Thursday, September 29, 2011

Monday 3 October Act V



One hundred point bonus: identify the above image by artist and title. Either send in an e-mail before class on Monday or put it on the desk. This was posted after class on Friday.

DUE IN CLASS TODAY: Act V questions.
class work: review of acts IV and V.
Due tomorrow by 6 pm: your introductions to the paper, which is due Friday. As I am not in school tomorrow, you need to e-mail me these. I'll respond back by Wednesday afternoon with editorial corrections / comments. Use the blog address: dmpalond@frontiernet.net

Friday 30 September 2011 Act IV review


Vocabulary 2 due today. After class, 10 points off per day.
Due on Monday: finish play and turn in your Act V responses. This is your final assessment on Hamlet
.
In class: sonnet review. See copy of handout below.
we are looking at two contemporary sonnets by Sherman Alexie and sonnet 116 by William Shakespeare. See copies of the material below.

“A sonnet is fundamentally a dialectical construct which allows the poet to examine the nature and ramifications of two usually contrastive ideas, emotions, states of mind, beliefs, actions, events, images, etc., by juxtaposing the two against each other, and possibly resolving or just revealing the tensions created and operative between the two. “
O. K., so much for the fancy language. Basically, in a sonnet, you show two related but differing things to the reader in order to communicate something about them. Each of the three major types of sonnets (Italian or Petrarchan, Spenserian (from Spenser’s Faerie Queene) and Shakespearean) accomplishes this in a somewhat different way. There are, of course, other types of sonnets, as well, but since we are looking at Shakespeare…The English sonnet has the simplest and most flexible pattern of all sonnets, consisting of 3 quatrains of alternating rhyme and a couplet:
a b a b
c d c d
e f e f
g g
As in the Spenserian, each quatrain develops a specific idea, but one closely related to the ideas in the other quatrains.
Not only is the English sonnet the easiest in terms of its rhyme scheme, calling for only pairs of rhyming words rather than groups of 4, but it is the most flexible in terms of the placement of the volta, that is the turn, when a new idea is introduced.

SONNET 116
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 proved,
I never writ, nor no man ever loved.

Blood Sonnets by Sherman Alexie

Years ago, in Spokane, a woman saved
A family of orphaned baby geese.
An amateur ornithologist, she raised
Those birds into adulthood, and then released
Them into the pond at Manito Park,
Where a dozen swans, elegant and white,
Tore the tame geese open and ate their hearts.
Of course, all of this was broadcast live
On the local news. Eyewitnesses wept.
My mother and I shrugged, not at death,
But at those innocent folks who believe
That birds don't murder, rape, and steal.
Like us, swans can be jealous and dangerous,
And, oh, so lovely, sure and monogamous.



When my father left me (and my mother
And siblings), to binge-drink for days and weeks,
I always wept myself into nosebleeds.
And sure, you might think this is another
Poem about a wounded father and son,
But honestly, the only blood was mine,
And it flowed from absence, not from a punch
Or kick. My father, drunk or not, was kind
And passive, and never lifted a fist
To strike. Drunk daddy only hit the road,
missed And I'd become the rez Hamlet who
His father so much that he bled red ghosts.
Years later, in Seattle, my nose bled
When my mom called and said, "Your father is dead."

Thursday 29 September 2011


Vocabulary 2 due tomorrow


Please finish Act IV by tomorrow.


Final assessment / Act V due Monday.



Finish the play by Monday. Turn in the accompanying responses to Act V. This is your final assessement. There will be no cumulative test on the play.

Act V study questions for Hamlet DUE MONDAY 3 OCTOBER test grade.

1. Even Shakespeare’s tragedies have comedians and Hamlet’s are the gravediggers. Why was Ophelia allowed a Christian burial, despite having committed suicide? And “What is he that builds stronger than the mason, the shipwright or the carpenter? V.i.1-61.





2. Hamlet plays word games with the gravedigger. Eventually, the prince asks him how long he has been at this profession. Shakespeare then uses the digger to make a dig at the English by explaining to Hamlet, whom he does not recognize, where for is the prince and why it makes no difference whether or not he returns to Denmark. Explain this self-effacing humor. V.i.145-160.






3. The macabre fascinated the Elizabethans, much as it does many in contemporary society. According to the gravedigger, what determines the time necessary for decomposition of a corpse? And whose skull is discovered in the grave? V.i. 168-191.




4. What was Horatio’s relationship with individual who once occupied the skull? V.i.202


5. What does Horatio do, asking them to “hold off the earth awhile?” And when Hamlet steps into the scene, how does he behave? V.i.258-273.





6. How does supposedly Hamlet feel about Ophelia’s death? What does he mean by these parting words” “The cat will mew, and the dog will have his day.” V.i.285-311.





7. Explain the following words said to Horatio by Hamlet: “There’s a divinity that shapes our ends, / Rough hew them how we will” (V.ii.11-2).





8. What did Hamlet discover in Rosencrantz and Guildenstern’s sea cabin? How did he change the information to suit his own purpose? V.ii.15-60.







9. What does Osric tell Hamlet that Claudius has wagered in his match against Laertes? V.ii.160-166




10. Horatio worries that Hamlet is not as good a fencer as Laertes, but the prince assures him that while in France he has improved from “continual practice.” Hamlet is determined to “defy augury.” “There is a special providence in the fall of a sparrow. If it be now, ‘tis not to come; if it be not to come, it will be now, yet it will come. The readiness is all” Explain Hamlet’s attitude toward the upcoming match. V.ii.233-236.





11. What explanation for his behavior does Hamlet give to Laertes? V.i.240-258







12. How does Claudius demonstrate his support for Hamlet during the match? V.ii.286-307






13. Claudius announces that the queen “swoons to see [Laertes and Hamlet] bleed. What is the real reason? V.ii.339-341


14. How does Hamlet kill Claudius? V.ii.356-359.



15. What is Hamlet’s last request for Horatio? V.ii.381-384




16. Fortinbras from the Polish wars and the ambassador from England arrive after the debacle. Horatio orders the bodies “high on a stage be placed to the view.” “So shall [they] hear / Of carnal, bloody, and unnatural acts, / Of accidental judgments, casual slaughters, / Of deaths put on by cunning and forced cause, / And in this upshot, purposes mistook / Fall’n on the inventors heads.” V.ii.415-427. That pretty much sums up the plot. Give specific examples of each.


a. Of carnal, bloody, and unnatural acts.


b. Of accidental judgments, casual slaughters


c. Of deaths put on by cunning and forced cause


d. And in this upshot, purposes mistook / Fall’n on the inventors heads

See below for a copy of the questions that have been handed out in class.

Tuesday, September 27, 2011

Wednesday 27 September paper prep







vocabulary 2 is due Friday


please turn in your questions to Act III



In class today: we are continuing with preparing for the paper concerning the relationship between Hamlet and his ghost dad. We'll be using the handouts from yesterday. They will be collected at the end of class and returned tomorrow, so as to be used for your paper.



Please read the through Act IV for Friday....and finish the play by Monday.


Heads up: by Tuesday 6 pm, make sure you have e-mailed me your introduction to the paper.





Act IV notes:

NOTES fir ACT IV
Scene I: Gertrude relates to King Claudius that Hamlet has killed Polonius, and that her son is "mad as the sea and wind when both contend / Which is the mightier" (IV.i.7-8). It's even more important now to get the kid out of the kingdom.
Scene ii: Rosencratz and Guidenstern ask Hamlet where Polonius' body is. Hamlet calls out their syncophancy, the way they suck up to the king: they are sponges, who "soak[ ] up the King's countenance, / his rewards, his authorities...When he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again" (IV.ii.15-21).
Scene iii: Hamlet finally relents and tells the king where Polonius might be found"Hamlet eventually tells the King "but if, indeed, you find him not / within this month, you shall nose him as you go up / the stairs into the lobby" (IV.ii.38-41). After Hamlet departs for England, the King's soliloquy reveals that "by letters congruing to that effect / The present death of Hamlet"(IV.iii.73-74).
Scene iv.: Hamlet encounters Fortinbras and his army, who are on their way to attack Poland. Through the conversation between Hamlet and the Captain we gain some insight into the purposelessness of war. Captain: "Truly to speak, and with no addition, / We go to gain a little patch of ground / That hath in it no profit but the name"(IV.iv.19-21). Hamlet observes that the war is being fought simply because of "much wealth and peace." This scene closes with another soliloquy, where he compares his own inaction to how Fortinbras "makes mouths at the invisible event / Exposing what s mortal and unsure / To all that fortune, death, and danger dare, / Even for an eggshell" (Iv.iv.53-55). In other words, for "honor's sake", Norway will attack a tiny, useless piece of Poland, and Poland will not yield it, because this would not be honorable. Yet, Hamlet "that have a father killed, a mother stained" has yet to seek his father's revenge. The soliloquy concludes with his "thoughts be[ing] bloody, or be[ing] nothing at all."
Scene v. Ophelia "speaks much of her father;...speaks things in doubt / That carry but half sense" and people are listening. Horatio convinces Queen Gertude to have a conversation with her. The King wants her watched closely and observes, "when sorrows come, they come not single spies, / But in battalions"(IV.v.84-85). Note how he summarizes the play to this point.
And if that is not enough, in comes "young Laertes, in a riotous head" and assumes Claudius is the killer. The king assures him that he is "guiltless of [his] father's death / And am most sensibly in grief for it"(IV.v.171-72). Then Ophelia comes along, strewing flowers: rosemary for remembrance, pansies for thoughts, rue and daisies. The king takes advantage of the situation- Laertes grief and anger over his father's death, who incidentally had an "obscure funeral" and "no noble rite nor formal ostentation", and his sister's mental breakdown, to take the time to calm him down.Act IV. scene vi.: Horatio gets a letter from Hamlet, who relate how he switched the message sent from Claudius to England that said the Prince was to be killed. In his stead now, his friends Rosencrantz and Guildenstern will be murdered.
Act IV. scene vii. Laertes wants to know why Claudius hasn't done anything about his father Polonius' death. Claudius' excuse is that "the Queen his mother / Lives almost by his looks (IV.vii.13-4) and the public has a "great love" for him. then what news should be imparted: Hamlet's back, but the has an idea. Laertes will "be ruled / The rather if you could devise it so / That I might be the organ" (IV.vii.77-9). That is Laertes wants to be the one to carry out Claudius' plan. Claudius flatters Laertes that he is known for his "rapier most especial", sword fighting. The king then goads him by questioning his love for his father: "was your father dear to you? / Or are you like a painting of a sorrow / A face without a heart?(IV.viii.122-24). Claudius will arrange a friendly sword competition between Hamlet and Laertes, but Hamlet, "being remiss, / Most generous, and free from all contriving, / Will not peruse the foils" (IVLaertes sword will have a poison tip. These lines should give you insight into Hamlet's character.
And still to come in scene vii: Ophelia's death by drowning. But Laertes refuses to cry for "too much of water hast" she.

