My own book did I lose. YodaYoda: ‘Powerful you have become…’

9. Go to the Everything Old is New Again (page 6) in the student booklet to do the exercises converting Shakespearean English to Modern English. Be honest with yourself: and as sure as night follows day, you won’t lie to anyone else. Above all, I wish you only good things. Safe journey and safe return.

10. Let me kiss your hand; it is late; see you -- good night! Don’t show everything you’ve got; don’t say everything you know; don’t lend more than you owe. Don’t be a know-it-all; don’t be a show-off; don’t throw your money around, especially if you don’t have any. Your mirror will show how your beauty fades; your watch will show the time you waste. Above all else: be true to yourself.

11. …..thou artless, common-kissing giglet! Turn to this page in the booklet or follow the link to find the ‘Shakespeare Insult Kit’.link Take a look at the Shakespeare glossary as well here.here

13. Winner of 7 Academy Awards Fictional story of Will Shakespeare facing writer’s block and being inspired to write when he falls in love. The film includes traditional Shakespearean elements: People in disguise Cross-dressing Mistaken identities The ghost A play within a play Sword fights There are many references to Shakespeare’s plays, but particularly to, Romeo and Juliet.

14. Share the things you noticed from the theatre to the costumes, roles, and language to the play itself and the characters. Can you appreciate the role that theatre played in society during an age without film or TV?

16. All that glitters is not gold (The Merchant of Venice) All's well that ends well (title) As good luck would have it (The Merry Wives of Windsor) Bated breath (The Merchant of Venice) Brave new world (The Tempest) Break the ice (The Taming of the Shrew) Breathed his last (3 Henry VI) Refuse to budge an inch (Taming of the Shrew) Cold comfort (The Taming of the Shrew / King John) For goodness' sake (Henry VIII)

17. Sonnet 18 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: 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 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.

18. OOOOH Baby I think I shall compare you to a summer day But, you know, you're prettier and even better, even calm Because sometimes it gets windy and the buds on the trees get shaken off And sometimes summer doesn't last very long Sometimes it's too hot And everything gorgeous loses its looks By getting hit by a truck Or just because everyone and everything gets old and ugly and shabby BUT (and here's the turn) you're going to keep your looks for ever Your beauty will last for ever I'm going to make sure that you never lose your good looks And that nasty old Death can never brag about owning you Because I shall write this poem about you As long as men can breathe (are you breathing?) As long as men can see (are you looking at this poem?) Then this poem lives, and it gives life and memory to your beauty.

19. A Shakespearean sonnet: 14-line stanza written in iambic pentametre Rhyme scheme: abab, cdcd, efef, gg 3 quatrains followed by a couplet. Iambic pentameter: lines of poetry can be divided into 5 metric ‘feet’ with alternately unstressed and stressed syllables. Shall I / compare / thee to / a sum / mer’s day Thou art / more love / ly and /more temp / erate

20. 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, 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, 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.

21. A When, in disgrace with fortune and men's eyes, B I all alone beweep my outcast state A And trouble deaf heaven with my bootless cries B And look upon myself and curse my fate, C Wishing me like to one more rich in hope, D Featured like him, like him with friends possess'd, C Desiring this man's art and that man's scope, D With what I most enjoy contented least; E Yet in these thoughts myself almost despising, F Haply I think on thee, and then my state, E Like to the lark at break of day arising F From sullen earth, sings hymns at heaven's gate; G For thy sweet love remember'd such wealth brings G That then I scorn to change my state with kings.

22. When I feel out of luck and as if no one likes me I feel all alone and cry And it's as if my prayers have no power at all because no one is listening And I feel sorry for myself and think that I'm the unluckiest person alive I wish that I had that person’s good luck Or that person’s good looks and was as popular as that person Wishing that I had that man's talent, and that man's intellect Not at all happy with what I usually enjoy. Even then, almost hating myself for thinking this way But if I think about you, and then my soul, Just like the lark whose song at the light of day Breaks over the cold earth, sings a song filled with heavenly joy Because I remember the sweet love we share, and the richness that it brings And, at that point, I wouldn't change what I have, even with a king.

23. 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. 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 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.

24. Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken. Love ’s not Time’s fool, though rosy lips and cheeks Within his bending sickle’s compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error, and upon me prov’d, I never writ, nor no man ever lov’d.

25. First, on your own copy, label the sonnet: number the lines, add the rhyme scheme, identify the 3 quatrains and the couplet. Next, in small groups, use the glossary to translate some words and together paraphrase the sonnet. Write it on the poster paper or on your laptops to project so others can see it. Be prepared to read it aloud – with passion.

26. In a soliloquy, the character is thinking out aloud and not addressing another character. The writer is enabling the character to share his or her thoughts and feelings with the audience. In a monologue, the character makes a lengthy speech to other characters or the audience. A short comment to the audience is an aside.

27. To be or not to be– that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And, by opposing, end them. To die, to sleep No more – and by a sleep to say we end The heartache and the thousand natural shocks That flesh is heir to – ‘tis a consummation Devoutly to be wished. To die, to sleep To sleep, perchance to dream. Ay, there's the rub, For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There's the respect That makes calamity of so long life.

28. All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first, the infant, Mewling and puking in the nurse's arms. Then the whining schoolboy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow.

