Tuesday, February 26, 2019

Macbeth: The Musical!



Can Romeo and Juliet rewrite the stars?


“If Music be the food of love, play on
Give me excess of it…”
                                              Orsino from Twelfth Night (I,i,1-2)


Company Name: The Admirals Men were a theatre troupe in Shakespeare’s day. Give yourselves a name. Something that says, “Hey, we know our Shakespeare. Hire us, okay?”

Act 1:  Jonathan, Elyse, Colby, Haywood, Bill, Duc
Act 2:  James, Ethan, Nick, Monique, Eliza, Owen
Act 3:  Chloe, Rachel, Cora, Caroline, Emily, Felix
Act 4:  Allison, Sydney, Talah, Sophie, Izzy, Rebecca
Act 5:  Matt, Cole, Nikita, Tony, Will

Timeline: Four Classes: Writing Script (2) Rehearsal (1)  Performances (1)

Script: Ten-minute Shakespeare: We should see a script with 50% Shakespearean text and 50% popular music lyrics. You must choose a theme and express it in either a series of moments in the play or you can do a quick cross section of the major moments. You must, however, have a unified beginning and end for the piece.

Soundtrack: How will you incorporate music into the piece? Will you develop a pop music soundtrack to line-up with the performance? Remember, that we also need to hear the actors. Will you use a classic music backdrop? Whatever you do, MAKE SURE THAT THE MUSIC FITS WITH YOUR THEME AND OVERALL VISION. In other words, if you choose a hip hop soundtrack, that will certainly influence the performance and theme. It may also influence how you cut the script. Maybe lines from the play can be sung or performed in spoken word (It certainly was meant to be sung, in a sense). Will you go Glee or Moulin Rouge and sing a pop song at major intervals. KEY: TAKE PRE-EXISTING SONGS AND TURN THEM INTO DUETS. CHANGE AND TWEEK LYRICS TO FIT PURPOSE.



Rehearsing and Choreography: THIS IS WHAT I WILL ALSO BE THINKING ABOUT WHEN I GRADE YOUR FINAL PERFORMANCE. MOVE AROUND PEOPLE! I will help you during rehearsals. For the songs (at least) have the lines and cues memorized. All prose and Shakespearean verse should be memorized to help the performance flow. Also, make sure all costumes and sets are ready to go and easy to execute. Also, make sure you have the music cued up and ready to go. Rehearsals are key.

Performances. If you are sick or cannot make it, you need to make the necessary arrangements with your group and Mr. Pellerin. Treat this assignment with the same respect as an exam. If you leave your group high and dry on performance day with no phone call or explanation, expect an F on the assignment.

So, what do I hand in?

1. A final cut script with song lyrics to Turnitin.com
2. A timeline explaining what was accomplished, as well as a list of who did what and when.
3. An actual performance. No more than 10 minutes long.

NOTE: Use of class/homework time will be a huge factor in your grade!!!

This will count as 1-2 major assessment grades




Example #1:  You Just Haven't Met Juliet


LADY MONTAGUE
O, where is Romeo? Saw you him to-day?
Right glad I am he was not at this fray.

BENVOLIO
Madam, an hour before the worshipp'd sun
Peer'd forth the golden window of the east,
A troubled mind drave me to walk abroad;
Where, underneath the grove of sycamore
That westward rooteth from the city's side,
So early walking did I see your son:
Towards him I made, but he was ware of me
And stole into the covert of the wood:
I, measuring his affections by my own,
That most are busied when they're most alone,
Pursued my humour not pursuing his,
And gladly shunn'd who gladly fled from me.

MONTAGUE
He, his own affections' counsellor,
Is to himself--I will not say how true--
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm,
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.
Could we but learn from whence his sorrows grow?
We would as willingly give cure as know.

Enter ROMEO

BENVOLIO
See, where he comes: so please you, step aside;
I'll know his grievance, or be much denied.

Exeunt MONTAGUE and LADY MONTAGUE

BENVOLIO
Good-morrow, cousin.