Tuesday September 27 paper intro act III notes.

Vocabulary 2 due Friday


Paraphrasing of Hamlet's soliloquy due today



Act III questions due tomorrow / Wednesday (test grade)



Analysis exercise between Hamlet and his father due today in class.



Notes for Act III on this blog




In class: we are looking at the relationship between Hamlet and his father as a stepping stone to building an analysis paper.


To begin: reread Act I.iv.
Then complete the relationship chart that follows.
Act 1, Scene 5

SCENE V. Another part of the platform.

Enter GHOST and HAMLET

HAMLET

Where wilt thou lead me? speak; I'll go no further.

Ghost

Mark me.

HAMLET

I will.

Ghost

My hour is almost come, 5
When I to sulphurous and tormenting flames
Must render up myself.

HAMLET

Alas, poor ghost!

Ghost

Pity me not, but lend thy serious hearing
To what I shall unfold. 10

HAMLET

Speak; I am bound to hear.

Ghost

So art thou to revenge, when thou shalt hear.

HAMLET

What?

Ghost

I am thy father's spirit,
Doom'd for a certain term to walk the night, 15
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
I could a tale unfold whose lightest word 20
Would harrow up thy soul, freeze thy young blood,
Make thy two eyes, like stars, start from their spheres,
Thy knotted and combined locks to part
And each particular hair to stand on end, 25
Like quills upon the fretful porpentine:
But this eternal blazon must not be
To ears of flesh and blood. List, list, O, list!
If thou didst ever thy dear father love--

HAMLET

O God! 30

Ghost

Revenge his foul and most unnatural murder.

HAMLET

Murder!

Ghost

Murder most foul, as in the best it is;
But this most foul, strange and unnatural.

HAMLET

Haste me to know't, that I, with wings as swift 35
As meditation or the thoughts of love,
May sweep to my revenge.

Ghost

I find thee apt;
And duller shouldst thou be than the fat weed
That roots itself in ease on Lethe wharf, 40
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth, 45
The serpent that did sting thy father's life
Now wears his crown.

HAMLET

O my prophetic soul! My uncle!

Ghost

Ay, that incestuous, that adulterate beast,
With witchcraft of his wit, with traitorous gifts,-- 50
O wicked wit and gifts, that have the power
So to seduce!--won to his shameful lust
The will of my most seeming-virtuous queen:
O Hamlet, what a falling-off was there!
From me, whose love was of that dignity 55
That it went hand in hand even with the vow
I made to her in marriage, and to decline
Upon a wretch whose natural gifts were poor
To those of mine!
But virtue, as it never will be moved, 60
Though lewdness court it in a shape of heaven,
So lust, though to a radiant angel link'd,
Will sate itself in a celestial bed,
And prey on garbage.
But, soft! methinks I scent the morning air; 65
Brief let me be. Sleeping within my orchard,
My custom always of the afternoon,
Upon my secure hour thy uncle stole,
With juice of cursed hebenon in a vial,
And in the porches of my ears did pour 70
The leperous distilment; whose effect
Holds such an enmity with blood of man
That swift as quicksilver it courses through
The natural gates and alleys of the body,
And with a sudden vigour doth posset 75
And curd, like eager droppings into milk,
The thin and wholesome blood: so did it mine;
And a most instant tetter bark'd about,
Most lazar-like, with vile and loathsome crust,
All my smooth body. 80
Thus was I, sleeping, by a brother's hand
Of life, of crown, of queen, at once dispatch'd:
Cut off even in the blossoms of my sin,
Unhousel'd, disappointed, unanel'd,
No reckoning made, but sent to my account 85
With all my imperfections on my head:
O, horrible! O, horrible! most horrible!
If thou hast nature in thee, bear it not;
Let not the royal bed of Denmark be
A couch for luxury and damned incest. 90
But, howsoever thou pursuest this act,
Taint not thy mind, nor let thy soul contrive
Against thy mother aught: leave her to heaven
And to those thorns that in her bosom lodge,
To prick and sting her. Fare thee well at once! 95
The glow-worm shows the matin to be near,
And 'gins to pale his uneffectual fire:
Adieu, adieu! Hamlet, remember me. Define each of the following verbs, noting any positive or negative connotations. In Act I.5, it is the Ghost’s purpose to

corrupt ____________________________________________________________________
help ____________________________________________________________________
save _____________________________________________________________________
destroy _____________________________________________________________________
induct _____________________________________________________________________
seduce _____________________________________________________________________
empower ___________________________________________________________________
infect ____________________________________________________________________
tempt ____________________________________________________________________
enslave ____________________________________________________________________
inspire _____________________________________________________________________
transform ___________________________________________________________________
ensnare ___________________________________________________________________
invade ____________________________________________________________________
use ____________________________________________________________________
guide ___________________________________________________________________¬¬¬

…… his son.
DIRECTIONS FOR PAPER
English III Honors Hamlet essay. Due Friday 7 October
Based upon the following criteria of blood-revenge, discuss how Hamlet exemplifies-or does not- this act.
Requirements: TYPED (no exceptions)
MLA format- including header and pagination
Size 12, Times New Roman
MINIMUM of 500 words; include word count- under tools
MINIMUM of 6 specific textual references with Act, scene and
annotation.
Please make arrangements to see me soon, if you need support. Plan on bringing your outline. I am available periods 1, 2, 4, and 6, as well as before and after school. Can’t come then? Communicate by e-mail with specific questions. dolly.parker@rcsdk12.org
Keep in mind your thesis! This is a fact based essay, not an opinion of the play or its author. You make statements, you support them with specific evidence and you give an analysis. Of course, it is necessary to have carefully read the play.

BLOOD-REVENGE: A custom nearly universal in the tribal or clan stage of society, often surviving later, binding the kin of a murdered man to secure satisfaction for the murder by the death of the slayer or of one of his clan. The custom depends upon two fundamentals of that stage of civilization: (1) the sacredness of life and the solidarity of the clan; (2) the lex talionis. Its essence is execution of the slayer or some of his kin by the representatives of the slain, not by public authorities; it belongs therefore to private as opposed to public justice. In nomadic society the perpetuation of the clan depends upon its fighting strength and its sense of unity. Hence assault upon a member of the clan, if attended with even unintended fatal results, involves the tribe, clan, or family of the slain in what is felt to be a sacred duty, the avenging of the shedding of blood. The custom is important from the standpoint of utilitarian ethics, since the knowledge that reparation will be demanded by the clan of the assailed restrains a potential assailant from wanton attack and makes men more careful in ordinary intercourse. The duty set by the institution is binding, and so close is the relationship in the clan that all its members may become involved, the result being a blood-feud between the clans of the assailant and the victim. Usually, however, the duty devolves upon the next of kin. Refusal on his part to exercise his right and perform his duty subjects him to utter contempt and even to outlawry (http://www.ccel.org/s/schaff/encyc/encyc02/htm/iv.v.clviii.htm).


Act III. scene i notes:
Queen Gertrude and King Claudius inquire of Rosencrantz and Guildenstern how their meeting with Hamlet went. They reply he was "most like a gentleman", didn't ask many questions but answered any they had.

Polonius then puts into play his plan for his daughter Ophelia to speak to Hamlet, whilst he and the king listen in, this being to ascertain if Hamlet's madness is really caused by his love for Ophelia.

Hamlet enters and we have his famous to be or not to be speech. Should he kill himself? What are the arguments for and against suicide?

