Unit 2: Literature of the Renaissance. Bri$sh Literature Fall PDF Free Download

Unit 2: Literature of the Renaissance Bri$sh Literature Fall 2014

Unit Goals Improve reading comprehension of archaic and difficult Renaissance texts, focusing specifically on William Shakespeare s Macbeth. Improve skills of analysis by star$ng to read and respond to scholarly ar$cles (professionally wriken cri$cal essays). Improve use of oral and wriken communica$on in academic semngs.

Friday, February 7 th TODAY S GOALS: Build background on the Renaissance to prepare for reading Macbeth. DO NOW: Open Beowulf rough dravs. We will spend the first ten minutes working on dravs.

Timeline of Literary Periods (British Literature) 450-1500 1660-1785 1837-1901 1914-1939 MEDIEVAL NEOCLASSICAL VICTORIAN MODERN C. 450 TODAY RENAISSANCE ROMANTIC EDWARDIAN POSTMODERN 1500-1660 1785-1837 1901-1910 1939- PRESENT

Timeline of Literary periods NEOCLASSICAL MEDIEVAL C. 450 RENAISSANCE MODERN VICTORIAN ROMANTIC EDWARDIAN TODAY POSTMODERN Also called the Early Modern Period (1500-1660) The Renaissance refers broadly to the ﬂourishing of the arts. The King James Bible was wriken in this period. Major works: Sir Thomas More s Utopia, plays and poetry by William Shakespeare, prose by Francis Bacon, prose by Sir Walter Raleigh, poetry by John Milton

English in the Renaissance (Shakespeare)

English in the Renaissance (The King James Bible)

Put it together! ACTIVE NOTE- TAKING: JOT DOWN THREE WORDS OR PHRASES THAT YOU FEEL DESCRIBE THE RENAISSANCE.

Closing Monday, October 3 rd IN CLASS: Begin reading Macbeth. HOMEWORK DUE: Work on Beowulf essay

Monday, October 6 th Today s Goals: Build background for reading Macbeth. Read I.i.1-13 of Macbeth. DO NOW: Review essays.

Agree or Disagree? Behind every great man is a great woman (every great man is supported, guided, helped and even pushed by a great woman).

Agree or Disagree? Witches, demons, evil spirits, ghosts, or other supernatural beings actually exist.

Agree or Disagree? Some$mes it is necessary to do something wrong to get what you want.

Agree or Disagree? What goes around comes around (karma).

Agree or Disagree? Human beings are easily tempted by things they want, even if it s wrong.

Agree or Disagree? If someone feels that the ruler/s of his/her country is destroying the country, that person should try to overthrow the ruler/s.

Agree or Disagree? There are circumstances or events that jus$fy murdering someone.

Agree or Disagree? Success is worth any price you have to pay.

Agree or Disagree? Des$ny and fate are real.

Macbeth as Tragedy Classical tragedy (Greeks like Aristotle or Sophocles and Romans like Seneca): A protagonist who falls from prosperity to misery as a result of a tragic flaw or moral weakness. The protagonist is basically a good person. Tragedy evokes pity and fear in the audience. Medieval tragedy: A person falls from high to low estate as fortune spins her wheel. Remember the supers$$ous quality of the Middle Ages? Renaissance tragedy: More similar to Classical tragedy than Medieval. The protagonist has a tragic flaw or moral weakness that leads to his/her downfall. Shakespeare s tragedies are considered universal and Gmeless. Macbeth is too evil of a character for Aristotle to have considered him a tragic hero.

Themes, Topics, and Motifs to Track Themes and Topics Things are not always what they seem. Blind ambi$on and the desire for power cause corrup$on. The meaning of masculinity and the male iden$ty. Good vs. evil Mo$fs Birds Water Blood Weather Clothing Sleep

Closing Tuesday, October 4th IN CLASS: Peer edi$ng and teacher conferencing. HOMEWORK DUE: Full rough drav of Beowulf essay due. Due on Tuesday, October 14th: Download Macbeth The Shakesperience from the ibooks store. Beowulf essay in hard copy and on turni$n. Read and annotate Act I on Macbeth (7 scenes).