ROMEO
Is the day so young?

BENVOLIO
But new struck nine.

ROMEO
Ay me! Sad hours seem long.
Was that my father that went hence so fast?

BENVOLIO
It was. What sadness lengthens Romeo's hours?

ROMEO
Not having that, which, having, makes them short.

BENVOLIO
In love?

ROMEO
Out—

BENVOLIO
Of love?

ROMEO
Out of her favour, where I am in love.

BENVOLIO
With whom?

ROMEO
Rosaline and she'll not be hit
With Cupid's arrow; she hath Dian's wit.

BENVOLIO
Then she hath sworn that she will still live chaste?

ROMEO
She hath, and in that sparing makes huge waste -

BENVOLIO
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!

ROMEO
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine?
O me! What fray was here?
Yet tell me not, for I have heard it all.
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire,
sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?

BENVOLIO
No, coz, I rather weep.

ROMEO
Good heart, at what?

(Servant enters and hands Benvolio and invitation and exits)

BENVOLIO
At thy good heart's oppression.
Coz, I just obtained an invitation to a party
At this same ancient feast of Capulet's
Sups the fair Rosaline whom thou so lovest,
With all the admired beauties of Verona:
Go thither; and, with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.

ROMEO
When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires;
And these, who often drown'd could never die,
Transparent heretics, be burnt for liars!
One fairer than my love! the all-seeing sun
Ne'er saw her match since first the world begun.

BENVOLIO
Tut, you saw her fair, none else being by,
Herself poised with herself in either eye:
But in that crystal scales let there be weigh'd
Your lady's love against some other maid….

BENVOLIO begins singing “I Just Haven’t Met You Yet” by Michael Buble


BENVOLIO
I'm not surprised
Not everything lasts
You've broken your heart so many times
I stopped keeping track.

ROMEO
Talk myself in,
I talk myself out.
I get all worked up
Then I let myself down.
I tried so very hard not to lose it

BENVOLIO
You came up with a million excuses

ROMEO
I thought I thought of every possibility

BENVOLIO
And I know someday that it'll all turn out
She'll make you work so you can work to work it out
And I promise you kid that you'll give so much more than you get
You just haven't met Juliet
Mmmmm ....

BENVOLIO
You might have to wait

ROMEO
I'll never give up

BENVOLIO
I guess it's half timing

ROMEO
And the other half's luck

BENVOLIO
Wherever you are

ROMEO
Whenever it's right

BENVOLIO
She'll come out of nowhere and into your life

JULIET enters

ROMEO (to JULIET)
And I know that we can be so amazing

JULIET (to ROMEO)
And baby your love is gonna change me

ROMEO
And now I can see every possibility
Hmmmmm ......

ROMEO and JULIET holding hands and singing in unison

ROMEO and JULIET
And somehow I know that it'll all turn out
And you'll make me work so we can work to work it out

ROMEO
And I promise you kid I'll give so much more than I get

JULIET
You just haven't met me yet

ROMEO
They say all's fair

JULIET
In love and war

ROMEO
But I won't need to fight it

JULIET
We'll get it by it

ROMEO and JULIET
We'll be united

ROMEO and JULIET dance during the interlude

ROMEO
And I know that we can be so amazing

JULIET
And being in your life is gonna kill me

ROMEO
And now I can see every single possibility
Hmmm .....

JULIET exits

ROMEO
And someday I know it'll all turn out

BENVOLIO enters

And I'll work to work it out

BENVOLIO
Promise you kid

ROMEO
I'll give more than I get
Than I get, than I get, than I get!

MERCUTIO enters

BENVOLIO, ROMEO and MERCUTIO (Dancing like the Rockettes)
Oh you know it'll all turn out
And you'll make me work so we can work to work it out
And I promise you kid to give so much more than I get
Yeah I just haven't met Juliet

ROMEO at center stage

ROMEO
I just haven't met Juliet
Oh promise you kid
To give so much more than I get

MERCUTIO and BENVOLIO

I said love love love love love love love .....

