1. English I Honors—November 30, 2015
Daily Warm-up: Recall love stories that you have read about in books or seen in movies and on TV. Whether or not the romance seemed real or the relationship ended happily, the writer had to provide some obstacles to keep the story going. Answer the following questions:
What were the complications in your favorite romances?
Were the obstacles caused by the couple themselves, or by social factors or other outside forces beyond the couple’s control?
Homework:
Poetry Anthology due by the end of the day on Friday.
Study for Lesson 25 and 26 Vocabulary Quiz
Reading Plus due Sunday at 11:59.

2. English I Honors Lesson 25 Vocabulary
Autobiography—n. an account of a person's life written by that person.
Scripture—n. the sacred writings of Christianity contained in the Bible.
Illegible—adj. not clear enough to be read.
Editorial—n. a newspaper article written by or on behalf of an editor that gives an opinion on a topical issue.
Manuscript—n. author's text that has not yet been published.
Anecdote—n. a short and amusing or interesting story about a real incident or person.
Revision—n. the action of revising.
Postscript—n. an additional remark at the end of a letter, after the signature and introduced by “P.S.”
Bibliography—n. a list of the books referred to in a scholarly work, usually printed as an appendix.
Monogram—n. a motif of two or more letters, typically a person's initials, used as a logo or to identify a personal possession.

3. English I Honors Lesson 26 Vocabulary
Contradict—v. be in conflict with
Verdict—n. a decision on a disputed matter
Proclamation—n. a public or official announcement
Clamor—n. a loud and confused noise
Diction—n. word choice
Dedicate—v. devote (time, effort, or oneself) to a particular task or purpose
Benediction—n. the utterance or bestowing of a blessing
Predictable—adj. behaving or occurring in a way that is expected
Dictator—n. a ruler with total power over a country, typically one who has obtained power by force
Acclaim—n. enthusiastic and public praise

4. Unlocking Shakespeare’s Language
Shakespeare’s plays are written largely in blank verse, a form of poetry that uses unrhymed lines of iambic pentameter. However, the pattern is not perfect; sometimes there are breaks in the pattern.
Remember the John Green video that mentioned that Romeo’s name causes an issue with the rhythm?
Remember that writer’s make precise choices when it comes to syntax.
Sometimes the characters will speak in rhyming couplets.
Sometimes the characters will speak in poetry if they are expressing strong feelings.
Pay attention and see if you can recognize the shifts in language.

5. Exercise #1: Word Order
The most common simple sentence in modern English follows a familiar pattern: Subject (S), Verb (V), Object (O). To illustrate this, we'll devise a subject (John), a verb (caught), and an object (the ball). Thus, we have an easily understood sentence, "John caught the ball." This is as perfectly an understood sentence in modern English as it was in Shakespeare's day. However, Shakespeare was much more at liberty to switch these three basic components—and did, quite frequently. Shakespeare used a great deal of SOV inversion, which renders the sentence as "John the ball caught." This order is commonly found in Germanic languages (more so in subordinate clauses), from which English derives much of its syntactical foundation.
Shakespeare also throws in many examples of OSV construction ("The ball John caught."). Shakespeare seems to use this colloquially in many places as a transitory device, bridging two sentences, to provide continuity. Shakespeare (and many other writers) may also have used this as a device to shift end emphasis to the verb of a clause. Also, another prevalent usage of inversion was the VS order shift ("caught John" instead of "John caught"), which seems primarily a stylistic choice that further belies the Germanic root of modern English.

6. Exercise #1: Word Order 1. VOS—Ate the sandwich I.
2. SOV—I the sandwich ate.
3. SVO—I ate the sandwich.
4. VSO—Ate I the sandwich.
5. OSV—The sandwich I ate.
6. OVS—The sandwich ate I.

7. Exercise #4: Rearranging Word Order to Unlock Meaning
This morning brings with it a glooming peace.
An Egyptian did give that handkerchief to my mother.
Thou still retain thy invisible shape.

8. Exercise #5: Rearranging Passages
My heavy son steals home away from light and pens himself in his private chamber, shuts his windows up, locks out fair daylight, and makes himself an artificial night.

9. Exercise #6: Poetic Lines and Word Order
Confusion now hath made his masterpiece.
Let all the battlements their ordinance fire.
But soft! What light through yonder window breaks?
If after every tempest such calms come.

10. Exercise #7: Missing Syllables and Contractions
Sometimes you will find that there are verse lines that are missing more than just a syllable or two and are not “shared lines” (see the next section for a discussion on shared lines). In many cases, it seems as if Shakespeare intended for the missing syllables to be replaced by an action of some sort, such as a kiss, as in the scene where Juliet discovers the dead body of Romeo and kisses his lips, hoping enough poison still clings to them to kill her:
JULIET: O churl! Drunk all and left no friendly drop
To help me after? I will kiss thy lips;
Haply some poison doth hang on them.
Thy lips are warm.
The last line has only 4 syllables, and it seems as if Juliet took the first 6 syllables to kiss Romeo before speaking the last four.