Hamlet and Ophelia converse. She returns his "perfume-lost" love letters. Hamlet plays word games with her, questioning her honesty and telling her to "get thee to a nunnery" for he is "indifferent honest" and an "arrant knave." As he speaks harshly to Ophelia, but perhaps the words are really meant for his mother. He then says, That those that are married already / all but one, shall live"(III.i.160). On that note, he leaves.
Ophelia's very distraught over this noble mind o'er throwned. But the King realizes that love is not the root of Hamlet's madness."His affections do not tend that way." He determines to send the Prince to England., as "Madness in great ones must not unwatched go." Polonious still thinks Ophelia is the cause, but asks King Claudius to let the Queen privately speak with her son about her grief, before he is sent away.
Act III.ii.
Hamlet practices with players / actors and gives them new lines to insert into the play. Shakespeare has him give good advice to being a successful performer. These words hold true today. As well, he tells Horatio of his plans, that he is to "rivit" to the [King's] face." Horatio agrees to watch carefully.
The play: Hamlet makes bawdy allusions with Ophelia, and she notes that he is "merry".
In the play within the play: note that Hamlet tells the King the play is entitled "The Mousetrap." In"The Murder of Gonzago" the former king's death, Hamlet's father's murder, is reenacted. Claudius has a fit and the play is brought to a premature end.
Horatio too has noted the king's behavior and Guildenstern informs him of the king's choler (anger) and that the Queen wishes to speak with him. With both Guildenstern and Polonius, Hamlet plays more word games, augmenting the belief that he is truly mad. The scene ends with the "witching time of night" when Hamlet knows he is capable of action. But to his mother, he must "be cruel, not unnatual"; "speak daggers, but use none."

Act III.iii
The King tells Rosencrantz and Guidenstern to take Hamlet to England.
Polonius informs the King that Hamlet is with his mother. King Claudius' reflects on his actions. Hamlet observes him "a-praying" and so decides not to kill him, because that would mean the King would be forgiven in God's eyes. Remember his father is in Purgatory; how ironic if his murderer goes to heaven.
Act III.iv
Polonius hides behind the arras (curtain), whilst Hamlet converses with his mother. Hamlet kills Polonius. This is an intense scene. What do you think is the nature of the relationship between Hamlet and his mother? He is violent towards her, makes vivid comparisons between his father and her new husband, and overt sexual references. His father's ghost appears- or does it, as only Hamlet sees him- and chides him: "Do not forget. This visitation / Is but to whet thy almost blunted purpose"(III.iv.126-7). In the meantime, Gertrude thinks he is crazy and asks him to "sprinkle cool patience". When the ghost leaves, Hamlet explains he "must be cruel to be kind." She should not "go to my uncle's bed"...for "a pair of reechy kisses." The scene concludes with her acquiesing to Hamlet's demands and Hamlet telling her that he is to England with "two school fellows / Whom [he] will trust as adders fanged". (Note that he refers to the "letters sealed" his friends carry. These are a mandate from Claudius to kill the Prince, but Hamlet is aware and relishes the idea "when in one line two crafts directly meet". First though he'll "lug the guts (that's Polonius) into the neighbor room."

Monday, September 26, 2011

Monday 26 September 2011

Vocabulary 2 due Friday 30 September
In class: review of act II
Writing response to Hamlet's second soliloquy, which you were asked to review carefully for today.

Prior to writing we'll watch
David Tennants O what a Rogue and Pesant Slave am I
http://www.youtube.com/watch?v=Qj2hvp2u930&feature=related

Handout of questions below. These will count as a test grade. Please take your time with them.
Hamlet Act III study questions Due Wednesday.

1. Polonius gives his daughter Ophelia a book to read as a distraction whilst
waiting for Hamlet. The subject of the book is about “an exercise may colour
Your loneliness. We are oft to blame in this,--
'Tis too much proved--that with devotion's visage (visage - face)
And pious action we do sugar o'er
The devil himself.” (III.I.51-55)
Explain the meaning of these lines and their irony in being said in the presence of Claudius.

2.
Hamlet initially denies having loved Ophelia when she returns his love letters.
Where does he tell her to go, how should she behave if she does not go there and finally, where from are these words provoked?
Read over III.i.131-62.


3 Ophelia is distraught and Claudius is piqued. This kid is not in love, but trouble.
Where does he intend to send him and for what reason? see III.i.176-89.


4. Hamlet is giving the travelling players some new lines- as well as acting advice;
albeit one may say, he’s somewhat arrogant, his words are hallmarks of good acting.
List a half-dozen qualities of fine acting; then state what ultimately is the purpose of acting.
See III.ii.1-45.


5. The play within the play. What is the quiddity (essence) of this piece
and how does Claudius react/? See III.ii.253-95.


6. What is Hamlet’s reaction to Guildenstern’s pestering him
about the prince’s behavior to his uncle and mother? III.ii.378-402.

7. Hamlet is off to have a chat with his Mum. What are his intentions?
III.ii.419-32.


8 How does Claudius feel about his own crime? What does he physically do?
III.iii. 40-5.

9 Why does Hamlet decide not to kill Claudius now? When would be a better time?
III.iii.77-100.


10 What does Hamlet do, when he hears the noise behind the arras? III.iv.28-9.






11. Paraphrase the potent descriptions that Hamlet uses to compare his father to his uncle. . Why is it impossible for his mother to be in love with Claudius III.iv.63-98The ghost appears, or is it a figment of the prince’s imagination?
What does he tell Hamlet? And how does his mother react? III.iv. 118-56.




12. Explain these words of Hamlet: “I must be cruel, only to be kind.” III.iv.194-200







13. Hamlet is about to head off to England along with Rosencrantz and Guildenstern.
How much does Hamlet trust these schoolfellows and what is in the sealed letters? III.iv.225-8)

Wednesday, September 21, 2011

Friday 23 September puns, vocabulary 2



In class: vocabulary quiz.


puns copy of handout below. If you are absent, complete the assignment.



Puns
"A Play on Words"
Using a word or words that have more than 1 meaning.
Examples:
1. I recently spent money on detergent to unclog my kitchen sink. It was money down the drain.
2. Our social studies teacher says that her globe means the world to her.
3. A jury is never satisfied with the verdict. The jury always returns it.
4. Sir Lancelot once had a very bad dream about his horse. It was a knight mare.
5. A dog not only has a fur coat but also pants.
6. Today I've got a pressing engagement. I must go to the cleaners.
7. The principal part of a horse is the mane, of course.
8. Having lots of good cookbooks only makes sense. They contain such stirring events.
9. If you want to make a pun from dunlop. Then lop off the lop and the pun is dun.
10. I used to be twins. My mother has a picture of me when I was two.
11. I work as a baker because I knead dough.
12. What is the difference between a conductor and a teacher?
The conductor minds the train and a teacher trains the mind.
AND…
1.I wondered why the baseball was getting bigger. Then it hit me.
2. I couldn't quite remember how to throw a boomerang, but eventually it came back to me.
3. Did you hear about the guy whose whole left side was cut off? He's all right now.
4. He drove his expensive car into a tree and found out how the Mercedes bends.
5. There was a sign on the lawn at a drug re-hab center that said 'Keep off the Grass'.
6. Police were called to a daycare where a three-year-old was resisting a rest.
7. To write with a broken pencil is pointless.
8. A small boy swallowed some coins and was taken to a hospital. When his grandmother telephoned to ask how he was, a nurse said 'No change yet'.
9. What did the grape say when it got stepped on? Nothing - but it let out a little whine.
10. The butcher backed up into the meat grinder and got a little behind in his work.
There are many puns. Think of words or phrases that sound similar to others.

Using the patterns above, you are to write two puns. In case you need help getting started, here are some suggestions:
in Seine denial (ne nile)
Taiwan (tie one) antifreeze (aunty frees)
newly weds (newly webs) defeat (de feet)
Tylenol (tile and all) liability (lie ability)
patients (virtue/doctors' patients) optical illusion (optical Aleutian)
appeal (a peel)
Lettuce (let us)
seasons (salt and pepper or Holiday)
ice day/nice day
well
sew/so
comb (rooster's comb/people's comb)




Due on Monday: read all of Act 2. carefully, making sure your have familiarized yourself well with the soliloquy that closes the second act.
Questions? let me know before Monday.

Handout of vocabulary 2 DUE FRIDAY 30 SEPTEMBER


O, What A Rogue And Peasant Slave Am I (Spoken by Hamlet)



O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha!
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon't! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.



Below is a copy of vocabulary 2, which is due at the beginning of class Friday 30 September


Vocabulary 2 definitions
accost- verb-to approach or speak first; to confront in a challenging or aggressive way; approach, confront
animadversion – noun- a comment indicating strong criticism or disapproval; rebuke, reproof

avid – adj- desirous or something to the point of greed; eager; keen, enthusiastic

brackish – adj – having a salty taste and unpleasant to drink; briny, saline

celerity – adj – swiftness, rapidity of motion or action; promptness, alacrity, speed

devious – adj- staying from the straight or direct course; acting in a shifty or underhanded way; tricky,
roundabout, sly, artful

gambit – noun – in chess an opening move that involves risk or sacrifice of a minor piece in order to
gain a later advantage; any opening move of this type; ploy, stratagem, ruse, maneuver

halcyon –noun – calm, peaceful, happy, golden, prosperous; tranquil, serene, placid, palmy

histrionic – adj – theatrical, artificial, melodramatic; affected, stagy

incendiary –adj- deliberately setting or causing fire or strife; inflammatory, provocative

maelstrom – adj- a whirlpool of great size and violence- a situation resembling a whirlpool in
violence or destruction; vortex, chaos, turbulence, tumult

myopic –adj- nearsighted, lacking a broad, realistic view of a situation, lack of foresight or
discernment; shortsighted

overt –adj- open, not hidden; expressed or revealed; clear, obvious, manifest, patent

pejorative – adj – tending to make worse, expressing disapproval; derogatory; belittling

propriety –noun – the state of being proper or appropriate; fitness, correctness, decorum

sacrilege- noun- improper or disrespectful treatment of something considered sacred, desecration, profanation, defilement

summarily – adverb – without delay or formality; concisely; promptly, abrubtly

suppliant – adj – asking humbly and earnestly;

talisman – noun – an object that serves as a charm or is believed to have magical powers.

undulate – verb – to move in waves or a wavelike motion, ripple, fluctuate, rise and fall




Vocabulary 2, exercise 2. Choose the word that best completes each of the following sentences. Make sure to use the correct verb tense or plural as needed.