ROMEO
I just haven't met Juliet.


MERCUTIO and BENVOLIO
I said love love love love love love love .....

ROMEO
I just haven't met Juliet!

BENVOLIO
So come with me, Romeo
That I will show you shining at this feast,
And she shall scant show well that now shows best.

ROMEO
I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own.

Exeunt



Example Two:  Then I defy you stars!


PROLOGUE
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Romeo enters with Mercutio and their entourage in masks

ROMEO
I dream'd a dream to-night.

MERCUTIO
And so did I.

ROMEO
Well, what was yours?

MERCUTIO
That dreamers often lie.

ROMEO
I fear, too early: for my mind misgives
Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life closed in my breast
By some vile forfeit of untimely death.
But He, that hath the steerage of my course,
Direct my sail!

Bell tolls.

On, lusty gentlemen.

They all exit but Romeo.  Juliet enters.

ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.


ROMEO
[To JULIET] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.

JULIET
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.

ROMEO
Have not saints lips, and holy palmers too?

JULIET
Ay, pilgrim, lips that they must use in prayer.

ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.

JULIET
Saints do not move, though grant for prayers' sake.

ROMEO
Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.

JULIET
Then have my lips the sin that they have took.

ROMEO
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.

JULIET
You kiss by the book.

BENVOLIO enters, whispers in ROMEO'S ear, and exits.

ROMEO
Is she a Capulet?
O dear account! my life is my foe's debt.

NURSE enters, whispers in JULIET"S ear, and exits.

JULIET
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.

JULIET
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.

ROMEO
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.

JULIET
What man art thou that thus bescreen'd in night
So stumblest on my counsel?

ROMEO
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.

JULIET
My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?

ROMEO
Neither, fair saint, if either thee dislike.

JULIET
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.

ROMEO
With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.

JULIET
If they do see thee, they will murder thee.

ROMEO
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.

JULIET
I would not for the world they saw thee here.

ROMEO
I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.

JULIET
By whose direction found'st thou out this place?

ROMEO
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.

JULIET
But our families will never conset to our love.  It is impossible.

ROMEO begins singing to JULIET Rewrite the Stars from The Greatest Showman.


ROMEO
You know I want you
It's not a secret I try to hide
I know you want me
So don't keep saying our hands are tied
You claim it's not in the cards
Fate is pulling you miles away
And out of reach from me
But you're here in my heart
So who can stop me if I decide
That you're my destiny?
What if we rewrite the stars?
Say you were made to be mine
Nothing could keep us apart
You'd be the one I was meant to find
It's up to you, and it's up to me
No one can say what we get to be
So why don't we rewrite the stars?
Maybe the world could be ours
Tonight

JULIET
You think it's easy
You think I don't want to run to you
But there are mountains
And there are doors that we can't walk through
I know you're wondering why
Because we're able to be
Just you and me
Within these walls
But when we go outside
You're going to wake up and see that it was hopeless after all
No one can rewrite the stars
How can you say you'll be mine?
Everything keeps us apart
And I'm not the one you were meant to find
It's not up to you
It's not up to me
When everyone tells us what we can be
How can we rewrite the stars?
Say that the world can be ours
Tonight

TOGETHER
All I want is to fly with you
All I want is to fall with you
So just give me all of you

JULIET
It feels impossible (it's not impossible)

ROMEO
Is it impossible?

TOGETHER
Say that it's possible
How do we rewrite the stars?
Say you were made to be mine?
Nothing can keep us apart
'Cause you are the one I was meant to find
It's up to you
And it's up to me
No one can say what we get to be
And why don't we rewrite the stars?
Changing the world to be ours

JULIET
You know I want you
It's not a secret I try to hide
But I can't have you
We're bound to break and my hands are tied

JULIET turns to go

ROMEO
O, wilt thou leave me so unsatisfied

JULIET
What satisfaction canst thou have to-night?