Tuesday, October 14 th Today s Goals: Analyze two soliloquies in Macbeth. DO NOW: Take out ipad and open the Shakesperience. Take out your Beowulf papers to turn in. Highlight or underline your thesis statement (both proposi$o/ argument and par$$o/outline) Circle your most successful analy$cal moment. Write me a note on the back of your paper indica$ng what grade you feel you deserve and why. Try to go beyond just wri$ng I worked really hard.

Historical [In]Accuracy Shakespeare used Holinshed s Chronicles to an extent 11 th century: The characters are based on real people, but very loosely. Macbeth was king and succeeded Duncan, but Duncan was killed nobly by Macbeth in bakle Malcolm was a child Duncan was young and wild; Macbeth known as being cruel 13 th century bakle between Norwegians and Scots? How do we get a Medieval feel for the semng?

King James I Was Shakespeare s patron Had an interest in witches even wrote a book en$tled Daemonologie. Would have been interested in Macbeth s sense of conscience. KJ was very interested in the human conscience. He wrote: Conscience it is nothing else but the light of knowledge that God hath planted in man. King James was said to be Banquo s direct descendent, so he is portrayed as good and noble throughout the play.

Act I Scene i: The three witches set the spooky mood and establish things are not what they seem: Fair is foul, and foul is fair (I.i.12). They plan a meet with Macbeth (I.i.8). Scene ii: A sergeant tells of the heroic deeds of Macbeth. King Duncan announces that Macbeth will be given the $tle of Thane of Cawdor. Scene iii: The witches prophesy that Macbeth will be king, and Banquo will be father of kings. Ross and Angus tell Macbeth he has been given the $tle of Thane of Cawdor. Macbeth muses on the possibility of killing the king in order to be king. Scene iv: King Duncan is told of the execu$on of the rebel Thane of Cawdor, thanks Macbeth for his heroic service, and announces that Malcolm (his son) is heir to the throne. Scene v: Lady Macbeth reads Macbeth s leker about what the Weird Sisters said and decides to encourage him to murder. When Macbeth arrives, she tells him to follow her lead. Scene vi: King Duncan arrives at Macbeth s castle. Scene vii: Macbeth almost talks himself out of murdering the king, but Lady Macbeth admonishes him for second guessing their plan.

Friday, October 17 th Today s Goals: Analyze Macbeth s Act I soliloquy. Read on into Act II. DO NOW: Reading Quiz for Pd 7 Open the Shakesperience and get ready to finish Act I summaries.

Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top- full Of direst cruelty! make thick my blood; Stop up the access and passage to remorse, That no compunc$ous visi$ngs of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman's breasts, And take my milk for gall, you murdering ministers, Wherever in your sightless substances You wait on nature's mischief! What beast was't, then, That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor $me nor place Did then adhere, and yet you would make both: They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'Fs to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums, And dash'd the brains out, had I so sworn as you Have done to this. Lady Macbeth s CharacterizaFon Was the hope drunk Wherein you dress'd yourself? hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this $me Such I account thy love. Art thou afeard To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, LeMng 'I dare not' wait upon 'I would,' Like the poor cat i' the adage?

Macbeth s Soliloquy I.vii.1-28 If it were done when '$s done, then 'twere well It were done quickly: if the assassina$on Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be- all and the end- all here, But here, upon this bank and shoal of $me, We d jump the life to come. But in these cases We s$ll have judgment here; that we but teach Bloody instruc$ons, which, being taught, return To plague the inventor: this even- handed jus$ce Commends the ingredients of our poison'd chalice To our own lips. He's here in double trust; First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his facul$es so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet- tongued, against The deep damna$on of his taking- off; And pity, like a naked new- born babe, Striding the blast, or heaven's cherubim, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaul$ng ambi$on, which o'erleaps itself And falls on the other.

Closing Monday, October 4th IN CLASS: Read on in Act II. Watch a video. HOMEWORK DUE: Read through Act II, Scenes 1-3.

Monday, October 20 th Today s Goals: Discuss Macbeth s Act II soliloquy. Watch part of Roman Polanski s film. DO NOW: Open the Shakesperience. Write a summary for the first three scenes of Act II. One summary per scene!