1. Although a heavy snowfall was not expected, the highway department responded with surprising __________________________.

2. Many innocent people caught in the ______________________ of the revolution lost their lives and property.

3. The nobleman was ____________________ by the beggars on his way to the castle.

4 The interrogator used ____________________ methods to try to get the suspect to inciminate himself.

5 The baseball fans began to _____________________ as they cheered, so that they appeared to move like a wave.

6 The social worker questioned the ________________________ of the police’s request to see confidential records.

7 The shipwrecked passengers on the life raft became ill after drinking _____________________ water.

8 The woman often spoke of the ____________________ days of her youth.

9 He made a ______________________ address to the parole board, asking for an early release.

10. The arsonist planted a(n) __________________________ bomb in the basement of the store.

11 The _____________________ foreign policy of the last administration led to serious problems with
our allies.

12 Upon receiving his award, the young actor made a(n) _____________________ speech.

13. The anthropologist was accused of committing a __________________________ when she
disturbed an ancient burial ground.

14. The lawyer stepped over the line when he used a _____________________ term in referring to the defendant.
15. Many people do not believe that rabbit’s feet and other _________________________bring good
luck.

16. The inexperienced filmmaker was disheartened by the _________________________ of the film critic.

17. Asking an interesting stranger about his or her job is a popular ___________________ at a party.

18 In order for congress to declare war, the president must demonstrate a(n) _______________ threat.

19 As soon as there was evidence of criminal wrong doing, the official was ______________________ ousted from his post.

20. Most writers are also ________________ readers who have loved books since childhood.

Vocabulary 2, exercise 3 Provide either the synonym or antonym for the underlined word.

Synonyms

1. a tireless petitioner ____________________________

2. a lucky amulet ______________________________

3. the vortex of public opinion _____________________________

4. ripple in the current _____________________________

5. was taken in by her stratagem _____________________________

6.outraged by the desecration ____________________________

7. apologized for his
unnecessary rebuke _____________________________

8. swam in the briny water ____________________________

9. abruptly resigned from the cabinet _____________________________

10. behaved with her usual decorum _____________________________

11. memories of our serene beginnings _________________________

12. confronted the thief at the door ________________________

13. completed the job with alacrity _______________________

14. their derogatory references to the past _________________________

15. took an indirect root _________________________

Antonyms

16. identified the peacemaker _________________________

17. make a very low-key plea for mercy ______________________

18. one of the most reluctant participants _________________________

19. known for farsighted thinking ____________________________

20. took secret action to avoid a crisis ___________________________

Vocab 2, exercise 1. Choose the word that best completes each of the following sentences. Make sure to use the correct verb tense or plural as needed
1 To our dismay we discovered that the water we had worked so hard to bring to the surface was too
_______________________ for human consumption.

2. As an employee of the local polling service last summer, it was my job to ______________________ people
on the street and ask them questions.

3. Many a rich southern planter saw all his resources swallowed up in the _________________________ of the
Civil War.
4. After the prisoner had been found guilty of treason, he was led before the firing squad and
___________________ executed.

5. Saying that “people who live in glass houses shouldn’t throw stones” is not an effective response to their
_____________________________ on your conduct.

6. During the rainy season, the highway sank at so many points that its surface began to
_________________________ like the track of a roller coaster.

7. I stand before you an abject _____________________, hoping against hope for your forgiveness.

8. My brother is such a(n) ________________________ collector of toy soldiers that I sometimes think our
house has been invaded by a pint-sized army.

9. The suffix ling often has a _______________________ connotation, as in the word princeling derived from
prince.

10. On the return trip, we cut straight across the meadows rather than taking the
more________________________ path along the river.

11. In grandmother’s day the standards of _________________________ required that a young lady wear a hat
and gloves when she went out in public.

12. The _______________________ in which he accepted out invitation to dinner suggested that he was badly
in need of a good meal.

13. The tons of ____________________________ material ignited and turned the waste disposal plant into a
towering inferno.

14. In the eyes of most Americans, people who spit or burn the flag are guilty of an intolerable _____________.¬¬¬¬¬

15. We looked back at those ____________________________ years before the war as a kind of “golden age”
in our history.

16. Any book on chess strategy usually discusses the standard opening moves, such as the “knight’s”
_____________________________.

17. The Japanese attack on Pearl Harbor was a(n) _______________ act of war.

18. Down in the old square, a wrinkled old peasant was selling charms and ____________________ to warn off
the evil eye.

19. Her temper tantrum was nothing more than a (n) ________________________ outburst.

21. Her pale face, hunched shoulders and _______________ stare showed that she had spent her life pouring over old books and documents.
Vocabulary 2, exercise 4 Circle the correct word for each sentence.

1. Her reckless words had an (incendiary, overt) effect on the already large crowd and large-scaled rioting
ensued.
2. He is the kind of person who is not concerned with real moral values but simply with appearances and
(celerity, propriety).
3. He regarded his Phi Beta Kappa key as a (animadversion, talisman) that would open him all doors and win
him universal acceptance.
4. After years of failure to sell a single story, the young writer described himself bitterly as a(n) ( pejoratives,
avid ) collector of rejection slips.
5. She was buffeted about in a veritable (gambit, maelstrom) of emotions caused mainly by her own
dissatisfaction with herself.
6. His methods were so complicated and his purposes so (avid, devious) that we were not sure whether he was
spying on the enemy or us.
7. Without even considering the new evidence that I was about to present, they (summarily, deviously) denied
my appeal to reopen the case.
8. In an age when the United States has truly global responsibilities, we can ill afford leaders with (myopic,
pejorative) points of view.
9. The adoring fan regarded my negative comment about his favorite singer as tantamount to (maelstrom,
sacrilege).
10. I certainly do not claim that my performance in office was beyond critics, but I deeply resent
(animadversions, maelstroms) on my honesty.
11. Although politicians must have some ability to dramatize themselves, it is very easy to overdo the
(proprieties, histrionics).
12. As the defendant left the courtroom, he was (accosted, gambited) by a group of reporters looking for his
reaction to the verdict.
13. Walt tends to react slowly, but when he feels his own interests are at stake, he can react with (myopia,
celerity).
14. Since the word appeasement is associated with disastrous concessions to Adolf Hitler, it has acquired a(n)
(pejorative, overt) connotation.
15. John Masefield’s poem “Sea Fever” has an (avid, undulating) rhythm that actually gives one the feeling of
being on a rolling ship.
16. “His acts of defiance have been so (myopic, overt) and premeditated that I have no choice but to fire him,”
she said sadly.
17. Instead of imbibing the (brackish, suppliant) waters of superstition, let us refresh ourselves with long
draughts of common sense.
18. “I realize that this type of (gambit, sacrilege) has its risks,” she said, “but I expect it to pay off handsomely
in the end.
19. Nary a ripple disturbed the (halcyon, brackish) calm of the sea on that glorious summer afternoon.

20. The infatuated school boy, in one of his more restrained expressions, described himself as a (suppliant,
sacrilege) on the altar of love.















.

Tuesday, September 20, 2011

Thursday 22 September Act II Hamlet

Vocabulary test tomorrow.
Please read Act II. by Monday. Take your time and check the notes below.
In class: we are watching Act Ii.ii. beginning on approximately line 187; as this is a comparison
among three productions, the lines commence at differenct points. If you are absent, this is the link: http://www.youtube.com/watch?v=pDwv_6PuH90

After watching the three versions, please fill in the graphic organizer. Hamlet Act II,ii
1. Note the setting.
2. Describe Hamlet’s personality as portrayed by the actor.
3. How does Hamlet interact with Polonius?
4. How does Polonius respond to Hamlet’s words and actions?

Kenn eth Brannagh as Hamlet Ethan Hawke as Hamlet David Tennant as Hamlet

If you have questions, send me a note.
Please make sure you have thoroughly familiarized yourself with the closing solioquy from Act II.
Parker's notes for Act II.i and ii.

Polonious sends Reynaldo to spy on Laertes, the councillor's son, telling the spy to say semi bad things about his son, so that he may ascertain the truth about Laertes' behavior. Shakespeare makes an observation on youth: "wanton, wild, and unusual slips / As are companions most noted and most known / To youth and liberty" ((II.i.23-5).
Now Polonius has a conversation with his daughter Ophelia, who relates to him how a half-dressed Hamlet came to visit her: "his doublets all unbraced"; "his stockings fouled", "pale as his shirt, his knees knocking"
Polonous believes Hamlet is "mad for [Ohpheiia's] love" and so right away wants to tell Gertrude and King Claudius.

Act II.ii. Gertrude and King Claudius have called two friends of Hamlet's, Rosencrantz and Guildenstern, to the court to cheer Hamlet up. They agree, and, afterwhich, Polonius pops on the scene to say, " I have found / The very cause of Hamlet's lunacy"(51-2). Note how the councillor talks endlessly, and we have his ironic statement "brevity is the soul of wit." Polonius is both a laughable and sympathetic character. Polonius admits that he has told Ophelia that "Hamlet is a prince, out of thy star"; hence with Ophelia's spurning him, he has lost his reason.
So they devise a plan to check out the validity of this thought: "He'll loose [his] daughtet to [Hamlet / ..and " behind an arras then / Mark the encounter" (176-8).

