Shakespeare

1. Shakespeare • Sonnet 73 • Romeo and Juliet

2. Outline • William Shakespeare • Sonnet • English sonnet  sonnet 73 • Italian sonnet  Ozymandias • How to read sonnet • Analyze sonnet 73 • Comparison  To His Coy Mistress • Deeper into details

3. About William Shakespeare

4. Life • Early life • London and theatrical career • Later years

5. Works • Plays Shakespeare's plays tend to be placed into three main stylistic groups: • Early romantic comedies and histories • Middle period romantic comedies and tragedies • Later romances • Sonnets

6. Bibliography • Shakespeare‘s plays are traditionally organized into three groups: Tragedies、Comedies、and Histories. The following list separates the plays according to their classification in the First Folio，the first published edition of Shakespeare’s plays. Today，some of the comedies are usually considered as a separate subgenre，the romances or tragicomedies.

7. Comedy All's Well That Ends WellAs You Like ItThe Comedy of ErrorsCymbelineLove's Labours LostMeasure for MeasureThe Merry Wives of WindsorThe Merchant of VeniceA Midsummer Night's DreamMuch Ado About NothingPericles, Prince of TyreTaming of the ShrewThe TempestTroilus and CressidaTwelfth NightTwo Gentlemen of VeronaWinter's Tale History Henry IV, part 1Henry IV, part 2Henry VHenry VI, part 1Henry VI, part 2Henry VI, part 3Henry VIIIKing JohnRichard IIRichard III The Complete Works of William Shakespeare

8. Tragedy Antony and CleopatraCoriolanusHamletJulius CaesarKing LearMacbethOthelloRomeo and JulietTimon of AthensTitus Andronicus Poetry The Sonnets A Lover's Complaint The Rape of Lucrece Venus and Adonis Funeral Elegy by W.S.

9. Starting Questions

10. Did you read these two sonnets? Which one do you prefer? Why?

11. SONNET • I. Sonnet • A. Italian (Petrarchan) • B. English (Shakespearean) • II. Form • A. Fourteen-line poem • B. Iambic pentameter (10syllables/line) • C. Patterned rhyme scheme

12. Italian Sonnet • I. Two Sections: • A. Octave (8) → a-b-b-a-a-b-b-a • B. Sestet (6) → c-d-e-c-d-e,orc-d-c-c-d-c • II. Different Functions: • A. Octave: Subject, proposition, problem • B. Sestet: Turn, resolution • III. The Ninth Line: • A. Clear break • B. “Turn” → Volta • C. Proposition→ resolution (A change: tone, mood)

13. Ozymandias • I met a traveller from an antique land------------------(a)Who said:—Two vast and trunkless legs of stone—(b)Stand in the desert. Near them on the sand,---------(a)Half sunk, a shatter'd visage lies, whose frown------(b)And wrinkled lip and sneer of cold command---------(a)Tell that its sculptor well those passions read--------(c)Which yet survive, stamp'd on these lifeless things, (d)The hand that mock'd them and the heart that fed.—(c) • And on the pedestal these words appear:--------------(e)"My name is Ozymandias, king of kings:---------------(d)Look on my works, ye mighty, and despair!“----------(e)Nothing beside remains: round the decay-------------(f)Of that colossal wreck, boundless and bare,----------(e)The lone and level sands stretch far away.------------(f)

14. English Sonnet • Two Sections: • A. Three Quatrains (4-4-4) • B. Couplet (2) • Rhyme scheme: a-b-a-b/ c-d-c-d/ e-f-e-f/ g-g • Functions: • A. Quatrains→ Ideas • B. Resolution • Why Shakespearean sonnet?

15. Sonnet 73 • That time of year thou mayst in me behold------------(a) • When yellow leaves, or none, or few, do hang-------(b) • Upon those boughs which shake against the cold,---(a) • Bare ruin'd choirs, where late the sweet birds sang.---(b) • In me thou seest the twilight of such day----------(c) • As after sunset fadeth in the west,------------------(d) • Which by and by black night doth take away,----(c) • Death's second self, that seals up all in rest.------(d) • In me thou see'st the glowing of such fire---------(e) • That on the ashes of his youth doth lie,-----------(f) • As the death-bed whereon it must expire--------(e) • Consumed with that which it was nourish'd by.—(f) • This thou perceivest, which makes thy love more strong,---(g) • To love that well which thou must leave ere long.------(g)

16. How to Read Sonnet • Meaning---Words & Patterns • Pay attention to: • 1. Line-end punctuation (Line 4,8,12) • 2. Connective words--and, or, but, as, so, • if, then, when, which (Line 5,9,13) • 3. The ninth line & Couplet

17. Paraphrase & Sentence Structure That time of yearthou mayst in mebehold O.(3) S.(1) (Adv.) V.(2) Youmay seein methe autumn of my life, 1 2 (Adv.) 3 When yellow leaves, or none, or few, do hang When a few yellow leaves or none at all hang Upon those boughs which shake against the cold, On the branches, shaking against the cold Bare ruin'd choirs, where late the sweet birds sang. Bare ruins of church choirs where lately the sweet birds sang

18. In me thou seest the twilight of such day You see in me only dim light that remains As after sunset fadeth in the west, Like when the sunset has faded to darkness in the west Which by and by black night doth take way, Which is soon extinguished by black night Death's second self, that seals up all in rest. The image of death that envelop everything in deathly sleep

19. In me thou see'st the glowing of such fire You see in me the glowing embers That on the ashes of his youth doth lie, That lie upon the ashes remaining from the flame of my youth As the death-bed whereon it must expire The ashes are now like the death-bed where it (youth) must finally die Consumed with that which it was nourish'd by. Consumed by that which once fed it.

