Grade 9 ELA Module 1, Unit 3 - EngageNY

NYS Common Core ELA & Literacy Curriculum

9.1.3

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Grade 9 • Module 1 • Unit 3

Unit Overview

“Wisely and slow; they stumble that run fast.” Text(s) Number of Lessons in Unit

Romeo and Juliet by William Shakespeare (Selected Scenes and Speeches) Romeo + Juliet (Baz Luhrmann, 1996) (Selected Scenes) 20

Introduction In this unit, students continue to develop habits and skills related to close reading, annotation, using evidence, building vocabulary, and participating in structured discussion, and they do so with text that is more qualitatively complex than in earlier units. This may be students’ first exposure to Shakespeare and the format of a play, so instruction will include a focus on Shakespeare’s use of language and on the organization of the play. Students will study the structure of his language and speeches for craft and impact on character development. Students will alternate reading and viewing Shakespeare’s Romeo and Juliet, continuing their study of how authors develop complex characters. They will follow the development of Romeo and Juliet from the time each character is introduced, collecting evidence as to how the two characters develop across all five acts of the play as revealed by Shakespeare’s language and their interactions with other characters. Throughout the reading and viewing of the play, students will examine Shakespeare’s rich use of figurative language, word play, and powerful cadence. While this unit serves as an introduction to Shakespeare, it does not delve into the world and works of Shakespeare. Students will study both the written text and Baz Luhrmann’s 1996 film version of the play. Key scenes will be read and analyzed closely, based on their pivotal role in the play and their historic and cultural relevance in the wider range of reading. Luhrmann’s film will address the text between the selected excerpts to allow students to contextualize their close readings. Pause periodically during the film for discussion, returning to the written script if necessary. Some parts of the play will be viewed without reading the script, and others will be read closely without viewing. For the Mid-Unit Assessment, students will be assessed with a short written response, preceded by structured discussion. Students will consider Romeo and Juliet’s character development throughout the entire balcony scene. Their claim will be supported by evidence from Act 2 Scene 2 as a whole (RL.9-10.3, W.9-10.2). For the End-of-Unit Assessment, students choose either Romeo or Juliet and write an essay that explains how that character changes throughout the play as revealed by the Shakespeare’s language and the structure of the play (RL.9-10.3, W.9-10.2).

File: 9.1.3 Overview Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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Literacy Skills & Habits 

Read closely for textual details

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Annotate texts to support comprehension and analysis

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Collect evidence from texts to support analysis

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Organize evidence to plan around writing

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Review and revise writing

Standards for This Unit CCS Standards: Reading—Literature RL.9-10.1

Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RL.9-10.3

Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

RL.9-10.4

Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

RL.9-10.5

Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

RL.9-10.7

Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment.

CCS Standards: Writing W.9-10.2

Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

W.9-10.9

Draw evidence from literary or informational texts to support analysis, reflection, and research. a. Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare


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treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]”). CCS Standards: Speaking & Listening SL.9-10.1b

Work with peers to set rules for collegial discussions and decision-making (e.g., informal consensus, taking votes on key issues, presentation of alternate views), clear goals and deadlines, and individual roles as needed.

SL.9-10.1c

Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions.

College and Career Readiness Anchor Standards for Reading CCSS.ELALiteracy. CCRA.R.7

Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.

Note: Bold text indicates targeted standards that will be assessed in the unit.

Unit Assessments Ongoing Assessment Standards Assessed

RL.9-10.3, RL.9-10.4, RL.9-10.5, RL.9-10.7, W.9-10.2

Description of Assessment

Answer text-dependent questions. Write informally in response to text-based prompts.

Mid-Unit Assessment Standards Assessed

RL.9-10.3, W.9-10.2


The three-lesson arc will culminate in a brief writing assignment, which comprises the Mid-Unit Assessment. Students will consider Romeo and Juliet’s character development throughout the entire balcony scene. Their claim will be supported by evidence from Act 2 Scene 2 as a whole.


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Students will respond to the following prompt: How do Romeo and Juliet’s desires, concerns, and fears change throughout their interactions with one another in this scene?

End-of-Unit Assessment Standards Assessed

RL.9-10.3, W.9-10.2


Students choose either Romeo or Juliet and write an essay that explains how Shakespeare unfolds the character throughout the play with evidence referencing Shakespeare’s language and the events of the play.

Unit-at-a-Glance Calendar Lesson

Text

Learning Outcomes/Goals

1

Text: Prologue: Summarizes the play and foreshadows the action (1.Prol.1–14).

This lesson provides initial exposure to Shakespearean language and the entry point to comprehension of the text. Students will begin grappling with the thematic complexity of this text, with the summative question: What relationship is Shakespeare establishing in the prologue between love and hate?

Film: N/A

2

Text: Romeo explains to Benvolio that he is in love (1.1.206–236). Film: 1.1.1–205 [2:37–13:35]: Fight in the street between Montagues and Capulets; dialogue between Montagues, Capulets and the Prince; Montagues and Benvolio talk about Romeo.

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Text: Romeo explains to Benvolio that he is in love (1.1.206–236). Film: N/A

First lesson in a two-lesson arc. Students will make inferences about the character of Romeo based on his relationship to Benvolio and Rosaline. This lesson is the first introduction students have to Romeo. This lesson also serves as an introduction to the film Romeo + Juliet (Lurhman, 1996), as well as modeling critical film viewing and note taking.

Second lesson in a two-lesson arc. Students will continue to make inferences about the character of Romeo based on his relationship to Benvolio and Rosaline.


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Text: Lady Capulet tells Juliet about Paris (1.3.64–100). Film: 1.2.44–102 and 1.3.1–63 [15:21–17:05]: Paris and Capulet talk about Juliet; Romeo and Benvolio find out about Capulet ball and decide to go; Lady Capulet and the nurse talk about Juliet’s age.

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Text: Romeo and Juliet meet, kiss, find out each other’s identity (1.5.92–109). Film: 1.5.41–91 [27:57–30:26]: Tybalt sees Romeo at the party and wants to kill him; Capulet says no; Romeo catches first sight of Juliet.

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Text: Romeo and Juliet meet, kiss, find out each other’s identity (1.5.92–109). Film: N/A

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Text: Balcony scene soliloquies (2.2.1–51). Film: N/A

8

Text: Balcony scene, Juliet worries about Romeo’s safety (2.2.52– 106). Film: N/A

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Text: Balcony scene, exchange of

Students will make inferences about the character of Juliet based on her interaction with Lady Capulet. This lesson is the first introduction students have to Juliet.

Students begin a close reading analysis of Romeo and Juliet’s first encounter at the Capulet Ball (1.5.92–109). Students will focus on Romeo’s initial overture to Juliet in lines 1.5.92–95 with a focus on Shakespeare’s use of imagery.

Students continue their analysis of 1.5.92–109 as they explore the focusing question: What can you learn about Juliet from the way that she responds to Romeo? First lesson in a three-lesson arc on the balcony scene. Students will make inferences about the characters of Romeo and Juliet through close reading of their soliloquies, with a focus on Shakespeare's structural choices in this scene. Students will build shared knowledge of some of the most iconic lines in the play. Second lesson in a three-lesson arc about the balcony scene. Students will make inferences about the characters of Romeo and Juliet based on their conversation with each other in this passage, considering language choice and author's structural choices. Third lesson in a three-lesson arc about the balcony scene. This lesson also contains the mid-



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vows (2.2.107–148). Film: 2.3.27–90 [46:38–49:39]: Friar and Romeo talk about love and he agrees to marry Romeo and Juliet.

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Text: Romeo kills Tybalt (3.1.59– 110). Film: 2.6.1–37 [55:57–57:30]: Romeo and Juliet get married. 3.1.1–58 [57:31–1:00:10]: Mercutio and Benvolio hang out, Tybalt enters and challenges Mercutio.

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Text: Romeo kills Tybalt (3.1.111– 138). Film: N/A

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Text: Romeo kills Tybalt (3.1.111– 138). Film: 3.1.139–199 [1:10:37– 1:12:24]: Benvolio, the Capulets and the Montagues argue about what should happen to Romeo.

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Text: Juliet’s speech while she waits for Romeo to come to her room that night (3.2.1–31). Film: N/A

unit assessment. Students will make inferences about the characters of Romeo and Juliet through cumulative comprehension of the balcony scene, considering language use, character interactions, and Shakespeare's structural choices. Students will consider, compare, and contrast the development of Romeo and Juliet's concerns and desires in a formal writing assignment. Students will explore conflicting motivations of three complex characters (Mercutio, Romeo, Tybalt) through this focusing question: Who is to blame for Mercutio’s death? Students should make inferences about how this key event affects character development, as well as how the choices that these characters' advance the tragic plot of the play. Students continue their exploration of Romeo’s character development as they begin to work through the excerpt 3.1.108–138, in which Romeo kills Tybalt. Students lay the critical groundwork for the unifying focusing question of this two-lesson arc: Is Romeo “fortune’s fool”? Students resume their analysis of Tybalt’s death scene (3.1.108–138), and directly explore the unifying focusing question of this two-lesson arc: Is Romeo “fortune’s fool”?

In this lesson, students will close read Juliet’s speech while she waits for Romeo, before she has found out that Romeo killed her cousin Tybalt. The lesson will ask students to draw a comparison between a close reading of this passage and Marc Chagall’s painting Romeo and Juliet, with a focus on structural choices and the effects they create.



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Text: Friar Laurence tells Romeo that the Prince has decided to banish him (3.3.12–70). Film: N/A

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Text: Juliet threatens to kill herself to avoid marrying Paris, and Friar Laurence proposes another plan, sends letter to Romeo (4.1.44 – 121).


This lesson focuses on Romeo’s reaction to his banishment in conversation with Friar Laurence, with an emphasis on word choice and meaning, particularly repeating words with multiple meanings. First lesson in two-lesson arc. This lesson focuses on Juliet’s character development through an exploration of her word choice and rich imagery.

Film: 3.3.37–243 [1:22:19– 1:26:38]: Juliet fights with her parents, Juliet goes to see Friar Laurence. 16

Text: Juliet threatens to kill herself to avoid marrying Paris, and Friar Laurence proposes another plan, sends letter to Romeo (4.1.44 – 121). Film: 5.1.1–86 [1:32:33–1:39:09]: Romeo hears Juliet is dead; vows to kill himself; buys poison from the apothecary.

Second lesson in a two-lesson arc. This lesson asks students to comprehend the tragic events that are to come through an understanding of the Friar’s plan. Students compare Juliet’s conversation with the Friar to Romeo’s in order to build understanding of Romeo and Juliet’s character development.

5.2.1–29 [1:37:01–1:37:48 and 1:39:10–1:39:36]: Friar founds out his letter was never sent. 17

Text: Romeo enters Juliet’s tomb, makes a speech, and kills himself. (5.3.85–120). Film: N/A

18

Text: Juliet, upon awakening and seeing Romeo dead, stabs herself (5.3.139–170). Film: N/A

This lesson continues to build skills around students making cumulative connections across the text. Students will complete a close reading of Romeo’s suicide and connect elements of this passage with parts of the play they have read earlier. This lesson is a final point of comparison for an analysis of Juliet’s character development across the five acts of the play. Students will complete a close reading of Juliet’s suicide guided by the


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focusing question: Who or what is responsible for Juliet’s death? 19

Text: Montagues and Capulets make peace (5.3.296–310).

First lesson in a two-lesson arc that makes up the End-of-Unit Assessment. Students should make inferences about Romeo and Juliet's character development using evidence from all five acts of the play. Students will use a tool to organize their thoughts and develop a claim, in preparation to write End-of-Unit Assessment.

Film: N/A

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N/A

Second lesson in a two-lesson arc that makes up the End-of-Unit Assessment. Students craft a piece of writing for the End-of-Unit Assessment.

Preparation, Materials, and Resources Preparation  Read closely and annotate Romeo and Juliet by William Shakespeare. Materials/Resources 

Shakespeare, William, and René Weis. Romeo and Juliet. London: Bloomsbury Plc, 2012. Print.

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Romeo + Juliet (1996, Lurhmann).

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Lit2Go (Free): https://itunes.apple.com/us/itunes-u/romeo-and-juliet/id384528334 [Single voice dramatic reading]

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Chagall, Marc. Romeo and Juliet. 1964. Masterworks Fine Art. Web: http://www.masterworksfineart.com/inventory/2039

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BBC Radio Production ($3.99): http://www.audiogo.com/us/romeo-and-juliet-bbc-radioshakespeare-william-shakespeare-gid-21505 [Full cast production, heavily accented]

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Shakespeare Interactive Folio (Free): http://www.canadianshakespeares.ca/folio/folio.html [Interactive, multimedia, web based, audio for entire play not available]

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New York Regents Text Analysis Rubric: http://www.engageny.org/sites/default/files/resource/attachments/2013.05.09__ela_regents_nti_document_final.pdf on page 23 of 96.


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9.1.3

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Grade 9 • Module 1 • Unit 3 • Lesson 1

Lesson 1

Introduction In this first lesson of the unit, students will build their close reading skills as they work carefully through the fourteen-line prologue of Shakespeare’s Romeo and Juliet. This lesson serves as the initial exposure to Shakespearean language and the entry point to comprehension of the text. This fluency is crucial to establish early on, as students will be exploring Romeo and Juliet through a series of excerpted close readings. At the end of class, students should be able to navigate the language to derive meaning and complete an open-ended Quick Write that challenges students to begin grappling with the complexity of this iconic text. Students will begin the lesson by listening to a masterful reading of the Prologue for fluency and comprehension. For the duration of the class students will read in small groups, annotate their text, answer TDQs, and participate in class discussions. Students will draw upon this analysis to complete a Quick Write that sets the groundwork for the exploration of structure and character development that occurs throughout Unit 3. For homework, students will provide a brief summary of the Prologue. Note: Avoid providing explicit context for Shakespeare as a playwright and historical figure. Focusing student analysis on the text itself, rather than contextual information, will encourage students to make meaning through the text without relying on preconceived notions.

Standards Assessed Standard(s) RL.9-10.4

Determine the meanings of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

Addressed Standard(s) RL.9-10.1


Assessment Assessment(s) Quick Write: In the Prologue, what relationship does Shakespeare establish between love and hate? How do his specific word choices illustrate this relationship? Use evidence from the text to support your answer. High Performance Response(s)

File: 9.1.3 Lesson 1 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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Student responses to this multifaceted question will vary. What is important here is that students begin a productive struggle with the figurative and connotative meanings of Shakespeare’s language. This is integral to a complex understanding of Shakespeare’s text. Look for students to use language and evidence from the play to begin to make connections. 

Children from two families with an “ancient grudge” (3) against each other fall in love. The families are described as having “dignity” but also as being involved in the “ancient grudge.” Shakespeare writes that the lovers are responsible for the end of their family’s hatred, “their death bur[ies] their parents’ strife” (8). However, the feud between these “two foes” (5) does not end because of the affection between the “star-crossed lovers” (6). Instead, it is their “end,” or death, that ends the fight. By placing contrasting words together (e.g., “dignity”/“mutiny,” “civil”/”blood,” “fatal”/“loins”) Shakespeare is illustrating that love and hate are intertwined, and the results of each are not always what you would expect.

Vocabulary Vocabulary to provide directly (will not include extended instruction)      

dignity (n.) – honorable status loins (n.) – reproductive organs fatal (adj.) – causing death overthrows (n.) – ruins, downfalls doth (v.) – (archaic) does strife (n.) – angry fight

Vocabulary to teach (may include direct word work and/or text-dependent questions)    

prologue (n.) – an introduction civil (adj.) – relating to ordinary citizens; polite or courteous misadventured (adj.) – misfortunate or ill-fated piteous (adj.) – deserving of pity; sad

Lesson Agenda/Overview Student-Facing Agenda • • • • • • • • •

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Standards: RL.9-10.1, RL.9-10.4 Text: Act 1.Prol.1–14 Introduction of Lesson Agenda Homework Accountability Opening Activity Masterful Reading and Prologue Handout Text-Dependent Questions and Activities Quick Write Closing

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Materials •

Prologue Handout


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Learning Sequence Percentage Teacher Actions of Lesson 5%

Students look at the agenda.

Sharing and discussing the target standards at the beginning of each lesson encourages students to engage directly with the standards and develop a sense of intellectual ownership.

Homework Accountability Instruct students to talk in pairs about how they can apply their focus standard to their text. Lead a brief share out on the previous lesson’s AIR homework assignment. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

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Instructional Notes (extensions, supports, common misunderstandings)

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.4. In this lesson, students will close read the first section of Shakespeare’s Romeo and Juliet, the Prologue. Students will chunk the text and work through a series of textdependent questions in groups of four to build skills necessary to navigate and derive meaning from Shakespeare’s language.

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Student Actions

Students (or student pairs) discuss and share how they applied their focus standard to their AIR text from the previous lesson’s homework.

Opening Activity Write the words progressive, prototype, proactive, and prologue on the board. Provide the following questions for students.

Students answer independently in their notebooks and are prepared with the answer when class begins. The words begin with the prefix pro-.


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In this, and all subsequent opening activities in the unit, the question should be displayed for students as they enter the classroom. Students


They should record their responses. What do these words have in common? What does this similarity reveal about the meaning of these words? Ask students for observations about how this understanding can help them to infer the meaning of prologue.

DRAFT Students work through the meanings of several of the words in order to make connections between them. For example prototype means "an early draft or model," proactive means "to plan ahead," progressive means "ahead of its time." Each word implies an action that occurs before another. Students note that a prologue comes before or introduces the rest of a play.

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are expected to briefly respond on paper as their first task. If students are unable to come up with the meaning of pro, tell them that pro means “before.” Then ask them for examples of other words beginning with the prefix pro. Have them relate the meaning of the prefix to the meaning of their own examples.

Masterful Reading and Prologue Handout Distribute a copy of the Prologue to each student.

Students follow along, reading silently.

Make copies of the Prologue before class. Free Audio Resource: https://itunes.apple.com/us/itunesu/romeo-and-juliet/id384528334

Students read the first four lines of the play together in groups. As they read together, students note the repetition of the word civil.

You may choose to create student groups ahead of time, to ensure they are diverse. Assign, or have students assume, a role within the group, such as Facilitator, Reader, and Recorder.

Tell students that they will listen to a masterful reading of the Prologue before they begin reading it on their own. Read or play an audio version of the prologue in its entirety. 70%


Text-Dependent Questions and Activities Have students form small, heterogeneous groups of four for the purpose of discussing the text in more depth and recording insights. During discussions, allow time for each group to share their collaborative work with the class. Instruct groups to read the first four lines aloud, focusing this reading with the following instruction: Find and circle repeating words in lines 1–4. Once students

Encourage students to read one line each in their groups, so each student has an opportunity to read


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have finished reading, ask them to share the repetitions that they identified.


aloud. If students are struggling, encourage them to repeat this reading activity several times with the goal of comprehension.

Pose the following questions one at a time for full class discussion. Allow time between the questions for students to discuss in their groups before sharing with the class. Direct students to the first use of the word civil in the prologue, “where civil blood makes civil hands unclean” (1.Prol.4). 1. Used as an adjective, civil is generally defined as “polite.” Replace the first appearance of the word civil in line 4 with the word polite. How does this substitution change your understanding of the sentence?

Student responses may include the following: 1. The people who are bleeding are polite. Some students might note that the word polite seems out of place beside the word “blood.”

2. Civil can also be defined as something that relates to ordinary citizens (e.g., civilians). Replace the first appearance of civil with the word civilian. How does this substitution change your understanding of this sentence?

2. The blood and hands belong to normal, everyday people.

Direct students to the second use of the word civil in the Prologue, “where civil blood makes civil hands unclean” (line 4).

3. Students identify the families and make connections between the provided definitions of the vocabulary word dignity (see Vocabulary chart) and the work they have done on the uses of the word civil.

3. Whose hands are being made “unclean”? What words and phrases can you find in lines 1–3 to support your understanding of this


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1. If students struggle to define, encourage them to use similar sounding words to make meaning. For example, civil is the first part of the word civilian, which means "a citizen or an ordinary person." Remind students to use the footnotes to aid comprehension.



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second use of civil in line 4? 4. Now consider both uses of the word civil. Ask: What are two different ways you can mix and match the definitions in line 4? Paraphrase the meaning of each sentence you generate. Which meaning supports the claim you made in your answer to question 4?

4. “Polite blood makes civilian hands unclean.” or “Civilian blood makes polite hands unclean.” Students support their claim that it is the household’s hands that are unclean by substituting definitions that support this understanding.

5. Why do you think Shakespeare uses civil in two different ways in the same sentence?

5. Shakespeare is playing with the multiple meanings of civil.

Circulate and support only as needed. Then lead a brief class discussion of each question. Direct student groups to reread lines 1–4. Now that students have a better understanding of the word civil, pose the following question: 6. What is at stake in this ancient fight? Instruct student groups to read lines 5–8. Provide the following question for groups to answer. Instruct students to take note of their observations in their groups and be prepared to share in a class discussion. 7. What happens to the lovers? What adjective in line 5 supports your answer?

6. Ordinary people are dying because of the fight between the two dignified, polite households. Therefore, innocent lives are at stake in this “ancient grudge” (3).

7. They die. Students point to “fatal” in line 5 to support the answer.


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Additional scaffolding questions for lines 5–8: 

Who are the foes? Hint: review lines 1–4. The two households.



How are the lovers related to the two families? They are the children of two feuding families.


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Now lead student groups through a dissection of lines 7 and 8: 8. Look at the word misadventured in line 7. What familiar word can you find in misadventured? What does this word mean? How does the prefix mis- change your definition?

8. Students identify the familiar word adventure in misadventured. Students may define adventure as an exciting journey or an unexpected event. Students offer familiar words with this prefix, such as mistake, misuse, or misbehave. Students infer that the prefix means something bad, accidental, or wrong. So misadventured means "an adventure that has gone wrong."

9. What familiar word do you hear in piteous? How can this familiar word help you to understand what piteous means in this context?

9. Students find and define the word pity. Possible definitions: to feel sad for someone else or to look down on someone else.

10. What tone or mood does Shakespeare create in this passage through these two words?

10. The tone is one of foreboding (a bad feeling about the events to come).

Direct students to the word overthrows. Tell students that overthrows in this context means “downfalls” or “ruins.” Now direct students to line 8 and ask: 11. What does the death of the “starcross’d” lovers accomplish?

11. The downfall/death or “end” (11) of the star-crossed lovers ultimately resolves their parents’ fight.

11. This is an essential understanding. If students struggle, provide additional support.

12. Students may make connections between the following ideas: the “star-cross’d lovers” and the “death-

12. Withdraw support and encourage students to struggle here, in a gradual release of

Circulate and support only as needed. Lead a discussion of the questions on lines 7– 8. Have students read lines 9–11 and answer the following questions in their groups: 12. How can you use lines 9–11 to support and strengthen the claim you made about File: 9.1.3 Lesson 1 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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what the death of the star-crossed lovers accomplishes?


DRAFT mark’d” children the “death” mentioned in line 8 and the “end” mentioned in line 11 the burial of the “parents’ strife” (8) with the resolution of the “parents’ rage” (10) Ultimately, students understand that lines 9–11 reiterate the meaning that they unpacked from lines 5–8.

Have students read and annotate lines 12–14 and answer the following questions in groups: 13. Who is “our” in line 12? Who is “you” in line 13?

13. Our refers to the CHORUS and the audience; you refers to the audience.

14. What does the CHORUS ask you to do in the final three lines?

14. Be patient and get the details of the story through the actor’s “toil.”

responsibility. Additional scaffolding question for lines 9–11: 

What is “death-mark’d love”? (line 9) Love “mark’d” by death is love that we already know will end in death.

Circulate and support only as needed. Lead a discussion of the questions on lines 9– 14. 5%

Quick Write Transition to independent writing assignment.

Students complete Quick Write independently.

Have students respond to the following Quick Write prompt: In the Prologue, what relationship does Shakespeare establish between love and hate? How do his specific word choices illustrate this relationship? Use evidence from the text to support your answer.

See High Performance Response at the beginning of this lesson.


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This Quick Write is an open-ended prompt that sets the groundwork for the exploration of structure and character development that occurs throughout Unit 3.


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Closing Remind students that for homework they will Students write a brief summary of the provide a brief summary of the events of the Prologue for homework. play that the Prologue previews. Their summary will be collected at the start of Lesson 2.

Homework The Prologue provides an overview of the "two hours' traffic of our stage." In two well-constructed sentences, provide a brief summary of the events that the Prologue previews.


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Prologue Handout

Prologue, Lines 1-14 from Romeo and Juliet1 Two households, both alike in dignity, … … … … … … … … … … … … What here shall miss, our toil shall strive to mend.