Polonius meets Hamlet and the prince calls the old man a "fishmonger", a slang term for a pimp. Essentially, Hamlet plays word games with Polonius, but Ophelia's father is no putz and observes 'Though this be madness, yet there is / method in 't"(II.ii.223-4).
Comic and serious note: When Polonius tells Hamlet he must take leave, the prince retorts: You cannot take from me anything that I / will more willingly part withal- except my life.

Hamlet catches up with his friends Rosencrantz and Guildenstern; he extracts from them the truth that they have been summoned by the king and queen. Important line: ..."but there is /nothing either good or bad but thinking makes it / so"(I.ii.268-69),
Hamlet on life: "I could be bounded in a nutshell and / count myself a king of infinite space, were it not / that I have bad dreams"(II.ii.273-75).
Guidenstern on dreams: ambition... is merely the shadow of a dream.
Hamlet reveals his mental state to his friends in II.ii 326-334. These lines as well celebrate the majesty of being human. PLEASE NOTE CAREFULLY.
His friends reveal that there are players coming to the castle. They show up and Hamlet interacts with them, recolecting a particular play. Polonious is on the scene and he is bored. Hamlet wants him to use the players, but not necessarily to their "just desserts", for according to the Prince, "Use everyman affter his just dessertand who shall 'scape / whipping? (II.ii.556-7).
Act II.ii ends with a soliloquy. Hamlet is in the throws of angst: O what a rogue and peasant slave am I... He devises a plan, concluding "The play's the thing / Wherein I'll catch the conscience of the King"(633-34).

Wednesday 21 September Hamlet finishing act I

REMINDER: QUIZ FRIDAY

In class today: review of Act I. check the notes.
What specifically does the ghost tell Hamlet?
Parker's notes:
Act I.iii
Laertes is saying goodbye to his sister Ophelia, as he heads back to school. He gives her brotherly advice: "For Hamlet, and the trifling of his favor, / Hold [you] a fashion and a toy in blood,/...not lasting,/ The perfume and the suppliance of a minute, / No more"(I.iii.6-10), essentially, he's does not look on you as marriage material, and never "lose your heart or your chaste treasure open"(I.iii.35. Keep in mind that a woman's virginity at this time is a bargaining chip (The Elizabethans would have been familiar with this concept in terms of the Henry VIII and Anne Bolyn, Queen Elizabeth's mother, who held out for the throne, but nevertheless lost her head on the chopping block.

Ophelia says she'll listen to her brother, but tells him as well to behave. Shakespeare has her make a dig at hypocritical pastors, who "the primrose path of dalliance treads," while they show their flock "the steep and thorny way to heaven."

Ophelia's father gives advice to his son. His words are good truisms for life:
1. don't be overly familiar with people
2. don't be vulgar
3. don't provoke quarrels, but if attacked fight
4. don't spend money you don't have
5. don't borrow or lend money

Then Polonius expands on Laertes' advice to Ophelia concerning Hamlet.
Note the three meaning of tenders:
"Do you believe his "tenders", as you call them?
Marry, I will teach you. Think yourself a baby
That you have ta'en these tenders for true pay.
Which are not sterling. Tender yourself more dearly,
Or (not to crack the wind of a poor phrase,
Running it thus) you'll tender me a fool.

Act I scene 4 notes
Hamlet remarks how King Claudius "keeps wassail"; that is, he is drunk. And while it is a custom to entertain guests it is "more honored in the brach that the observance"(I.iv.18). The king is vulgar, but has a "viscious mole of nature."

Horatio and Hamlet head up to the ramparts to see the ghost, who comes from "heaven or blasts from hell." Is he good or evil? The ghost bids Hamlet follow him. Horatio worries that the poltergeist might lead him over the walls to the sea below. Or "deprive [Hamlet] of sovereignty of reason / And draw [him] into madness":(I.iv.78-82). Note this as a bit of foreshadowing.
Finally, in this scene we have Marcellus' famous words: "Something is rotten in the state of Denmark"(I.iv.180). These words are applicable, of course, to the play, but they have taken on a metaphorical meaning, indicating that there is a serious problem.

Act I scene 5 notes
Hamlet has gone off to have a private conversation with the ghost, who says, "I am thy father's spirit." Dad continues to explain that he is "forbid / To tell the secrets of his prison house" (I.v.18-9). (The audience would have loved this spooky stuff.) From the description, we know his father is in Purgatory. And this poltergeist reveals that Hamlet should "revenge his foul and most unnatural murder" (I.v.31). Now this is news to Hamlet, who thought his father's demise natural.
How did his father die? Well, a serpent did not sting him, well, actually one did and he now wears the crown. If you have forgotton, that is King Claudius, "that incestuous, adulterate beast." Ok, Hamlet, Sr. wants revenge on his brother, but tells his son to "let thy soul contrive against thy mother naught." Dad's last words are "remember me."

And so Hamlet promises thus. And here's another famous line: "One may smile and smile and be a villain"
Act I ends with Hamlet playing word games with Horatio, Marcellus and Bernardo, who are quite curious to know what has passed between the ghost and Hamlet. Hamlet does not tell and has them swear to secrecy- the ghost gets his last words in as well. No one quite understands what has passed. Is the ghost evil? Anyway, he is "wondrous strange", and Hamlet remarks that "'There are more things in heaven and earth.../ Than are dreamt of in your philosophy"(I.v.187-8).
At this point Hamlet has taken on the responsibility of revenging his father. 'The time is out of joint, O cursed spite / That ever I was born to set it right"(I.v.210-1). (what is implied is not just an obligation, but a fated responsibility.



Wednesday's quiz:





Polonius next gets on his daughter's case about
Hamet and tells her:
...................................Think yourself a baby
That you have ta'en these tenders for true pay,
Which are not sterling. Tender yourself more dearly,
or (not to crack the wind of the poor phrase,
.............................you'll tender me a fool.

Rewrite Polonius' advice in contemporary English. Make sure you note the three tenders.

Monday, September 19, 2011

Tuesday 20 September





Reminder: Second Hamlet vocabulary quiz Friday.






Parker's notes on Hamlet, so farAct I.i.


For two nights Bernardo and Marcellus have watched guard on the ramparts, for it is feared that Fortinbras the Younger, whose father had been killed in battle and also lost some land to the Danes, will seek to recapture this lost acreage. Whilst on guard they have seen a ghost that seems in the visage much like the old King Hamlet, whose demise was but three months ago.These two have informed Horatio, Hamlet's buddy and a member of a higher social class; hence what he says carries more weight. That there has been a ghost "bodes some strange eruption to our state" (I.i.80), notes Horatio. As well, when the world has been out of kilter, such as when "the mightiest Julius fell / The graves stood tenantless, and the sheeted dead / Did squeak and gibber in the Roman streets; / As stars with trains of fire and dews of blood,/ Disaster of the sun"(I.i.125-30), both entertains and entices the audience. In short, Shakespeare is establishing a connection between Hamlet's father's death and other great historical events. In addition, he establishes a tie between the events of mankind and nature.The ghost comes in, but disappears when the cock crows, or when "the morn in russet mantle clad / Walks o'er the dew of youn high eastern hill" (I.i.180-1).






Act I.ii. King Claudius has announced his marriage to "our sometime sister, now our queen, / Th' imperial jointress to this warlike state"(I.ii.8-9). So much for his "valiant brother;" on to the business of state.We have met Laertes, the son of King Claudius' councillor Polonius. This ertwhile friend of Hamlet's has asked the king for permission to head back the school. It is given. King Claudius then importunes Hamlet to no more "persever / In obstinate condolement" (I.ii.96-7), for "'Tis unmanly grief / ...shows a will most incorrect to heaven"(I.ii.99-100). In other words, Hamlet needs to man up and accept his father's dying a natural process and that even God would be offended by his "impatient mind." Besides, now King Claudius is his father.Note Hamlet's solioquy I.ii.(134-164) He contemplates suicide here and notes "fraility thy name is woman." It seems he has a problem with his mum- and maybe that explains his actions towards Ophelia, Polonius's daughter, Laertes' sister. Hamlet and Horatio catch up. Hamlet isn't stupid; he knows that Horatio came for both the funeral and the wedding: "The funeral baked meats / Did coldly furnish forth the marriage tables" (I.ii.187-88). Also note that Hamlet accepts his father's faults: "He was a man. Take him for all in all" (I.ii.195); still he acknowledges his father was special: "I shall not look upon his like again" (I.ii.196). So Horatio and Hamlet agree to meet upon the ramparts to talk to the ghost. Hamlet is concerned that his father's spirit is "in arms." Nothing can stop the truth from being revealed: "Foul deeds will rise,/ Though all the earth o'erwhelm them, to men's / eyes (I.ii.279-81).



The following are the questions you are responsible for from having finished ActI.ii. For anyone who checks the blog, this is Tuesday's quiz!



1. To what is the following line a reference?
"With mirth in funeral and dirge in marriage."


2. What is the pun in the following said by Hamlet
when asked by Claudius, "How is it that the clouds hang upon [him]?
"Not so my lord, I am too much in the sun."


3. What are Claudius' arguments against Hamlet's
being so morose? (I.ii.90-120)




4. What is Hamlet bemoaning from his soliloquy* in lines 133-135 from Act I, scene ii?
soliloquy * an utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any hearers present (often used as a device in drama to disclose a character's innermost thoughts)


5. Describe the tone of these words of Hamlet's:
Thrift, thrift, Horatio. The funeral baked meats
Did coldly furnish forth the marriage tables (I.ii.187-8).




6. What does Hamlet mean when he says to Horatio
of his father, He was a man, Take him for all in all /
I shall not look upon his like again (I.ii.195-196).