ROMEO
The exchange of thy love's faithful vow for mine.

JULIET
I gave thee mine before thou didst request it:
And yet I would it were to give again.

ROMEO
Wouldst thou withdraw it? for what purpose, love?

JULIET
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.


RUBRIC
D or F performances
  • Anything less than the C performances below
C performances
  • Complete script for Mr. Pellerin & each group member (no trips to copy machine)
  • Script contains:
  • Clear theme
  • Interesting story development
  • Pop music and Shakespearean text integrated
  • Performance of scripts, in hand, is moderately smooth. Just periodic stops for technical difficulties
  • Costumes
  • Performance with all members occurs on the assigned date
B performances have all the above and…
  • Script contains:  Meaningfully theme – Nuanced and philosophical
  • Complex plot development
  • Songs are meaningful and well placed (though perhaps a bit long, and/or one “note” meanings)
  • Well chosen moments from the text – a strong cross section of the play
  • Performance is smooth. Though not memorized, the performers know the material inside and out. Choices about technology, blocking, costumes, and the like are thought out beforehand.
A performances have all the above and…
  • Script contains: Themes and concepts are thought provoking. Shows us multiple sides to the issues presented
  • Clear theme – Nuanced and philosophical – Goes beyond stereotypes to get at the heart of the matter
  • Complex plot development and seamlessly thread together as if this were an original play and not a Frankenstein monster of moments
  • Songs are meaningful, well placed and preformed with feeling
  • Well chosen – a Strong cross section of the play – Tight!
  • Script is nuanced. Every line is thoughtfully spliced and there is a definite beginning, middle and end to the performance.
  • Performance is smooth and choreography is fun and meaningful. All props and cues are hit. One or two members attempted to memorize parts. Members tried to use note cards.
  • Costumes and staging are thoughtfully planned ahead of time and a world is created
  • We are all speechless

Tuesday, February 12, 2019

Due Friday, February 15th - "Macbeth" Essay


Directions:  Take your rough draft, revise it, and post it to Turnitin.com for a formal grade.  Revisit the work your fellow classmates did on the blog.  Learn from each other.  Revisit the text and see if you can make your essay stronger.


Friday, February 8, 2019

Due Tuesday, February 12th - "Macbeth" by William Shakespeare - Essay Rough Draft


Directions: Revisit Macbeth by William Shakespeare. For this blog post, set aside 30-40 minutes and compose a response to one of the following prompts. I included a list of 20 important quotations, below, to help you compose your piece. Edit your response and post it, here, on the blog to share with your classmates. This will act as a rough draft of a formal piece, so put in your best effort.


Prompts:

2014. It has often been said that what we value can be determined only by what we sacrifice. Consider how this statement applies to a character from Macbeth. Select a character that has deliberately sacrificed, surrendered, or forfeited something in a way that highlights that character’s values. Then write a well-organized essay in which you analyze how the particular sacrifice illuminates the character’s values and provides a deeper understanding of the meaning of the play as a whole.

2011. Form B. In The Writing of Fiction (1925), novelist Edith Wharton states the following: At every stage in the progress of his tale the novelist must rely on what may be called the illuminating incident to reveal and emphasize the inner meaning of each situation. Illuminating incidents are the magic casements of fiction, its vistas on infinity.

Using the play Macbeth, write a well-organized essay in which you describe an “illuminating” episode or moment and explain how it functions as a “casement,” a window that opens onto the meaning of the work as a whole. Avoid mere plot summary.

2009. A symbol is an object, action, or event that represents something or that creates a range of associations beyond itself. In literary works a symbol can express an idea, clarify meaning, or enlarge literal meaning. Using the play Macbeth, focus on one symbol, and write an essay analyzing how that symbol functions in the work and what it reveals about the characters or themes of the work as a whole. Do not merely summarize the plot.

2007, Form B. Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Macbeth includes several such acts of betrayal. In a well-written essay, analyze the nature of the betrayal(s) and show how it contributes to the meaning of the work as a whole.