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dignity: n. honorable status fatal: adj. causing death loins: n. reproductive organs doth: v. (archaic) does strife: n. angry fight

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Shakespeare, William. Romeo and Juliet. Edited by René Weis. London: Bloomsbury Arden Shakespeare, 2012.


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Lesson 2

Introduction In this lesson, students will develop their close reading skills as they begin to work carefully through the short excerpt Act 1.1.206–236. In this passage, Romeo discusses his unrequited love for Rosaline with his cousin Benvolio. Students will complete their close reading of this passage in Lesson 3. Activities involve reading aloud, discussion and reflection, and writing work in tandem with a set of text-dependent questions to guide students in their exploration of the unifying focusing question of this two-lesson arc: What can you infer about Romeo from the way that he describes Rosaline? Student work in this lesson will lay the groundwork for this exploration, while Lesson 3 will prompt students to draw upon and further their initial analysis. Students will analyze sentence structure, rhyme scheme, word choice, and figurative language in order to begin their unit-long exploration of Romeo’s character development. This passage is students’ introduction to the character of Romeo. As such, it acts as a point of origin for student analysis of how Romeo’s character unfolds throughout the play as revealed by Shakespeare’s language and syntax, and Romeo’s interactions with other characters. This lesson also functions as an introduction to Baz Luhrmann’s film Romeo + Juliet, which will be used regularly throughout the unit to supplement close readings of the text. Students will watch Luhrmann’s representation of the events of 1.1 that precede a close reading of excerpt 1.1.206–236. This first section of film will introduce students to many of the key characters of Shakespeare’s play, as well as facilitate understanding of the key events that lead up to Romeo’s discussion with Benvolio. Additionally, this lesson will introduce students to critical viewing strategies via Film Tool: Stylistic Choices, a tool that will accompany the film throughout the unit and encourage students to think critically about Luhrmann’s stylistic choices as well as assist in the collection and organization of notes on the sequential structure of the play. This tool will ensure that film viewing remains a purposeful, critical, and rigorous classroom activity. For homework, students will expand this lesson’s Quick Write assessment response to include additional pieces of textual evidence.


Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone.

Addressed Standards Cite strong and thorough textual evidence to support analysis of what the text says RL.9–10.1 explicitly as well as inferences drawn from the text. File: 9.1.3 Lesson 2 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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Analyze how complex characters develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

Assessment Assessment(s) Quick Write: Draw upon your understanding of the metaphor that Romeo has constructed in lines 206– 209 to answer the following prompt: Do Romeo and Rosaline feel the same way about their relationship? High Performance Response(s) Student responses should call upon their understanding of Romeo’s motivations and interactions that they have developed through their exploration of word choice and figurative language in this lesson. Lesson 3 will ask students to build on this initial understanding of Romeo’s motivations and interactions to begin to develop an understanding of how Shakespeare crafts Romeo as a complex character. Sample response: Although Romeo desires this relationship as evidenced by his pursuit of Rosaline, “she’ll not be hit with cupid’s arrows (207–208). Rosaline’s resistance to Romeo’s “arrows” of love indicates that she does not seem to feel the same way.

Vocabulary Vocabulary to provide directly (will not include extended instruction)  Dian (n.) – a reference to Diana, the Roman goddess of hunting and chastity  proof (n.) – in this context, armor  chastity (n.) – virginity, celibacy  posterity (n.) – all future generations  forsworn (v.) – relinquished under oath  doctrine (n.) – a set of beliefs held and taught by a church, political party, or other group Vocabulary to teach (may include direct word work and/or text-dependent questions) 

assailing (v.) – making a violent attack on

Lesson Agenda/Overview Student-Facing Agenda • • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4 Text: Act 1.1.206–236 Introduction of Lesson Agenda Homework Accountability Film: Excerpt from Baz Luhrmann’s Romeo + Juliet (2:37–13:35)


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Masterful Reading: BBC Radio Production of 1.1.206–236 (14:35–16:14) Text-Dependent Questions and Activities Quick Write Closing

Materials   

Film Tool: Stylistic Choices Film: Excerpt from Baz Luhrmann’s Romeo + Juliet (2:37–13:35) Masterful Reading: BBC Radio Production of 1.1.206–236 (14:35–16:14)


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Learning Sequence Percentage of Lesson

Teacher Actions

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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4

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Homework Accountability Lead a brief class discussion on student summaries of the Prologue (assigned as homework in Lesson 1). Collect summaries for student accountability.

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Student Actions

Students discuss the summaries. Student summaries may include: Two families are fighting. Their children are in love, and their death is the only thing that can end the feud.

Film: Excerpt from Baz Luhrmann’s Romeo + Juliet Prepare to show an 11-minute clip of Baz Luhrmann’s 1996 film Romeo + Juliet (2:37–13:35; see Unit Overview). This clip will introduce many of the key characters of Shakespeare’s play, as well as facilitate understanding of the events that lead up to the excerpt that students will analyze in this lesson and the next.

Students watch the film clip and respond on the tool when the film is paused. See Model Film Tool: Stylistic Choices for sample responses.

Hand out Film Tool: Stylistic Choices. Students will use this tool to develop critical observations of Luhrmann’s stylistic choices, as well as provide a means to organize the key events of the play. Students will use a new, blank copy of this tool File: 9.1.3 Lesson 2 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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When reviewing categories on Film Tool: Stylistic Choices, it may be necessary to devote extra time to explanations of what is meant by Editing and Lighting/Color. Editing choices might be addressed by explaining that filmmakers make choices about what they focus the camera on at strategic points in the film, where they position the camera in relation to actors, and how they choose to transition between


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every time they view the film. Explain that the film will be paused at strategic points so that the class can collaboratively generate observations, which you will then show where to place on the tool. In future lessons, the tool will facilitate independent note-taking. Students can refer to this initial collaborative work as a model when necessary.

different shots. Lighting/Color might be addressed by explaining that filmmakers will use light to emphasize or de-emphasize people or objects and to convey a mood.

Review the categories on the film tool and answer any clarifying questions. Begin film clip. Pause at the end of each segment as designated below, and ask for student observations. Use their observations to model filling out the tool. Instruct students to record the class-generated observations on their own tool for future reference. Segment 1—2:37–9:15 Segment 2—9:15–9:35 Segment 3—9:36–12:05 Segment 4—12:06–13:35 Lead a brief class discussion on Luhrmann’s representation of 1.1. Scaffolding questions include the following: 1. Where are these scenes set? How does this influence your understanding of the action? 2. What important props did the characters use in these scenes? How do the props help convey the action?



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3. How were the characters dressed? What might their costumes suggest about these characters? 4. What sounds did you hear? What effect is Luhrmann creating with these sounds? 5. What did you notice about the lighting in each scene? Why do you think Luhrmann made these choices? 5%

Masterful Reading: BBC Radio Production As students may have noted while watching Luhrmann’s film, it is often easier to understand a play like Romeo and Juliet through performance. Explain that today’s analysis will begin with a short audio performance. Play the BBC radio performance of Act 1.1.206– 236 (14:35–16:14). Instruct students to follow along in their text and be prepared to offer their first impressions to the following question: What are Romeo and Benvolio discussing? Lead a quick class debriefing of student observations.

Students listen to a professional recording. At this point in the lesson, students may possess only tentative familiarity with the excerpt. Students may be able to identify the topic of the conversation between Benvolio and Romeo: a girl whom Romeo likes.

Note: BBC Radio 3 Full Cast Dramatization of Romeo and Juliet is available on both iTunes and Amazon. (See Unit Overview.) Alternatively, read aloud the passage or call upon student volunteers to help perform the entire excerpt. Have less fluent readers take Benvolio’s part because it has fewer lines and simpler vocabulary. Hearing the lines performed will aid in student comprehension and reinforce the concept that the first excerpt is a dialogue between two characters, unlike the Prologue in Lesson 1. If students struggle to identify the topic Romeo and Benvolio are discussing, explain that you will be working through difficult language and phrases together to come to a better understanding of the excerpt.


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Text-Dependent Questions and Activities Read lines 206–209 aloud to the class. Write the definitions of proof and chastity (see Vocabulary chart) on the board. Direct students to the word proof and ask them to define the word in context. Then point out that this meaning is different from the way the word is generally used. Here it means "armor" not "evidence." Instruct students to reread lines 206–207 in pairs and then discuss how they might use the definitions of proof and chastity to answer the following question: 1. Why will Rosaline “not be hit with cupid’s arrows”? (1.1.206–207) Ask students to reread lines 206–209 in their pairs and underline the words that are related to the definition of proof they have discussed. Then, have them consider the following question: 2. What is the relationship between Romeo and Rosaline?

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Students listen to lines 206–209 and then discuss definitions of proof and chastity. Students read lines 206–209 in pairs and answer questions. Student responses may include: 1. Rosaline is using her celibacy like armor to protect herself from falling in love; she is “in strong proof of chastity well-armed” (209). 2. Romeo is in love with Rosaline and pursuing her, like a hunter trying to catch his prey, as is evidenced by his attempts to “hit” her with “cupid’s arrows” (207–208).

Quick Write Have students respond to the following Quick Write prompt: Do Romeo and Rosaline feel the same way about their relationship? Be sure to use evidence from the text to support your answer.

Students complete a Quick Write. See High Performance Response at the beginning of this lesson.

Inform students that at the beginning of the next File: 9.1.3 Lesson 2 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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class, they will use their written response as a starting point for continued analysis of 1.1.206– 236 in Lesson 3. 5%

Closing Inform students that they will expand on their Quick Writes for homework by reviewing the text selection to find additional pieces of evidence.

Students expand on their Quick Writes for homework by reviewing the text selection to find additional pieces of evidence.

Homework Review today’s Quick Write prompt and your response. Then go back and review the text selection from today’s lesson and find 1–2 additional pieces of evidence to expand on your Quick Write response.


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Film Tool: Stylistic Choices Directions: Use this tool to help you record critical observations of Baz Luhrmann’s Romeo + Juliet. There is no need to record a lot of detail in every section, but try to note at least one observation under each category. Characters: Who appears in the scene(s)? Who gets the most screen time? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Setting: Where is this scene(s) set? What do you notice about this environment? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Costumes: What are the characters wearing? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Sounds: What sounds do you hear in the scene(s)? Is there a soundtrack? What effects are created through sound? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Props: What are the most important objects in the scene(s)? How are they used? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________


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Acting Styles: How do the actors portray their characters? Are they dramatic? Are they reserved? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Editing: What do you notice about camera position at different moments in the scene(s)? Is it close to the action? Is it farther away? At what angle is the camera positioned? Does it move between actors? What is being framed? What is being left out of the scene? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ Lighting and Color: How is light used? What colors do you see in the scene(s)? _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ List the key events of the film segment you viewed: _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________ _______________________________________________________________________________________________________________________________


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Model Film Tool: Stylistic Choices* Directions: Use this worksheet to help you record critical observations of Baz Luhrmann’s Romeo + Juliet. There is no need to record a lot of detail in every section, but try to note at least one observation under each category. Characters: Who appears in the scene(s)? Who gets the most screen time? • Montagues: Benvolio, Lady Montague, Lord Montague • Capulets: Tybalt • Captain Prince • Romeo • Tybalt and Benvolio get a lot of screen time. Setting: Where is this scene(s) set? What do you notice about this environment? • Fight scene is set in sports cars at a gas station. The movie is set in modern times. • After fight scene, the scene reveals the big billboard signs with Montague and Capulet names. • There is a huge statue of Jesus right in the middle of violence in the city. • Romeo sits amidst the wreckage of what looks like an old stage on the water. • Benvolio and Romeo are at the beach, which also seems to be an amusement park. A Ferris wheel and a carousel look deserted. • Romeo and Benvolio walk into a Pool Hall. Costumes: What are the characters wearing? • Members of the Montague clan wear open Hawaiian shirts and sport tattoos. They all have died hair and wear silver crosses. Lady Montague and Montague are dressed in formal evening wear. • Members of the Capulets are dressed in tight black leather. They also wear silver crosses around their necks. Tybalt has a goatee and stiffly styled hair, and a picture of the Virgin Mary adorns his vest. He has spurs on his boots. • The Prince is wearing a police uniform. Sounds: What sounds do you hear in the scene(s)? Is there a soundtrack? What effects are created through sound? • Very dramatic music introduces the setting and the characters. • Sirens scream and car tires squeal during fight scene. • Western style adventure music in the background of fight scene. • The music changes suddenly to a dramatic, serious tone when the gas station is engulfed in flames. • Moody music plays in the background when Romeo is introduced.


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Props: What are the most important objects in the scene(s)? How are they used? • Guns are brandished in this scene. • Tybalt points a gun at a harmless little boy. • Tybalt kisses his gun before he shoots it • Action happens in and around flashy sports cars. • The characters wear cross necklaces. There is a cross on the dashboard in Montague’s car. • Helicopters patrol the air over the city. • Vanity license plates on the cars show Montague or Capulet. • Romeo is smoking, and so is Tybalt. • Romeo has a notebook. He may be writing poetry. Acting Styles: How do the actors portray their characters? Are they dramatic? Are they reserved? • Montagues are being really goofy, fight scene is a bit overly dramatic, highly stylized. Editing: What do you notice about camera position at different moments in the scene(s)? Is it close to the action? Is it farther away? At what angle is the camera positioned? Does it move between actors? What is being framed? What is being left out of the scene? • Camera zooms in on the guns of Montagues and Capulets in the fight scene. This puts emphasis on the weapons. • Camera cuts very quickly between Montagues and Capulets in fight scene. This creates and heightens a feeling of inevitable violence. • Many alternating close ups of faces in fight scene dramatize the tension. • Camera cuts between close up of Montague and Capulet’s faces to brief scenes of fighting, patrolling helicopters, army coming in, etc. • Some parts of the fight scene are in slow motion. Tybalt leaps through the air with guns blazing. Lighting and Color: How is light used? What colors do you see in the scene(s)? • Lots of bright light and colors are used in the fight scene—blue sky, pink hair, bright blue, red and yellow sports cars • When Montagues question Benvolio about Romeo, the colors are muted and dusky, and the lighting is dark. • When Romeo is introduced, he sits on the beach framed by orange and yellows of a romantic sunset. List the key events of the film segment you viewed: • There is a street fight between the Montagues and the Capulets. • The Prince yells at the families for fighting and tells them to put a stop to it. • The Montagues ask Benvolio about the whereabouts of Romeo. • Romeo and Benvolio meet and talk about Romeo being in love. *Students are not expected to generate many detailed observations in a single viewing. This sample worksheet illustrates the variety of observations that students might have, not the quantity of notes that they should take. File: 9.1.3 Lesson 2 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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Lesson 3

9.1.3 Introduction

In this lesson, students will continue to develop their close reading skills as they resume their exploration of the short excerpt 1.1.206–236 begun in Lesson 2. In this passage, Romeo discusses his unrequited love for Rosaline with his cousin Benvolio. Students will analyze sentence structure, rhyme scheme, word choice, and figurative language in order to continue to build upon the foundation of their unit-long exploration of Romeo’s character development. In conjunction with Lesson 2, Lesson 3 establishes 1.1.206–236 as a point of origin for future analysis of how Romeo’s character unfolds throughout the play, revealed by Shakespeare’s language and syntax, and Romeo’s interactions with other characters. Activities involve reading aloud, discussion and reflection, and writing work in tandem with a set of text-dependent questions to guide students in their exploration of the unifying focusing question of this two-lesson arc: What can you infer about Romeo from the way that he describes Rosaline? At the close of the lesson, students will consolidate and strengthen the analysis they have performed in both lessons as they craft a final brief written response to the focusing question. For homework, students will continue to read their accountable independent reading texts using a new focus standard to guide their reading.


Analyze how complex characters develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

Addressed Standard(s) Cite strong and thorough textual evidence to support analysis of what the text says RL.9-10.1 explicitly as well as inferences drawn from the text. RL.9-10.4

Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone.

ELA-Literacy CCRA.R.7


Assessment Assessment(s) Quick Write: What can you infer about Romeo from the way that he describes Rosaline? Consider both File: 9.1.3 Lesson 3 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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form (how Romeo speaks) and content (what he says). Cite specific evidence from the text to support your response. High Performance Response(s) 

Romeo describes his romantic pursuit of Rosaline as a battle in which he is the aggressor and she is the victim—his “loving terms” are a “siege” and his gazes “assail” her. He thinks of himself as a romantic hero or warrior, armed with “Cupid’s arrows” (208). This self-perception seems to influence his understanding of love as ultimately about overpowering and conquering the object of his affection.

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Romeo’s love for Rosaline seems to be entirely dependent on her good looks, as is indicated by his repeated reference to Rosaline’s beauty (“O, she is rich in beauty” (214)) and his repeated use of the word fair. Rosaline’s beauty is all Romeo talks about; he doesn’t mention anything else that he admires about her.

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Romeo takes himself very seriously—perhaps more seriously than he deserves, as is suggested by Benvolio’s dismissal of Romeo’s love for Rosaline as a passing crush when he says “forget to think of her…examine other beauties” (224–227).

Vocabulary Vocabulary to provide directly (will not include extended instruction) 

Dian (n.) – a reference to Diana, the Roman goddess of hunting and chastity

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proof (n.) – in this context, armor

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chastity (n.) – virginity, celibacy

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posterity ( n.) – all future generations

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forsworn ( v.) – relinquished under oath

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doctrine (n.) – a set of beliefs held and taught by a church, political party, or other group

Vocabulary to teach (may include direct word work and/or text-dependent questions) 

uncharmed (adj.) – immune to; not charmed by

Lesson Agenda/Overview Student-Facing Agenda • • • • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.910.4, ELA-Literacy.CCRA.R.7 Text: 1.1.206–236 Introduction of Lesson Agenda Homework Accountability Masterful Reading: BBC Radio Production of 1.1.206–236 [14:35–16:14] Text-Dependent Questions and Activities Quick Write


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Closing

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Materials •

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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.910.4, ELA-Literacy.CCRA.R.7. Lesson 3 continues the exploration of the excerpt 1.1.206–236 that students began in Lesson 2. At the end of this lesson, students will draw upon the analysis they performed in both lessons to craft a brief written response to the focusing question of this two-lesson arc: What can you infer about Romeo from the way that he describes Rosaline?

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Homework Accountability Instruct students to review the Lesson 2 Quick Write that they revised and expanded for homework and post the following instructions on the board: Reread your Quick Write and lines 1.1.205– 209 of the play. Based on your analysis up to this point, what clues in line 208 can help you to understand what the word uncharmed (line 209) means?

Students recap that Rosaline is using her vow of celibacy to protect herself. From here, students may be able to infer that if Rosaline is not hit by Romeo’s arrows of love, she is not in love with Romeo. She remains immune to Romeo’s romantic overtures, or uncharmed by him.

Lead a brief class discussion of student File: 9.1.3 Lesson 3 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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The purpose of the homework accountability activity is to have students revisit their analysis of lines 205–209 in Lesson 2 and to set the stage for making connections between the Lesson 2 Quick Write and the close reading work in Lesson 3.


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responses. 5%

Masterful Reading: BBC Radio Production As in Lesson 2, begin the class by playing the BBC radio performance of Act 1.1.206–236 (14:35–16:14). Instruct students to follow along in their texts. The purpose of this exercise is to reacquaint students with the excerpt in its entirety.

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Text-Dependent Questions and Activities Instruct students to form pairs and read lines 209–212 aloud. When students have read the text, direct their attention to line 211. Pose the following question for a Think-Pair-Share: 1. What clues from lines 206–209 can help you to understand the meaning of the adjective assailing in line 211?

Student responses may include the following: 1. Students might point to the words hit in line 206 and siege in line 210. Both refer to Romeo’s aggressive descriptions. Students infer that assailing means to make a violent attack on something.

Direct students to return again to their Lesson 2 Quick Write (Do Romeo and Rosaline feel the same way about their relationship?) Pose the follow-up question:

2. Students further support their assertion that Rosaline is refusing Romeo’s pursuit with specific references to the text, such as the fact that Rosaline will not “stay the siege” of Romeo’s “loving terms,” and she will not “encounter” the onslaught of his “assailing eyes.”

2. Now that you’ve taken a closer look at lines 209–212, dig deeper. Can you find other evidence in the text to support the claim you made in Lesson 2? Be ready to discuss your observations with the class. Lead a brief class discussion on students’ observations. Pose the following questions for students to

3. Romeo’s courtship of Rosaline is compared to a conquest in battle or a


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discuss in their pairs: 3. What is Romeo’s courtship of Rosaline compared to? Cite evidence from the text to support your answer.

hunting expedition. Textual evidence might include “hit by cupid’s arrows,” “stay the siege,” and “assailing eyes.”

4. What do these comparisons reveal about how Romeo understands himself? What do they reveal about how he understands Rosaline?

4. Romeo sees himself as a hunter and Rosaline as his prey.

Have student pairs take turns reading the parts of Romeo and Benvolio to each other. When they have finished they should complete the following activity:

At this point students will have listened to a masterful reading of the excerpt twice. Their familiarity with the language of this passage should support students in reading aloud.

Draw lines between pairs of rhyming words. Then, discuss the following questions with your partner:

Students link the words that rhyme at the end of Romeo’s couplets.

5. How does Romeo’s speech compare to Benvolio’s? Hint: consider word choice, pacing, and structure.

5. Students notice that Romeo speaks in long, grandiose text while Benvolio’s responses are short, usually one-line. Students also note that romantic Romeo’s lines end with rhymes while Benvolio’s lines do not rhyme.

6. What can the differences you identified with your partner reveal about these two characters?

6. Students note that Benvolio has little to say in response to his cousin’s long ramblings. On the other hand, Romeo appears self-absorbed and emotional. Students might also note that Romeo’s use



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Armed with a firmer understanding of plot and character, students are now ready to explore the effect of author’s craft on character development.


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of rhyme makes him sound romantic and poetic. Pose the following questions for student pairs to discuss: 7. Look carefully back through the entire excerpt. What words does Romeo use repeatedly? Underline them.

7. Students note that Romeo uses the words fair and beauty multiple times (five times each).

8. Why do you think Romeo is pursuing Rosaline? What words or lines in the text make you think so?

8. Romeo’s repeated use of the words “fair” and “beauty “when describing Rosaline and his attraction to her indicates that he is only interested in her because she is beautiful.

Direct students to reread lines 223–226 with the following questions in mind: 9. What is Benvolio’s advice to Romeo? What does this suggest about his attitude towards Romeo’s infatuation with Rosaline? Lead a brief class discussion of student responses.

9. Students paraphrase lines 223 (“Be ruled by me; forget to think of her”) and 225– 226 (“By giving liberty unto thine eyes. Examine other beauties.”) to explain that Benvolio advises Romeo to stop thinking about Rosaline. Benvolio says that Romeo will forget all about Rosaline if he looks at other pretty girls. Students might infer that Benvolio’s short and unsympathetic response suggests that he perceives Romeo as shallow and quick to fall in love. As far as Benvolio is concerned, when Romeo finds another girl as pretty as Rosaline, she will be easily replaced.

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Quick Write Pose the following prompt for a Quick Write: What can you infer about Romeo from the

Students complete a Quick Write. See High Performance Response at the beginning of


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Use the Quick Write to assess students’ understanding of this


way that he describes Rosaline? Consider both form (how Romeo speaks) and content (what he says). Support your ideas with evidence from the text.

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section of Romeo and Juliet.

Inform students that you will collect their Quick Write at the end of class. At the beginning of the next class, they will use it as a starting point for continued analysis of the play. 5%

Closing Explain homework: Introduce Reading Standard Three as a focus standard to guide students’ Accountable Independent Reading and model what applying a focus standard looks like. Tell students they should prepare for a brief 3–5 minute discussion that will ask them to apply the language of the standards to their reading. For example, Reading Standard 9-10.3 for informational texts asks students to “analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.” Students who have read an article on global warming might say, “The article began with an anecdote about polar bears and how they’re having a hard time finding solid ice to live on in the Artic. The article then talked about the root causes of that problem: how

Students will continue reading their independent reading text.


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Some students may choose to annotate their independent reading texts as they read to practice the new skill of annotation. Even though this reading is meant to stimulate interest and enjoyment in reading, some students may find annotating their texts a beneficial strategy for reading comprehension.


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pollution like toxic chemicals emitted by manufacturing has depleted the ozone layer over the past century. This has led to some of the warmest temperatures on record in recent years, which has directly affected species’ habitats like the polar bears described in the beginning of the article.” Inform students that for homework they should review and expand their notes from today’s lesson. Remind students that they should also continue reading their AIR text using the new focus standard for guidance.