Act II Scene i: Banquo has felt uneasy and notes the darkness of the night, and then everyone goes to bed. Macbeth hallucinates and sees a bloody dagger in the air, but in the end braces himself to commit the murder. Scene ii: Macbeth goes to Lady Macbeth, and his hands are dripping with blood (he s even brought the daggers back with him that he was supposed to leave to frame the guards!). Macbeth is panicked and fearful, so it is Lady Macbeth who brings the daggers back to frame the guards. Her hands are now both literally and figura$vely bloodied. Scene iii: Macduff and Lennox arrive at the castle, and then everyone realizes that the king has been slain. Scene iv: Duncan s sons have fled from Scotland (they fear for their lives), so it is assumed that they are behind the murders. Their claim to the throne is forfeit, and Macbeth will be named the new King.

Macbeth II.i.34-65 Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee s$ll. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false crea$on, Proceeding from the heat- oppressed brain? I see thee yet, in form as palpable As this which now I draw. Thou marshall'st me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest; I see thee s$ll, And on thy blade and dudgeon gouts of blood, Which was not so before. There's no such thing: It is the bloody business which informs Thus to mine eyes. Now o'er the one halfworld Nature seems dead, and wicked dreams abuse The curtain'd sleep; witchcrav celebrates Pale Hecate's offerings, and wither'd murder, Alarum'd by his sen$nel, the wolf, Whose howl's his watch, thus with his stealthy pace. With Tarquin's ravishing strides, towards his design Moves like a ghost. Thou sure and firm- set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabout, And take the present horror from the $me, Which now suits with it. Whiles I threat, he lives: Words to the heat of deeds too cold breath gives. Explain 2-3 ways in which this soliloquy is significant in the play. A bell rings I go, and it is done; the bell invites me. Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell.

Macbeth II.i.34-65 Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee s$ll. Art thou not, fatal vision, sensible To feeling as to sight? or art thou but A dagger of the mind, a false creafon, Proceeding from the heat- oppressed brain? I see thee yet, in form as palpable As this which now I draw. Thou marshall'st me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest; I see thee s$ll, And on thy blade and dudgeon gouts of blood, Which was not so before. There's no such thing: It is the bloody business which informs Thus to mine eyes. Now o'er the one halfworld Nature seems dead, and wicked dreams abuse The curtain'd sleep; witchcrav celebrates Pale Hecate's offerings, and wither'd murder, Alarum'd by his sen$nel, the wolf, Whose howl's his watch, thus with his stealthy pace. With Tarquin's ravishing strides, towards his design Moves like a ghost. Thou sure and firm- set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my whereabout, And take the present horror from the $me, Which now suits with it. Whiles I threat, he lives: Words to the heat of deeds too cold breath gives. Macbeth s soliloquy at the beginning of Act II shows his conflict about killing King Duncan and further develops the play s ominous mood. These effects are achieved through Macbeth s symbolic vision of a bloody dagger and allusions to people and pracfces that conjure up images of evil. (A bell rings) I go, and it is done; the bell invites me. Hear it not, Duncan; for it is a knell That summons thee to heaven or to hell.

Closing Monday, October 4th IN CLASS: Read on in Act III. Watch a video. HOMEWORK DUE: Read through Act II, Scene iv.

Tuesday, October 21 st Today s Goals: Review Act II. Watch part of the Polanski film. DO NOW: Go to the Homework Central Resources page. Open the link on Roman Polanski s film. Export the document to Notability.

Checking in with the Plot What is Macbeth and Lady Macbeth s ini$al plan? I.vii.61-70 LADY MACBETH: When Duncan is asleep, Whereto the rather shall his day s hard journey Soundly invite him, his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. When in swinish sleep Their drenched natures lie as in a death, What cannot you and I perform upon The unguarded Duncan? What about Malcolm and Donalbain? II.iii.129-134 MALCOLM: What will you do? Let s not consort with them. To show an unfelt sorrow is an office Which the false man does easy. I ll to England. DONALBAIN: To Ireland, I. Our separated fortune Shall keep us both the safer. Where we are There s daggers in men s smiles. The near in blood, The nearer the bloody.

