Post by Richard Stone on Sept 20, 2013 13:44:15 GMT -8
Richard Stone walked around his classroom, placed a piece of paper on each desk that the students would need for that day's lesson. He then returned to the front of the room and wrote Much to do with hate, but more with love across the whiteboard.
Once the students had arrived and the final bell sounded he walked to the front of the room. "Welcome back. If you haven't already, please look at the sheet of paper on your desk. This is a prologue from Shakespeare's Romeo and Juliet. Just like elementary school, we're going to read through it, each of you are going to read one line. I'm not going to tell who is going to read next, so it will be the first person to speak that get's to read that line. I'll start. Two households, both alike in dignity." He arched his eyebrows as he waited for a student to pick up the next line.
Once they finished reading, he asked the students to work in pairs. "I would like one person to underline any words that have to do with love while the other underlines words that refer to fighting. It would probably be a good idea if you use two different coloured pens. Once you have completed that you discuss between the two of you theses thoughts; Are there more words about love or fighting? Why do they think that is?"
He finally called the students back to their own tables and brought a copy of the prologue up on his powerpoint so that it screened on the wall:
He looked up, eyebrows arched. "What do you make of the emphasis on violence? I know that you must all know the play, but now that we have dissected the prolague, does this alter your expectations for the play?" Then, with a third colour, he highlighted every example of the word two. "Why is this word--the very first word of the play--so important here?"
Once the students had arrived and the final bell sounded he walked to the front of the room. "Welcome back. If you haven't already, please look at the sheet of paper on your desk. This is a prologue from Shakespeare's Romeo and Juliet. Just like elementary school, we're going to read through it, each of you are going to read one line. I'm not going to tell who is going to read next, so it will be the first person to speak that get's to read that line. I'll start. Two households, both alike in dignity." He arched his eyebrows as he waited for a student to pick up the next line.
Once they finished reading, he asked the students to work in pairs. "I would like one person to underline any words that have to do with love while the other underlines words that refer to fighting. It would probably be a good idea if you use two different coloured pens. Once you have completed that you discuss between the two of you theses thoughts; Are there more words about love or fighting? Why do they think that is?"
He finally called the students back to their own tables and brought a copy of the prologue up on his powerpoint so that it screened on the wall:
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-crossed lovers take their life;
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-marked love
And the continuance of their parents’ rage,
Which, but their children’s end, naught 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.
And with the guidance of the students, he highlighted the words that they had underlined. (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-crossed lovers take their life;
Whose misadventured piteous overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-marked love
And the continuance of their parents’ rage,
Which, but their children’s end, naught 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.
He looked up, eyebrows arched. "What do you make of the emphasis on violence? I know that you must all know the play, but now that we have dissected the prolague, does this alter your expectations for the play?" Then, with a third colour, he highlighted every example of the word two. "Why is this word--the very first word of the play--so important here?"