Students review and expand their notes from today’s lesson for homework. Students also continue to read their Accountable Independent Reading text, using the new focus standard for guidance.

Homework Students review and expand their notes from today’s lesson. Students should also continue their Accountable Independent Reading using the language of the focus standard to guide their reading. Students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a 3–5 minute discussion of their text based on that standard.


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9.1.3

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Lesson 4

Introduction In this lesson, students continue to build their close reading skills as they explore the excerpt 1.3.64– 100, in which Lady Capulet discusses marriage with Juliet. This lesson is the students’ first introduction to Juliet in the play, and, though her dialogue is brief in this scene, a close reading here will give insight in later lessons about her development as a character. Students will focus their analysis on a comparison of Juliet and Lady Capulet’s attitudes toward love and marriage. Students will consider word choice, imagery, and language to frame their analysis. Students will engage in rich discussions with a partner, a small group and the whole class, as well as complete a brief writing assignment to close the lesson. For homework, students will continue to read their Accountable Independent Reading texts.

Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. Addressed Standard(s) RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone). ELA-Literacy. Integrate and evaluate content presented in diverse media and formats, including CCRA.R.7 visually and quantitatively, as well as in words.

Assessment Assessment(s) Quick Write: What does Juliet’s interaction with her mother reveal about her attitude towards marriage? How does this attitude compare to her mother’s? Offer at least two pieces of text-based evidence to support your answer. High Performance Response(s)


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High Performance Responses might include: • Juliet doesn’t care that much about marriage, she doesn’t have anything to say about it, and she says she hasn’t thought about it, that it is an “honour that I dream not of.” • She doesn’t talk very much and she uses the word “like” instead of “love” when agreeing to meet Paris at the party. • Her mother thinks marriage is very important, she describes Juliet’s suitor as “valiant,” “fair” and “precious,” and she uses “love” several times. Juliet’s mother gives several reasons that Juliet should get married, like other girls from good families are already married and she commands Juliet to “think of marriage now.”


esteem (adj.) – well-bred, from a good family (see footnote)

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valiant (adj.) – full of courage, brave

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lineament (n.) – distinctive feature of the body, especially of the face

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margent (n.) – archaic use of 'margin' meaning outer limit


dispositions (n.) – frame of mind, attitude, temperament

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consent (n.) – permission


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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, ELA-Literacy.CCRA.R.7 Text: 1.3.64–100 Introduction of Lesson Agenda Homework Accountability Opening Activity Film: Romeo + Juliet [13:36–17:05] Text-Dependent Questions and Activities Quick Write Closing

Materials • •

Film Tool: Stylistic Choices (see Lesson 2) Film: Romeo + Juliet [13:36–17:05] DVD


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4, ELA-Literacy.CCRA.R.7.

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Student Actions


Opening Activity Display the following question as students enter the classroom: How did Romeo describe Rosaline in yesterday’s lesson? Students should record their answers.

Students respond to the opening question in writing. Students may say Romeo described Rosaline as beautiful, pretty, or good looking.

Briefly discuss students’ responses. Share the target standards for this lesson: RL.910.1, RL.9-10.3, RL.9-10.4, ELA-Literacy.CCRA.R.7.

This activity asks students to recall that Romeo described Rosaline’s beauty in the last text. It may be helpful to explain to students that reviewing their work from the previous lesson will help them make connections between the excerpts and boost their comprehension of the play. This activity in particular will be helpful as students learn that Lady


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Capulet and the Nurse describe Paris (Juliet’s suitor) in much the same way. 5%

Film: Romeo + Juliet Distribute blank copies of the Film Tool: Stylistic Choices introduced in Lesson 2. Pause the film at strategic points so students can generate their observations.

Students view the film, recording their observations on the tool.

Show the film. (See Unit Overview.) [15:21–17:05] (DVD) Lead a brief class discussion, asking students to offer their observations about the film.

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Students to summarize details of the plot: Romeo and Benvolio find out about the Capulet ball and decide to go. Lady Capulet and the Nurse search for Juliet, and then bring her into Lady Capulet’s room to have a talk.

Text-Dependent Questions and Activities


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If students offer too few observations after viewing the film, consider asking: 

Where is the scene set?

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How does the setting influence the action of the scene?

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How were the characters dressed? What might their apparel suggest about the characters?

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What sounds did you hear? What effect does the filmmaker create with them?

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5. What did you notice about the lighting in the scene? Why do you think the filmmaker made these choices?


Have students reread lines 64–75 in small groups. Alternatively, you may choose to play an audio version of this section. Display the following questions for students to discuss in their groups before sharing out with the class: 1. What words or phrases in line 66 can help you make meaning of the word dispositions? What synonyms can you offer for dispositions? 2. What is Lady Capulet asking Juliet? What can you infer about Juliet from her response?

Have students reread lines 70–75 in their groups and complete these activities: 3. Find and circle the references to motherhood. Based on these references, what can you infer

Student responses may include the following: 1. Students recognize the root word position in dispositions and its connection to the preceding word stands. Lady Capulet asks Juliet about her position toward marriage. Students offer synonyms such as opinion, view, attitude, or position. 2. Lady Capulet asks Juliet what she thinks about marriage (“how stands your dispositions to be married”). Juliet doesn’t “dream” about marriage; she hasn’t begun to consider marriage. Juliet has one very brief line, while her mother uses three lines to ask her the question. Juliet is probably quiet and thoughtful, and she might not have a close relationship with her talkative, overbearing mother.

3. Lady Capulet refers to motherhood twice in these lines, “made already mothers,” and “I was your mother.” Students should infer that according to Lady Capulet, the purpose of marriage is to produce children.



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Have students form small, heterogeneous groups for the purpose of discussing the text in more depth and recording insights. You may choose to create these groups ahead of time, to ensure they are diverse. Assign, or have students assume, a role within the group, such as Facilitator, Reader, and Recorder. During discussions allow time for each group to share their collaborative work with the class. Extension Question: 

How old is Juliet? How do you know? Students should point to supporting examples from the text, such as Lady Capulet’s use of the word maid and the play on the word in "younger than you...are made already mothers.” Additionally, the Nurse refers to Juliet as a young lady. To help students make meaning from the text, reread 1.2.8–11, and 1.3.12, where it explicitly states that Juliet is not yet fourteen.


about Lady Capulet’s attitude toward marriage? 4. According to Lady Capulet, why should Juliet begin to think about marriage? Have students reread lines 76–95 in their groups. Then, ask the following questions, allowing sufficient time for students to discuss in their groups before sharing out with the whole class.

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4. Lady Capulet believes that Paris wants to marry Juliet (“the valiant Paris seeks you for his love”). Students read and discuss in their groups.

Students may benefit from having vocabulary words from this dense passage displayed or written on the board. (See Vocabulary chart.) Remind students to use their footnotes for clues.

5. When and where will Juliet see Paris for herself? 6. What is the cumulative effect of the words, phrases and comparisons used to describe Paris?

7. What can you infer about Lady Capulet’s attitude toward marriage? Circle vocabulary or phrases that can help you make a claim about Lady Capulet’s attitude toward marriage. Write down any observations you make about the way she is speaking in this passage.

5. Juliet will see Paris at the Capulet party on that very night (“this night you shall behold him at our feast”). 6. Lady Capulet describes Paris’s face as a precious book of love. Paris is “valiant, a man of wax, a flower.” Lady Capulet and Nurse describe Paris in terms of his physical appearance and his strong character. The cumulative effect is almost overwhelmingly positive. 7. Students should circle works like precious, fair, glory, pride, golden. Students should also notice that Lady Capulet has begun to use end rhymes, and speak more poetically. Students should infer that Lady Capulet thinks marriage is good and important, and she is trying to convince Juliet to think about marriage in the same way through her poetic language and detailed descriptions of Paris’ beauty.

Have students finish reading lines 95–100 in their groups.

Now that students have an understanding of Lady Capulet’s attitude toward marriage, they will unpack Juliet’s attitude toward

Have students discuss these questions in their groups, before sharing out with the whole class. File: 9.1.3 Lesson 4 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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marriage. 8. What difference in word choice do you notice between Lady Capulet in line 97 and Juliet in line 98?

9. Consent as a noun is generally defined as “permission.” How is Juliet using consent in line 100? How would line 100 be different if consent was replaced with “command”?

10. What can you infer about Juliet’s reply based on your understanding of her use of consent? 5%

8. Lady Capulet asks if Juliet can “like of Paris’ love” but Juliet doesn’t use the word love, she only uses the word like. She’s agreeing to look at him, but only to see if she “likes” him, not to fall in “love.” 9. Juliet is using consent to imply that her mother has given her permission for Juliet to fall in love with Paris, even though it was her mother that brought up the idea. It would be different if Juliet said “command” because Juliet would be saying explicitly that her mother is not giving her a choice about whether or not she wants to marry Paris. 10. Juliet is saying she will do what her mother is asking her to do, since it seems like she doesn’t have a choice.

Quick Write Have students briefly respond in writing to the following prompt: What does Juliet’s interaction with her mother reveal about her attitude towards marriage? How does this attitude compare to her mother’s? Offer at least two pieces of text-based evidence to support your answer.


Inform students that you will collect their Quick Write at the end of class and use it to evaluate their comprehension of the text read in this lesson. 5%

Closing


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For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3–5 minute discussion of their text based on that standard.

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Students continue to read their Accountable Independent Reading text for homework.

Homework Students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a 3–5 minute discussion of their text based on that standard.


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9.1.3

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Lesson 5

Introduction In this lesson, students will begin a close reading analysis of Romeo and Juliet’s first encounter at the Capulet Ball (1.5.92–109). Students will focus on Romeo’s initial overture to Juliet in lines 1.5.92–95. Slowing down the pace and unpacking Romeo’s first four lines will enable students to construct the complex foundational understanding necessary for their continued engagement with this multifaceted extended metaphor. In Lesson 6, students will continue their analysis of this excerpt as they explore how Juliet’s response shapes the dialogue that follows, and what this increasingly intricate interaction might reveal about these two complex characters. This lesson and the following one focus student analysis on Shakespeare’s use of imagery. A set of textdependent questions with an emphasis on vocabulary guide students in making meaning of Romeo’s complex metaphor. At the close of the lesson, students will be introduced to the Stage Directions Tool that will continue to shape their analysis in Lesson 6. For homework students will briefly respond in writing to a focusing question that asks them to consider their understanding from this lesson’s close reading.



Addressed Standard(s) Cite strong and thorough textual evidence to support analysis of what the text RL.9-10.1 says explicitly as well as inferences drawn from the text. RL.9-10.4


CCSS.ELA-Literacy. CCRA.R.7


Assessment Assessment(s) •

Stage Directions Tool


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High Performance Response(s) •

The paraphrasing and stage directions required by the Stage Direction Tool will encourage students to analyze the interactions between Romeo and Juliet and what these interactions may reveal about the motivations of these two complex characters. See the Stage Direction Tool Model for High Performance Responses.


shrine (n.) – a place in which devotion is paid to a saint or god; a tomb for the dead

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pilgrim (n.) – one who travels to a shrine or holy place as a devotee

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saint (n.) – one who is officially recognized after death as being holy

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palmer (n.) – another word for pilgrim

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purged (v.) – gotten rid of; cleared of guilt

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trespass (v.) – to sin; to enter someone’s land illegally

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prodigious (adj.) – being an omen (obsolete)


profane (v.) – to treat something sacred with contempt or irreverence

Lesson Agenda/Overview Student-Facing Agenda • Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, CCSS.ELA-Literacy.CCRA.R.7. • Text: Act 1.5.92–109 • Introduction of Lesson Agenda • Homework Accountability • Watch Romeo + Juliet [27:57–30:26] • Opening Activity • Text-Dependent Questions and Activities • Stage Directions Tool • Closing

Materials • • •

Film Tool: Stylistic Choices (see Lesson 2) Film Clip: Romeo + Juliet [27:57–28:46] Stage Directions Tool (found at the end of this lesson)


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.9-10.4, CCSS.ELA-Literacy.CCRA.R.7. In this lesson, students will explore Romeo’s initial overture to Juliet (1.5.92–95) during their first encounter at the Capulet Ball (1.5.92–109). Students will work with the class and in pairs to unpack the imagery in these first four lines. This analysis will help students to build the foundational understanding necessary for continued engagement with this passage in Lesson 6.

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Student Actions


Watch Romeo + Juliet Pass out blank copies of the Film Tool: Stylistic

Students take notes on their tool as they


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Choices (see Lesson 2).

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watch the scene.

Inform students that they will be watching a short film clip to fill in the events of 1.5 that precede the close reading excerpt for today. Play film clip (27:57–30:26; see Unit Overview). Circle the room and observe note taking. Offer guidance when needed. Lead a quick debrief of film sequence (use some or all of the quick debrief questions). Ensure that students have recorded the primary event of today’s clip on their copy of Film Tool: Stylistic Choices.

Student responses to Key Events section of the film tool may include the following: 

Romeo catches first sight of Juliet.

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Tybalt sees Romeo at the party. He wants to fight him, but Lord Capulet will not allow it.

Sample film debrief questions: Where are these scenes set? How does this influence your understanding of the action of the scene? What important props did the characters use in these scenes? Why do you think these props were emphasized? How were the characters dressed? What might their costumes suggest about these characters? What sounds did you hear? What effect is Luhrmann creating with sound? What did you notice about the lighting in these scenes? What effect is Luhrmann creating with


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light? 20%

Opening Activity Hand out Stage Directions Tool (found at the end of this lesson). Instruct students to follow along on their tool as they listen to a masterful reading of lines 92–109.

Students follow along, reading silently the excerpt on their tool.

Provide an explanation of imagery, for example: Authors use descriptive language to create imagery. Imagery can have different functions in the text. Sometimes these visual pictures add detail to an author's description; other times authors employ figurative language to make a comparison that helps illustrate a point the author or character is trying to make. Instruct students to reread Romeo and Juliet’s dialogue (1.5.92–109) and identify and circle all the images in this passage in their tool.

Student responses may include the following: 

shrine

Ask students to share the images they have identified, and record a master list on the board.

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pilgrim

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saints

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palmers

Pose the following question for class discussion:

Students make the connection between religious words and the imagery in the scene.

What do all these images have in common? This discussion will likely incorporate a great deal of direct vocabulary instruction. See


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Definitions for all of the words on the sample master list can be found at the bottom of the Stage Directions Tool. Review definitions as needed.

Definitions for all of the words on the sample master list can be found at bottom of the Stage Directions Tool. Review definitions as needed.



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Instructional Notes.

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Instruct students to read through Romeo and Juliet’s dialogue again and underline any other words associated with religion on their tool.

Sample words to add to master list:

Ask students to share the words they underlined and why. Add these words to the list on the board. Address any vocabulary that students are struggling with.

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holy

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devotion

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prayer

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faith

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sin

Text-Dependent Questions and Activities Have students form reading pairs and reread Romeo’s first four lines aloud (92–94). Display the following questions for students to discuss in their pairs. Students should record their answers and be ready to share in full class discussion. 1. What is the holy shrine that Romeo’s hand is unworthy to touch?

Additional scaffolding for lines 92– 94:  Student responses may include the following: 1. Romeo is referring to Juliet, or perhaps more specifically, Juliet’s hand.

2. How can this description help you to understand the meaning of the word profane (92) in this context?

2. If Romeo is saying that his hand is unworthy to touch Juliet’s, then profane describes the result of the contact between something holy and something unworthy. Romeo’s touch would make dirty, degrade, or dishonor Juliet’s holiness.

3. What is Romeo comparing his lips to? Underline the words in the text. Using the vocabulary box at the bottom of your tool,

3. “Two blushing pilgrims.” Romeo is comparing his lips to two red-faced, embarrassed, self-conscious, or flushed


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Underline the word that Romeo uses to describe his own hand. Students underline unworthiest. 

What is Romeo comparing his lips to? Underline the evidence in the text. Students underline two blushing pilgrims.


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paraphrase what you’ve underlined.

travelers to a holy place.

4. What gentle sin are Romeo’s lips about to commit?

4. Romeo wants to place a tender kiss on Juliet’s hand to replace the rough touch of his unworthy hand.

5. How might your understanding of this passage change if the word gentle (in “gentle sin”) was replaced with rough? How does the adjective gentle inform your understanding of Romeo’s tone and intention in this passage? What other adjectives in lines 92–95 support this understanding?

5. If Romeo had referred to his actions as “rough” sin, it would seem like Romeo believes that this flirtation is truly a bad thing. Although Romeo is using serious religious language, he is flirting with Juliet. His “sin,” and therefore his overtures, are not truly evil, they are kind and tender (95).

6. Refer to the definitions of pilgrim and shrine at the bottom of your tool. What extended metaphor is Romeo constructing in these first four lines?

6. Romeo has created a religious metaphor to describe his first interaction with Juliet. Romeo is comparing himself to a religious devotee, and Juliet is the holy thing that he has come to worship.

7. What might this metaphor suggest about how Romeo perceives Juliet?

7. This metaphor suggests that Romeo sees Juliet as something that is worthy of his worship. Some students might infer that Romeo is putting Juliet up on a pedestal or elevating her to a status above himself.


Circle around the room and assist as needed. Lead a full class discussion of questions 1–7. 20%

Stage Directions Tool Explain to students that in a play like this one, stage directions tell the actors what they will

Answers will vary, but they should indicate an understanding of the implied actions in


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Note: If students are unfamiliar with the format and function of stage directions, direct them to


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be doing as they speak their lines.

these four lines.

Pose the following activity for students to complete in their pairs:

Student responses may include the following: Romeo might be reaching for Juliet’s hand or moving to grab it. Romeo might be moving to kiss Juliet’s hand, lifting it to his mouth. (See the Model Stage Directions Tool for a sample response.)

If you were going to write a stage direction for Romeo to accompany the first four lines of this scene, how would you direct the action? Take a minute to think independently, then discuss with your partner. Call upon several student pairs to share their responses. Now direct students in framing a model stage direction to accompany these lines. Finally, have students record this collaboratively formed stage direction on their own tool. Students can refer to this stage direction as a model in their continued work with this tool in Lesson 6. Instruct students to hand in their Stage Directions Tool. The tool will be passed back at the beginning of Lesson 6. 5%

Closing For homework students will re-read a portion of the excerpt from this lesson and respond briefly in writing to the following question: How does Romeo’s initial approach towards Juliet compare to his approach towards

Students re-read and reflect on the close reading they completed in this lesson, responding briefly in writing to a focusing question.


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lines 106 and 108. Point out the bracketed information in the margin, [kisses her], as an example.


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Rosaline? Students should come to the next lesson prepared to discuss their response.

Homework Reread the lines 92–95 and review your Lesson 5 notes. Now reread Romeo’s description of his love for Rosaline that you analyzed in Lesson 2 (1.1.227–235). Write a reflective response to the following question: How does Romeo’s initial approach towards Juliet compare to his approach towards Rosaline? Be ready to hand in your written response at the beginning of the next lesson.


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Stage Directions Tool Directions: Follow your teacher’s directions to insert stage directions and paraphrase dialogue. (Excerpt Reference: Act 1, Scene 5, 92-109) ROMEO If I profane with my unworthiest hand… … … …

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95

Stage Directions:

JULIET … … … …

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Stage Directions: ROMEO …

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Paraphrase: JULIET …

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Paraphrase:

ROMEO … …

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JULIET …

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Stage Directions:

ROMEO … …

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JULIET …

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ROMEO …

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JULIET You kiss by th’ book.

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shrine (1.5.93) (n.) – a place in which devotion is paid to a saint or god; a tomb for the dead pilgrim (1.5.94) (n.) – one who travels to a shrine or holy place as a devotee palmer (1.5.99) (n.) – another word for pilgrim purged (1.5.106) (v.) – to get rid of; to clear of guilt trespass (1.5.107) (v.) – to sin; to enter someone else’s land illegally


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Directions: Follow your teacher’s directions to insert stage directions and paraphrase dialogue. (Excerpt Reference: Act 1, Scene 5, 92-109)

ROMEO If I profane with my unworthiest hand … … …

92

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JULIET … … … … [Juliet pulls her hand back away from Romeo’s mouth]

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ROMEO … Paraphrase: Don’t both pilgrims and saints have lips as well as hands?

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JULIET … Paraphrase: Yes, they do, but they use those lips to pray not to kiss.

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ROMEO … …

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JULIET …

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[Juliet stands still, but leans her head up for a kiss] ROMEO … … [Kisses her.]

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JULIET …

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ROMEO … [Kisses her.]

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JULIET You kiss by th’ book.

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Lesson 6

Introduction In this lesson, students will continue their close reading analysis of Romeo and Juliet’s first encounter at the Capulet Ball (1.5.92–109). Students will explore how Juliet’s response to Romeo’s initial overture shapes the dialogue that follows and what this increasingly intricate interaction might reveal about these two complex characters. This lesson continues the focus from Lesson 5 on Shakespeare’s use of imagery. The Stage Directions Tool and a related set of text-dependent questions prompt students to generate stage directions and paraphrase actions at key points in Romeo and Juliet’s dialogue. This process will encourage students to make meaning of the sequence of events in this highly metaphorical scene, as well as make inferences about character motivation. Students will synthesize their analysis of this excerpt in a final Quick Write to the focusing question: What can you learn about Juliet from the way that she responds to Romeo? For homework students will read a portion of the text and respond briefly in writing to a question that asks them to consider the actions of the scene.





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Assessment Assessment(s) • •

Quick Write: What can you learn about Juliet from the way that she responds to Romeo? Use evidence from the text to support your response. Stage Directions Tool

High Performance Response(s) •

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Student responses to this open-ended Quick Write will vary. The goal here is to get students to begin to think broadly about what they can learn about Juliet through an analysis of her interactions with Romeo. Students might note that it is clear that Juliet really likes Romeo—she flirts with him and ultimately lets him kiss her (“you kiss by th’ book”). Others might make more direct inferences about Juliet’s character—perhaps her initial refusal to accept Romeo’s kiss (“lips that they must use in prayer”) indicates that she is shy or modest. Other students might offer that Juliet is bold—she is not afraid to engage in a direct conversation with Romeo on equal terms, and she ultimately lets him kiss her in a public space (the Capulet Ball) with relatively little persuasion. Some students might point to the quality of Juliet’s metaphors (“pilgrims,” “saints”) to support the assertion that Juliet is clever with words—she takes Romeo’s metaphor and twists it to direct the conversation in a way that she chooses. The paraphrasing and stage directions required by the Stage Directions Tool will indicate whether or not students are struggling with basic comprehension of the text.

Vocabulary Vocabulary to provide directly (will not include extended instruction) • • • • • • •

shrine (n.) – a place in which devotion is paid to a saint or god; a tomb for the dead pilgrim (n.) – one who travels to a shrine or holy place as a devotee saint (n.) – one who is officially recognized after death as being holy palmer (n.) – another word for pilgrim purged (v.) – gotten rid of; cleared of guilt trespass (v.) – to sin; to enter someone’s land illegally prodigious (adj.) – being an omen (obsolete)

Vocabulary to teach (may include direct word work and/or text-dependent questions) •

mannerly (adj.) – polite


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Lesson Agenda/Overview Student-Facing Agenda • • • • • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4 Text: Act 1.5.92–109 Introduction of Lesson Agenda Homework Accountability Masterful Reading: Act 1.5.92–109 Text-Dependent Questions and Stage Directions Tool Quick Write Closing

Materials •

Stage Directions Tool (see Lesson 5)


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Homework Accountability Redistribute Stage Directions Tool (see Lesson 5). Lead a brief discussion of the students’ homework (How does Romeo’s initial approach towards Juliet compare to his approach towards Rosaline?) and collect written responses.

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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4. In this lesson, students will continue their exploration of Romeo and Juliet’s initial interaction at the Capulet Ball. Students will work with the Stage Directions Tool and associated TDQs to explore this lesson’s focusing question: What can you learn about Juliet from the way that she responds to Romeo?

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Student Actions

Students forge connections between Romeo’s advances in both of these passages. Students note the similarities in Romeo’s approach, both in terms of the intense use of imagery and metaphor, as well as the aggressive nature of his pursuit. Some students might indicate that Romeo idolizes Juliet (she is a “holy saint”) just as he idolized Rosaline only pages before (“she hath Dian’s wit”).

Masterful Reading


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The purpose of this activity is to review essential understandings from Lesson 5, as well as to encourage students to continue to build connections across the text in their exploration of character development.


Have students listen to a masterful reading of the excerpt in its entirety (1.5.92–109), as they follow along in their text. 70%


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Students follow along, reading silently in their texts.