Important Quotations:
Witch. When shall we three meet again
In thunder, lightning, or in rain?
Second Witch. When the hurlyburly ’s done,
When the battle ’s lost and won. (1.1.1)

Fair is foul, and foul is fair. (1.1.13)

For brave Macbeth - well he deserves that name -
Disdaining fortune, with his brandish'd steel,
Which smoked with bloody execution,
Like valour's minion carved out his passage
Till he faced the slave;
Which ne'er shook hands, nor bade farewell to him,
Till he unseam'd him from the nave to the chaps,
And fix'd his head upon our battlements. (1.2.19)

They doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,
I cannot tell. (1.2.40)

So foul and fair a day I have not seen. (1.3.38)

What are these,
So withered, and so wild in their attire,
That look not like th' inhabitants o' the earth,
And yet are on 't? (1.3.39)

If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate. (1.3.58)

Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner? (1.3.83)

What! can the devil speak true? (1.3.107)

And oftentimes, to win us to our harm,
The instruments of darkness tell us truths,
Win us with honest trifles, to betray ’s
In deepest consequence. (1.3.132)

Two truths are told,
As happy prologues to the swelling act
Of the imperial theme. (1.3.136)

I am Thane of Cawdor:
If good, why do I yield to that suggestion
Whose horrid image doth unfix my hair
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings;
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smothered in surmise, nothing is
But what is not. (1.3.141)

Come what come may,
Time and the hour runs through the roughest day. (1.3.156)

Nothing in his life
Became him like the leaving it; he died
As one that had been studied in his death
To throw away the dearest thing he owed,
As ’t were a careless trifle. (1.4.7)

Glamis thou art, and Cawdor; and shalt be
What thou art promised. Yet I do fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way; thou wouldst be great,
Art not without ambition; but without
The illness should attend it; what thou wouldst highly,
That thou wouldst holily; wouldst not play false,
And yet wouldst wrongly win. (1.5.16)

Come, you spirits
That tend on mortal thoughts! unsex me here,
And fill me from the crown to the toe top full
Of direst cruelty; make thick my blood,
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! (1.5.38)

Your face, my thane, is as a book where men
May read strange matters. To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue: look like the innocent flower,
But be the serpent under't. (1.5.63)

This castle hath a pleasant seat; the air
Nimbly and sweetly recommends itself
Unto our gentle senses. (1.6.1)

If it were done when 'tis done, then 'twere well
It were done quickly: if the assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all here,
But here, upon this bank and shoal of time,
We'd jump the life to come. But in these cases
We still have judgement here; that we but teach
Bloody instructions, which, being taught, return,
To plague the inventor; this even-handed justice
Commends the ingredients of our poisoned chalice
To our own lips. (1.7.1)

Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels trumpet-tongued, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast, or heaven's cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o'erleaps itself,
And falls on the other. (1.7.16)

I have bought
Golden opinions from all sorts of people. (1.7.31)

I dare do all that may become a man;
Who dares do more is none. (1.7.46)

Screw your courage to the sticking-place,
And we'll not fail. (1.7.54)

Memory, the warder of the brain. (1.7.74)

False face must hide what the false heart doth know. (1.7.82)
There's husbandry in heaven;
Their candles are all out. (2.1.4)

Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain? (2.1.33)

Now o'er the one half-world
Nature seems dead. (2.1.49)

Thou sure and firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones prate of my whereabout. (2.1.56)

I go, and it is done; the bell invites me.
Hear it not, Duncan; for it is a knell
That summons thee to heaven or to hell. (2.1.65)

That which hath made them drunk hath made me bold,
What hath quenched them hath given me fire. (2.2.1)

The attempt and not the deed,
Confounds us. (2.2.12)

Had he not resembled
My father as he slept I had done't. (2.2.14)

I had most need of blessing, and "Amen"
Stuck in my throat. (2.2.35)

Methought I heard a voice cry, "Sleep no more!
Macbeth does murder sleep!" (2.2.36)

