1. William Shakespeare
The greatest dramatist in English Literature—indeed , in all the world.

2. Shakespeare wrote:
Comedies
Histories
Tragedies

3. Romeo and Juliet Written about 1595 Considered a tragedy
West Side Story (Movie) based on R&J

4. The Theater Plays produced for the general public Roofless>open air
No artificial lighting
Courtyard surrounded by 3 levels of galleries

5. Spectators Wealthy sat in cover benches of
“Groundlings”>poorer people stood and watched from the courtyard (“pit”)
All but wealthy were uneducated/illiterate
Much more interaction than today

6. Staging Areas Stage was aplatform that extended into the pit
Dressing & storage rooms in galleries behind & above stage
Second-level gallery with upper stage, as used in famous balcony scene in Romeo and Juliet
Trap door for ghosts
“Heavens” for angelic beings

7. Different from today No scenery
Setting was established by references in dialogue
Elaborate costumes, nit necessary historical though
Plenty of props
Fast-paced, colorful (2 hours)

8. Actors Only men and boys
Young boys whose voices had not changed play women’s roles
Would have been considered indecent for a woman to appear on stage

9. Elizabethan Words An,and: If Anon: Soon Aye: Yes But: Except for
E’en: Even
E’er: Ever

10. Words (cont.) Haply: Perhaps Happy: Fortunate Hence: Away Hie: Hurry
Marry: Indeed

11. Words (cont.) Whence: Where Wilt: Will, will you
Withal: In addition to
Would: Wish

12. Blank Verse
Plays, including Romeo and Juliet, were predominantly in blank verse, unrhymed iambic pentameter
(10 syllables a line, accent on every other syllable, no end rhyme.

13. Prose Ordinary writing that is not poetry, drama, or song
Only characters in the lower social classes, such as servants, speak in prose Shakespeare’s plays
Why do you suppose that is?
Slide 22 starts tragedy

14. The sequence of events in a literary work
Plot
The sequence of events in a literary work

15. Exposition The plot usually begins with this:
introduces>>>>
setting
characters
basic situation

16. Inciting Moment Often called “initial incident”
the first bit of action that occurs which begins the plot
Romeo and Juliet “lock eyes” at the party

17. Conflict The struggle that develops man vs. man man vs. himself
man vs. society
man vs. nature

18. Crisis
The point where the protagonist’s situation will either get better or worse
protagonist>good guy
antagonist>bad guy

19. Climax
The turning point of the story>everything begins to unravel from here
Thus begins the falling action

20. Resolution
The end of the central conflict

21. Denouement The final explanation or outcome of the plot
If this is included in literature, it will occur after the resolution.

22. Tragedy: Aristotelian
Generally speaking, a drama that has a tragic ending, whereas comedy has a happy ending, often a marriage, after confusion.
Aristotle is accredited with five main characteristics of tragedy.

23. Tragedy: Aristotelian
1) Position: the tragic protagonist is a person of “high estate” (such as king, prince, noble) who is happy and esteemed, and whose fall effects the nation, not just himself or his immediate family.

24. Tragedy: Aristotelian
2) Tragic flaw: his error or transgression is a result of a flaw in character which leads to his downfall.
Common tragic flaws are pride (hubris), ambition, naivety (gullibility), jealousy, over-trusting, and self will.

25. Tragedy: Aristotelian
3) Reversal: the protagonist’s actions have the opposite effect of what was intended or desired; reversal of fortune; he is partially, but not wholly to blame, for his own demise. The viewer has a sense that the tragic hero’s misfortunes are greater than he deserved.

26. Tragedy: Aristotelian
4) Recognition: (anagnorisis) the revelation of some fact or some person’s identity which brings a “terrible enlightenment” in which he suddenly sees things clearly. tragic hero receives insight which leads to deeper self-understanding or self-awareness (ie. Oedipus and King Lear)

27. Tragedy: Aristotelian
5) Catharsis: (katharsis) the audience experiences pity and fear, a sense of pity for the character and fear that we might be capable of a similar tragic error and fate, and increase in understanding of ourselves and others.