Text-Dependent Questions and Stage Directions Tool Have students form heterogeneous groups according to established protocols. Instruct groups to reread Juliet’s first 4 lines aloud (96–99), and then display the following questions. Students should discuss in their groups, take notes on their discussion, and be prepared to share with the class. 1. What familiar word(s) do you see in mannerly (97)? What does Juliet mean by "mannerly devotion" (97)?

Student responses may include the following: 1. The word manner(s) appears in mannerly. Having manners means displays of politeness or proper etiquette. In this context, Juliet is saying that Romeo’s devotion to her is polite and proper.

2. How does Juliet feel about Romeo’s advances? Use evidence from the text to support your answer.

2. Juliet does not seem to mind that Romeo is holding her hand. Students might point to the phrase "you do wrong your hand too much" as evidence that she doesn’t mind what his hand is doing, or that she counters his assertion that his hand is unworthy to touch hers by describing his devotion as polite and proper.

3. How does Juliet respond to Romeo’s attempt to kiss her hand? How does this response draw upon


3. Juliet uses Romeo’s own words to stop him from kissing her hand. Juliet asserts that

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According to Juliet, why does Romeo "wrong [his] hand too much"? Juliet says that Romeo is being too hard on his hand because saints and pilgrims touch hands. Therefore, this is an appropriate thing for them to do.

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According to Juliet, how do palmers (pilgrims) kiss? (Hint: What part of their body do they use instead of their mouth?)


the metaphor Romeo constructed in lines 92–95?

4. How do you think Juliet might communicate this message with her actions? Suggest a stage direction that tells the actor what to do. Record your stage direction on your tool.


DRAFT pilgrims worship saints by touching their hands to the hands of the saints. Therefore, pilgrims and saints “kiss” by touching hands. If Juliet is the “saint” and Romeo is the “pilgrim” (as Romeo established in his first four lines), then because he is already touching her hand, kissing with his lips to express his devotion is not necessary. 4. Responses will vary but should indicate a logical stage direction for the character at this point. Juliet is refusing Romeo’s offer to kiss her hand, so any action that expresses that she is resisting his attempt or turning away is appropriate. Perhaps she pulls her hand away from his, or perhaps she reaches up to touch his other hand with her own. (See Model Stage Directions Tool for a sample answer.)

Pilgrims kiss by placing the palms of their hands together. 

Which words in Juliet’s response also appear in Romeo’s first lines?

Hand, pilgrims, kiss, and saints are words in both Romeo and Juliet’s first lines.

Circulate and assist as needed. Lead full class discussion. Stage Directions Tool Extension Activity: Once students complete the Stage Directions Tool in their groups, have students direct and perform the scene they have just constructed according to the directions they have outlined. Like the stage directions,


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the scene should demonstrate an understanding of the interactions and motivations of Romeo and Juliet in this highly metaphorical scene. Each discussion group can direct and perform their own scene, or all groups can collaborate as a class to direct and perform a single scene. Instruct groups to reread lines 100–101 aloud, then complete the following activities on their tool: 5. What is Romeo’s reply to Juliet? Paraphrase in your groups and record your answer in the appropriate box on your tool. 6. Take 30 seconds to paraphrase Juliet’s response. Record your answer on your tool.

Student responses may include the following: 5. Sample paraphrase: Both saints and pilgrims have lips, don’t they?

6. Sample paraphrase: Yes, they do have lips, but they are supposed to use them to pray not to kiss.

Circulate to check for comprehension.


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Instruct students to reread lines 102–109, then display the following questions for students to discuss in their groups: 7. What course of action is Romeo suggesting to Juliet when he says "let lips do what hands do"?

Additional scaffolding questions for lines 102–109: 7. Romeo is saying that he and Juliet should put their lips together, i.e., they should kiss on the mouth.

8. According to Juliet, what do saints do? What do saints not do?

8. Saints grant prayers but “do not move” (106).

9. Review the definition of saint at the bottom of the Stage Directions Tool. Why can’t saints move?

9. Saints can’t move because they are dead.



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8



What word repeats in this section? Underline the repeating word every time it appears. The word sin appears four times in the lines.



What does the repetition suggest about how Romeo and Juliet are feeling about their kiss? Romeo and Juliet may feel guilty about their kiss because they are describing it as something that is sinful.

9. If students struggle to grasp this facet of the metaphor in the lines, explain that saints are people who are made into important religious figures after they die. Then explain that pilgrims worship saints in the


DRAFT


form of statues and holy relics (preserved objects connected to that person). 10. How is Juliet using the metaphor of saints and pilgrims as a response to Romeo’s plea for a kiss? Write a stage direction to accompany line 104 that clearly expresses what you think Juliet is telling Romeo in this sentence. Record your response in your Stage Directions Tool.

10. Stage directions will vary but should indicate that this is a point of acquiescence for Juliet. She yields to Romeo’s pleas for a kiss (grants a pilgrim’s prayer) but will not initiate the kiss (saints do not move). A possible stage direction is that Juliet stands still, with her gaze averted. (See Model Stage Directions Tool for a sample response.)

Circulate and assist as needed. Lead full class discussion. 5%

Quick Write Display the following prompt for students to respond to independently: What can you learn about Juliet from the way that she responds to Romeo? Remember to use evidence from the text to support your answer.

Students complete a Quick Write. See High Performance Response at the beginning of this lesson for elements to look for in student work.

Ask students to hand in both their Quick Write and Stage Directions Tool at the end of class. 5%

Closing For homework students will read a portion of the text and respond briefly in writing to a question that asks them to consider the actions of the


Students read from Romeo and Juliet independently and respond briefly in writing to a focusing question.

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If necessary, students can complete this Quick Write for homework, or this prompt can be used as a basis for a concluding full class or group discussion.


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scene. Students should be prepared to discuss their observations at the beginning of the next lesson.

Homework Read lines 1.5.133–140 and respond to the following question: What has Juliet just discovered about Romeo? Be prepared to hand in your response at the beginning of Lesson 7.


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Lesson 7

Introduction This lesson is the first in a three-lesson arc that addresses Act 2.2, the balcony scene. Close readings will focus on building student understanding of Romeo and Juliet as they influence each other’s character development, as well as building shared knowledge of some of the most iconic lines in the play. The reading is split at strategic points in the arc. The first lesson asks students to focus on soliloquies, one for Romeo and one for Juliet. The next lesson shows Romeo and Juliet in conversation with each other. The arc culminates in a writing assignment that comprises the Mid-Unit Assessment and asks students to consider character development across the three-lesson arc. This concentrated exploration halfway through the unit will prepare students to consider cumulative character development in the End-of-Unit Assessment. The first lesson engages with the lines 1–51, encompassing both Romeo’s famous line “What light through yonder window breaks” and Juliet’s iconic musing “A rose by any other name.” This passage allows for an exploration of Shakespeare’s structural and stylistic choices, as well as character development of Romeo and Juliet. Students will focus on the playwright’s choices concerning both concrete structural elements (e.g., where the characters are in relation to each other on the stage) and craft (e.g., how the characters are revealed to the audience). Throughout the three-lesson arc, students will be working in small groups. Group work will encourage students to articulate their thoughts and expose students to varying opinions. For homework students will re-read a portion of the text that they have close read in this lesson and complete an activity that asks them to reflect on their understanding.





RL.9-10.4

Determine the meaning of words or phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place;


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how it sets a formal or informal tone).

Assessment Assessment(s) Quick Write: Why do you think Shakespeare crafted the scene so that the audience is aware of Romeo’s presence before Juliet is aware? High Performance Response(s) 

In crafting the scene, Shakespeare involves the audience in eavesdropping and sympathizing with Juliet’s plight. The soliloquy reveals Juliet’s innermost thoughts, ones she may have kept to herself had she known Romeo was listening, as evidence by her embarrassment “else would a maiden blush be paint my cheek.”


vestal livery (n.) – virginal appearance



doff (v.) – cast off



aloft (adv.) – high above



baptized (v.) – gave a name to


discourses (v.) – speaks, talks

Lesson Agenda/Overview Student-Facing Agenda 

Standards: RL.9-10.3, RL.9-10.4, RL.9-10.5



Text: Act 2.2.1–51



Introduction of Lesson Agenda



Homework Accountability



Masterful Reading: Act 2.2.1–51






Quick Write



Closing

% of Lesson

5% 5% 5% 75% 5% 5%


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Materials 

Free Audio Resource: https://itunes.apple.com/us/itunes-u/romeo-and-juliet/id384528334



Alternative Audio: http://www.audiogo.com/us/romeo-and-juliet-bbc-radio-shakespeare-williamshakespeare-gid-21505


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Student Actions



Free Audio Resource: https://itunes.apple.com/us/itunesu/romeo-and-juliet/id384528334

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.3, RL.9-10.4, RL.9-10.5. This lesson is the first in a three-lesson arc exploring 2.2. This arc will move slowly through a close reading of this scene, culminating in the Mid-Unit Assessment.

Alternative Audio: http://www.audiogo.com/us/romeoand-juliet-bbc-radio-shakespearewilliam-shakespeare-gid-21505

In this lesson students will be listening to and close reading 2.2.1–51. 5%

Homework Accountability Lead a brief class discussion asking students to share their responses to the homework question:

Students observe that Juliet has discovered Romeo is a Montague, the only son of her family’s enemy.

What has Juliet just discovered about Romeo? 5%

Masterful Reading Have students listen to a masterful reading of 2.2.1–51.


Instruct students to read along in their text.


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If students are confused about the timeline of the play, inform them that what they are about to read today is happening on the same night


Provide the following question to focus student reading: To whom are Romeo and Juliet speaking in this excerpt? How do you know? 75%


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as the text they read in the last lesson. The Capulet ball has ended, but it is the same night.

Text-Dependent Questions and Activities Have students form discussion groups. Throughout the entire three-lesson arc, students will stay in these groups unless independent work is specifically called for. Ask students to read Romeo’s lines (1–32) aloud in their groups.

Students form groups and read aloud lines Have students form small, 1–32. heterogeneous groups for the purpose of discussing the text in more depth and recording insights. You may choose to create these groups ahead of time to ensure they are diverse. Assign, or have students assume, a role within the group, such as Facilitator, Reader, and Recorder. During discussions, allow time for each group to share their collaborative work with the class. Encourage students to use sentence stems in their group discussion. • •

1. To whom is Romeo talking? How do you know?

Student responses may include the following: 1. Romeo is talking to himself (or no one) and/or he is talking to the moon. Students point to the fact that Romeo is the only figure present for nine lines before Juliet


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I think that Romeo is talking to... because... I agree/disagree with (student) because...


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enters and evidence like line 11 “O, that she knew she were” and line 14 “’tis not to me she speaks.” 2. What phrase(s) or word(s) in lines 12–14 can help you make meaning of the word discourses? What can you infer about Juliet’s actions from the way Romeo describes her?

2. Listen for students to identify “speaks, yet she says nothing,” “I will answer it” and “not to me she speaks.” Therefore, the word discourses is a reference to speaking. The inference is that Juliet’s mouth is silent, but her eyes are communicating.

Circulate and observe student discussions, assisting only as needed. After students have had time to discuss in groups, have them share their responses with the class. Instruct students to read lines 33–49 aloud in their groups. Ask students to consider the following questions while they read: 3. To whom is Juliet speaking? How do you know? Hint: Consider how Romeo’s lines in this passage help support your answer.

3. Juliet is also talking to herself (or no one). Romeo states that “tis not to me she speaks.” He hesitates before revealing himself, by stating "Shall I hear more, or shall I speak at this?" Romeo’s lines support the inference that Juliet is thinking out loud.

4. What does the audience know that Juliet does not know?

4. The audience knows Romeo hears Juliet but that she is unaware of his presence.

Circle and observe, assisting only when necessary.


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If students struggle over the meaning of the word discourse, encourage them to think of words it sounds similar to—discuss or, more loosely, converse. Also encourage them to look into the next line of text, where Romeo explicitly says he will answer the discourse and that she speaks, though Juliet does not say anything.


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After students have had time to discuss in groups, have them share their responses with the class. Direct students to reread lines 33–36 aloud in their groups. 5. What does Juliet want Romeo to do? Why? Tell students to consider what they have learned about Romeo and Juliet’s families.

5. Juliet wants Romeo to ”refuse thy name” and “deny thy father” and become her lover (“be but sworn my love”). Juliet wants Romeo to deny his name so he won’t be her enemy (“tis but thy name that is my enemy”).

Direct students to reread lines 43–44 aloud in their groups. 6. In these lines, what relationship is Juliet establishing between the name of a thing and the thing itself?

6. Juliet says a rose would smell the same if it had a different name (“a rose by any other word would smell as sweet”). Juliet is saying that a living thing—in this case Romeo—exists independently from its name.

Direct students to reread lines 38–49 aloud in their groups. 7. How does Juliet’s claim about the nature of a rose apply to Romeo? Students should consider their answer to the previous question.

7. Juliet’s example of the rose applies to Romeo because if Romeo changed his name, he would still be the same person whom she loves (“Romeo would, were he not Romeo called, retain that dear perfection”).

Students may struggle with the figurative phrase “deny thy father and refuse thy name.”

Circulate and observe student discussions, assisting only as needed. After students have had time to discuss in groups, have them share their responses with the class. Ask students to consider lines 33–49 in context of their discussion. Then have

8. Juliet probably shared more than she might have revealed if she had known


7

Remind students that character development happens over time, so


students discuss the following questions in their groups: 8. How might Juliet’s soliloquy have been different if she had known Romeo was listening? Hint: Count the number of lines Juliet has in this scene. How does this compare to her earlier speeches?


DRAFT Romeo was there. Juliet’s soliloquy is sixteen lines long. This is the most lines Juliet has spoken so far in the play.

often comparing past behavior or speech patterns with current ones can offer insight into characters. If students have not yet encountered the word soliloquy offer the following definition: soliloquy (n.) the act of talking to oneself; a dramatic monologue that reveals the inner thoughts and feelings of a character.

Circulate and observe student discussions, assisting only as needed.

Encourage students to find examples of both dialogue and monologue in their text.

After students have had time to discuss in groups, have them share their responses with the class.

Students could benefit from deconstructing the words monologue and dialogue. The suffix -logue means “words” or “speech.” The prefix mono- means “one” or “alone” (monochrome means “a single color,” monotone means “one level of speaking,” so monologue means “one person talking”). Dia- is the same in meaning as the prefix bi-, which means “two.” (Diameter means “a line that splits a circle into two equal halves”, so a dialogue is two people talking to one another.) Have students finish reading lines 49–51 in their groups. 9. What course of action has Romeo just

9. Romeo reveals his presence to Juliet and addresses her directly, saying “I take thee at thy word” This resolves the


8

Additional scaffolding TDQs: •

Offer students a definition for baptized as meaning “to give a


taken? How does this affect the scene? Circulate and observe student discussions, assisting only as needed.

DRAFT suspense built to this point in the scene.

Quick Write Have students respond to the following Quick Write prompt: Why do you think Shakespeare crafted the scene so that the audience is aware of Romeo’s presence before Juliet is aware? Remember to use evidence from the text to support your answer.


Ask students to hand in their Quick Write at the end of class. 5%

name to.” What new name does Romeo say he will take? Romeo says he will take love as his new name; he will no longer be known as Romeo.

After students have had time to discuss in groups, have them share their responses with the class. 5%


Closing For homework students will re-read the text from this lesson and respond in writing to the following task: Reread the text from this lesson (2.2.1–51) and choose a specific line from both Romeo and Juliet that demonstrates the emotion Shakespeare is crafting in this scene. Use evidence from the text to support your choice.

Students re-read the text from this lesson and respond to a task that asks them to reflect on their understanding.


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Use the Quick Write to assess students' understanding of this lesson's section of Romeo and Juliet.


DRAFT


Homework Reread the text from this lesson (2.2.1–51) and choose a specific line from both Romeo and Juliet that demonstrates the emotion Shakespeare is crafting in this scene. Use evidence from the text to support your choice.


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Lesson 8

Introduction This is the second lesson in a three-lesson arc that focuses on close reading of the iconic balcony scene from Romeo and Juliet. The text addressed in this lesson is Act 2.2.52–106. This passage provides an opportunity for students to explore Romeo and Juliet in conversation with each other. Through a targeted exploration of word choice and figurative language, students will work toward an understanding of how complex characters develop through interactions with each other. Students will continue working in the groups that were established in Lesson 7, as well as discussing observations with the entire class. For homework, students will continue to read their Accountable Independent Reading texts.




Cite strong and thorough evidence of what the text says explicitly as well as inferences drawn from the text.

RL.9-10.3


Assessment Assessment(s) Quick Write: What can you infer about Romeo and Juliet by comparing their use of language? Use evidence from the text to support your answer. High Performance Response(s) Reponses will vary but should include text-based evidence and reflect an understanding that language is used to establish, reveal, and compare these characters. Student responses may include the


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following: 

Romeo is not thinking about reality, only about being in love with Juliet. He is more romantic, and wants “satisfaction,” the “exchange of thy love’s faithful vow.” His main concern is love, and his extensive use of imagery (“bright angel” “love’s light wings” “I am no pilot”) and figurative language reiterates this more romantic focus.



Juliet is more practical (“fain would I dwell on form”), and worried about Romeo’s safety (“they will murder thee”). Her limited use of imagery shows that she is more pragmatic than Romeo.


bescreened (adj.) – hidden from sight



counsel (n.) – private thoughts



thine (pron.) – that which belongs to you



enmity (n.) – hatred



compliment (n.) – a formal act



perjuries (n.) – false vows



fain (adv.) – gladly



peril (n.) – danger


cunning (n.) – skill, charm



strange (adj.) – reserved



light (adj.) – of little weight, shallow, insubstantial





Text: Act 2.2.52–106









Opening Activity



Masterful Reading: Act 2.2.52–106






Quick Write



Closing

% of Lesson

5% 5% 5% 5% 70% 5% 5%


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Materials 






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Student Actions

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4. Inform students that they are picking up where they left off in the previous lesson and that they will continue to work in the same groups of four.


Let students know that the next lesson will be their third and final lesson on the balcony scene. They will be expected to complete a short writing assignment in the next class for the Mid-Unit Assessment. 5%

Homework Accountability Briefly discuss student responses to their rereading (2.2.1–51) and the prompt: Choose a specific line from both Romeo and Juliet that demonstrates the emotion Shakespeare is crafting in this scene.

Student choices from the homework will vary but should demonstrate an understanding of the tension, romance and longing of this scene. Two samples are offered here. Romeo’s lines 10–12: It is my lady, O, it is my love!/O, that she knew she were!/She


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DRAFT speaks yet she says nothing. What of that? Juliet’s lines 47–49: Romeo, doff thy name,/and for thy name, which is no part of thee,/take all myself.

5%

Opening Activity Display lines 52–53. Display the following question to help students place this lesson’s excerpt in context: What is Juliet responding to in lines 52–53?

5%

Students briefly jot an answer to respond to the opening activity. Student responses may include: Juliet is responding to Romeo revealing his presence to her.



Free Audio Resource: https://itunes.apple.com/us/itunesu/romeo-and-juliet/id384528334 Alternative Audio: http://www.audiogo.com/us/romeoand-juliet-bbc-radio-shakespearewilliam-shakespeare-gid-21505

70%

Text-Dependent Questions and Activities Instruct students to read aloud lines 52–61 in their groups of four. 1. Why doesn’t Romeo know how to tell Juliet who he is? What relationship is Romeo establishing between his name and himself?

Student responses may include the following: 1. Romeo doesn’t know how to tell Juliet


5


What information is Juliet asking


who he is (“I know not how to tell thee who I am”) because his name is the name of Juliet’s enemy and “hateful” to her. Romeo says that his name has become hateful to himself as well. Some students might suggest that by refusing to say his name, Romeo is attempting to divorce himself from his family. He wants to form a new identity that is not associated with this family feud that pits him against Juliet. Students may also point out that this is a response to Juliet’s request in the previous soliloquy (“refuse thy name”) that Romeo overheard. Instruct students to read aloud in their groups lines 62–84. Direct students to reread lines 62–69.


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for in these lines? Juliet is asking for the name of the man who has surprised her. 

How does Romeo respond to these requests? Romeo says he doesn’t know how to tell Juliet his name.

2. Love has the power to help Romeo fly “with love’s light wings” (66) and protect him from her family, “therefore thy kinsmen are no stop to me” (69).

2. According to Romeo, what power does love have? Direct students to reread lines 70–73. 3. What concern is Juliet expressing in line 70?

3. Juliet is worried that Romeo will be murdered; “they will murder thee” (70).


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What does Romeo say is more dangerous than twenty swords? Juliet’s eye.



What imagery in line 72 can help you understand what peril means



DRAFT

in line 71? The image of twenty swords. “Peril” means danger. 4. Offer students a definition of peril ("dangerous"). For Romeo, why is Juliet’s eye more perilous than twenty swords? What concern is Romeo expressing?

4. If she looks at him without sweetness. Romeo is expressing the concern that Juliet won’t love him.

5. How does Romeo’s concern differ from Juliet’s? What might this comparison reveal about these two characters?

5. Romeo’s concern is about love; Juliet’s is about Romeo’s safety. This comparison shows that Romeo is more romantic and Juliet is more practical.

Direct students to reread lines 74–78.

6. Romeo prefers death (“my life were better ended”; 77) to life without Juliet (“than ... wanting of thy love”; 78). This is again a romantic concern overriding a practical one; Romeo is valuing romance over his own life.

6. What does Romeo prefer to life without Juliet’s love? How does this support your understanding of what Romeo values?

Consider the request he makes of her eye. What would the opposite be? What would this indicate about Juliet’s feelings toward Romeo?

6. The definition of wanting as “lacking” may be unfamiliar to students. Take the time to explore the meaning of this word if it causes confusion. Additional scaffolding for lines 74– 78: 

Direct students to reread lines 79–84. 7. What extended metaphor is Romeo constructing in these lines? What might this reveal about how Romeo understands his

7. Romeo compares Juliet to merchandise, Offer students the definition of pilot and himself to a ship’s captain, using the as Romeo uses it, “the pilot of a metaphor of a treasure hunt. Romeo is ship.” trying to tell Juliet that he would do anything to be with her.


What is Juliet asking Romeo? What is Romeo’s answer? Juliet is asking Romeo who led him to her. Romeo says that love led him to Juliet.

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relationship to Juliet?

Some students may extend this answer to include the fact that Romeo is also establishing a metaphor of possession, where Juliet is a prize or treasure to be captured.

Instruct students to read aloud in their groups lines 85–89 and circle repeating words.

Students circle the repeating word fain three times.

8. Offer students a definition of fain as “gladly.” What does the use of fain in these lines reveal about how Juliet is feeling? Why might she be feeling this way?

8. The repetition of the word emphasizes this statement: Juliet really, really wishes she could take back what she said.



DRAFT

8


What does Juliet say Romeo would see if it were not night? Romeo would see her blushing.



What can you infer from this about how Juliet is feeling? Juliet is feeling embarrassed. She says if it wasn’t night time Romeo would see her blushing because of what he overheard.



When Juliet says, “what I have spoke,” what speech is she referring to? Hint: recall your last close read, in Lesson 7. Juliet is referring to her “rose” speech, which she made when she did not know Romeo was listening.

Now that students know what fain means, they can understand that Juliet would gladly take back what she said.


9. Offer students a definition of compliment as “formality.” When Juliet says “farewell, compliment” to what is she saying goodbye? What shift might this indicate in her attitude?

9. Students to make connections between the close reading for lesson 7 and today’s excerpt. Juliet might be embarrassed because Romeo heard her say that she really likes him. Juliet is saying good-bye to formality. It might mean she’s putting her embarrassment behind her.

Instruct students to read aloud in groups lines 90–97.

10. Juliet is unsure of Romeo’s feelings toward her, and she is cautious of appearing to be “too quickly won” (94). Juliet is feeling nervous about her relationship with Romeo. She is unsure of the permanence of his feelings for her. Some students might suggest that once again, Juliet is voicing practical concerns about the outcome of this relationship.

10. What concerns underlie Juliet’s requests? What might this reveal about how she understands her relationship with Romeo?

Instruct students to read aloud in groups lines 98–106. 11. What is the definition of light in line 99 and line 105? How does this description inform your understanding of Juliet’s intentions towards Romeo?


DRAFT

11. Juliet uses light to mean “shallow” or “casual” or “silly.” Light love is just like a crush. Juliet is trying to tell Romeo that she truly loves him.

If students are having trouble defining Juliet’s use of light, ask: How would these lines be different if light was replaced with casual? The phrase “taking it lightly” might also be helpful to some students. Additional scaffolding TDQs for lines 98–106: ●


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Who are “those who have more cunning to be strange” (line 101)? What does cunning mean here? What about strange? They are other women who



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Romeo could have fallen in love with, who are better at hiding their feelings than Juliet is. Cunning (defined in footnotes) means more adept, or more artful. Strange (also in footnotes) means reserved. 