20. This thou perceivest, which makes thy love more strong, This you see, and it makes your love more determined To love that well which thou must leave ere long. To love that well which you must give up before long

21. What is it about? • Main argument:ravages of time & mature love 1.Speaker’s anxieties of advanced age and his inevitable fate:old age, fading youth, death, and eternal separation from his lover 2.Ravages of time on body & mental anguish with moving further from youth to death 3. Lovecould leave when time and everything are gone →Couplet: exhortation:one’s love should grow stronger as one’s time left to love is running out

22. Background Information • Written to a young friend: Mr. W.H. (whose identity remains a mystery) • Sonnet 71-74 as a group: on mortality

23. Comparison with “To His Coy Mistress” • Similarities 1.Carpe diem (seize the day) 2. Figurative language 3. Inverted sentence structure

24. Sonnet73 1st person Argument: ravages of time Tone:pensive & wistful Use of metaphor ---naturesymbols ---3 levels of declining life : season→day→every minute To His Coy Mistress 1st person in presenting another man Argument: persuade her to have sex with him Tone:straightforward, passionate, immature Use of metaphor: exaggerative, playful, explicit Differences

25. Examples 1. “Two hundredto adore each breast/thirty thousandto the rest” (line15,16) 2. Mockery of idealized romantic poetry through crude or shocking imagery: “thenwormsshall try / That long preserved virginity” (line27,28) • Logic: If→But→So

26. Works Cited • http://www.sparknotes.com/shakespeare/shakesonnets/section5.rhtml • http://www.gradesaver.com/classicnotes/titles/shakespeare/section10.html • http://shakespeare.about.com/od/studentresources/a/sonnet73guide_3.htm • http://en.wikipedia.org/wiki/Shakespeare%27s_sonnets#Mr._W.H. • http://www.cummingsstudyguides.net/Guides4/Marvell.html#Top

27. Sonnet 731st stanza • That time of year thou mayst in me behold • When yellow leaves, or none, or few, do hang • Upon those boughs which shake against the cold, • Bare ruin'd choirs, where late the sweet birds sang.

28. The speaker’s age • That time of year thou mayst in me behold • When yellow leaves, or none, or few, do hang • Upon those boughs which shake against the cold, • Bare ruin'd choirs, where late the sweet birds sang. • The speaker tells that his age is like the late autumn, which is soon changed into the winter.

29. 3th 2nd STANZA • In me thou seest the twilight of such day • As after sunset fadeth in the west, • Which by and by black night doth take away, • Death's second self, that seals up all in rest.

30. 3th 2nd stanza The speakers’ live • In me thou seest the twilight of such day • As after sunset fadeth in the west, • Which by and by black night doth take away, • Death's secondself, that seals up all in rest. The speaker uses “twilight” to compare his life which is no longer bright but becoming weak.

31. 3rd stanza 3 • In me thou see'st the glowing of such fire • That on the ashes of his youth doth lie, • As the death-bed whereon it must expire • Consumed with that which it was nourish'd by.

32. 3rd stanza 3 • In me thou see'st the glowing of such fire • That on the ashes of his youth doth lie, • As the death-bed whereon it must expire • Consumed with that which it was nourish'd by. The speaker’s life is like the ashes, once were wood but now is burning out; and the ashes would put out the fire of life.

33. Last stanza • This thou perceivest, which makes thy love more strong, • To love that well which thou must leave ere long.

34. Last stanza ? • This thou perceivest, which makes thy love more strong, • To love that well which thou must leave ere long. • This—the speaker won’t live forever • That—the listener’s youth, or the speaker? ?

35. Works Cited • http://www.freeessays.cc/db/42/saq141.shtml • http://shakespeare.about.com/od/studentresources/a/sonnet73guide.htm • http://www.shakespeare-online.com/sonnets/73detail.html • http://www.4freeessays.com/essays/1999.shtml

36. Conclusion on sonnet 73 • Beautiful sonnet • Pursuing immortal love • 死了都要愛

37. Reflective Question • What would left behind after death? (as immortal?) 2. Do you agree with our interpretation that love is immortal? Why?