’T is the eye of childhood
That fears a painted devil. (2.2.58)

Will all great Neptune's ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine,
Making the green one red. (2.2.61)

A little water clears us of this deed. (2.2.68)

The labour we delight in physics pain. (2.3.56)

Who can be wise, amazed, temperate and furious,
Loyal and neutral, in a moment? (2.3.116)

Where we are,
There's daggers in men's smiles: the near in blood,
The nearer bloody. (2.3.146)

A falcon, towering in her pride of place,
Was by a mousing owl hawked at and killed. (2.4.12)

To be thus is nothing;
But to be safely thus. (3.1.48)
We have scotched the snake, not killed it. (3.2.9)

Be innocent of the knowledge, dearest chuck,
Till thou applaud the deed. Come, seeling night,
Scarf up the tender eye of pitiful day,
And with thy bloody and invisible hand,
Cancel and tear to pieces that great bond
Which keeps me pale! Light thickens, and the crow
Makes wing to the rooky wood;
Good things of day begin to droop and drowse,
Whiles night's black agents to their preys do rouse. (3.2.45)

Better be with the dead,
Whom we, to gain our peace, have sent to peace,
Than on the torture of the mind to lie
In restless ecstasy. Duncan is in his grave;
After life’s fitful fever he sleeps well:
Treason has done his worst; nor steel, nor poison,
Malice domestic, foreign levy, nothing,
Can touch him further. (3.2.23)

You lack the season of all natures, sleep. (3.4.141)

Security
Is mortals' chiefest enemy. (3.5.32)

Double, double toil and trouble;
Fire burn and cauldron bubble. (4.1.10)

By the pricking of my thumbs,
Something wicked this way comes. (4.1.43)

How now, you secret, black, and midnight hags! (4.1.49)

Be bloody, bold, and resolute; laugh to scorn
The power of man, for none of woman born
Shall harm Macbeth. (4.1.79)

Show his eyes, and grieve his heart;
Come like shadows, so depart! (4.1.124)

What, will the line stretch out to the crack of doom? (4.1.130)

His flight was madness: when our actions do not,
Our fears do make us traitors. (4.2.3)

Angels are bright still, though the brightest fell. (4.3.22)

What! man; ne'er pull your hat upon your brows;
Give sorrow words: the grief that does not speak
Whispers the o'er-fraught heart, and bids it break. (4.3.209)

Let's make us medicine of our great revenge,
To cure this deadly grief. (4.3.216)

Out, damned spot! out, I say! (5.1.38)

Yet who would have thought the old man to have had so much blood in him? (5.1.43)

The Thane of Fife had a wife: where is she now? (5.1.46)

Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. (5.1.55)

I would not have such a heart in my bosom for the dignity of the whole body. (5.1.60)

What's done cannot be undone. (5.1.75)

I have lived long enough: my way of life
Is fall'n into the sear, the yellow leaf;
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but, in their stead,
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not. (5.3.22)

I have almost forgot the taste of fears.
The time has been my senses would have cooled
To hear a night-shriek, and my fell of hair
Would at a dismal treatise rouse and stir
As life were in't. I have supped full with horrors;
Direness, familiar to my slaughterous thoughts,
Cannot once start me. (5.5.9)

She should have died hereafter;
There would have been a time for such a word,
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more; it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing. (5.5.16)

If that which he avouches does appear,
There is nor flying hence, nor tarrying here.
I 'gin to be aweary of the sun,
And wish the estate o' the world were now undone.
Ring the alarum-bell! Blow, wind! come, wrack!
At least we'll die with harness on our back. (5.5.47)

I bear a charmed life, which must not yield
To one of woman born. (5.7.41)

Due Thursday, June 13th - All I Really Needed to Know I Learned in Mr. Pellerin's Survey of British Literature Class.

Overview :  Go back to our first blog, and walk through the 2018-2019 school year.  Revisit the books we read and our class responses.  Look...