Ask students to consider their close reading as a whole while they complete this activity in their groups. Instruct students to review the text they have just read and circle all the imagery found in Romeo’s lines. Then they will repeat the process for Juliet’s lines.

For Romeo, students circle phrases such as “love’s light wings,” “twenty of their swords,” “night’s cloak,” “lent him my eyes,” “vast shore washed with the farthest sea.” For Juliet, students circle “drunk a hundred words” but not much else.

Ask students to offer examples of the imagery they identified. Record students' observations on the board. 12. What do you notice about the use of imagery in Romeo’s lines versus Juliet’s lines?

12. Students identify that Romeo uses a lot of imagery and that Juliet does not use a lot of imagery. Student responses may vary but should


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How does Juliet compare herself to these people? Juliet compares herself by saying she doesn’t have the same charms that other women might, but she’ll be a more “true” lover than someone who pretends not to care.


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include an understanding that language is used to establish, reveal, and compare these characters. 5%

Quick Write Students respond independently in writing to the following question:

See High Performance Response.

What can you infer about Romeo and Juliet by comparing their use of language? Consider their main concerns in this excerpt. 5%

If students struggle here, direct them back to lines 70–73 in order to reestablish Romeo’s and Juliet’s differing concerns.

Closing For homework, instruct students to continue Students continue to read their their Accountable Independent Reading Accountable Independent Reading text for through the lens of their focus standard and homework. prepare for a 3–5 minute discussion of their text based on that standard.



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Lesson 9

Introduction This is the final lesson in the three-lesson arc focusing on the iconic balcony scene, and it contains the Mid-Unit Assessment. The text selection for this lesson is Act 2.2.107–136, in which Romeo and Juliet exchange vows. Students will read this text selection closely, considering the ways in which Romeo and Juliet influence each other through conversation. The three-lesson arc will culminate in a brief writing assignment, which is the Mid-Unit Assessment. Students will consider Romeo and Juliet’s character development throughout the entire balcony scene. Their claim will be supported by evidence from 2.2 as a whole. Students will continue working in the groups of four that were established in Lesson 7, as well as participating in discussion with the entire class. Students will end this lesson by viewing a portion of Baz Luhrmann’s Romeo + Juliet that will provide summary and act as a bridge to the next set of lessons. For homework, students will continue to read their Accountable Independent Reading texts.

Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. W.9-10.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. Addressed Standard(s) RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as draw inferences from the text. RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

Assessment Assessment(s) Writing Assignment: Use the text selections found on your Mid-Unit Prep Tool and your own notes and annotations from Lessons 7–9 to answer the following question: How do Romeo and Juliet’s desires, concerns, and fears change throughout their interactions with one File: 9.1.3 Lesson 9 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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another in this scene? Use evidence from the text to support your answer. High Performance Response(s) Student responses may vary but could include the following: 

Romeo: Romeo starts out the scene wanting to be near Juliet, to touch her face (“O, that I were a glove upon that hand that I might touch that cheek!”), and to look at her. Then he expresses concern that she won’t love him (“wanting of thy love”), but he isn’t worried about being murdered (“let them find me here”). Romeo then expresses a desire to give Juliet his vow of love and to get hers. He doesn’t seem to be swayed by Juliet’s worry that they are moving too fast, and he convinces her to give him her vow of love. Romeo starts out with romantic desires, not worried about practical things. He ends the scene still concerned with romantic desires.

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Juliet: Juliet starts the scene wanting Romeo to get rid of his name so he won’t be her enemy (“deny thy father and refuse thy name”). Then she fears for his safety and is worried that he might be murdered by her kinsmen (“thy will murder thee”). Then she worries that their relationship is moving too fast and won’t last (“too like the lightning which doth cease to be”), but Romeo changes her mind and she ends up giving Romeo her vow of love. Juliet starts out with practical worries and concerns but ends up expressing romantic desires (“my love as deep, the more I give to thee”). Use NY Regents Text Analysis Rubric to assess student writing.


contract (n.) – formal agreement for marriage (this definition offered in footnotes)

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bent (n.) – purpose

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procure (v.) – to obtain or get by care

Vocabulary to teach (may include direct word work and/or text-dependent questions)  inconstant (adj.) – changeable Additional Scaffolding Questions: 

vow (v.) – make a promise

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swear (v.) – make a promise

Lesson Agenda/Overview Student-Facing Agenda • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, W.9-10.2 Text: Act 2.2.107–141 Introduction of Lesson Agenda Homework Accountability


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Opening Activity Text-Dependent Questions and Activities Mid-Unit Prep Tool Mid-Unit Assessment Independent Writing Assignment Watch Romeo + Juliet [46:38–49:39] Closing


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Materials • • • • •

Mid-Unit Prep Tool Film Tool: Stylistic Choices (see Lesson 2) Film: Romeo + Juliet [46:38–49:39] Masterful Reading of 2.2.107–155 (see Unit Overview) Free Audio Resource: https://itunes.apple.com/us/itunes-u/romeo-and-juliet/id384528334 Alternative Audio: http://www.audiogo.com/us/romeo-and-juliet-bbc-radio-shakespeare-williamshakespeare-gid-21505


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.9-10.3, RL.9-10.4, W.9-10.2. Inform students they are picking up where they left off and will continue to work in the groups established in Lesson 7.

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Student Actions


Opening Activity Project lines 2.2.2–3 and 2.2.98–99 on the board.

Students briefly respond to the question in their notebooks.

Display the following question: What word can you find that is used in both these lines? How is it being used in each context?

Romeo uses the word light when he sees Juliet’s window and uses it to compare Juliet to the sun, the moon, and angels. “Light” in this context means beauty or brightness.


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Text-Dependent Questions and Activities Have students listen to a masterful reading of 2.2.107–155 (see Unit Overview).



Instruct students to get into their groups of four.

Students circle swear five times and vow twice.

Direct students to read lines 107–114 aloud in their groups, circling repeating verbs in their text. Then, lead a discussion of the following questions, allowing students time to discuss in groups before sharing with the whole class. 1. How does Juliet’s description of “th’ inconstant moon” compare to Romeo’s description of the moon? What concern is Juliet expressing with this image?

Student responses may include the following: 1. Romeo’s description is more about the beauty of the moon, “yonder blessed moon…that tips with silver all these fruit tree tops” and Juliet’s is about the moon as something you can’t count on because it doesn’t stay the same, it is “inconstant”.


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Additional scaffolding TDQs for lines 107–114: 

Where have you seen the word swear used before? What does it mean in this context? Listen for students to identify the meaning of the verb swear as “curse.” Prompt students to


Juliet is concerned that if Romeo swears by the moon he will “prove likewise variable,” and the vow won’t last.

Instruct students to read lines 115–124 aloud in their groups. Then continue the discussion in the same way. 2. How does the use of light in lines 119– 120 compare to how you’ve seen it used previously in this scene? What does this image represent for Juliet?

Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

recall Romeo’s use of forswear at the Capulet ball, to come to the second definition of swear as “to make a promise.” If students struggle to make this connection, provide the definition of swear. 

What words or phrases in line 109 can help you make meaning of vow in line 107? Romeo says he will “vow” by the moon, and Juliet asks him not to “swear” by the moon, so students should infer that vow and swear have the same meaning.



Why, according to Juliet, is it better for Romeo to swear by himself? Juliet would believe Romeo if he swore by himself because she worships him.

Additional scaffolding questions for lines 115–124:  2. It is different from how Romeo used light, which was for a description of beauty. It is similar to how Juliet used light, which was a way to describe shallow or insubstantial love. The image of

File: 9.1.3 Lesson 9 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a


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What does Juliet refer to as “too rash”? Define rash, using the words and phrases in line 118 to help you. Juliet is referring to the


lightning represents something that seems over before it starts, something that happens really fast. Juliet is worried about their love being over before it starts, like lightning. 3. What imagery is Juliet using in lines 120– 121? What does this image represent for Juliet? What fears might these two contrasting images express?

3. Juliet uses the imagery of a flower, a “bud of love” blossoming in the summer. This imagery represent love that blossoms over time (“when next we meet”), unlike the lightning which happens really fast and then “doth cease to be.”

4. Why does Juliet interrupt Romeo? What can you infer about Juliet’s opinion of Romeo based on her interruptions?

4. Juliet stops Romeo from swearing his love, or giving her a vow (“well, do not swear”). Juliet thinks Romeo is moving too fast, and is too “rash.”

Instruct students to read lines 125–136 aloud in their groups.

5. Satisfaction is to have “th’ exchange of thy love’s faithful vow for mine”. Romeo’s desire to have Juliet exchange vows right now is opposite to Juliet’s earlier concern that things are moving too fast.

5. What, according to Romeo, is “satisfaction”? How does Romeo’s desire for satisfaction compare to Juliet’s concern in lines 116–124? 15%


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“contract,” or vows, as too rash. Rash means "sudden" or "unadvised." It’s a bad idea. 

You have been reading this scene for three lessons, but consider the action in real time. How much time has it taken for this change in concerns to occur? It’s been only a few minutes.

Mid-Unit Prep Tool Inform students that they are going to Students work on the tool in their groups. spend the rest of the class working on a See the model tool. writing assignment that addresses the entire balcony scene, but first they are going to use a tool to review the text and organize their thoughts and observations.


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This tool provides opportunity for students to practice an activity similar to one they will be asked to complete in preparation for their End-of-Unit Assessment.


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See tool at the end of this lesson. 40%

Mid-Unit Assessment Independent Writing Assignment Instruct students to use the text selections found on their tool and their own notes and annotations from Lessons 7–9 to answer the following prompt:

Students write the Mid-Unit Assessment independently.

How do Romeo and Juliet’s desires, concerns, and fears change throughout their interactions with one another in this scene? Students may choose to focus their answer on either Romeo or Juliet but should focus on the character's interactions with each other. Collect writing assignment from students. 5%

Watch Romeo + Juliet and Closing Pass out blank copies of the Film Tool: Stylistic Choices and show a clip of the film (46:38–49:39 on the DVD). Briefly discuss using the Film Tool.

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Students hand in writing assignment.

Students watch the film and take notes on their tool. Students summarize that the Friar agrees to marry Romeo and Juliet.

Closing For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3–5 minute discussion of their text based on that standard.



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Mid-Unit Prep Tool

Name: Identify Who is Speaking

Text Selection

Identify the Desire, Concern or Fear Being Expressed

2.2.24–25 O, that I were… …that cheek! 2.2.42–44 O, be some other name!... …smell as sweet. 2.2.70 If they do see… 2.2.77–78 My life were… …of thy love. 2.2.104–105 Therefore pardon me… …to light love 2.2.119–120 Too like lightning… …Sweet, good night. 2.2.132 And yet I… 2.2.139–140 O blessed… …but a dream.



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Model Mid-Unit Prep Tool

Name:

Text Selection

Identify Who is Speaking

Identify the Desire, Concern or Fear Being Expressed

Romeo

Romeo wants to touch Juliet, to be near her.

Juliet

Juliet wants Romeo to give up his name so he will no longer be her enemy.

Juliet

Juliet is worried that Romeo will be murdered if her family sees him.

Romeo

Romeo would rather die than live without Juliet’s love.

Juliet

Juliet is concerned Romeo will think her love is insubstantial.

Juliet

Juliet is concerned that they are moving too fast, and their love will be over before it begins.

Juliet

Juliet is expressing her love for Romeo, she wishes for the love she already has.

2.2.24–25 O, that I were… …that cheek! 2.2.42–44 O, be some other name!... …smell as sweet. 2.2.70 If they do see… 2.2.77–78 My life were… …of thy love. 2.2.104–105 Therefore pardon me… …to light love 2.2.119–120 Too like lightning… …Sweet, good night. 2.2.132 And yet I…


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2.2.139–140 O blessed… …but a dream.

Romeo

Romeo is concerned that the whole conversation was a dream.


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Lesson 10

Introduction In this lesson, students close read 3.1.59–110. In this excerpt, Tybalt kills Mercutio. Guided by a set of text-dependent questions, students will engage in a collaborative analysis of the multifaceted motivations of three of Shakespeare’s complex characters. These text-dependent questions will prompt students to explore Shakespeare’s figurative language and word choice in order to prepare students to respond independently to the three writing prompts found on their Lesson 10 Tool. The first two prompts on the Lesson 10 Tool ask students to consolidate and summarize the analysis they have performed as a class. The final prompt asks that students independently develop a claim to address the lesson’s focusing question: Who is to blame for Mercutio’s death? Students will craft their response into a brief paragraph. This writing exercise will allow students to practice developing and supporting a claim by synthesizing information gathered throughout the lesson in order to structure an effective argument. For homework, students will briefly respond to a vocabulary focused writing prompt.

Standards Addressed Assessed Standard(s) RL.9-10.3


Addressed Standard(s) Cite strong and thorough textual evidence to support analysis of what the text RL.9-10.1 says explicitly as well as inferences drawn from the text. RL.9-10.4


CCSS.ELA-Literacy. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. CCRA.R.7

Assessment Assessment(s)


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Lesson 10 Tool High Performance Response(s) •

See Model Lesson 10 Tool for High Performance Responses.


appertaining (v.) – belonging or being connected as a rightful part

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alla stoccado (n.) – a stab or thrust with a fencing sword

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pilcher (n.) – a scabbard for a sword

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rapier (n.) – a thin, light, sharp pointed sword for thrusting

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passado (n.) – a thrust in fencing with one foot advanced

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bandying (v.) – exchanging back and forth

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sped (adj.) – finished (archaic)

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peppered (adj.) – ruined (archaic)

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braggart (n.) – a person who brags about achievements or possessions


tender (v.) – to hold something dear, to value

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dishonorable (adj.) – lacking honor, shameful

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grave (n.) – a place where dead people are buried; (adj.) – serious or solemn

Lesson Agenda/Overview Student-Facing Agenda • • • • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, ELA-Literacy.CCRA.R.7 Text: 3.1.59–110 Introduction of Lesson Agenda Homework Accountability Film: Romeo + Juliet (55:57–1:00:10) Text-Dependent Questions and Lesson 10 Tool Closing

Materials • • •

Film Tool: Stylistic Choices Film Clip: Luhrmann’s Romeo + Juliet (55:57–1:00:10) Lesson 10 Tool


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.9-10.4, ELA-Literacy.CCRA.R.7.

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Student Actions


Film: Romeo + Juliet Begin the lesson by watching a four-minute clip of Luhrmann’s Romeo + Juliet (55:57– 1:00:10). This clip encompasses the key events of 2.6 and introduces students to the events of 3.1, providing the necessary context for close reading of excerpt 3.1.59–110 in this lesson.

Students watch film and take notes on their tool. Key events in 55:57–1:00:10: 

Romeo and Juliet get married.

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Tybalt challenges Mercutio.

Hand out blank copies of the Film Tool: Stylistic Choices (see Lesson 2).


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Sample film debrief questions:

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Where are these scenes set? How does this influence your understanding of the action of the scene? What important props did the characters use in these scenes? Why do you think these props were emphasized? How were the characters dressed? What might their



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Play film clip (55:57–1:00:10). Lead a brief class discussion on student observations of Luhrmann’s stylistic choices (see Lesson 2 Model Film Tool). Check for student comprehension of the key events.

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costumes suggest about these characters? What sounds did you hear? What effect is Luhrmann creating with sound? What did you notice about the lighting in these scenes? What effect is Luhrmann creating with light?

Text-Dependent Questions and Lesson 10 Tool Hand out Lesson 10 Tool. Explain that you will be pausing the class discussion today at strategic points for students to respond to the three writing prompts found on their tools.

Students follow along, silently reading the Lesson 10 tool.

Explain that the first two prompts on the Lesson 10 Tool ask students to summarize some of the main ideas they have been discussing in class. The last prompt asks students to take a position and defend it with evidence from the text. The Lesson 10 Tool will be collected at the end of class. Instruct students to form small heterogeneous groups according to established protocols. Consider instructing student groups to divide the lines according to characters, with one student reading the part of Benvolio, another the part of Tybalt, and another the part of Romeo.

Students read aloud in groups, assisting peers with fluency, pacing, and emphasis.


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The goal here is for students to begin to recognize the complex character dynamics of this excerpt, as well as familiarize themselves with language and key events of the scene before beginning a more detailed analysis.



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Have students read the entire excerpt (3.1.59–110) aloud in these groups. Direct students to reread lines 59–65. At the same time, display the following questions for students to discuss in their groups. Student groups should be prepared to share their thoughts with the class. 1. What reason does Romeo have to love Tybalt?

2. What course of action does Romeo advocate in response to Tybalt’s insult? What in the text makes you think so? Lead class discussion of group responses.

Student responses may include the following: 1. Juliet, or more specifically Romeo’s marriage to Juliet, is the “reason of [Romeo’s] love” for Tybalt. Tybalt is Juliet’s cousin. Now that Juliet is Romeo’s wife, Tybalt and Romeo share a common family bond. 2. Romeo wants to walk away from Tybalt. He is refusing to fight him. Students point to Romeo’s statement “therefore, farewell” as evidence.

If students struggle to make the connection, point them to the List of Roles in their text and ask the following scaffolding questions: 

What is Tybalt’s relationship to Juliet? Tybalt and Juliet are cousins.

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What relationship does Romeo have with Juliet? Juliet is Romeo’s wife.

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What relationship does Romeo have with Tybalt? Tybalt, Juliet’s cousin, is now related to Romeo through marriage. Additional scaffolding for lines 59– 66: 

Have students reread lines 70–71. Display the following questions for students to discuss in their groups: 3. What clues in this sentence can help you to understand what Romeo means by tender in

3. Students circle the word “dearly” to help them understand that “tender” in this context is a verb that means "to hold something dear," or "to value something."


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In this passage, what does Tybalt call Romeo? Circle your answer in the text. Students should circle the word villain.


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this context? Circle your answer and be ready to share. 4. Why does Romeo "tender" the name of Capulet as "dearly as his own"?

4. Romeo holds the name of Capulet as dearly as he holds his own because he loves Juliet and is now married to her.

5. What shift in Romeo’s allegiances does this statement suggest?

5. Since Romeo “tender[s]” the name of Capulet as much as the name of Montague, then perhaps he no longer feels like the Capulets are his enemies. Students might further infer that his love of the “name” (70) is a metaphor for the love of the family itself, so here Romeo is saying that he loves the Montagues and Capulets equally.

Lead a brief class discussion of student responses.

Direct students to the first Quick Write on their Lesson 10 Tool: Why won’t Romeo fight Tybalt?

Quick Write: See Model Lesson 10 Tool for sample student response.

Instruct students to take two minutes to write a response or two or three sentences, calling upon the analysis of lines 59–71 that they completed in their groups. Direct students to reread lines 72–89 in their groups. Display the following questions for students to discuss in their groups:

6. Students to identify the word honor in the word dishonorable. The prefix dismakes the word mean the opposite of the core word. In this case, dishonorable means "without honor," or "shameful."

6. What root word do you see in dishonorable (72)? How does the prefix dischange the


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Remind students that this is an informal writing exercise. They should not worry about grammar, spelling, etc.


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core meaning of this word? 7. What does Mercutio find dishonorable? Circle the words in line 72 that act as clues. Lead class discussion of student responses.

Read aloud lines 72–83. Focus student listening with the following activity: As you listen, read along in the text and circle all the stage directions that you see.

7. Students circle the words “calm” and/or “submission”. Mercutio finds Romeo’s calmness in the face of Tybalt’s insult dishonorable. He sees Romeo’s refusal to fight as a shameful surrender to an enemy, an act of “vile submission” (72). 8. Students determine by Mercutio’s actions (as indicated in the stage directions “Draws” and “They fight”) that Mercutio thinks fighting is the honorable response to Tybalt’s insult.

Lead a brief class recap of stage directions students have circled, then display the following question for students to discuss in their groups: 8. Based on what Mercutio does, what course of action does he believe to be honorable? Direct students to respond independently to the second Quick Write on their Lesson 10 Tool: Why does Mercutio fight Tybalt?

Quick Write 2: See Lesson 10 Model Tool for sample student response.

Circle the room and provide support when necessary. Instruct students to reread lines 84–89. Pose the following question for students to discuss in their groups:

9. Students underline the stage direction "Tybalt under Romeo’s arm thrusts Mercutio" and "flies" (89), to explain that Tybalt has injured Mercutio.


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9. Who is responsible for Mercutio’s injury? Underline the words from the text that support your answer. Direct students to reread lines 100–105. Pose the following question for students to discuss in their groups: 10. Who does Mercutio say is responsible for his injury? Underline the lines in the text that makes you think so.

10. Students underline lines 104 and 105, “why the devil came you between us? I was hurt under your arm,” to explain that Mercutio is saying that it is Romeo’s fault that he is injured.

Circulate and observe student discussion, assist only as needed. Direct students to reread lines 91–110 in pairs. Pose the following questions for class discussion: 11. What phrase do you see repeated in this section? Underline it every time it appears. What does Mercutio mean by this? Who does Mercutio blame for his injuries here? Direct students to question 3 on their Lesson 10 Tool: Who is to blame for Mercutio’s death? Instruct students to review the sections of the text that they’ve underlined, and then write a short paragraph, using evidence from these sections in their response

11. Mercutio repeats "a plague a’ both your houses" three times between lines 91 and 110. Some students might note that he shouts the more abbreviated "your houses!" a fourth time in line 110. Mercutio is blaming the two feuding families (the Montagues and the Capulets) for his injuries. Students craft brief written response to the Lesson 10 focusing question (See Model Lesson 10 Tool for sample student response).


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If necessary, this final prompt can be completed as homework or used as a guide for full class discussion.


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Collect Lesson 10 Tools. 5%

Closing Remind students that for homework they will generate two meanings that they think are appropriate for the word “grave” in the context of this close reading, and then respond in writing to the following question: Why does Mercutio choose this word to describe himself? Students should be prepared to offer their definitions of grave and turn in their written responses at the beginning of Lesson 11.

Students respond in writing to the guiding prompt.

Homework Reread aloud lines 90–105. The word grave can have several meanings. Offer two meanings that you think are appropriate in the context of this close reading, and then respond in writing to the following question: Why does Mercutio choose this word to describe himself? Use evidence from the text to support your response.


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Lesson 10 Tool 1. Why won’t Romeo fight Tybalt? Support your answer with evidence from the text. ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ 2. Why does Mercutio fight Tybalt? Support your answer with evidence from the text. ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ 3. Who is to blame for Mercutio’s death? Support your assertion with evidence from the text. ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________ ______________________________________________________________________________________________________________________


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Model Lesson 10 Tool 1. Why won’t Romeo fight Tybalt? Romeo won’t fight Tybalt because he “has a reason to love” Tybalt. The reason Romeo has to love Tybalt is that he is married to Romeo’s cousin Juliet. Romeo loves Juliet and thinks of her as his family, so he loves Tybalt and thinks of him as his family too. Romeo tells Tybalt this when he says that he holds the name of Capulet “as dearly as mine own” (71). Romeo’s love for Juliet has helped him to understand that the blood feud between the Montagues and the Capulets is pointless and wrong because he feels an allegiance to both families now. 2. Why does Mercutio fight Tybalt? Mercutio fights Tybalt because he thinks that Romeo is being “dishonorable” (72) in not responding angrily to Tybalt’s insult. Mercutio describes Romeo’s “calm” (72) unwillingness to fight as “vile submission” (72) because he understands Romeo’s lack of action as a shameful surrender to a man who has insulted Romeo and by extension all Montagues. Therefore, Mercutio fights Tybalt because he is trying to uphold the Montague family honor. 3. Who is to blame for Mercutio’s death? The bloody family feud between the Montagues and the Capulets is to blame for Mercutio’s death. Although Mercutio was stabbed by Tybalt’s sword, he ultimately places the blame not on the individual man, but on the Montague and Capulet families. After Mercutio is injured he shouts “a plague a’ both your houses,” which means that he is cursing both the house of Montague and the house of Capulet. If Mercutio just blamed Tybalt for his injury, he would only have cursed the house of Capulet, not both houses. Mercutio shouts this same curse three different times, in lines 92, 101, and finally in line 108 where he follows his curse with the explanation that “they have made worms' meat out of me” (109). Here he is clearly blaming both families for his approaching death – it is their fault that he will soon be buried in the ground and will decompose. It is clear from his repetition of this curse that Mercutio blames the family feud between the Montagues and the Capulets for his death. The feud is what makes Mercutio feel like he has to defend the Montague family honor against Tybalt’s insult. If he hadn’t tried to defend the family honor, he never would have been injured. Note: Students might provide a variety of contradictory responses to answer this question. Some students might argue that Tybalt is to blame for Romeo’s death, because Tybalt is the one who dealt the killing blow with his rapier (“Tybalt under Romeo’s arm thrusts Mercutio in and flies” (90)). Other students might make the claim that Romeo is to blame for Tybalt’s death, because when he tried to stop the fight between Romeo and Tybalt he came between them, and so Tybalt was able to go beneath Romeo’s arm and stab Tybalt (“why the devil came you between us? I was hurt under your arm.” (105)) As long as students make a claim and support it with evidence from the text, they have accomplished the primary goal of the assignment.