28. Tragedy: Aristotelian
6) Unity: It is an imitation of a single, unified action that is serious, complete, and probable, and has a certain magnitude.
More simply, there are three unities: time (one day), place, action (one plot)
(Shakespeare followed the unities in A Comedy of Errors, one of his earliest place and not a tragedy, but not other plays)

29. Tragedy: Aristotelian
7) Elevated language

30. Tragedy Shakespearean
The central impression of the tragedy is one of waste.

31. Tragedy Shakespearean
The tragic world is one of action. 
Thoughts quickly turn into reality and their actions ultimately lead to their own destruction.

32. Tragedy Shakespearean
The ultimate power in the tragic world is moral order, where good and social order dominate
The struggle is between good and evil. Evil is the main source of problems and produces death and suffering.
Evil disturbs the moral order of the world.

33. Tragedy Shakespearean
This evil is eventually destroyed and the moral order of the world is re-established.

34. Tragedy Shakespearean
The central impression of the tragedy is one of waste.

35. Tragedy Shakespearean
The cycle of a tragedy:  
Good / Order >
Evil >
Chaos >
Death >
Good / Order reestablished

36. Tragedy Shakespearean
Reading Shakespeare:
Pay attention to first scenes
Watch for parallel characters and scenes (last scene brings the play full circle)
Be attuned to subtle irony
Understand use of images, symbols and motifs
Be knowledgeable of common themes

37. Tragedy Shakespearean
Reading Shakespeare cont.:
Remember that it is poetry, so read sentences not lines; it is drama, so visualize and note who is or is not on stage, especially if a character is alone and thus giving a soliloquy which reveals his thoughts and motives.
Keep track of characters
Five Acts (Introduction, rising action, climax, falling action, catastrophe (resolution/conclusion)

38. Theme
Central idea or insight about life

39. Metaphorical Language
Comparison of unlike things >
Paris standing over the “lifeless body” of Juliet, “Sweet flower, with flowers thy bridal bed I strew…”
“Thou detestable maw…Gorged with the dearest morsel of the earth…” Romeo

40. Foil A character whose purpose is to show off another character
Benvolio foil for Tybalt

41. Round characters
Characters who have many personality traits, like real people.

42. Flat Characters One-dimensional, embodying only a single trait
Shakespeare often uses them to provide comic relief even in a tragedy

43. Static Characters
Characters within a story who remain the same. They do not change. They do not change their minds, opinions or character.

44. Dynamic Character
Characters that change somehow during the course of the plot. They generally change for the better.

45. Monologue One person speaking on stage; other character on stage too
example-the Prince of Verona commanding the Capulets and Montagues to cease feuding

46. Soliloquy
Long speech expressing the thoughts of a character alone on stage. Romeo gives a soliloquy after the servant has fled and Paris has died.

47. Aside
A character’s speech not intended to be heard by all characters. The character often turns aside and speaks as to himself or to the audience, and other characters freeze or pantamine.

48. Pun Shakespeare loved to use them!!!
Humorous use of a word with two meanings.
Often used by lower class to mock upper class or by clowns
Sometimes missed by the readers because of Elizabethan double entendre, or sexual innuendo

49. Direct Address Words that tell the reader who is being addressed:
“A right fair mark, fair coz, is soonest hit.”
“Ah, my mistresses, which of you all/ Will now deny to dance?”

50. Dramatic Irony
A contradiction between what a character thinks and what the reader/audience knows to be true

51. Verbal Irony
Words used to suggest the opposite of what is meant

52. Situational Irony
An event or situation occurs that directly contradicts the expectations of the characters, the reader, or the audience
The opposite of what is expected happens

53. Comic Relief
Use of comedy within a drama that is NOT comedy to provide “relief” from seriousness or sadness in the plot.