7. Hamlet will meet Horatio "'eleven and twelve" ; then notes
"All is not well...Foul deeds will rise, / Though all the earth o'erwhelm
them, to men's eyes" (I.ii.277-80). Paraphrase the above.



Monday 19 September 2011 Hamlet Act I

Reminder: Hamlet vocabulary quiz 2 on Friday.
In class: Act I. We are reading in class. Please reread what we cover for homework.
Expect a quiz tomorrow.

Thursday, September 15, 2011

Friday 16 September Hamlet performances


In class: 1. review of Fortune and Men's Eyes (turn yours in at the beginning of class, if you did not do so yesterday)
2. student interpretive performances

Handout: Hamlet vocabulary 2; quiz on Friday 23 September. I suggest you get a head start on these words over the weekend. We will be working intensely on the play next week. Very nice work on the first vocabulary
Copy below.

Hamlet vocabulary 2 As with the previous, the assessment will be your simply defining the word.
1.To glean - to gather; to collect

2. sovereign (adj)- absolute; totally undisputed / n- king or monarch

3. satirical (adj) – sarcastic, biting, mocking

4. promontory- (noun)- a cliff high above water

5. rogue (noun)- a villain, fiend, scoundrel

6. firmament (noun) – the sky

7. pestilent – (adj)- deadly, likely to cause an epidemic

8. paragon –(noun)- perfect example, model, standard

9. quintessence –(noun)- ideal, essence, perfect model

10. to cleave (verb)- to split, also to adhere

11. malefactions (noun)- evil deeds

12. consummation (noun) completion; achievement

13. calamity (noun)- disaster, cause of great distress

14. contumely (noun)- insulting treatment

15. wantonness (noun)- immorality, extravagance

16. dejected –(adj)- depressed, disheartened

17. abominably –(adverb)- detestably; with hatred

18. to buffet (verb)- to hit or strike

19. clemency (noun)- leniency, mercy

20. to beguile (verb)- to deceive, to cheat

21. contagion (noun)- the cause of a disease

22. fetters (noun)- chains or shackles attached to the ankles

23. to compel- to force

24. mandate (noun)- a decree, an order, command

25. to whet- to sharpen

Wednesday, September 14, 2011

Thursday 15 September Hamlet vocab and sonnet



Housekeeping: I should have all your critical lens essays, with the exception of Keith, whose I will have by Friday. We did not get to the sonnet yesterday. So....

Today: quiz on Hamlet vocabulary 1

classwork: When in Doubt with Fortune and Men's Eyes paraphrase. See Wednesday's blog for a copy.


Wednesday's bonus response: Kronenborg or Elsinore castle. You had to name it

Thursday's bonus: put response- wth your name- on desk at the beginning of class: 25 points-

Name 4 actors who have played Hamlet.

Tuesday, September 13, 2011

Wednesday 14 September Shakespeare intro/ sonnet 29







Turn in your ActI.i. responses.

Hamlet vocabulary quiz tomorrow (Thursday)


In class material: introduction of Hamlet and Shakespeare background Power Point.




Sonnet 29: paraphrase.


copy of handout below.




Sonnet 29




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 possessed,




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 remembered such wealth brings,




That then I scorn to change my state with kings.




















Tuesday 13 September 2nd day summer critical lens

missing vocabulary: Joe, Amanda and Darryl


Bonus: 25 points to anyone who can identify the above. (It is germane to our classwork.) Leave you response on my desk (don't forget your name) at the beginning of class on Wednesday.




Due at the beginning of class on Wednesday: questions from Act I.i. These will not be accepted late. A copy is on Monday's blog.


Reminder: Hamlet vocabulary 1 quiz on Thursday.




Saturday, September 10, 2011

Monday 10 September summer reading essay day 1

1. Summer reading critical lens today in the 3rd floor lab. Part 2 is tomorrow.


2. You are getting back your vocabulary from Friday. Most folks did well with this. See me early, if you had trouble. There'll be 14 more coming along. Other clues for the vocabulary, besides the contextual meaning- and actually looking back at the list- is if the article "an" is used, that means the word needed must begin with a vowel. Also, I tell you what part of speech the word is. That means when you need a noun, you can't use a verb!


3. Reminder: vocabulary test on first vocabulary list for Hamlet this THURSDAY (not Friday). This is a matching quiz. Memorize the meaning of these words.



4. You are receiving your copy of Hamlet today. By Wednesday please have read carefully through Act I.i. and answer the questions I am handing out in class. Read slowly and aloud, at least in your head. Below is a copy. I will collect these at the beginning of class.



Hamlet Act I.i. responses for each of the following, use specific text lines. (quote!)
Act I.i.

1. Despite having told Horatio that he has twice seen the ghost, what is Horatio’s belief in terms of this phantasmagoria?
2. How specifically is the ghost attired?

3. Sixteenth and seventeenth century England fervently believed in spirits; they were a superstitious lot, as well. As well, remember that the theatre patronage depended ultimately upon the patronage of the monarch, so the plays often make allusions to important figures as a means of referencing their own leader. To whom does Horatio allude? Write three lines that speak to what occurred previously and could possibly portend some other malady.

4. Again with superstitions to which the audience will relate: The ghost leaves when the “morn in russet mantle (example of imagery!) [is] clad…[and] faded on the crowing of the cock.” This is because ghosts cannot abide the light. According to Marcellus, at what other time of year will we find no ghosts treading about?

Thursday, September 8, 2011

Friday 9 September student presentations on Wallpaper

In class: please turn in your vocabulary at the beginning of class for full credit.
Reminder: your summer reading assessment is this coming Monday and Tuesday. We will be in the 3rd floor computer lab. It is strongly suggested that you bring your thumb drive to class, although you should have access to your school drive (h drive).

Student presentations today: each group will address the issue of the narrator's paranoia in terms of the literary element they were assigned.
Grading: group organization: who's speaking when. content: your point is supported through textual details.

Handout: Hamlet vocabulary
Hamlet vocabulary list number 1 The assessment will involve simply defining the word. It is suggested that you create flash cards. Assessment: Thursday 15 September (This will be a matching quiz.)
.1 .to entreat -
3. fortified- shielded; secured; protected
4. to illume - to brighten; to lighten
5. to usurp - to seize; to confiscate
6. to avouch - to certify; to confirm; to guarantee
7.to esteem- to honor; to respect; to prize; to treasure
8. to ratify- approved; confirmed; legalized
9. mettle- endurance; bravery
10. resolute- brave; fearless; relentless people
11. portentous- foreboding; threatening; sinister
12. privy - adj.- made participant in a secret
13. discretion - permission to make decisions with own judgment
14. auspicious- adj.- delightful; joyous; happy; lucky; favorable
15. dirge- funeral song; death march
16. dole - sadness (think doldrums from Coleridge)
17. visage - the face or facial expression of a person
18. denote - to indicate; to mark; to signal; to mean
19. countenance - n.- appearance; facial expression / v.- to condone
20. calumnious - adj.- slanderous; attacking one's character
22. precept-- rule; principle
23. perilous.- dangerous
24. to importune- to insistently beg
25. to traduce- to slander

Thursday September 8

Reminders: vocabulary 1 is due tomorrow for full credit.
Monday and Tuesday you are writing a critical lens essay on your summer reading. You may bring notes to class. This will take place in the 3rd floor computer lab. You may save these to your h drive or bring in your thumb drive.

PARANOIA-
a mental disorder characterized by systematized delusions and the projection of personal conflicts, which are ascribed to the supposed hostility of others, sometimes progressing to disturbances of consciousness and aggressive acts believed to be performed in self-defense or as a mission.
2. baseless or excessive suspicion of the motives of others.

In class: 15 minute writing response to The Yellow Wallpaper. Was the narrator paranoid?
Support your response based upon at least two literary element: plot, character, setting, tone, point of view, dialogue, theme, figurative language devices.

Wednesday, September 7, 2011

Wednesday 7 September Yellow Wallpaper

Thank you to everyone who registered on the blog. If you could not post, don't worry. As long as you registered you received credit for the assignment. As well, kudos to those who sent me the material directly when the blog wouldn't accept your post. Go to the head of the class :)

Missing criteria sheets: Matt, Dorothy, Landon, Arieanna
Notable observations made by students on the Infinity of Red poem: graphic, vision, internal visuals, organized by body parts, plants, clothing, health, the superficial, mortality, desire, corruption, emptiness, natural features, suffering, American dreams, nature, minerals, exterior vs interior, food with times of the day, valuable gifts, happy endings like in a movie are often not really happy, militaristic feel, innocence, maturity, violence, folly, danger, access her culture, builds her poem, veteran, revolutionist

missing: Dorothy
Reminders: vocabulary 1 is due Friday.
summer reading assessment is Monday and Tuesday (12th and 13th) We will write in the 3rd floor lab over the two days. Make sure you have your jump drive with you to save your material.

In class today: Note the following and be prepared to discuss.
The character of John and his wife. What textual clues (adjectives / verbs) bring them to life and tell us about their personalities?
How does Elizabeth's relationship with the wallpaper change?