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Lesson 11

Introduction In this lesson, the first in a two-lesson arc, students will continue their exploration of Romeo’s character development as they begin to work carefully through the Act 3 excerpt 3.1.108–138, in which Romeo kills Tybalt. This passage is a critical turning point in the play and functions as a catalyst for the tragic events that unfold in subsequent scenes. Students will perform a concentrated close reading of lines 108–119, in which Romeo outlines his motivations for killing Tybalt. Slowing down the pace and working intensively with a short excerpt will help students hone their skills in comprehending complex text, and prepare them for longer excerpts in the weeks to come. Students will complete their close reading of this passage in Lesson 12. Activities that involve reflection, vocabulary, and writing guide students in their exploration of this arc’s unifying focusing question: Is Romeo “fortune’s fool”? This question prompts students to explore Romeo’s motivations, his interactions with other characters, and how his decisions advance the tragic plot of Shakespeare’s play. Student work in Lesson 11 lays the critical groundwork for this exploration. In Lesson 12, students will draw upon and further their initial analysis, and demonstrate cumulative comprehension in a brief written response to the unifying focusing question. For homework, students will review and expand their Lesson 11 Quick Writes with additional evidence from the text.





RL.9-10.3


Assessment Assessment(s) Quick Write: What is Romeo implying about his own role in the events to come? Use evidence from the


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text to support your response. High Performance Response(s) Look for student responses to this Quick Write to demonstrate an understanding of the implications of Romeo’s complex statement in lines 118–119. For example: • When Romeo says “this but begins the woe others must end” (119) he is indicating that he will not be able to resolve the tragedy that has begun with Mercutio’s death.


mortal (adj.) – causing or having caused death temper (n.) – disposition; (v.) – to soften something by adding the influence of something else aspire (v.) – to rise, climb, or soar woe (n.) – great sorrow or distress respective (adj.) – partial (obsolete) conduct (n.) – guide (obsolete) consort (v.) – accompany, escort (obsolete)

Vocabulary to teach (may include direct word work and/or text-dependent questions) • • • • •

slander (n.) – the utterance of false charges which damage another person’s reputation effeminate (adj.) – having feminine qualities; not manly in appearance or manner valour (n.) – strength of mind or spirit that enables a person to encounter danger bravely moe (adj.) – more fate (n.) – the development of events outside of a person’s control; destiny

Lesson Agenda/Overview Student-Facing Agenda • • • • • • • •

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Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4 Text: Act 3.1.108–119 Introduction of Lesson Agenda Homework Accountability Masterful Reading: Act 3.1.108–119 Text-Dependent Questions and Activities Quick Write Closing

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Materials • None.


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.9-10.4. Introduce students to the unifying focusing question of this two-lesson arc: Is Romeo “fortune’s fool”? Student work in this lesson will lay the groundwork for this cumulative exploration. In Lesson 12, students will conclude their analysis of this passage and craft an independent written response to the unifying focusing question.

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Student Actions


Homework Accountability Lead a brief class discussion of student responses to the homework from Lesson 10: Read aloud lines 90–105. The word grave can have several meanings. Offer two that you think are appropriate in the context of line 100, and then respond in writing to the following question: Why does Mercutio choose this word to describe himself?

Students volunteer a definition for the noun form of grave (a place where dead people are buried) as well as the adjectival form of grave (serious, or giving cause for alarm). Mercutio describes himself as a grave man because he has been seriously injured and because he thinks he is going to die (and be buried in a grave). Some


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Consider explaining pun to students who are unfamiliar with this concept.


Collect student homework for accountability. 5%

DRAFT students might note that this is a pun.

Masterful Reading Read aloud 3.1.110–138 or, alternatively, play an audio recording (see Unit Overview). Instruct students to read along in their texts.


Explain that students will be working in pairs. They will be exploring the first chunk of this excerpt (3.1.108–119) together and then responding independently to a culminating Quick Write. 75%

Text-Dependent Questions and Activities Direct students to read aloud lines 111–114. Provide students with the following textdependent questions to discuss in their pairs. Each pair should be prepared to share in class discussion. 1. Whom does Romeo blame for Mercutio’s injury? Underline the part of the text that tells you.

Student responses may include the following: 1. Students underline “My very friend, hath got this mortal hurt/In my behalf” (109–110) as evidence that Romeo blames himself for Mercutio’s injury.

2. What is “Tybalt’s slander” (114)? Hint: Review line 60 from your Lesson 10 excerpt.

2. Tybalt’s slander is that he insulted Romeo by calling him a “villain.” Line 60 directs students to the exact line in which this slander occurs –“thou art a villain” (60).

3. According to Romeo, what are the

3. Romeo says that Tybalt’s slander has stained his reputation (“my reputation


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consequences of Tybalt’s slander?

stained” 110).

4. What familiar word do you see within effeminate (116)? How can this word help you to understand what Romeo feels Juliet’s beauty has done to him?

4. Students identify the familiar word feminine within the word effeminate (113). Romeo feels that Juliet’s “beauty” (113) has made him more feminine or less of a man.

5. Review the definition of valour on your vocabulary chart (n. strength of mind or spirit that enables a person to encounter danger bravely). What do valour and steel have in common?

5. Students make the connection that valour and steel share the concept of strength. Valour is strength of mind, while steel is a very strong metal. Some students might make the connection between steel in the form of a weapon that would help someone to face danger bravely.

6. In your own words, what has Juliet’s beauty 6. Juliet’s beauty has softened Romeo’s done to Romeo’s “temper”? bravery and dulled his strength. 7. According to Romeo, why didn’t he defend himself against Tybalt’s slander? Support your answer with evidence from lines 108–114.

7. Romeo didn’t defend himself against Tybalt’s slander because he feels that his relationship with Juliet has made him less of a man. Therefore, he no longer has the strength to encounter danger bravely, as Romeo explains, “Juliet, thy beauty hath made me effeminate and in my temper softened valour’s steel” (112–114).

8. Why does Romeo blame himself for Mercutio’s injury?

8. Romeo blames himself for Mercutio’s injury because he thinks that his relationship with Juliet is ultimately


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Circle the room and support as needed. Lead class discussion on questions 1–8.

Instruct student pairs to read lines 115– 119.cDisplay the following questions for students to answer in their pairs. They should be prepared to share their answers with the class.

DRAFT responsible. If Juliet had not made him less manly, then Romeo would not have allowed his reputation to be damaged by Tybalt’s insult. If Romeo’s reputation had not been damaged, then Mercutio would not have felt the need to defend Romeo’s reputation for him by fighting Tybalt. 9. The letter r is missing from moe. Shakespeare took the r out of the word more so it would rhyme with woe.

9. A letter is missing from moe. Read the sentence again. What do you think it might be? Why do you think Shakespeare omitted this letter? 10. What recent event is Romeo describing when he says “this day’s black fate” (118)?

10. Mercutio’s death

11. According to Romeo, who will end the “woe” that has just begun?

11. “others” (i.e., not himself)

Circulate and support as needed. Lead class discussion of questions 1–3. 5%

Quick Write Pose the following Quick Write for students

Students complete a Quick Write. See


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to answer independently.

DRAFT High Performance Response.

Quick Write: What is Romeo implying about his own role in the events to come? 5%

Closing Remind students that for homework they will review and expand their Quick Write with additional evidence from the text. Students should be prepared to hand their revised Quick Write in at the beginning of Lesson 12.

Students review and expand their Lesson 11 Quick Write.

Homework Review and expand Quick Write with additional evidence from the text.


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9.1.3

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Lesson 12

Introduction In this lesson, students will continue to develop their close reading skills as they resume their analysis of Tybalt’s death scene in Act 3 (3.1.108–138). In conjunction with Lesson 11, Lesson 12 establishes 3.1.108–138 as a turning point in Romeo’s character development. In their close reading of lines 3.1.120–138, students will work in pairs to analyze word choice, figurative language, and character interactions in order to explore the unifying focusing question of this twolesson arc: Is Romeo “fortune’s fool”? At the close of the lesson, students will consolidate and strengthen the analysis they have performed in both lessons as they craft a final brief written response to the focusing question. For homework, students will continue to read their Accountable Independent Reading texts.





ELALiteracy.CCRA.R.7


Assessment Assessment(s) Quick Write: Is Romeo “fortune’s fool” (138)? Use evidence from the text to support your response. High Performance Response(s) Responses to this Quick Write will vary. The sample responses below illustrate elements to look for in student work: • Romeo is not “fortune’s fool” because it was his own decision that led to Tybalt’s death and the tragic situation he is in now. Romeo could have continued to avoid violence, but instead he chose to kill Tybalt in retribution for Mercutio’s death. No one forced his hand; he made the choice to resort to violence on his own when he said “away to heaven, respective lenity, and fire-eyed fury be my conduct now” (125–126). The bad things that happen as a consequence of Tybalt’s death are File: 9.1.1 Lesson 12 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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Romeo’s own doing, not just the result of fate. • Romeo is “fortune’s fool” because the chain of events that led him to kill Tybalt were not under his control. Romeo did not know that his relationship with Juliet would lead to Mercutio’s death. This is an example of bad luck because he never could have known how one event would influence the other. Once Mercutio dies, Romeo has no choice but to avenge his friend’s death. When Romeo says “this day’s black fate on moe days doth depend, this but begins the woe others must end” (121–122), he is explaining just how little control he has over the events that will follow.


mortal (adj.) – causing or having caused death temper (n.) – disposition; (v.) – to soften something by adding the influence of something else aspire (v.) – to rise, climb, or soar woe (n.) – great sorrow or distress respective (adj.) – partial (obsolete) conduct (n.) – guide (obsolete) consort (v.) – accompany, escort (obsolete)

Vocabulary to teach (may include direct word work and/or text-dependent questions) • lenity (n.) – the quality or state of being tolerant • fortune (n.) – chance or luck, or an outside, random force that affects humans


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Standards: RL.9-10.1, RL.9-10.3, ELA-Literacy.CCRA.R.7 Text: Act 3.1.120–138 Introduction of Lesson Agenda Homework Accountability Opening Activity Text-Dependent Questions and Activities Quick Write Film: Romeo + Juliet (1:10:50–1:12:37) Closing

Materials • Film: Baz Luhrmann’s Romeo + Juliet


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• Film Tool: Stylistic Choices (see Lesson 2)


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Student Actions

Instructional notes (extensions, supports, common misunderstandings)

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, ELA-Literacy.CCRA.R.7. In this lesson, students will close read 3.1.119–138, concluding the exploration of Tybalt’s death scene (3.1.108–138) begun in Lesson 11.


Students will explore the final chunk of this excerpt (3.1.119–138) in pairs and then respond independently to the focusing question of this two-lesson arc: Is Romeo “fortune’s fool”? 5%

Homework Accountability Instruct students to review the Lesson 11 Quick Write that they expanded for homework. (What is Romeo implying about his own role in the events to come?) Lead a brief class discussion of student responses.

Students identify a possible discontinuity in Romeo’s prediction of the future and the description of events to come as provided by the CHORUS in the prologue of Act 1.


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The purpose of this activity is to review crucial understandings developed in Lesson 11, as well as to prompt students to continue the process of making connections across the text in its entirety.


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Collect student homework for accountability. 15%

Opening Activity Display the following activity on the board for students to complete independently. Students should jot down their responses and be ready to share with the class. Opening Activity: Reread the Prologue to Act 1 (1.Prol.1–14); then revisit your Lesson 11 Quick Write. How does Romeo’s prediction of future events in lines 3.1.18–19 compare to the description of the events of the play provided by the Chorus? Lead brief class discussion of student responses.

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Student responses may include the following: In 3.1.18–19, Romeo states that Mercutio’s death has begun a terrible chain of events that he will not be able to stop, “this but begins the woe others must end” (3.1.19). In contrast, in the Act 1 Prologue the CHORUS informs the audience that the death of the two children of the feuding households (Romeo and Juliet) will “bury their parent’s strife” (1.Prol.8). Although Romeo is not present to witness the resolution, according to the CHORUS Romeo does stop the “woe” through his own death.

Text-Dependent Questions and Activities As in Lesson 11, begin with a masterful reading of the entire excerpt (3.1.108–138). Instruct students to follow along in their texts as they listen.


Instruct student to reread lines 120–131. Display the following questions for students to discuss in their pairs. Pairs should be prepared to share their answers with the class.

1. Students identify the phrase “fire-eyed fury be my conduct now” in line 122 to determine that lenity must be the opposite of fury, or "the state of being tolerant or kind."

Student responses may include the following:


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Students will most likely need to rely heavily on the vocabulary chart provided at the beginning of class throughout this question sequence.


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1. What clues in line 122 can help you to determine the meaning of lenity in line 121? 2. What choice is Romeo making in lines 122– 123?

2. Romeo is choosing to approach Tybalt with violence and anger, rather than the tolerance that he formerly demonstrated.

3. What three possible paths to justice does Romeo propose in line 128?

3. Students identify the following three options outlined in Romeo’s statement “Either thou or I, or both, must go with him” (128): • • •

4. What do you notice about the pacing of this fight sequence? Hint: How does it compare to Mercutio and Tybalt’s duel (3.1.72–89)? Circulate and provide support as needed. Lead full class discussion.

Instruct student pairs to read lines 134-139. Pose the following questions one at a time for full class discussion: 5. In what contexts have you heard the word fortune before? Consider the meaning of

I die. You die. We both die.

4. The fight sequence between Romeo and Tybalt is very brief as compared to the extended fight sequence between Mercutio and Tybalt. The fight is encompassed in a single stage direction “They fight. Tybalt falls [and dies]” (133). This direction is short, and includes very little description. The action here is very abrupt. 5. Students might suggest that they have heard the word fortune in the context of money. Other students might also mention that they have heard the word fortune used in the context of fortune teller or fortune cookie. In this passage, fortune is


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Additional scaffolding for lines 134–139: 5. It may be helpful to have students substitute each definition of fortune that you have discussed


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fortune in these different scenarios. What do you think fortune means in the context of this passage?

used to imply a future or fate that will happen regardless of individual choice or self-determination, it is a future that is destined to happen.

6. What might it mean to be “fortune’s fool” (138)?

6. If fortune means luck or destiny or someone’s future, and to be a fool means to be tricked by someone, or to be made to look ridiculous, then to be “fortune’s fool” is to be tricked by your destiny, or to have bad luck, or to be a victim of your fate.


and paraphrase the sentence as a strategy for determining the meaning of fortune in this sentence.

Quick Write Students will draw upon the analysis they have performed in their pairs in Lessons 11 and 12, in order to write a brief independent response to the unifying focusing question of this two-lesson arc. Students will hand in their written responses at the end of class.

Student answers to this Quick Write will vary. See High Performance Response(s) for sample student answers.

Display the following Quick Write prompt: Is Romeo “fortune’s fool” (138)? Use evidence from the text to support your response. Collect student Quick Writes. 10%

Film: Romeo + Juliet Hand out blank copies of the Film Tool: Stylistic Choices (see Lesson 2).

Students watch film and take notes on Lurhmann’s stylistic choices and key plot


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Film debrief questions: • Where are these scenes set?


Conclude the lesson by watching a twominute clip of Baz Lurhmann's Romeo + Juliet (1:10:50–1:12:37; see Unit Overview). This clip will address the culminating events of 3.1 that precede this lesson’s excerpt.


DRAFT events on their film viewing tool. Key event of this clip: Prince banishes Romeo

Lead a brief recap of student observations (see Instructional Notes for possible discussion questions). Ensure that students have noted the key events of this clip in the appropriate space on their tool.

•

•

•

•

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How does this influence your understanding of the action of the scene? What important props did the characters use in these scenes? Why do you think these props were emphasized? How were the characters dressed? What might their costumes suggest about these characters? What sounds did you hear? What effect is Luhrmann creating with these sounds? What did you notice about the light in these scenes? Why do you think Luhrmann made these choices?


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Lesson 13

Introduction This lesson is a close reading of Act 3.2.1–31, Juliet’s speech while she waits for Romeo, before she has found out that Romeo killed her cousin Tybalt. The lesson will ask students to draw a comparison between a close reading of this passage and Marc Chagall’s painting Romeo and Juliet (link in the Materials box), with a focus on structural choices and the effects they create. Students will engage in rich discussion in small groups and with the whole class before completing a short, evidence-based writing assignment at the end of class. For homework, students will continue to read their Accountable Independent Reading texts.

Standards Assessed Standard(s) RL.9-10.7 Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus). Addressed Standard(s) RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone). Assessment Assessment(s) • Stylistic Choices Tool: Marc Chagall’s Romeo and Juliet • Quick Write: In 3.2.1–31 and Chagall’s painting Romeo and Juliet, both author and artist structure their work with intention. What aspects of Romeo and Juliet do Chagall and Shakespeare choose to emphasize and to leave absent? What effect do these choices create when you consider them in context of the events of the play? Use evidence from the text and the painting to support your claim. High Performance Response(s) 

See Model Stylistic Choices Tool



Student responses to the Quick Write prompt may vary, but should draw a comparison between the kinds of things that are intentionally absent from this excerpt and from the painting. Examples of possible student observations: o Shakespeare and Chagall highlight and leave out the same kinds of things in the


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excerpt and the painting, emphasizing love and leaving out tragedy. In context this makes the emphasis on happiness seem even sadder because the reader/viewer knows that Romeo and Juliet do not get to stay happy. Chagall highlights the happiness of the two lovers through the use of the colors he chooses, and if you did not know that the story of Romeo and Juliet was a tragedy, his painting would just seem really happy. Shakespeare has Juliet deliver this speech about how excited she is for Romeo to get to her room, she repeats the word “come” and describes herself as “an impatient child” but she doesn’t know that Romeo has just killed her cousin Tybalt. Shakespeare and Chagall both show happiness upfront, but the tragedy is always in the background.

Vocabulary Vocabulary to provide directly (will not include extended instruction) • • • • •

apace (adv.) – quickly steeds (n.) – horses Pheobus (n.) – Apollo, god of the Sun, the sun personified Phaeton (n.) – son of Apollo bating (v.) – coursing, running through

Vocabulary to teach (may include direct word work and/or text-dependent questions) • civil (adj.) – honorable, noble

Lesson Agenda/Overview Student-Facing Agenda • • • • • • • • • •

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Standards: RL.9-10.4, RL.9-10.7 Text: 3.2.1–31 Introduction of Lesson Agenda Homework Accountability Opening Activity Introduction of RL.9-10.7 Text-Dependent Questions and Activities Stylistic Choices Tool: Marc Chagall's Romeo and Juliet Quick Write Closing


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Materials • Marc Chagall’s Romeo and Juliet: http://www.masterworksfineart.com/inventory/2039 • Stylistic Choices Tool: Marc Chagall’s Romeo and Juliet


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Student Actions

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.4, RL.9-10.7. Explain to students that today they will be doing a close reading of 3.2.1–31 and then comparing it to a piece of modern art.


Explain that students will be asked to complete a short writing assignment at the end of class comparing the reading and the art, so they should take care to take detailed notes, as this will help them build the strongest possible response. 5%


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Opening Activity Display the following question. Students should



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record a brief answer and be prepared to share. Why has the Prince banished Romeo?

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The Prince has banished Romeo because Romeo killed Tybalt.

Briefly discuss the question. This information will be important for students to keep in mind as they consider the textual context of this lesson’s close reading. 5%

Introduction of RL.9-10.7 Display the full text of Standard RL.9–10.7: Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus).

1. Students point to the qualifier artistic to indicate that mediums has something to do with different kinds of art. Other students might point to the two examples provided (Auden’s poem and Breughel’s painting) to indicate that mediums refers to different artistic means of expression.

Pose the following questions for class discussion: 1. What clues in this standard can help you to determine the meaning of mediums in this context?

If students struggle to understand this concept, consider displaying or handing out an image of Breughel’s Landscape with the Fall of Icarus and Auden’s “Musée des Beaux Arts.” The goal here is for students to grasp that these are examples of two different artists engaging with the same material in different artistic formats, rather than to engage with the details of these materials in a critical way. If necessary, provide students with a definition of emphasis.

2. Why might an artist choose to emphasize or leave absent certain details when representing a subject or a scene?

2. Students make observations about the intentionality behind an artistic product— artists may choose to leave elements out accidentally, or they may purposefully choose to omit aspects of the scene or subject that don’t further their own interpretation or reading or message. The same goes for


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emphasis. 3. How might the comparison of two representations of the same subject/scene enrich our understanding of this subject/scene?

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3. Students begin to consider how analyzing differing interpretations can illuminate how the same subject can be understood or interpreted In different ways. This process highlights the subjectivity of literary analysis and illuminates the rationality behind the deliberate choices (author’s craft) made in artistic products of all kinds.

These questions are intended to encourage students to explore and take ownership of the standards. If students struggle with this discussion, it may be worthwhile to return to these questions at the end of the lesson. Students can then use their analysis of Chagall to inform their responses.

Students follow along, reading silently on their copies.

Copy the reading ahead of time.

Text-Dependent Questions and Activities Pass out copies of the reading on a sheet of paper. This will allow for more annotation and note taking on the text. Have students listen to a masterful reading of 2.2.1–31 (see Unit Overview). Instruct students to break into heterogeneous groups according to established protocols.

4. Juliet uses the image of fiery “steeds” that are galloping toward the god of the sun, to bring in the night. Juliet is expressing her desire for night to come.

Instruct students to read aloud lines 1–31 in their groups. After posing each question, allow time for group discussion before calling on students to share out with the whole class. Instruct students to reread lines 1–7. Offer students definitions for this section (see


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Consider breaking the text into five six-line sections and encouraging groups to have each member read aloud one section, rather than having one student read the entire passage.


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vocabulary chart at the beginning of this lesson). 4. What desire is Juliet expressing through her use of imagery in these lines?

Instruct students to re-read lines 8–16 5. Direct students to the word civil in line 10. Ask students to recall where they have seen civil before. In what context did it first appear? What is the context here? 6. What relationship is being established between Juliet and the night?

5. In the Prologue, the word civil was used to refer to blood and the hands of the feuding households becoming unclean. Here it is used as a way to describe the night.

5.If students struggle to recall the use of civil from the Prologue, direct them to look at the Prologue in their text. Additional scaffolding TDQs for lines 8–16:

6. Juliet is addressing the night like it is a person; she is expressing desire for the night to come because night is when she will be with Romeo. She is complimenting the night, calling it “civil” and her “matron,” and saying that the night will “learn [her]” how to “grow bold.”

• Who or what is Juliet addressing in these lines? Juliet addresses the night. • According to Juliet, what time is best for lovers? Night is the best time for lovers.

Instruct students to reread lines 17–25, circling repeating words. 7. What desire is being expressed through this repetition? What does Juliet want to happen?

Students circle night five times and come five times. 7. The repetitions emphasize how much Juliet wants the night to arrive immediately, and how great her desire is.

• How does Juliet describe the night? Juliet describes the night as “civil,” or polite, and as a "sobersuited matron."

8. What imagery does Juliet create to talk about Romeo? What can you infer about Juliet’s feelings for Romeo based on this imagery?

8. Juliet creates the image of Romeo being cut into stars to make the face of night more beautiful (“take him and cut him out in little stars”). Juliet is totally in love with Romeo.

• What will the night teach Juliet how to do? The night will teach Juliet how to be “bold.” Extension: Some students may


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come to the understanding that Juliet is expressing a desire to lose her virginity.

Instruct students to reread lines 26–31, underlining imagery in these lines. 9. What does Juliet compare herself to? What can this comparison reveal about how she is feeling?

Extension TDQ for entire excerpt: • How does Juliet’s use of imagery in this passage compare to earlier close readings of Juliet’s lines? What might you infer about Juliet’s character development? Juliet is using much more imagery than she has before. Juliet is becoming more romantic, and her use of imagery is probably influenced by Romeo, who uses tons of imagery all the time.

Now ask students a series of questions that address Shakespeare’s structural choices and the context surrounding this passage.

10. The audience knows that Romeo has killed Tybalt and been banished by the Prince, but Juliet does not.

Again, allow students time to discuss in groups before asking them to share. 10. What does the audience know that Juliet does not yet know? Consider what key plot points immediately precede this scene.