29. To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

30. Petruchio: I will attend her here, And woo her with some spirit when she comes. Say that she rail; why then I'll tell her plain She sings as sweetly as a nightingale: Say that she frown, I'll say she looks as clear As morning roses newly wash'd with dew: Say she be mute and will not speak a word; Then I'll commend her volubility, And say she uttereth piercing eloquence: If she do bid me pack, I'll give her thanks, As though she bid me stay by her a week: If she deny to wed, I'll crave the day When I shall ask the banns and when be married. But here she comes; and now, Petruchio, speak.

32. Themes: Romantic comedy: A Midsummer Night’s Dream, Much Ado About Nothing, Taming of the Shrew, As You Like It, etc. Histories: Richard II, Richard III, Henry IV, Henry V, etc. Tragedies: Othello, Hamlet, Macbeth, King Lear, Romeo and Juliet, etc. Common elements: Tragic hero: the hero with a tragic flaw that is his downfall Conflict Comic relief Humour: puns, running gags, slapstick Disguises and cross dressing Play within a play Ghosts, fairies

33. Shakespeare wrote plays to be performed His audience was largely illiterate The first actors were all male so men dressed as women for the female roles ‘The Reduced Shakespeare Company’ presents The Complete Works of William Shakespeare The Complete Works of William Shakespeare (abridged) Not having studied Shakespeare yet, see how many of the plays or characters you can identify from this zany performance. Also, how many of the traditional elements can you recognize?

35. We will read just one scene from Act II when Petruchio first encounters Katharina -- and then the very end of the play when she makes the closing speech. We will stop at a few points to discuss what is happening so follow along carefully in order to answer questions.

37. The guidance counsellor in The 10 Things I Hate About You is the antithesis of Shakespeare: her ‘writing’ is crass and cheap -- a direct contrast to Shakespeare’s play on words and poetry. Ms. Perky has no wit, no wisdom, no words…. Shakespeare has been accused of being misogynist in The Taming of the Shrew yet Kat says, ‘I’m never going to live up to someone else’s expectations of me – I have my own standards’. (To thine own self be true….) Is Shakespeare really showing that women can be strong – AND feminine? To what extent did she tame him? Do you have to be ‘cruel to be kind’ in love?

38. Think back to your writing about Alfred Higgins in All the Years of her Life by Morley Callaghan -- you pulled evidence from the story to form your own conclusion about Alfred’s character (your thesis). Did you think he was naive, egotistical, compassionate…?

39. In the novel study unit, you identified …first, the topic of your novel (child prostitution, solving/ preventing a murder, living in gang territory, or survival of the fittest) and …second, the theme (human dignity, love, family, trust, independence, redemption, determination, etc.). Then, you developed your own thesis statement about the novel and posted it on your blog.

40. 1. His achievements and legacy to English culture i.e. how has he contributed to our language and literature? 2. The teaching and studying of Shakespeare i.e. how should his work be taught/studied? 3. The adaptation or modernization of his works i.e. should his works be adapted to modern English in theatre or on film? Or even in other languages? Does this mean his themes and stories still carry meaning for modern audiences?

41. William Shakespeare is the most influential writer in the English language – and quite likely, a genius. Students would enjoy Shakespeare more fun if they began studying plays like Romeo and Juliet in Grade 6. The Taylor-Burton screen version of The Taming of the Shrew and the modern Shiles-Ledger version, The Ten Things I Hate About You, both provide evidence that Shakespeare’s plays are still relevant to modern audiences.

42. Tonight, brainstorm ideas for your writing outline in class tomorrow. Use proper essay format: introduction, body, conclusion. Write meaningful paragraphs: Opening, topic sentences Supporting ideas (with specific examples) Concluding transitional sentences Pay attention to writing conventions and proofread your work for spelling and punctuation. Make your writing powerful with rich vocabulary, literary terms and transition words to combine sentences.

44. Use a writing ouline. Use proper essay format: introduction, body, conclusion. Write meaningful paragraphs: Opening, topic sentences Supporting ideas (with specific examples) Concluding transitional sentences Pay attention to writing conventions and proofread your work for spelling and punctuation. Make your writing powerful with rich vocabulary, literary terms and transition words to combine sentences.

45. Complete your writing outline Write your essay double spaced – review the criteria. Revise and proofread your work so you can write out your clean, good copy on Thursday.

46. Think back to your writing about Alfred Higgins in All the Years of her Life by Morley Callaghan -- you pulled evidence from the story to form your own conclusion about Alfred’s character (your thesis)

47. In the novel study unit, you identified …first, the topic of your novel (child prostitution, solving/ preventing a murder, living in gang territory, or survival of the fittest) and …second, the theme (human dignity, love, family, trust, independence, redemption, determination, etc.). Then, you developed your own thesis statement about the novel and posted it on your blog.

48. 1. His achievements and legacy to English culture i.e. how has he contributed to our language and literature? 2. The teaching and studying of Shakespeare i.e. how should his work be taught/studied? 3. The adaptation or modernization of his works i.e. should his works be adapted to modern English in theatre or on film? Or even in other languages? Does this mean his themes and stories still carry meaning for modern audiences?

49. William Shakespeare is the most influential writer in the English language – and quite likely, a genius. Students would enjoy Shakespeare more fun if they began studying plays like Romeo and Juliet in Grade 6. The Taylor-Burton screen version of The Taming of the Shrew and the modern Shiles-Ledger version, The Ten Things I Hate About You, both provide evidence that Shakespeare’s plays are still relevant to modern audiences.