Charlotte Perkins Gilman, The Yellow Wallpaper (1899)

It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity--but that would be asking too much of fate! Still I will proudly declare that there is something queer about it. Else, why should it be let so cheaply? And why have stood so long untenanted? John laughs at me, of course, but one expects that in marriage. John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures. John is a physician, and perhaps--(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)--perhaps that is one reason I do not get well faster. You see he does not believe I am sick! And what can one do? If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression--a slight hysterical tendency-- what is one to do? My brother is also a physician, and also of high standing, and he says the same thing. So I take phosphates or phosphites--whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again. Personally, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would do me good. But what is one to do? I did write for a while in spite of them; but it does exhaust me a good deal--having to be so sly about it, or else meet with heavy opposition. I sometimes fancy that in my condition if I had less opposition and more society and stimulus--but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad. So I will let it alone and talk about the house. The most beautiful place! It is quite alone standing well back from the road, quite three miles from the village. It makes me think of English places that you read about, for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people. There is a delicious garden! I never saw such a garden--large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them. There were greenhouses, too, but they are all broken now. There was some legal trouble, I believe, something about the heirs and coheirs; anyhow, the place has been empty for years. That spoils my ghostliness, I am afraid, but I don't care--there is something strange about the house--I can feel it. I even said so to John one moonlight evening but he said what I felt was a draught, and shut the window. I get unreasonably angry with John sometimes I'm sure I never used to be so sensitive. I think it is due to this nervous condition. But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself-- before him, at least, and that makes me very tired. I don't like our room a bit. I wanted one downstairs that opened on the piazza and had roses all over the window, and such pretty old-fashioned chintz hangings! but John would not hear of it. He said there was only one window and not room for two beds, and no near room for him if he took another. He is very careful and loving, and hardly lets me stir without special direction. I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more. He said we came here solely on my account, that I was to have perfect rest and all the air I could get. "Your exercise depends on your strength, my dear," said he, "and your food somewhat on your appetite; but air you can absorb all the time. ' So we took the nursery at the top of the house. It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls. The paint and paper look as if a boys' school had used it. It is stripped off--the paper in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin. It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions. The color is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others. No wonder the children hated it! I should hate it myself if I had to live in this room long. There comes John, and I must put this away,--he hates to have me write a word.
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We have been here two weeks, and I haven't felt like writing before, since that first day. I am sitting by the window now, up in this atrocious nursery, and there is nothing to hinder my writing as much as I please, save lack of strength. John is away all day, and even some nights when his cases are serious. I am glad my case is not serious! But these nervous troubles are dreadfully depressing. John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him. Of course it is only nervousness. It does weigh on me so not to do my duty in any way! I meant to be such a help to John, such a real rest and comfort, and here I am a comparative burden already! Nobody would believe what an effort it is to do what little I am able,--to dress and entertain, and order things. It is fortunate Mary is so good with the baby. Such a dear baby! And yet I cannot be with him, it makes me so nervous. I suppose John never was nervous in his life. He laughs at me so about this wall-paper! At first he meant to repaper the room, but afterwards he said that I was letting it get the better of me, and that nothing was worse for a nervous patient than to give way to such fancies. He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on. "You know the place is doing you good," he said, "and really, dear, I don't care to renovate the house just for a three months' rental." "Then do let us go downstairs," I said, "there are such pretty rooms there." Then he took me in his arms and called me a blessed little goose, and said he would go down to the cellar, if I wished, and have it whitewashed into the bargain. But he is right enough about the beds and windows and things. It is an airy and comfortable room as any one need wish, and, of course, I would not be so silly as to make him uncomfortable just for a whim. I'm really getting quite fond of the big room, all but that horrid paper. Out of one window I can see the garden, those mysterious deepshaded arbors, the riotous old-fashioned flowers, and bushes and gnarly trees. Out of another I get a lovely view of the bay and a little private wharf belonging to the estate. There is a beautiful shaded lane that runs down there from the house. I always fancy I see people walking in these numerous paths and arbors, but John has cautioned me not to give way to fancy in the least. He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try. I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me. But I find I get pretty tired when I try. It is so discouraging not to have any advice and companionship about my work. When I get really well, John says we will ask Cousin Henry and Julia down for a long visit; but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now. I wish I could get well faster. But I must not think about that. This paper looks to me as if it knew what a vicious influence it had! There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down. I get positively angry with the impertinence of it and the everlastingness. Up and down and sideways they crawl, and those absurd, unblinking eyes are everywhere There is one place where two breaths didn't match, and the eyes go all up and down the line, one a little higher than the other. I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy-store. I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend. I used to feel that if any of the other things looked too fierce I could always hop into that chair and be safe. The furniture in this room is no worse than inharmonious, however, for we had to bring it all from downstairs. I suppose when this was used as a playroom they had to take the nursery things out, and no wonder! I never saw such ravages as the children have made here. The wall-paper, as I said before, is torn off in spots, and it sticketh closer than a brother--they must have had perseverance as well as hatred. Then the floor is scratched and gouged and splintered, the plaster itself is dug out here and there, and this great heavy bed which is all we found in the room, looks as if it had been through the wars. But I don't mind it a bit--only the paper. There comes John's sister. Such a dear girl as she is, and so careful of me! I must not let her find me writing. She is a perfect and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the writing which made me sick! But I can write when she is out, and see her a long way off from these windows. There is one that commands the road, a lovely shaded winding road, and one that just looks off over the country. A lovely country, too, full of great elms and velvet meadows. This wall-paper has a kind of sub-pattern in a, different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then. But in the places where it isn't faded and where the sun is just so--I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design. There's sister on the stairs!
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Well, the Fourth of July is over! The people are all gone and I am tired out. John thought it might do me good to see a little company, so we just had mother and Nellie and the children down for a week. Of course I didn't do a thing. Jennie sees to everything now. But it tired me all the same. John says if I don't pick up faster he shall send me to Weir Mitchell in the fall. But I don't want to go there at all. I had a friend who was in his hands once, and she says he is just like John and my brother, only more so! Besides, it is such an undertaking to go so far. I don't feel as if it was worth while to turn my hand over for anything, and I'm getting dreadfully fretful and querulous. I cry at nothing, and cry most of the time. Of course I don't when John is here, or anybody else, but when I am alone. And I am alone a good deal just now. John is kept in town very often by serious cases, and Jennie is good and lets me alone when I want her to. So I walk a little in the garden or down that lovely lane, sit on the porch under the roses, and lie down up here a good deal. I'm getting really fond of the room in spite of the wall-paper. Perhaps because of the wall-paper. It dwells in my mind so! I lie here on this great immovable bed--it is nailed down, I believe--and follow that pattern about by the hour. It is as good as gymnastics, I assure you. I start, we'll say, at the bottom, down in the corner over there where it has not been touched, and I determine for the thousandth time that I will follow that pointless pattern to some sort of a conclusion. I know a little of the principle of design, and I know this thing was not arranged on any laws of radiation, or alternation, or repetition, or symmetry, or anything else that I ever heard of. It is repeated, of course, by the breadths, but not otherwise. Looked at in one way each breadth stands alone, the bloated curves and flourishes--a kind of "debased Romanesque" with delirium tremens--go waddling up and down in isolated columns of fatuity. But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of optic horror, like a lot of wallowing seaweeds in full chase. The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction. They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion. There is one end of the room where it is almost intact, and there, when the crosslights fade and the low sun shines directly upon it, I can almost fancy radiation after all,--the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction. It makes me tired to follow it. I will take a nap I guess.
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I don't know why I should write this. I don't want to. I don't feel able. And I know John would think it absurd. But I must say what I feel and think in some way--it is such a relief! But the effort is getting to be greater than the relief. Half the time now I am awfully lazy, and lie down ever so much. John says I mustn't lose my strength, and has me take cod liver oil and lots of tonics and things, to say nothing of ale and wine and rare meat. Dear John! He loves me very dearly, and hates to have me sick. I tried to have a real earnest reasonable talk with him the other day, and tell him how I wish he would let me go and make a visit to Cousin Henry and Julia. But he said I wasn't able to go, nor able to stand it after I got there; and I did not make out a very good case for myself, for I was crying before I had finished . It is getting to be a great effort for me to think straight. Just this nervous weakness I suppose. And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head. He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well. He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me. There's one comfort, the baby is well and happy, and does not have to occupy this nursery with the horrid wall-paper. If we had not used it, that blessed child would have! What a fortunate escape! Why, I wouldn't have a child of mine, an impressionable little thing, live in such a room for worlds. I never thought of it before, but it is lucky that John kept me here after all, I can stand it so much easier than a baby, you see. Of course I never mention it to them any more--I am too wise,--but I keep watch of it all the same. There are things in that paper that nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day. It is always the same shape, only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don't like it a bit. I wonder--I begin to think--I wish John would take me away from here!