11. What effect does Shakespeare create by

11. The effect is one of tragedy or loss,


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Avoid spending too much time


ordering the events in this way? Consider how your knowledge of what has just happened influences the way you understand this passage. Instruct students that this is an example of dramatic irony. This is irony that is inherent in the structure and events of the play; the meaning is understood by the audience but not by the characters. 25%

DRAFT because Juliet is so happy and impatient for the night to come, but the reader knows that what is coming is the knowledge that Romeo is banished. It makes the passage seem sad, even though the words are full of excitement. It is sad because the reader knows Juliet won’t get what she wants.

defining dramatic irony for students. It is important for them to be able to have a name for this feature of the play, but they should be making inferences about its presence and role in the play through questions and observations.

Stylistic Choices Tool: Marc Chagall's Romeo and Juliet Display a copy of Marc Chagall’s Romeo and Juliet.

See Model Stylistic Choices Tool.

Pass out copies of the Stylistic Choices Tool. Students should work through the tool in their groups, discussing each question and recording their observations.

If possible, students may benefit from being provided with a color copy, or to have color copies distributed for groups to share. This kind of tool should be familiar to students, as it is very similar to the kind of tool used to focus film viewing in this unit, and should need little introduction.

This tool will be collected at the end of the lesson to assess student comprehension. 5%


Quick Write After students have had time to complete their Stylistic Choices Tool, they independently respond in writing to the following question:


In 3.2.1–31 and Chagall’s painting Romeo and Juliet, both author and artist structure their work with intention. What aspects of Romeo and Juliet do Chagall and Shakespeare choose to emphasize and to leave absent? What effect do these choices create when you consider them in

This Quick Write is a way for students to consider the role of dramatic irony in the play, and the corresponding choices in Marc Chagall’s painting. This will serve as a point of origin for student analysis of


It may be helpful to display this question for students to return to as they write.

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context of the events of the play?

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dramatic irony in Romeo and Juliet and for students to begin to consider these kinds of challenging questions.





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Stylistic Choices Tool: Marc Chagall’s Romeo and Juliet Name: 1. What are the predominant colors in the painting? What is the quality of the color (e.g., bright, muted, or dark)?

2. Identify the figures. Who are they? What do you notice about how they are represented? Is their representation realistic?

3. What other symbols or imagery can you identify in the painting?

4. What is the emotion of the painting? How do you know?

5. Where are Romeo and Juliet in relation to the city? What can you infer from their position in the painting? Hint: Recall what is happening inside the city.

6. What has Chagall chosen not to represent in this painting? Consider what you know about the events of the play thus far.

7. How does your knowledge of what Chagall chose not to represent influence your understanding of the painting?

File: 9.1.3 Lesson 13 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

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Model Stylistic Choices Tool: Marc Chagall’s Romeo and Juliet* Name: 1. What are the predominant colors in the painting? What is the quality of the color (e.g., bright, muted, or dark)? Green, Purple, Blue, Pink/red. The colors are bright, solid, and without much shading. 2. Identify the figures. Who are they? What do you notice about how they are represented? Is their representation realistic? The figures are Romeo and Juliet. They are hugging and they are smiling. They are alone. They are not painted in a realistic way; they are represented in simple lines and the colors are not lifelike. 3. What other symbols or imagery can you identify in the painting? A dove, a horse, a sun/moon with Romeo’s and Juliet’s faces in it, a city that is probably Verona. 4. What is the emotion of the painting? How do you know? The painting is happy, Romeo and Juliet are in love, indicated by the fact that the colors are bright and the people are smiling. 5. Where are Romeo and Juliet in relation to the city? What can you infer from their position in the painting? Recall what is happening inside the city. Romeo and Juliet are above the city, in the sky. The inference is that they are above the feud and the violence that is happening in Verona. 6. What has Chagall chosen not to represent in this painting? Consider what you know about the events of the play thus far. Chagall has chosen not to represent the fighting or the death, or any of the violence of Romeo and Juliet. There are no other people in the painting. 7. How does your knowledge of what Chagall chose not to represent influence your understanding of the painting? Knowing that Romeo and Juliet are going to die, and there is a lot of hate and violence that Chagall does not represent, creates a layer of tragedy underneath what would otherwise be a very joyful painting. *As with the Model Film Tool in Lesson 2, this Model Stylistic Choices Tool is an example of student observations, not an answer sheet.


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9.1.3

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Lesson 14

Introduction This lesson is a close reading of Romeo’s reaction to his banishment, in conversation with Friar Laurence. The text for this lesson is Act 3 Scene 3. Students will read lines 1–11 for comprehension and focus on lines 12–70 for their close reading. The lesson focuses on word meaning, with an emphasis on Romeo’s state of mind and his attitude toward his banishment. Students will participate in rich discussions in small groups and with the whole class, including a definition activity using a Vocabulary Activity Tool that asks them to explore multiple meanings and repetition. Students will conclude with a discussion that asks them to use this information to make an inference about Shakespeare’s language use and their understanding of Romeo’s character development. For homework students will independently read from Romeo and Juliet and briefly reflect on their understanding in writing.





Assessment Assessment(s) Vocabulary Activity Tool High Performance Response(s) See Model Vocabulary Activity Tool


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validity (n.) – legal acceptability or soundness (this definition offered in footnotes)



carrion (n.) – dead or rotting flesh



displant (v.) – to uproot, transplant (this definition offered in footnotes)



dispute (v.) – to argue



estate (n.) – situation (this definition offered in footnotes)



prevail (v.) – to succeed


mean* (n.) – instrument, method; (adj.) – offensive, nasty, malicious



adversity (n.) – disastrous fortune or fate

* used twice in the line, with two different meanings


Standards: RL.9-10.3, RL.9-10.4

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Text: 3.3.1–70

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Masterful Reading






Vocabulary Activity



Full Class Discussion



Closing

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5% 5% 5% 50% 20% 10% 5%

Materials • Vocabulary Activity Tool


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50%


Homework Accountability Lead a brief (3–5 minute) share out on the previous lesson’s AIR homework assignment. Select several students (or student pairs) to explain how they applied their focus standard to their AIR text.

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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.3, RL.9-10.4. In this lesson, students will close read a conversation between Romeo and the Friar, with a focus on language choices and word meaning.

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Student Actions

Students (or student pairs) share out on how they applied their focus standard to their AIR text from the previous lesson’s homework.

Masterful Reading Have students listen to a masterful reading of 3.3.1–70 (see Unit Overview).

Students follow along, reading silently and circling repeating words and phrases.

Students should annotate with special consideration to repeating words and phrases.

Students note the repetition of the word banishment and the similar word banished.

Text-Dependent Questions and Activities Instruct students (in groups of four) to read

Student responses may include the


3

Alternatively, consider having a student read the part of Friar Laurence, while you or a very proficient student handles the more dense passages of Romeo.


aloud lines 1–11 and be prepared to offer a key plot point that summarizes the content of these lines. This activity will allow students to quickly recall what has just happened in the play (i.e., that Romeo killed Tybalt).


DRAFT following: The Friar has told Romeo that Romeo has been banished by the Prince.

Groups should elect a scribe to record their observations. Allow students time to discuss these questions in groups before sharing out with the whole class. Instruct students to read aloud lines 12–28 in their groups. 1. What can you infer about how Romeo is feeling from his repetition of banished?

1. Romeo is in shock. He is feeling terrible, and he is obsessing over this problem. He sees no solutions, only banishment and death.

2. How does the Friar think Romeo should view his situation? What can you infer about the Friar’s attitude toward Romeo’s situation?

2. Friar Laurence thinks Romeo should see this banishment as “dear mercy.” Romeo should be patient. Romeo should be thankful that the Prince did not sentence him to death. The Friar thinks Romeo’s situation is “mercy” compared to what could have happened to him, which is death.

Instruct students to read aloud lines 29–51 in their groups.

3. Heaven is where Juliet is (“heaven is here where Juliet lives”). Every “unworthy thing” can live there, but Romeo may not live there.

3. Where is “heaven” according to Romeo? Who gets to live there? Who does not get to live there? Ask students to offer a definition of carrion. If no

4. A “carrion fly” is an insect that lives on or


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Additional scaffolding for Lines 29–51: 

Who is “he” in line 40? What is happening with pronouns in this line? What happens to the pronouns in line 41? “He” is Romeo. Romeo is referring


student can offer the definition, provide the definition as “dead or rotting flesh.” 4. According to Romeo, what attributes does the carrion fly have that he does not?

around dead or rotting flesh, but Romeo says it has more “validity,” “honor,” and “courtship” than he does.

5. Romeo creates an image of a carrion fly landing on Juliet’s lips. Romeo’s reference to “carrion flies” brings death and decay into this passage. It creates an unsettling image of Juliet.

6. According to Romeo, what can the word banished do to him? What does Romeo compare the word to?

6. Romeo says even hearing the word banishment spoken by his friend can “mangle” him. He compares the Friar saying “banished” to poison or a knife.

Instruct students to read aloud lines 51–70 in their groups.

7. The Friar repeatedly asks Romeo to let him speak (“hear me a little speak”). Romeo won’t let the Friar speak (“talk no more”). The Friar keeps asking Romeo to listen to him, but Romeo won’t listen.

8. How does Romeo compare himself and the Friar in lines 65–70? Of what is Romeo trying to convince the Friar through this comparison?

8. Romeo compares his age to the Friar’s age and their situations (“wert thou young as I, Juliet thy love…then mightst thou speak”). Romeo is trying to convince the Friar that he would act the same way if he was in Romeo’s situation.

9. What can you infer about Romeo’s state of mind from this interaction?

9. Romeo is being stubborn, and a little crazy. He does not want to listen to advice.


to himself in the third person. In line 41 Romeo starts referring to himself as “I” again. 

5. What imagery does Romeo use involving the carrion fly? What effect is created by this image?

7. What request(s) does the Friar make of Romeo in this interaction? How does Romeo respond?


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What can you infer about Romeo’s state of mind based on his use of the third person? Romeo is looking at himself from the outside. It makes Romeo sound a little crazy or frantic.

Additional scaffolding for lines 51–70: 

How does the Friar describe Romeo’s state of mind in line 51? The Friar calls Romeo a “mad man.”


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He is very emotional and he is grieving. 20%

Vocabulary Activity Pass out copies of the Vocabulary Activity Tool. Instruct students to complete the tool in their groups.

Students complete the Vocabulary Activity Tool in groups.

Circulate and assist only as needed. Once students have had time to complete the tool, briefly discuss student observations. Collect Vocabulary Activity Tool to assess student comprehension. 10%

Full Class Discussion Lead a full class discussion about the following questions: 

How might Romeo define banishment?

Student observations will vary but should indicate an understanding that Romeo and the Friar have completely different views of banishment. 

Romeo defines banishment as “hell itself.”

 In Romeo’s mind there is nothing worse than banishment, and he would rather die than be banished from the city where Juliet lives. 

How might the Friar define banishment?



The Friar defines banishment as “dear mercy.”

 He wants to make Romeo understand that at least he isn’t being sentenced to File: 9.1.3 Lesson 14 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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It may be helpful to record student generated definitions and observations on the board, both for student reference and note taking, and to ensure that students avoid repeating observations that have already been made.


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death. In comparison to death, banishment isn’t that bad. 

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How do the two definitions compare?

The Friar’s definition is more optimistic and practical, but Romeo won’t listen to him.

Closing For homework students will independently read from Romeo and Juliet and briefly reflect on their understanding in writing.

Read from Romeo and Juliet and briefly reflect on their understanding in writing.

Students should be prepared to discuss their observations at the beginning of the next lesson.

Homework Read lines 3.2.64–72 (from “What storm is this” through “alas the day, it did”) and write an objective summary of this excerpt.


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Vocabulary Activity Tool Name: Directions: Define these words as Romeo uses them. Some words may have more than one use. Be sure to define all uses of these words.

 mean (3.3.45)

 fly (3.3.41)

1. What do you notice about the use of these two words in Scene 3?

2. What might Shakespeare be trying to accomplish using the words in this way?

3. Can you think of another example where you’ve encountered this kind of word play in the text?


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Model Vocabulary Activity Tool Name: Directions: Define these words as Romeo uses them. Some words may have more than one use. Be sure to define all uses of these words. 



mean (3.3.45) 

A way/method to kill Romeo “no sudden mean of death”



Cruel “though ne’er so mean”

fly (3.3.41)  

The insect “carrion flies” To get away “from this I must fly”

1. What do you notice about the use of these two words in Scene 3? Sometimes Shakespeare repeats a word but with a different meaning in each repetition. This not always the case, and depends on context, but is the case in this excerpt. 2. What might Shakespeare be trying to accomplish using the words in this way? Shakespeare is emphasizing a passage, or playing with language. It also makes Romeo’s line seem a little crazy, which is further supported by the Friar calling him a “madman.” 3. Can you think of another example where you’ve encountered this kind of word play in the text? Students may offer examples of the multiple uses and definitions of light that they have encountered (from the balcony scene, among other places), or the use of civil in the Prologue and the text they studied in Lessons 12 and 13.


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Lesson 15

9.1.3 Introduction

This lesson is the first in a two-lesson arc that addresses Juliet’s conversation with Friar Laurence, during which Juliet threatens suicide and the Friar proposes the plan that shapes the events of the rest of the play. The arc will address Act 4 Scene 1. In this lesson, students will focus on a close reading of lines 44–88, ending right before the Friar lays out his plan for Juliet’s escape. The next lesson will focus on a close reading of lines 89–126 and guide students to develop their understanding of the Friar’s plan. This understanding is crucial for complex comprehension of the tragic sequence of events that are to come. This lesson focuses on Juliet’s character development through an exploration of her word choice and rich imagery. Students will read Juliet’s conversation with the Friar and engage in both small group and whole class discussions. For homework, students will continue to read their Accountable Independent Reading texts.



Addressed Standard(s)

RL.9-10.1


RL.9-10.4


CCSS.ELAIntegrate and evaluate content presented in diverse media and formats, including Literacy.CCRA.R.7 visually and quantitatively, as well as in words.

Assessment Assessment(s) Quick Write: According to Juliet, what does her relationship to Romeo enable her to do? What connection is Juliet establishing between her personal safety and her relationship to Romeo? Use evidence from the text to support your answer. File: 9.1.3 Lesson 15 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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High Performance Response(s) Student observations will vary, but should indicate an understanding that Juliet is valuing her relationship with Romeo over her life. 

Juliet says that her love for Romeo allows her to be fearless and act without doubt (“tell not me of fear”).



Juliet is saying that her love for Romeo and their relationship is more important than her own safety or life. She is willing to die (“slay thyself”) or be mangled or be chained with “roaring bears” if it means she can be with Romeo and avoid marrying someone else (“rather than marry Paris” “to live an unstained wife to my sweet love”). Students will be asked to complete a Quick Write in Lesson 16 that encompasses the text from this two-lesson arc.


umpire (v.) – to decide or settle a dispute



commission ( n.) – authority

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chide (v.) – to disapprove of

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charnel-house (n.) – building next to graveyard where old bones are stored


resolution (n.) – decision, plan of action



long ( adj.) – considerable length of time; (n.) – desire

Lesson Agenda/Overview Student-Facing Agenda

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

Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, CCSS.ELA-Literacy.CCRA.R.7



Text: Act 4.1.44–88

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Film: Romeo + Juliet (1:22:19–1:26:38)

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Quick Write



Closing

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Materials • •

Film: Baz Luhrmann’s Romeo + Juliet Film Tool: Stylistic choices


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.9-10.4, CCSS.ELA-Literacy.CCRA.R.7.

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Homework Accountability Lead a brief class discussion to review student summaries of lines 3.2.64–72, as assigned for homework in Lesson 14.

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Student Actions

Student summaries may include the following: Juliet found out that Romeo killed her cousin Tybalt and is in mourning.

Film: Romeo + Juliet Hand out blank copies of the Film Tool: Stylistic Choices (Found in Lesson 2) or display it and instruct students to draw the categories in their notebooks. This portion of the film addresses the plot gap between Lesson 14 and Lesson 15.

Students will watch the film and take notes on their Film Tool. Students observe that Juliet had a fight with her parents about their plans to marry her to Paris. Juliet tells the nurse she is going to go see the Friar.

Play film (1:22:19–1:26:38 on the DVD; see Unit Overview). Briefly discuss, using Film Tool: Stylistic


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Choices. 60%

Text-Dependent Questions and Activities Have students listen to a masterful reading of 4.1.44–88.


Have students break into their groups of four, electing a scribe to record their observations.


Pose the following questions for each group of lines. Allow time for groups to discuss questions before sharing with class.

1. She is being forced to marry a man named Paris (or “County Paris”) on Thursday.

Instruct student groups to read aloud lines 44–49, with attention to repeating words and phrases. 1. What is the cause of Juliet’s grief? If necessary, point students to the list of roles, where they can find that “County” is Paris’s title. 2. What might the repetitions you identified reveal about Juliet’s emotions or state of mind? Tell students that past can also mean beyond. From here, students might infer that Juliet feels that she is beyond the point of hope. Instruct student groups to read aloud lines 50–54. 3. According to Juliet, what is her reason for

2. Students generate their own understanding of past (i.e., it already happened, it’s not in the present). Others might infer that she is feeling like everything is behind her and nothing is in front of her. 3. Juliet would rather die than marry Paris, and she came to seek advice from the Friar. Juliet has resolved to commit suicide


4

Additional scaffolding for lines 55– 59: • What words or phrases in lines 56–57 help you understand the meaning of deed in line 57? Hint: Consider what ceremony the Friar performed for Romeo and Juliet from question 6. Students point to sealed and connect the marriage of Romeo and Juliet to the word deed, understanding it means “marriage contract.” • What is the new “deed” that Juliet’s hand might have to participate in? If students struggle, offer a definition of deed as contract. Point out that in this context the deed is a marriage contract. The new deed is a marriage to Paris.


DRAFT

coming to see the Friar? What is Juliet’s “resolution”? Consider why she would need a knife.

rather than marry Paris.

Instruct student groups to read aloud lines 55–59. 4. Review lines 55–56. According to Juliet, what role did the Friar play in her relationship with Romeo?

4. He “joined their hands.” Students may connect this action to the fact that the Friar performed their marriage, but the essential understanding is that he has assisted in the development of their relationship.

5. What other outcome does Juliet see for herself, if not marriage to Paris? Hint: This would “slay” both her hand and her heart.

5. To commit suicide with the knife (“my resolution [showing her knife]” “slay them both,” “I long to die”).

Instruct student groups to read aloud lines 60–65.

6. The Friar proposing another viable option (“unless thou tell me how I mat prevent it”). She is asking the Friar to tell her what to do (“give me some present counsel”).

6. According to Juliet, what could prevent her from committing suicide? Consider what request she is making of the Friar.

7. How does Juliet describe the knife? What power is Juliet attributing to the knife? (If students struggle, see additional scaffolding or offer a definition for umpire and arbitrate.)

7. “Bloody” and “shall play the umpire.” Juliet is saying that the knife will solve the problem, make the decision, and act as the authority.

Instruct student groups to read aloud lines 65–67, with attention to repeating words and phrases.

Students identify the repetition of the word long.

8. How is Juliet using long? Consider the

8. Long–desire; Juliet is longing to die. Long – amount of time; Juliet asks the Friar


5


Additional scaffolding questions for lines 60–65: • Offer students a definition of commission as meaning “authority.” According to Juliet, what gives the Friar authority to give her counsel? His age and art. The fact that he is a religious figure, and that he is older and therefore wiser. • Direct students to line 63. Ask students to consider the context in which they have heard the word umpire. What does an umpire do? Students identify baseball as a


DRAFT

possibility of multiple meanings here.

not to take so long to respond to her.

9. What can you infer about Juliet’s resolve based on this repetition?

9. Juliet is very serious and desperate; something needs to happen right away.


context where they have encountered the word umpire. Students may say that an umpire enforces the rules of the game, makes decisions about plays, etc. Students identify that the umpire solves disputes and acts as an authority. • How can your understanding of umpire help you make meaning of the word arbitrate? Students explain that arbitrate means to solve problems, as well as to decide or determine outcomes.

Instruct student groups to read aloud lines 68–70 and circle repeating words and phrases. 10. What does the repetition you identified imply about how Friar Laurence views the “hope” that he sees? According to the Friar, what will this “desperate hope” prevent? Instruct student groups to read aloud lines 71–76. 11. According to the Friar, what kind of strength allows Juliet to consider his plan?

Students circle desperate twice. 10. It is a desperate hope; it’s a last resort. It might work and it might not, but it’s the last chance, or only option. The “desperate hope” will prevent Juliet’s suicide.

11. Juliet has “the strength of will to slay [her]self,” so she probably has the strength of will to do something scary that might allow her to live (“then it is likely thou wilt undertake a thing like death”).


6

Additional scaffolding for lines 71– 76: • What letter(s) might be missing from “scape” that would make it a word you are familiar with? Students identify that scape is an abbreviated form of escape. • What is Juliet escaping from? Who does Juliet have to “cop’st” with in order to escape? Marriage to Paris and death. She has to deal with death


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itself. Instruct student groups to read aloud lines 77–85. Students should circle the images in this passage, and then go back to reread and underline the verbs. 12. What do these images have in common?

13. Who is the subject of these verbs?

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Students circle the following images: “lurk where serpents are,” “roaring bears,” “dead men’s rattling bones,” etc. Students underline the following verbs: bid, leap, walk, lurk, etc. 12. The images all are scary, disgusting, or disturbing, as well as dangerous. Juliet is describing things no one would want to do. 13. Juliet is the subject of the verbs, she says “bid me,” “hide me.” These things would be happening to her.

Quick Write Students respond briefly in writing to the following prompt:


According to Juliet, what does her relationship to Romeo enable her to do? What connection is Juliet establishing between her personal safety and her relationship to Romeo? Use evidence from the text to support your answer. Collect Quick Write at the end of the lesson to assess student comprehension. 5%

Closing


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For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.

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Homework Students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.


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Lesson 16

9.1.3 Introduction

This lesson is the second in a two-lesson arc that addresses Juliet’s conversation with Friar Laurence, during which Juliet threatens suicide and the Friar proposes the plan that shapes the events of the rest of the play. The arc will address Act 4.1.44–126. This lesson will focus on a close reading of lines 89– 126 and guide students to comprehend the tragic events that are to come through an understanding of the Friar’s plan. Students will first break down the steps in the Friar’s plan and then revisit a portion of Romeo’s conversation with the Friar from Act 3 Scene 3. Students will use the Annotation and Comparison Tool to compare and contrast the conversations Romeo and Juliet have separately with the Friar. The class will culminate with a brief writing assignment. For homework, students will continue to read their Accountable Independent Reading texts. Note: This is the last lesson before students begin to study Romeo and Juliet’s death scene at the end of the play; understanding character motivation and development before moving on is crucial.





RL.9-10.4


ELAIntegrate and evaluate content presented in diverse media and formats, including Literacy.CCRA.R.7 visually and quantitatively, as well as in words.


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Assessment Assessment(s) Quick Write: How do Romeo and Juliet’s conversations with the Friar compare and contrast? What can you infer about Romeo and Juliet’s character development? Use evidence from the text and your annotation tool to support your answer. High Performance Response(s) 

Romeo does not want to listen to the Friar’s advice (“talk no more”); Juliet is asking for the Friar’s advice (“tell me how I may prevent it”). Romeo spends many lines talking about Juliet and dwelling on his banishment; Juliet expresses a desire to have a conversation about how to solve the problem. Romeo is being more dramatic and romantic; Juliet is more desperate—she wants to kill herself—but is still practical in her desire for advice. Some students may extend this comparison to include a connection to the comparison they made during the balcony scene.



Similarly to the balcony scene Romeo and Juliet are having the same kinds of feelings (love for each other and desperation about their situation) but responding in very different ways. Romeo is again highly figurative and romantic in his response; everything is dramatic. Juliet is again more practical and thinking about the literal situation and trying to come up with a solution (be that her death or something else).


distilling liquor (n.) – drug, potion



borne (v.) – to be carried, taken



vault (n.) – tomb


bridegroom (n.) – groom

Lesson Agenda/Overview Student-Facing Agenda • • • • • •

% of Lesson

Standards: RL.9-10.1, RL.9-10.3, RL.9-10.4, ELA-Literacy.CCRA.R.7 Text: 4.1.44–126 Introduction of Lesson Agenda Homework Accountability Opening Activity and Masterful Reading Text-Dependent Questions and Activities


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• • •

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Annotation and Comparison Tool Quick Write Closing


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Materials  • •

Free Audio Resource: https://itunes.apple.com/us/itunes-u/romeo-and-juliet/id384528334 Alternative Audio: http://www.audiogo.com/us/romeo-and-juliet-bbc-radio-shakespeare-williamshakespeare-gid-21505 Annotation and Comparison Tool


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10%


Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.1, RL.910.3, RL.9-10.4, ELA-Literacy.CCRA.R.7

5%

Student Actions


Opening Activity and Masterful Reading Pose this question to students: What reason(s) does Juliet have for wanting to commit suicide? Invite students to share their thoughts and ideas regarding the opening question. Encourage students to build off of each other’s answers. Have students listen to a masterful reading of 4.1.44–126.