38. Romeo and Juliet—Impulsive Love Leadsto a Tragic FateBy Carol and Zora

39. Outline • Plot overview • Rhyme • Pursue & Response • Debate • Courting sonnet • J’s characters • Romantic love

40. Plot Overview (Act I)-- Characters • Place: Verona • Romeo - The son and heir of Montague and Lady Montague. • Juliet - The daughter of Capulet and Lady Capulet. • Paris - A kinsman of the Prince (ruler of Verona), and the suitor of Juliet most preferred by Capulet. • Benvolio - Montague’s nephew, Romeo’s cousin and thoughtful friend. • Rosaline - The woman with whom Romeo is infatuated at the beginning of the play.

41. Plot Overview ( Act I) • The Capulet and the Montague are feuding families. • Romeo confides his love toward Rosaline after some prodding by Benvolio. • Paris seeks Juliet’s hand in marriage. • Paris went to a feast held by Capulet; Romeo and Benvolio went to the feast as well. • Romeo sees Juliet from a distance and instantly falls in love with her. • Romeo speaks to Juliet and kisses her. They kiss each other without knowing each others’ names. • Both Romeo and Juliet feel anguished after knowing each other’s identities.

42. RHYME R [To J]: If I profane with my unworthiest hand (1) This holy shrine, the gentle fine is this: (2) My lips, two blushing pilgrims, ready stand (3) To smooth that rough touch with a tender kiss. (4) J: Good pilgrim, you do wrong your hand too much (5) Which mannerly devotion shows in this (6) For saints have hands that pilgrims’ hands do touch, (7) And palm to palm is holy palmers’ kiss. (8)

43. R: Have not saints lips, and holy palmers too? (9) J: Ay, pilgrim, lips that they must use in prayer. (10)R: O, then, dear saint, let lips do what hands do; (11) They pray, grant thou, lest faith turn to despair. (12) J: Saints do not move, though grant for prayers’ sake. (13) R: Then move not, while my prayer’s effect I take. (14) ABAB hand, this; stand, kiss CBCB much, this; touch, kiss DEDE too, prayer; do, despair FF sake, take

44. R [To J]: If I profane with my unworthiest hand (1) This holy shrine, the gentle fine is this: (2) My lips, two blushing pilgrims, ready stand (3) To smooth that rough touch with a tender kiss. (4) J: Good pilgrim, you do wrong your hand too much (5) Which mannerly devotion shows in this (6) For saints have hands that pilgrims’ hands do touch, (7) And palm to palm is holy palmers’ kiss. (8) R: Have not saints lips, and holy palmers too? (9) J: Ay, pilgrim, lips that they must use in prayer. (10)R: O, then, dear saint, let lips do what hands do; (11) They pray, grant thou, lest faith turn to despair. (12) J: Saints do not move, though grant for prayers’ sake. (13) R: Then move not, while my prayer’s effect I take. (14)

45. PERSUE ( R to J ) If I profane with my unworthiest hand (1) This holy shrine, the gentle fine is this: (2) My lips, two blushing pilgrims, ready stand (3) To smooth that rough touch with a tender kiss. (4) If I profane this holy shrine with my unworthiest hand, I will get punish. ( fine: like to pay some fine ) I want to kiss your hands to smooth the rough touch of my hands. shrine  J’s hands pilgrim  R’s lips profanation  touching the hand , kiss  to purge the sin Kinds of sophistry

46. JULIET’S RESPONSE Good pilgrim, you do wrong your hand too much (5) Which mannerly devotion shows in this (6) For saints have hands that pilgrims’ hands do touch, (7) And palm to palm is holy palmers’ kiss. (8) It is not your hands should be blamed, it shows great devotion when touching me. It is okay to touch hands, why kiss? pilgrim  R saint  J ( in sonnet used to pursue, woman often=saint or goddess ) J changes the metaphor from part to the person palmer = pilgrim J plays on words

47. DEBATING R: Have not saints lips, and holy palmers too? (9) J: Ay, pilgrim, lips that they must use in prayer. (10)R: O, then, dear saint, let lips do what hands do; (11) They pray, grant thou, lest faith turn to despair. (12) J: Saints do not move, though grant for prayers’ sake. (13) R: Then move not, while my prayer’s effect I take. (14) R: Both saint and pilgrim have lips, why they can’t kiss? J: Lips is something use for prayers. R: Let my lips do what hands do ( palm to palm = kiss ) J: ( do not agree, but do not refuse as well )

48. CONCEIT Definition: conceit is a kind of metaphor that does not happen in just one sentence. It gets developed and its meaning extended in different lines. Stanza 1: shrine  J’s hands pilgrim  R’s lips touching  profanation Stanza 2: pilgrim  R saint  J touching  a kiss of the palmer

49. COURTING SONNET  Courting with a sonnet  The first conversation between Romeo and Juliet

50. R: Thus from my lips, by yours, my sin is purged. J: Then have my lips the sin that they have took. R: Sin from thy lips? O trespass sweetly urged! Give me my sin again. J: You kiss by the book. R: kissing you, my sin is purged J: Because of your kiss, sin is now on my lips R: Let me take my sin back! kiss by the book  1. You make a sonnet to kiss me 2. Your kissing skill is not good enough Actually they both want to kiss each other