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It is so hard to talk with John about my case, because he is so wise, and because he loves me so. But I tried it last night. It was moonlight. The moon shines in all around just as the sun does. I hate to see it sometimes, it creeps so slowly, and always comes in by one window or another. John was asleep and I hated to waken him, so I kept still and watched the moonlight on that undulating wall-paper till I felt creepy. The faint figure behind seemed to shake the pattern, just as if she wanted to get out. I got up softly and went to feel and see if the paper did move, and when I came back John was awake. "What is it, little girl?" he said. "Don't go walking about like that--you'll get cold." I thought it was a good time to talk, so I told him that I really was not gaining here, and that I wished he would take me away. "Why darling!" said he, "our lease will be up in three weeks, and I can't see how to leave before. "The repairs are not done at home, and I cannot possibly leave town just now. Of course if you were in any danger, I could and would, but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better, I feel really much easier about you." "I don't weigh a bit more," said 1, "nor as much; and my appetite may be better in the evening when you are here, but it is worse in the morning when you are away!" "Bless her little heart!" said he with a big hug, "she shall be as sick as she pleases! But now let's improve the shining hours by going to sleep, and talk about it in the morning!" "And you won't go away?" I asked gloomily. "Why, how can 1, dear? It is only three weeks more and then we will take a nice little trip of a few days while Jennie is getting the house ready. Really dear you are better!" "Better in body perhaps--" I began, and stopped short, for he sat up straight and looked at me with such a stern, reproachful look that I could not say another word. "My darling," said he, "I beg of you, for my sake and for our child's sake, as well as for your own, that you will never for one instant let that idea enter your mind! There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy. Can you not trust me as a physician when I tell you so?" So of course I said no more on that score, and we went to sleep before long. He thought I was asleep first, but I wasn't, and lay there for hours trying to decide whether that front pattern and the back pattern really did move together or separately.
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On a pattern like this, by daylight, there is a lack of sequence, a defiance of law, that is a constant irritant to a normal mind. The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing. You think you have mastered it, but just as you get well underway in following, it turns a back somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream. The outside pattern is a florid arabesque, reminding one of a fungus. If you can imagine a toadstool in joints, an interminable string of toadstools, budding and sprouting in endless convolutions--why, that is something like it. That is, sometimes! There is one marked peculiarity about this paper, a thing nobody seems to notice but myself, and that is that it changes as the light changes. When the sun shoots in through the east window--I always watch for that first long, straight ray--it changes so quickly that I never can quite believe it. That is why I watch it always. By moonlight--the moon shines in all night when there is a moon--I wouldn't know it was the same paper. At night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be. I didn't realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman. By daylight she is subdued, quiet. I fancy it is the pattern that keeps her so still. It is so puzzling. It keeps me quiet by the hour. I lie down ever so much now. John says it is good for me, and to sleep all I can. Indeed he started the habit by making me lie down for an hour after each meal. It is a very bad habit I am convinced, for you see I don't sleep. And that cultivates deceit, for I don't tell them I'm awake--O no! The fact is I am getting a little afraid of John. He seems very queer sometimes, and even Jennie has an inexplicable look. It strikes me occasionally, just as a scientific hypothesis,--that perhaps it is the paper! I have watched John when he did not know I was looking, and come into the room suddenly on the most innocent excuses, and I've caught him several times looking at the paper! And Jennie too. I caught Jennie with her hand on it once. She didn't know I was in the room, and when I asked her in a quiet, a very quiet voice, with the most restrained manner possible, what she was doing with the paper--she turned around as if she had been caught stealing, and looked quite angry-- asked me why I should frighten her so! Then she said that the paper stained everything it touched, that she had found yellow smooches on all my clothes and John's, and she wished we would be more careful! Did not that sound innocent? But I know she was studying that pattern, and I am determined that nobody shall find it out but myself!
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Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was.John is so pleased to see me improve ! He laughed a little the other day, and said I seemed to be flourishing in spite of my wall-paper. I turned it off with a laugh. I had no intention of telling him it was because of the wall-paper--he would make fun of me. He might even want to take me away. I don't want to leave now until I have found it out. There is a week more, and I think that will be enough.
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I'm feeling ever so much better! I don't sleep much at night, for it is so interesting to watch developments; but I sleep a good deal in the daytime. In the daytime it is tiresome and perplexing. There are always new shoots on the fungus, and new shades of yellow all over it. I cannot keep count of them, though I have tried conscientiously. It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw--not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper-- the smell! I noticed it the moment we came into the room, but with so much air and sun it was not bad. Now we have had a week of fog and rain, and whether the windows are open or not, the smell is here. It creeps all over the house. I find it hovering in the dining-room, skulking in the parlor, hiding in the hall, lying in wait for me on the stairs. It gets into my hair. Even when I go to ride, if I turn my head suddenly and surprise it--there is that smell! Such a peculiar odor, too! I have spent hours in trying to analyze it, to find what it smelled like. It is not bad--at first, and very gentle, but quite the subtlest, most enduring odor I ever met. In this damp weather it is awful, I wake up in the night and find it hanging over me. It used to disturb me at first. I thought seriously of burning the house--to reach the smell. But now I am used to it. The only thing I can think of that it is like is the color of the paper! A yellow smell. There is a very funny mark on this wall, low down, near the mopboard. A streak that runs round the room. It goes behind every piece of furniture, except the bed, a long, straight, even smooch, as if it had been rubbed over and over. I wonder how it was done and who did it, and what they did it for. Round and round and round--round and round and round--it makes me dizzy!
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I really have discovered something at last. Through watching so much at night, when it changes so, I have finally found out. The front pattern does move--and no wonder! The woman behind shakes it! Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over. Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard. And she is all the time trying to climb through. But nobody could climb through that pattern--it strangles so; I think that is why it has so many heads. They get through, and then the pattern strangles them off and turns them upside down, and makes their eyes white! If those heads were covered or taken off it would not be half so bad.
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I think that woman gets out in the daytime! And I'll tell you why--privately--I've seen her! I can see her out of every one of my windows! It is the same woman, I know, for she is always creeping, and most women do not creep by daylight. I see her on that long road under the trees, creeping along, and when a carriage comes she hides under the blackberry vines. I don't blame her a bit. It must be very humiliating to be caught creeping by daylight! I always lock the door when I creep by daylight. I can't do it at night, for I know John would suspect something at once. And John is so queer now, that I don't want to irritate him. I wish he would take another room! Besides, I don't want anybody to get that woman out at night but myself. I often wonder if I could see her out of all the windows at once. But, turn as fast as I can, I can only see out of one at one time. And though I always see her, she may be able to creep faster than I can turn! I have watched her sometimes away off in the open country, creeping as fast as a cloud shadow in a high wind.
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If only that top pattern could be gotten off from the under one! I mean to try it, little by little. I have found out another funny thing, but I shan't tell it this time! It does not do to trust people too much. There are only two more days to get this paper off, and I believe John is beginning to notice. I don't like the look in his eyes. And I heard him ask Jennie a lot of professional questions about me. She had a very good report to give. She said I slept a good deal in the daytime. John knows I don't sleep very well at night, for all I'm so quiet! He asked me all sorts of questions, too, and pretended to be very loving and kind. As if I couldn't see through him! Still, I don't wonder he acts so, sleeping under this paper for three months. It only interests me, but I feel sure John and Jennie are secretly affected by it.
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Hurrah! This is the last day, but it is enough. John to stay in town over night, and won't be out until this evening. Jennie wanted to sleep with me--the sly thing! but I told her I should undoubtedly rest better for a night all alone. That was clever, for really I wasn't alone a bit! As soon as it was moonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her. I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper. A strip about as high as my head and half around the room. And then when the sun came and that awful pattern began to laugh at me, I declared I would finish it to-day! We go away to-morrow, and they are moving all my furniture down again to leave things as they were before. Jennie looked at the wall in amazement, but I told her merrily that I did it out of pure spite at the vicious thing. She laughed and said she wouldn't mind doing it herself, but I must not get tired. How she betrayed herself that time! But I am here, and no person touches this paper but me,--not alive ! She tried to get me out of the room--it was too patent! But I said it was so quiet and empty and clean now that I believed I would lie down again and sleep all I could; and not to wake me even for dinner--I would call when I woke. So now she is gone, and the servants are gone, and the things are gone, and there is nothing left but that great bedstead nailed down, with the canvas mattress we found on it. We shall sleep downstairs to-night, and take the boat home to-morrow. I quite enjoy the room, now it is bare again. How those children did tear about here! This bedstead is fairly gnawed! But I must get to work. I have locked the door and thrown the key down into the front path. I don't want to go out, and I don't want to have anybody come in, till John comes. I want to astonish him. I've got a rope up here that even Jennie did not find. If that woman does get out, and tries to get away, I can tie her! But I forgot I could not reach far without anything to stand on! This bed will not move! I tried to lift and push it until I was lame, and then I got so angry I bit off a little piece at one corner--but it hurt my teeth. Then I peeled off all the paper I could reach standing on the floor. It sticks horribly and the pattern just enjoys it! All those strangled heads and bulbous eyes and waddling fungus growths just shriek with derision! I am getting angry enough to do something desperate. To jump out of the window would be admirable exercise, but the bars are too strong even to try. Besides I wouldn't do it. Of course not. I know well enough that a step like that is improper and might be misconstrued. I don't like to look out of the windows even-- there are so many of those creeping women, and they creep so fast. I wonder if they all come out of that wall-paper as I did? But I am securely fastened now by my well-hidden rope--you don't get me out in the road there ! I suppose I shall have to get back behind the pattern when it comes night, and that is hard! It is so pleasant to be out in this great room and creep around as I please! I don't want to go outside. I won't, even if Jennie asks me to. For outside you have to creep on the ground, and everything is green instead of yellow. But here I can creep smoothly on the floor, and my shoulder just fits in that long smooch around the wall, so I cannot lose my way. Why there's John at the door! It is no use, young man, you can't open it! How he does call and pound! Now he's crying for an axe. It would be a shame to break down that beautiful door! "John dear!" said I in the gentlest voice, "the key is down by the front steps, under a plantain leaf!" That silenced him for a few moments. Then he said--very quietly indeed, "Open the door, my darling!" "I can't," said I. "The key is down by the front door under a plantain leaf!" And then I said it again, several times, very gently and slowly, and said it so often that he had to go and see, and he got it of course, and came in. He stopped short by the door. "What is the matter?" he cried. "For God's sake, what are you doing!" I kept on creeping just the same, but I looked at him over my shoulder. "I've got out at last," said I, "in spite of you and Jane. And I've pulled off most of the paper, so you can't put me back!" Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!


Charlotte Perkins Gilman, The Yellow Wallpaper, first published 1899 by Small & Maynard, Boston, MA.
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