Closing Wednesday, October 22nd IN CLASS: Read on in Act III. HOMEWORK DUE: Finish answering ques$ons on Roman Polanski s ﬁlm. Choose any passage from Macbeth. Take a screenshot of it. Add the screenshot to a Notability note. Annotate carefully. Then, write a thesis statement as though you have been given that passage from Friday s assessment. Remember, the prompt is to explain 2-3 ways in which the passage is signiﬁcant.

Wednesday, October 22 nd Today s Goals: Set up for tomorrow s lesson Read Act III. DO NOW: Open HW (Ques$ons on Polanski film)

Tomorrow s Lesson Focus: Wri$ng integra$ng quota$ons and analysis Prepare for Friday s essay Has anyone used GoogleDocs? Who has a gmail account? If you do, download the free GoogleDoc app.

Closing Prepare for Friday s in- class essay! A good way to study: ﬂip to any page that we have read so far. Imagine that passage has been given to you. Try annota$ng it and wri$ng a thesis statement. Another good way to study: Review the important passages (like the soliloquies!) that we have read in class. Try semng the clock for 40 minutes and wri$ng out an essay based on any passage. Review today s classwork posted on HC.

Thursday, October 23 rd Today s Goals: Use a GoogleDoc in order to create a collabora$ve study guide for tomorrow s essay. Integrate quota$ons into sentences by using context. Compose analysis sentences that are specific to quota$ons. DO NOW: Log onto Power School Check the comment for your grade on the Lady Macbeth Characteriza$on classwork assignment turned in last week. The comment will help you figure out what to focus on the most in today s lesson.

Successful Analytical Writing ALWAYS references the text by using quota$ons that are integrated into the wri$ng. Successful quota$on integra$on uses context. ALWAYS has analysis specific to the quota$ons presented. Successful analysis avoids star$ng with This quota$on shows or This demonstrates

One of the most important and most obvious symbols in Lord of the Flies is the object that gives the novel its name, the pig's head. Golding's descrip$on of the slaughtered animal's head on a spear is very graphic and even frightening. The pig's head is depicted as "dim- eyed, grinning faintly, blood blackening between the teeth," and the "obscene thing" is covered with a "black blob of flies" that "$ckled under his nostrils" (137-8). As a result of this detailed, striking image, the reader becomes aware of the great evil and darkness represented by the Lord of the Flies, and when Simon begins to converse with the seemingly inanimate, devil- like object, the source of that wickedness is revealed. Even though the conversa$on may be en$rely a hallucina$on, Simon learns that the beast, which has long since frightened the other boys on the island, is not an external force. In fact, the head of the slain pig tells him, "Fancy thinking the beast was something you could hunt and kill! You knew, didn't you? I'm part of you?" (143). At the end of this scene, the immense evil represented by this powerful symbol can once again be seen as Simon faints aver looking into the wide mouth of the pig and seeing "blackness within, a blackness that spread" (144). Thus, evil, epitomized by the pig's head, that is causing the boys' island society to decline, is inherently present within man.

Quotation Integration Simon found he was looking into a vast mouth. There was blackness within, a blackness that spread (144). The narrator describes a blackness within, a blackness that spread (144). At the end of this scene, the immense evil represented by this powerful symbol can once again be seen as Simon faints aver looking into the wide mouth of the pig and seeing "blackness within, a blackness that spread" (144).

Quotation Integration The silence accepted the giv and awed them. The head remained there, dim- eyed, grinning faintly, blood blackening between the teeth (137-8). Simon sees the head remained there, dim- eyed, grinning faintly, blood blackening between the teeth (137-8). The pig's head is depicted as "dim- eyed, grinning faintly, blood blackening between the teeth," and the "obscene thing" is covered with a "black blob of flies" that "$ckled under his nostrils" (137-8).