11. Exercise #7: Missing Syllables and Contractions
Sometimes you will find that there are verse lines that are missing more than just a syllable or two and are not “shared lines” (see the next section for a discussion on shared lines). In many cases, it seems as if Shakespeare intended for the missing syllables to be replaced by an action of some sort, such as a kiss, as in the scene where Juliet discovers the dead body of Romeo and kisses his lips, hoping enough poison still clings to them to kill her: 
JULIET: O churl! Drunk all and left no friendly drop
To help me after? I will kiss thy lips;
Haply some poison doth hang on them.
Thy lips are warm.
The last line has only 4 syllables, and it seems as if Juliet took the first 6 syllables to kiss Romeo before speaking the last four.

12. Exercise #7: Missing Syllables and Contractions
Again, for the sake of his poetry, Shakespeare often left out letters, syllables, and whole words. These omissions are not that much different from the way we speak today.
For instance, we might say:
"Been to class yet?"
"No. Heard Coker's givin' a test. Wha'sup wi‘ that?"
We leave out words and parts of words to speed up our speech. If we were talking in complete sentences, we would say:
"Have you been to class yet?"
"No, I have not been to class. I heard that Mrs. Coker is giving a test today. What is up with that?“

13. Exercise #8: Putting It All Together
Two households, both alike in dignity
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows
Doth with their death bury their parents' strife.
The fearful passage of their death-marked love
And the continuance of their parents' rage,
Which, but their children’s end, naught could remove,
Is now the two hours' traffic of our stage—
The which, if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

14. Exercise #8: Putting It All Together
In the beautiful city of Verona, where our story takes place, a long-standing hatred between two families erupts into new violence, and citizens stain their hands with the blood of their fellow citizens. Two unlucky children of these enemy families become lovers and commit suicide. Their unfortunate deaths put an end to their parents' feud. For the next two hours, we will watch the story of their doomed love and their parents' anger, which nothing but the children’s deaths could stop. If you listen to us patiently, we’ll make up for everything we’ve left out in this prologue onstage.

15. Romeo and Juliet Reading Log
Act 1 Scene i
Characters and brief description:
Attitudes, personality, motives
3 notable quotes and translation:
Scene summary:

16. Act 1 Scene i
Characters and brief description:
Sampson and Gregory (House of Capulet goofballs, think they are tough stuff, motivation is to prove they are tough)
Abram and Balthsar (House of Montague goons, looking for a fight)
Tybalt (A Capulet, Juliet’s cousin, he is hot-headed, likes to fight)
Benvolio (friend to Romeo, a peacemaker; Benvolio summarizes a lot of the action.)
Capulet (old, but still wants to fight)
Lady Capulet (insults her husband)
Montague and Lady Montague (worried about their son, Romeo)
Prince (Angry about the fight, decrees that if they fight again they will be put to death)
Romeo (all sad and emo about losing his love Rosaline)

17. Act 1, Scene i
3 notable quotes and translation:
1. What, drawn, and talk of peace? I hate the word/As I hate hell, all Montagues, and thee. (I, i, Lines72-74)
What? You take out your sword and then talk about peace? I hate the word peace like I hate hell, all Montagues, and you. Let’s go at it, coward!
2. Away from light steals home my heavy son, And private in his chamber pens himself,/Shuts up his windows, locks fair daylight out, And makes himself an artificial night. (I, i, )
My sad son comes home to escape the light. He locks himself up alone in his bedroom, shuts his windows to keep out the beautiful daylight, and makes himself an artificial night.  3.
BENVOLIO […] What sadness lengthens Romeo's hours?
What’s making you so sad and your hours so long?
ROMEO Not having that, which, having, makes them short.
I don’t have the thing that makes time fly.
BENVOLIO In love?
Your in love?
ROMEO Out—
Out.
BENVOLIO Of love?
Out of love.
ROMEO Out of her favor, where I am in love.
I love someone. She doesn’t love me. ( )

18. Act 1 Scene i
Scene Summary:
Sampson and Gregory, two servants of the house of Capulet, stroll through the streets of Verona. Gregory sees two Montague servants approaching, and discusses with Sampson the best way to provoke them into a fight without breaking the law. Benvolio, a kinsman to Montague, enters and draws his sword in an attempt to stop the confrontation. Tybalt, a kinsman to Capulet, sees Benvolio’s drawn sword and draws his own. The brawl spreads. The Prince Escalus arrives and commands the fighting stop on penalty of torture. The Prince declares the violence between the two families has gone on for too long, and proclaims a death sentence upon anyone who disturbs the civil peace again.
Benvolio describes to Montague how the brawl started. Lady Montague asks whether Benvolio has seen her son, Romeo. Benvolio replies that he earlier saw Romeo pacing through a grove of sycamores outside the city; since Romeo seemed troubled, Benvolio did not speak to him. Concerned about their son, the Montagues tell Benvolio that Romeo has often been seen melancholy, walking alone among the sycamores. They add that they have tried to discover what troubles him, but have had no success. Benvolio sees Romeo approaching, and promises to find out the reason for his melancholy. The Montagues quickly depart.
Benvolio approaches his cousin. With a touch of sadness, Romeo tells Benvolio that he is in love with Rosaline, but that she does not return his feelings and has in fact sworn to live a life of chastity. Benvolio counsels Romeo to forget her by gazing on other beauties, but Romeo contends that the woman he loves is the most beautiful of all. Romeo departs, assuring Benvolio that he cannot teach him to forget his love. Benvolio resolves to do just that.