Even at this early date, Shakespeare shows himself to be a master of plot construction. Disregarding the classical unity of action, which forbade subplots, for a more enlightened concept of unity, Shakespeare creates two distinct lines of action, each derived from a different source, and integrates them into a unified dramatic whole.
Have a suggestion to improve this page? To leave a general comment about our Web site, please click here Share this page with your network. Each year and in each class students bemoan the idea of having to read Shakespeare.
Their perception of the plays and sonnets is that they are written in an ancient language no longer spoken, much less understood. So what is the point? My answer is a standard one: I also aspire to reinforce the fact that the plots, characters, language, and even complete speeches are often alluded to in many other great works.
If the students have never been exposed to Romeo and Juliet, for instance, how can they understand an allusion to the famous balcony scene? We have many English as a Second Language ESL classes at the school but the majority of the students are in regular education.
The number of Advanced Placement courses offered grows yearly.
At least one Shakespearean drama is required in each class level of English at Capital High School as part of our standard curriculum. Some faculty members are as apprehensive of Shakespeare as the students; unfortunately, that comes across in their teaching. The students recognize that loathing and they respond with a reluctance to learn.
I, on the other hand, truly appreciate sharing the literary complexity and genius of Shakespeare. Each time I prepare to teach a Shakespearean drama, it is like learning it from a whole new perspective. Reading the plays with each new class brings a whole new perspective to the plays as well, because as the students become familiar with the language, they add their own opinions and analysis, which is beneficial to all.
The courses I teach are junior and senior literature. The variety of literature in these classes is endless. I try to teach something new each year to keep my curriculum current and exciting. These courses are offered to junior and senior level students.
The curricula for these courses follow the standard curricula at CHS with the addition of preparation for the Advanced Placement Exams taken in May. Students can receive college credit for classes if they score above a three on the one-five scale.
In addition, many colleges base admission on the scores of the AP exams. Shakespearean analysis is an essential skill for the AP students; they must be able to analyze how the author creates meaning through the use of literary strategies. The visual aspect of this project is of great value.
When students are asked to compose a written character analysis, they tend to confine themselves to a formulaic paragraph format: I want them to explore the entire character and to find everything they possibly can.
If the students are looking for all the major aspects of the character to create a complete portrait, they will undoubtedly create a complete analysis.
As a bonus, the presentation of these portraits will also help the remainder of the students to develop their understanding of characters they did not analyze themselves.
Objectives The main objective of this unit is to analyze characters in plays written by William Shakespeare. To this end, the students will need to recognize and analyze methods of characterization through identifying physical attributes, symbols, motivation, important lines, internal and external perspective, the figurative language used to develop the character and the major psychological shift in the character.
We will apply close reading analysis skills. The final assessment will be a formal essay analyzing three characters from Othello, Macbeth and The Taming of the Shrew. The Unit The students will read three plays by Shakespeare: Macbeth, Othello, and The Taming of the Shrew.
The students will choose from the major characters in each of the plays to create six visual analyses by the end of the unit: The other two characters may be any of the main characters from the plays.
The plays will be assigned for reading outside of class while some close readings will be done in class. I believe in starting with the end in mind when it comes to curriculum units. The students will be given the essay topic before they begin the portraits.
These characters drive the action and the plot of the play, hence a grasp of characterization is necessary to understand what happens. The following prompt will be given to the students:The play The Taming of the Shrew, by William Shakespeare, examines this theme by detailing the female-pursuits of 3 men, Lucentio, Hortensio, and Petruchio, and their respective methods of .
The Taming of the Shrew Please see the bottom of this page for related resources. ACT V SCENE I: The Complete Play The Taming of the Shrew Glossary - A to K The Taming of the Shrew Glossary (by Play and Theme) Quotations About William Shakespeare Shakespeare's First Folio Facts.
The Taming of the Shrew by William Shakespeare. Home / Literature / The Taming of the Shrew / The Taming of the Shrew Analysis Literary Devices in The Taming of the Shrew. Symbolism, Imagery, Allegory a contemporary of Shakespeare's, wrote a sequel play in response to Taming of the Shrew. The play is called The Woman's Prize or, The.
Here you will find the complete text of Shakespeare's plays, based primarily on the First Folio, and a variety of helpful resources, including extensive explanatory notes, character analysis, source information, and articles and book excerpts on a wide range of topics unique to each drama.
The Taming of the Shrew is the story of how Petruchio, the money-grubbing wife hunter, transforms the aggressive and bad-tempered Katherine Minola into an obedient, honey-tongued trophy wife. Written by William Shakespeare between and , it's one of Shakespeare's earliest Comedies – it's also one of his most controversial works.
Kate in William Shakespeare's The Taming of the Shrew Katharina or Kate, the shrew of William Shakespeare's The Taming Of The Shrew is sharp-tongued, quick-tempered, and prone to violence and violent outbursts, especially to anyone who tries to win her love.