Quotation Integration At the end of this scene, the immense evil represented by this powerful symbol can once again be seen as Simon faints aver looking into the wide mouth of the pig and seeing "blackness within, a blackness that spread" (144). Use descrip$ve context before presen$ng the quota$on. The pig's head is depicted as "dim- eyed, grinning faintly, blood blackening between the teeth," and the "obscene thing" is covered with a "black blob of flies" that "$ckled under his nostrils" (137-8). Use short pieces of the quota$on pieced throughout the sentence.

Analysis Sentences How do I NOT begin with This quota$on shows or This shows The pig's head is depicted as "dim- eyed, grinning faintly, blood blackening between the teeth," and the "obscene thing" is covered with a "black blob of flies" that "$ckled under his nostrils" (137-8). As a result of this detailed, striking image, the reader becomes aware of the great evil and darkness represented by the Lord of the Flies, and when Simon begins to converse with the seemingly inanimate, devil- like object, the source of that wickedness is revealed. Even though the conversa$on may be en$rely a hallucina$on, Simon learns that the beast, which has long since frightened the other boys on the island, is not an external force. What is it within the quota$on that proves something? The choice of the word black proves The metaphor comparing to demonstrates The angry tone of Lady Macbeth s words indicates

Let s look at an example PASSAGE: But all s too weak, For brave Macbeth- - well he deserves that name- - Disdaining Fortune, with his brandished steel, Which smoked with bloody execu$on, Like Valor s minion carved out his passage Till he faced the slave; Which ne er shook hands, nor bade farewell to him, Till he unseamed him from the nave to the chops, And fixed his head upon our ba^lements. (I.ii.15-23) CONTEXT: A wounded sergeant speaks about Macbeth s execu$on of a traitor in a bakle that has just ended. SENTENCE WITH INTEGRATED QUOTATION: Before the audience meets Macbeth, a wounded sergeant describes Macbeth as brave because he has unseamed [a traitor] from the nave to the chops, / And fixed [that traitor s] head upon [their] baklements (I.ii.16, 22-3). ANALYSIS: The sergeant s characteriza$on of Macbeth serves two purposes. Firstly, describing Macbeth as brave lets the audience know that the characters in the play revere Macbeth and consider him courageous. Secondly, the audience sees the Macbeth is accustomed to violence and that violent ac$ons in bakle are awarded. While slicing a person open in bakle is gruesome, the sergeant associates it with the posi$ve trait of bravery.

Quotation Integration Before the audience meets Macbeth, a wounded sergeant describes Macbeth as brave because he has unseamed [a traitor] from the nave to the chops, / And fixed [that traitor s] head upon [their] baklements (I.ii.16, 22-3). Use descrip$ve context before presen$ng the quota$on. Use short pieces of the quota$on as needed. Use brackets to indicate that something (like a pronoun) has been changed about the quota$on.

Analysis Sentences How do I NOT begin with This quota$on shows or This shows The sergeant s characterizafon of Macbeth serves two purposes. Firstly, describing Macbeth as brave lets the audience know that the characters in the play revere Macbeth and consider him courageous. Secondly, the audience sees the Macbeth is accustomed to violence and that violent ac$ons in bakle are awarded. While slicing a person open in bakle is gruesome, the sergeant associates it with the posi$ve trait of bravery. What is it within the quota$on that proves something? The choice of the word brave proves The metaphor comparing to demonstrates The angry tone of Lady Macbeth s words indicates The vivid imagery shows

GoogleDoc Expectations Do not change or edit the work of another group. Do not change or edit the basic format of the exercise. Do not change or edit that which Ms. Gelso has included. Be professional by keeping your conversa$on and your wri$ng focused on the exercise. Remember that the goals of this exercise are to: Create a collabora$ve study guide. Improve the integra$on of quota$ons. Improve the way we write the analysis of a given quota$on.

Monday, October 27 th Today s Goals: Read Act III. DO NOW: Open THE SHAKESPERIENCE!

Thursday, October 30 th Today s Goals: Read Act IV. DO NOW: Be ready to get into groups!

Your Group Assignment Read Act IV together. Whatever you don t finish should be read over the weekend. On Monday, expect a reading quiz. Your group will then be assigned a set of lines from Act IV. You will then act out those lines in front of the class on Wednesday. You will be graded on: Effort (costumes, blocking, enthusiasm) Understanding of the lines (read smoothly, inflec$on) Crea$vity (have fun with the scene music? Scenery on the screen?)

Monday, November 3 rd Today s Goals: Review Beowulf papers. Work on Act IV presenta$ons. DO NOW: Open Notability. Go to your notes on Macbeth, and add a new note. Title the note Macbeth Paper (we might change that $tle later, but it will do for now!). As you review your essay that has been returned to you, jot down a couple of notes about what you need to improve in your next paper.

Paper Feedback Developing a formal, academic tone. Sophis$cated, varied vocabulary Transi$ons at the beginnings of paragraphs and sentences when an idea shivs. No contrac$ons. Third person only. Present tense when analyzing a text. Integra$ng and analyzing quota$ons. Integrate quota$ons using context. Avoid star$ng sentence with In line 599 Avoid star$ng analysis sentences with This shows or This quota$on shows Refer to the quota$on as you analyze. It should be specific! Introduc$ons should follow the exordium- narra$o- proposi$o- par$$o format. For Beowulf specifically: Chris$an, Anglo- Saxon narrator vs. Germanic heroic code. The tale itself is older than the Anglo- Saxon manuscript.

Your Group Assignment Read Act IV together. Whatever you don t finish should be read over the weekend. Your group will then be assigned a set of lines from Act IV. You will then act out those lines in front of the class on Wednesday. You will be graded on: Effort (costumes, blocking, enthusiasm) Understanding of the lines (read smoothly, inflec$on) Crea$vity (have fun with the scene music? Scenery on the screen?)

Tuesday, November 11 th Today s Goals: Acts IV and V Quiz War Poetry DO NOW: Prepare for quiz! If you finish the quiz early, search for a war poem to share with the class. Here are some poets you might like: Carl Sandburg Walt Whitman Siegfried Sassoon Wilfred Owen Alfred Lord Tennyson

Wednesday, November 12 th Today s Goals: Discuss the goals of the final Macbeth essay. Review sample essays. Begin wri$ng thesis statements. DO NOW: Go to the Resources page on HC. Click the link for the sample essays. Export to Notability.

Burke's Metaphor for the "Unending Conversation" "Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact, the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, un$l you decide that you have caught the tenor of the argument; then you put in your oar. Someone answers; you answer him; another comes to your defense; another aligns himself against you, to either the embarrassment or gra$fica$on of your opponent, depending upon the quality of your ally's assistance. However, the discussion is interminable. The hour grows late, you must depart. And you do depart, with the discussion s$ll vigorously in progress." (Kenneth Burke, The Philosophy of Literary Form: Studies in Symbolic AcGon 3rd ed. 1941. Univ. of California Press, 1973)

How should these essays relate to my essay? You might feel one of three ways: Agree, but with addi$ons or changes. Disagree. Both agree and disagree. Why is it not okay to simply agree? Because then nothing new is added to the conversa$on! This essay is about how you can contribute something in some way unique and interes$ng. Should the essays factor into my plan/par$$o? No focus the 3-4 points that make up your par$$o on the play. The essays are there to further your discussion of the play, not to create it.

Work Time 1. Choose your prompt. 2. Write an idea that answers or responds to the prompt in one sentence. This is the start of brainstorming for your proposigo (argument). 3. Decide which essays are relevant. 4. Reread and mark or highlight por$ons of the essays that relate to your idea. 5. Return to the idea that you ini$ally wrote that answers or responds to the prompt. Hopefully at this point you have some ideas for what you might discuss in response to the prompt. Are there any adjustments you would like to make? Which 3-4 por$ons of the play do you think you can discuss to prove your idea? 6. Write your thesis statement (1-2 sentences). Include both proposifo (argument) and parffo (plan). The par$$o is not the $me to bring up the essay excerpts you have chosen. The par$$o should bring up the elements or por$ons of the play you plan to discuss.

Closing Write your thesis statement (both proposi$o and par$$o) on a piece of paper to be turned in.

Unit 2: Literature of the Renaissance. Bri$sh Literature Fall 2014