Student responses may include one or all of the following plot points: Romeo killed her cousin, Romeo was banished, and her parents want to force her to marry Paris.

As the majority of the lines in this lesson’s close reading are spoken by the Friar, it is important for students to be reminded of Juliet’s state of mind; Juliet’s motivation is essential to understanding this scene as a whole.


Free Audio Resource: https://itunes.apple.com/us/itunesu/romeo-and-juliet/id384528334


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Alternative Audio: http://www.audiogo.com/us/romeoand-juliet-bbc-radio-shakespearewilliam-shakespeare-gid-21505 40%

Text-Dependent Questions and Activities Inform students that they will be picking up where they left off in Lesson 15. Have students return to the groups of four they established in Lesson 15. Each group should once again elect one student to act as a scribe to record their observations. Inform students that they will be focusing on lines 89–126 for their close reading and then considering the scene as a whole. Pose the following TDQs for each group of lines. Allow time for students to discuss questions before sharing with the class.


Students may benefit from having these questions preprinted, and then recording their answers on the printed copies. This may also be a 1. She is supposed to immediately “go Instruct student groups to read aloud lines useful tool for students to review home, be merry,” and tell her parents 89–121. later to support understanding of the she will marry Paris. The next night final events of the play. Using the following questions, students will she is not to let anyone into her room now break down the steps in Friar Laurence’s when she goes to bed (“look that *If students struggle, offer the plan. thou lie alone”) and then drink the definition of distilling liquor. potion (“this distilling liquor drink 1. What is Juliet supposed to do Additional scaffolding questions for thou off”). immediately? What is Juliet supposed to lines 89–121: do tomorrow night?* 


5

What happens when the effects of the drugs wear off? Juliet will wake up from “a



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pleasant sleep.” 

What familiar words can you find in the word bridegroom? Offer a definition. Students identify the words bride and groom.



Who is the bridegroom? Paris, the man Juliet is supposed to marry.



What will the bridegroom think has happened to Juliet after he comes to her room? He will think she is dead.



Who will be there when Juliet wakes up? The Friar and Romeo.

2. What words and phrases in lines 95–104 can you find to illustrate the effect the drug will have on Juliet? Circle these words in your text. According to the Friar in line 105, how long will the effects last?

2. Students circle the following details: “No warmth, no breath,” “The roses in thy lips and cheeks shall fade,” “stiff and stark and cold,” “appear like death,” “borrow’d likeness of shrunk death.” Juliet will only appear to be dead for 42 hours.

If students struggle, offer the definition of distilling liquor.

3. Where will Juliet be borne after she is found in this state?

3.

If students struggle, prompt them to contrast the more familiar word born with borne.

Juliet will be taken to the Capulet tomb, “that same ancient vault where all the kindred of the Capulets lie.”


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4. What, according to Friar Laurence, could prevent the plan from taking place?

4. “Womanish fear” or doubt on Juliet’s part.

5. How does Juliet respond? What can you infer about Juliet’s character from her response?

5. Juliet promises she has no fear (“tell not me of fear”). Student answers may vary but should include that Juliet’s grief has made her fearless; her love for Romeo has made her fearless.

Instruct student groups to read aloud lines 122–126. 6. What is the final step in the Friar’s plan?

6. He will send a letter to Romeo to tell him the plan.

7. How has Juliet’s attitude changed over the course of this scene? Consider both this lesson’s close reading, and the close reading from the last lesson.

7. Juliet responds in a brief and calm manner. She says “love give me strength” and calls the Friar her “dear father.” She is agreeing to the plan and seems to have accepted the “desperate hope” as her own hope for being with Romeo.

Annotation and Comparison Tool Transition students from discussion work to a group comparison activity in which an annotation tool is used.

Group work using annotation tool.

Hand out copies of the Annotation and Comparison Tool. Have student groups read aloud each passage and annotate connections, similarities, and differences they notice in File: 9.1.3 Lesson 16 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

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DRAFT


word choice and content. Encourage students to discuss inferences they are making as a group, but remind them that they will be responsible for generating their Quick Write responses independently. 10%

Quick Write Prompt: How do Romeo and Juliet’s conversations with the Friar compare? What can you infer about Romeo's and Juliet’s character development?


Collect Quick Write and the Annotation and Comparison Tool to assess student comprehension. 5%

Closing For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.




8


DRAFT


Annotation and Comparison Tool What can you infer about Romeo and Juliet by comparing their conversations with the Friar? Compare and contrast these two passages. Use this tool to annotate connections between similar word choices and passages, highlight differences, and find evidence that reveals aspects of Romeo and Juliet’s character development.

Romeo – Act 3, Scene 3, 33–51

Juliet – Act 4, Scene 1, 50–67

…More validity, … … … … … … … … … … … … … … … … … …To mangle me with that word ‘banished’?

Tell me not, Friar, that thou hearest of this, … … … … … 55 … … … … … 60 … … … … … 65 … …If what thou speak’st speak not of remedy.

35

40

45

50


9


9.1.3

DRAFT


Lesson 17

Introduction This lesson continues to build students’ skills in making cumulative connections across the text. The text selection for this lesson is Act 5.3.85–120. In this scene, Romeo commits suicide in Juliet’s tomb. Students will complete a close reading for this passage and then work through a series of textdependent questions that help them build meaning by connecting elements of this passage with passages read earlier in the unit. Students will engage in rich discussion, first in groups and then with the whole class. This lesson focuses on having students return to previously read text and continue to build skills making connections across all five acts of the play. Student groups will complete an annotation tool together. Individual students will use their completed tools and group discussion answers to complete a Quick Write in which they make an inference about Romeo’s character development. For homework, students will return to a portion of the text they studied earlier in the unit and respond to a question that asks them to make connections across the text.





RL.9-10.5



1


DRAFT


Assessment Assessment(s) Quick Write: Make an observation about Romeo’s character development using the comparison tool and your notes from today’s close reading. Use evidence from the text to support your answer. High Performance Response(s)  

Student responses to the Quick Write prompt will vary but should include evidence that students understand Romeo’s character is developing throughout the play. Romeo has developed from being fearless and very sure of himself to being quite unsure and afraid. In the balcony scene, he is not afraid of getting caught and killed by Juliet’s family, yet now he seems hesitant. He repeatedly questions himself, “liest there in thy bloody sheet?” “shall I believe…?” and worries that death wants Juliet for a lover (“that unsubstantial death is amorous”), and then states he will kill himself “for fear of that.”

Vocabulary Vocabulary to provide directly (will not include extended instruction)      

interred (v.) – placed a dead body in a tomb ensign (n.) – a banner, or standard (this definition offered in footnotes) abhorred (v.) – loathed utterly paramour (n.) – lover, suitor yoke (n.) – agency of oppression (this definition offered in footnotes) engrossing (v.) – devouring (this definition offered in footnotes)

Vocabulary to teach (may include direct word work and/or text-dependent questions)  lightening (v.) – cheering or gladdening  inauspicious (adj.) – unlucky  unsavory (adj.) – unpleasant





Text: Act 5.3.85–120

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







Masterful Reading

% of Lesson

5% 5% 10% 15%


2







Annotation Tool Activity



Quick Write



Closing

DRAFT


40% 10% 10% 5%

Materials 




Film Tool: Stylistic Choices (see Lesson 2)

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




Annotation Tool


3


DRAFT



Student Actions

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing Students look at the agenda. the standards for this lesson: RL.9-10.3, RL.910.4, RL.9-10.5. In this lesson students will complete a close reading of 5.3.85–120 and then work through a series of text-dependent questions. Students will return to previously read text and continue to make connections across all five acts of the play.

5%


10%


Film: Romeo + Juliet (1:37:49–1:39:36) Hand out blank copies of the Film Tool: Stylistic Choices (see Lesson 2), or instruct students to draw the categories in their

Watch film, taking notes on the film tool. Student summaries may include the


4



books.

following:

Play film (1:37:49–1:39:36 on the DVD; see Unit Overview).

Friar Laurence finds out the letter was never received by Romeo and that Romeo buys poison from the Apothecary.

Briefly discuss using the film tool. 15%

DRAFT



Have students break into their groups of four. A scribe from each group should record their observations.


Encourage all students to take notes, which they can use to support their End-of-Unit Assessment. 40%


Text-Dependent Questions and Activities Pose the following TDQs for each group of lines. Allow time for students to discuss questions before sharing with class. Instruct student groups to read aloud lines 85–101.

Student responses may include the following: 1. The audience knows that Juliet is not really dead. Romeo doesn’t know that because he never received the letter from the Friar.

1. At this point in the play, what does the audience know that Romeo does not? Hint: Consider what you know about the letter that Friar Laurence wrote to Romeo.


5

Encourage students to take turns reading so that every person in the group gets a chance to read aloud.


DRAFT

Instruct student groups to reread lines 87– 96 aloud. 2. What words or phrases in these lines can help you make meaning of the word lightening?

2. Students identify the phrases “men at the point of death” and “have they been merry.” Students make the inference that lightening is a term that refers to a happiness before death.

3. What is causing Romeo to feel merry in this moment?

3. Romeo is experiencing happiness at the sight of Juliet.

Tell students that agency is a term that refers to the power that a character or thing possesses.

4. Her beauty has power over death. Death has not been able to “conquer” her beauty.

4. In line 92–96, what agency does Romeo attribute to Juliet? 5. How does the audience’s awareness of Juliet’s state affect the way you understand Romeo’s description of Juliet?

5. It is tragic; Romeo describes the fact that she doesn’t look dead, death has had no “power yet upon [her] beauty” and “death’s pale flag is not advanced,” but he is unaware that she isn’t actually dead.

Instruct student groups to reread lines 97– 101 aloud.

6. Romeo offers to kill himself as a “favour” to Tybalt. Romeo is feeling extreme guilt over killing Tybalt.

6. What does Romeo offer to do for Tybalt? What does this reveal about how Romeo is feeling? File: 9.1.3 Lesson 17 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

6



Instruct student groups to read aloud lines 101–115 aloud.

7. the stars

7. What does Romeo refer to as inauspicious? 8. Where else in the text does Shakespeare describe stars in this way?


DRAFT

8. This refers back to the “star-cross’d lovers” from the Prologue.

7. If students struggle, inform them that one meaning of inauspicious is “unfavorable.” 8. If students struggle to make this connection, refer them to the Prologue in their text. Additional scaffolding TDQs: 

Instruct student groups to reread lines 116– 120 aloud.

9. The unsavory guide is the poison Romeo is about to drink.

Additional scaffolding TDQs: 

9. Who is Romeo’s unsavory guide?

 10. What is Romeo’s attitude toward death? Take into consideration how Romeo describes death and also what Romeo expects from death.

10. Romeo says he wants to die, but he takes his time giving this speech before drinking the poison. He looks at Juliet for a long time, and then goes through hugging and kissing her


7

What effect is created by Romeo’s description of death in lines 101–105? Romeo describes death as being in love, amorous, with Juliet. This description creates a spooky effect. Romeo refers to his fear.

What is Romeo’s last action before his death? Romeo kisses Juliet before he dies. What do the words or phrases that Romeo uses reveal about his state of mind? Romeo says he is weary and world-wearied. Earlier in this


DRAFT before he drinks the poison. He says death is a monster, but he also says it will let him shake the yoke of inauspicious stars and it will let him rest. Romeo’s description is complicated. He is unsure of how he feels.

10%

Annotation Tool Activity Transition student groups from the discussion activity to a worksheet activity. Inform groups they will now complete a comparison activity using an annotation tool similar to the one they completed in Lesson 16.

Students complete the Annotation Tool in groups.

Hand out tool for Lesson 17. Working in their groups, have students read aloud each passage, and then annotate connections, similarities, and differences they notice in word choice and content. Encourage student groups to discuss inferences they are making, but remind them that they will be responsible for generating their Quick Write independently. 10%

Quick Write


8


passage he talks about fear. He is afraid and tired, and he knows he wants to die. 10. Have students consider the length of Romeo’s speech when considering his attitude toward death. Remind students to consider both what he is saying and how he is saying it.


DRAFT


Students independently respond in writing to the following prompt: Make an observation about Romeo’s character development using the comparison worksheet and your notes from today’s close reading. 5%

Closing For homework, instruct students to return to the Prologue and respond to the following focusing question: What can you infer about the way Romeo and Juliet will end? Use evidence from the Prologue and the understanding you have built from this lesson’s close reading.

Students return to the Prologue and respond to the prompt in writing.

This homework assignment asks students to make cumulative connections across the entire text.

Homework Reread the Prologue and respond to the following question: What can you infer about the way Romeo and Juliet will end? Use evidence from the Prologue and the understanding you have built from this lesson’s close reading.


9


DRAFT


Annotation Tool Quickwrite: Make a claim about Romeo’s development as a character. Re-read these excerpts, and compare. Consider what you know about Romeo’s character, and his interactions in these two scenes. Use this sheet for annotation and brainstorming. Write 3–5 sentences.

Romeo – Act 5, Scene 3, Lines 85–86

Romeo – Act 2, Scene 2, 15–25 Two of the fairest stars in all the heaven,

… … … … … … … … … …That I might touch that cheek!

For here lies Juliet, … …full of light.

15

Romeo – Act 5, Scene 3, Lines 92–96 Death, that hath sucked the honey of thy breath … … … … And death’s pale flag is not advanced there.

20

95

25 Romeo – Act 5, Scene 3, Lines 107–118

Romeo – Act 2, Scene 2, 75–78 I have night’s cloak to hide me from their eyes … … …Than death prorogued, wanting of thy love.

And never from this palace of dim night … … … … … … … … … … …Here’s to my love!

75

Romeo – Act 2, Scene 2, 82–84 I am no pilot, yet wert thou as far … …I should adventure for such merchandise.


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115


9.1.3

DRAFT


Lesson 18

Introduction In this lesson, students will draw upon the close reading skills that they have developed over the course of Module 1 as they work carefully through the short excerpt Act 5.3.139–170. In this passage, Juliet wakes up to find Romeo lying dead next to her in the Capulet tomb. Juliet then kills herself with Romeo’s dagger. Students will analyze word choice, figurative language, and the structure of events to explore Juliet’s final act. As the culminating excerpt of Unit 3, this passage functions as the final point of comparison for an analysis of Juliet’s character development across the five acts of Shakespeare’s play. Activities involve reading aloud, group reflection, and discussion work with a set of text-dependent questions to guide students in their exploration of the lesson’s focusing question: Who or what is responsible for Juliet’s death? For homework, students will continue to read their Accountable Independent Reading texts.



RL.9-10.4


Addressed Standard(s) SL.9-10.1

Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on each others’ ideas and expressing their own clearly and persuasively.


1


DRAFT


Assessment Assessment(s) Brief written response to Round Robin Discussion question: Who or what do you think is responsible for Juliet’s death? Why? Use evidence from the text to support your response. High Performance Response(s) Sample student response: I think bad luck or fate is responsible for Juliet’s death. Romeo doesn’t realize that Juliet is faking her death, and so he kills himself. Juliet never could have predicted this when she agreed to the friar’s plan. Then, Juliet wakes up only minutes too late to prevent Romeo from taking his own life. Friar Laurence says that a “greater power” is responsible for these events. I think this greater power is fate, and fate is ultimately what is responsible for Juliet’s death.

Vocabulary Vocabulary to provide directly (will not include extended instruction)       

alack (interj.) – an expression of sorrow sepulchre (n.) – a burial chamber lamentable (adj.) – regrettable contagion (n.) – a contagious (communicable by contact) disease thwarted (v.) – defeated the hopes or aspirations of churl (n.) – a stingy person sheath (n.) – a case for a knife

Vocabulary to teach (may include direct word work and/or text-dependent questions)    

discoloured (adj.) – being altered or changed in color, especially for the worse chance (n.) – something that happens unpredictably without discernible human intention or observable cause masterless (adj.) – having no lord or master restorative (adj.) – having the power to restore (to bring something back, or return something to its former condition)


2


DRAFT



% of the Lesson



Standards: RL.9-10.3, RL.9-10.4, SL.9-10.1



Text: Act 5.3.139–170

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







Round Robin Discussion and Brief Written Responses



Closing

Materials •

None.


3

5% 5% 60% 25% 5%


DRAFT


Learning Sequence Percentage of Lesson

Teacher Actions

5%


Student Actions

Begin by reviewing the agenda and sharing Students look at the agenda. the standards for this lesson: RL.9-10.3, RL.9-10.4, SL.9-10.1. Explain that today’s excerpt will be explored in five chunks. There will be a series of text-dependent questions for each chunk. Questions will be explored as a group and then discussed with the class. Introduce this lesson’s focusing question: Who or what is responsible for Juliet’s death? 5%

Homework Accountability Lead a brief full class discussion asking students to share their responses to the previous lesson’s homework: Reread the Prologue and respond to the following question: What can you infer about the way Romeo and Juliet will end? Use

Student responses to the homework may vary, but may include the following: a prediction of the death of Juliet (“children’s end”) or the end of the feud (“bury their parents’ strife”).


4




DRAFT

evidence from the Prologue and the understanding you have built from this lesson’s close reading. 60%

Text-Dependent Questions and Activities Read 5.3.139–170 aloud, or play an audio recording.


Have students form small, heterogeneous groups according to established protocols. Direct student groups to read aloud lines 140–146.


Display the following TDQs only. Allow time for students to discuss in their groups before sharing with class.

1. Students identify the familiar words color or colored in discoloured. The prefix dischanges the word colored so that it has a negative connotation (i.e., something has been colored wrongly or badly).

1. What familiar word do you see in discoloured? How does the prefix dischange the meaning of this word?

2. Why are the swords discoloured? Why are they masterless?

2. The swords are “discoloured” because they are stained with the red blood of Romeo and Paris, as is evidenced by the stage directions “Friar stoops and looks on the blood and weapons” (140). They are “masterless” because their previous owners, Romeo and Paris, are both dead.


5


How does Friar Laurence describe the swords in lines 142–143? Underline the adjectives in your text. Students underline the adjectives masterless, gory, and discoloured.



How does Friar Laurence describe the hour? What does he mean? Friar Laurence describes the hour as unkind. Students infer that the Friar describes the hour this way because Romeo and Paris have died very recently (likely within the last hour).


DRAFT

3. Review the definition of lamentable provided to you. As a group, develop a definition of chance. Now reread lines 145– 146. What is Friar Laurence implying about recent events in this statement?

3. Students review the definition of lamentable (adj.) – regrettable. Possible student definitions of chance may include the following: “something that happens unpredictably; luck; or something that is accidental or coincidental.” After unpacking these two words, students make the connection that Friar Laurence is implying that recent tragic events were unpredictable or coincidental, without discernable human intention or observable cause.

4. According to Friar Laurence, who/what is responsible for the deaths of Romeo and Paris?

4. According to Friar Laurence, the deaths of Romeo and Paris are due to “lamentable chance” (146). Fate, fortune, or bad luck is responsible for the deaths of Romeo and Paris.

Circulate and support group discussions as needed.


Lead a class discussion of lines 140–146, calling on groups to offer their answers. Direct student groups to read aloud lines 148–150. 5. What is Juliet unaware of that both the audience and Friar Laurence know? What effect does this create?

5. At this point in the text, Juliet is unaware that Romeo is dead, she asks the friar “Where is my Romeo” (149). This creates the added effect of suspense in how the audience experiences this tragedy.

Lead a class discussion of lines 148–150, calling on groups to offer their answers.


6

Circulate around the room and support group discussions as needed. Extension questions for lines 148– 150:  How does Juliet refer to Romeo in these lines? Underline the part of the text that tells you. Students underline my lord



DRAFT



Direct student groups to read aloud lines 151–159. 6. According to Friar Laurence, who/what is to blame for the tragic events that have transpired? What is Friar Laurence suggesting about the power of individual choice in this situation? Circle and support discussion groups as needed. Lead class discussion of lines 151–159.

Direct student groups to read aloud lines 160–167. 7. How does Juliet respond to Friar Laurence’s counsel? What does she see as

6. Friar Laurence says that a “greater power” Additional scaffolding questions for (153) is the cause of these events. Friar lines 151–159: Laurence is suggesting that individual choice doesn’t stand a chance against a greater  How does Friar Laurence power when it comes to how events play describe the scene in front of out. He explains that despite the individual him? decisions that he, Juliet, and Romeo made, Friar Laurence describes the this tragic event still came to pass because scene as a “nest of death,” a something else was more powerful than all “contagion,” and “unnatural” three of them. (152–153).  What option is Friar Laurence offering to Juliet? Friar Laurence is offering Juliet the option to join a nunnery. 7. Juliet refuses to accept Friar Laurence’s help and depart with him. She says, “I will not away.” Juliet thinks that poisoning herself is a better alternative. Students' answers will vary. Some might suggest that


(148) and my Romeo (150). What might this tell you about how Juliet understands her relationship to Romeo? Juliet understands herself as simultaneously possessing Romeo (as indicated by the possessive my, used twice) and as his subject or his inferior (he is her lord).

7

It will probably be necessary here to discuss what a nunnery is (a convent) and what a nun is required to renounce (she must take the three vows: poverty, chastity, and


a better alternative? Why? Hint: What do you know about Juliet that might make a nunnery a fate worse than death?

8. Why does Juliet describe the poison as a “restorative”? What does she think it will restore?


DRAFT Juliet’s passionate nature (as evidenced most clearly by Juliet’s soliloquy in Act 4) would make this a difficult transition. Others might point to the fact that she married Romeo against her parents’ wishes as evidence that a life of obedience would be difficult and even miserable for her. Others might point to Juliet’s affluent background— her family throws big parties—as a reason why a more spartan lifestyle would be uncomfortable. Still others might say that, for Juliet, any life without Romeo is not a life worth living.

obedience).

8. Juliet describes the poison as a restorative because she thinks that it has the power to bring Romeo back to her, if only in death, and so return their relationship to what it previously was.

Additional scaffolding:

Additional scaffolding: 






8

If Juliet accepts Friar Laurence’s offer, what sort of a future does she have to look forward to? If Juliet accepts this offer, she has a quiet lifetime of prayer and abstinence to look forward to – no more passionate love affairs.

What familiar word do you see in restorative? What does this word mean? Students identify the familiar word restore within restorative. The word restore means “to return something to its former condition.” If students struggle to define restore, ask them scaffolding questions to guide their thought process: What are people doing when



DRAFT



9. What does Juliet realize in line 167? How does this compound the tragedy of the scene? Circulate around the room and support group discussions as needed. Lead a class discussion of lines 160–167. Direct student groups to read aloud lines 168–170. 10. Whose dagger kills Juliet? What might this symbolize? Allow students time to discuss in their groups. Circle the room and support group discussions as needed. Lead a class discussion of lines 168–170.

9. In line 167, Juliet realizes that Romeo has died very recently because his lips have not yet grown cold, she exclaims “Thy lips are warm!” (167). This compounds the tragedy of the scene because if Juliet had woken only minutes earlier, she might have been able to stop Romeo from drinking the poison. 10. Romeo’s dagger kills Juliet. Student responses concerning the possible symbolic weight of this scenario will vary widely. Some students might say that Romeo’s dagger might symbolize that Juliet has chosen to die for Romeo—he is the reason for her death. Others might suggest that the fact that a Montague dagger killed yet another Capulet symbolizes that the Montague–Capulet family feud is ultimately responsible for this tragedy. Still others might suggest that Romeo’s dagger is symbolic of the tragic consequences of Romeo and Juliet’s forbidden love.


they restore old cars? They are making old cars work like new cars again. So what does it mean to restore something? It means “to return something to the way it used to be.”

9

Additional scaffolding questions for lines 168–170:  Why does Juliet kill herself with the dagger? Juliet kills herself with the dagger because the Page and Watchmen have just walked in, and the poison has not yet taken effect. Students might also respond that there wasn’t enough poison left on Romeo’s lips to kill Juliet, so she had to use the dagger instead.  How does Juliet describe the



DRAFT



25%

dagger? Why might she choose this word? Juliet describes the dagger as “happy” (169) because she thinks it will reunite her with Romeo, or perhaps because it will end her suffering. How is Juliet’s death by dagger different than Romeo’s death by poison? Apart from the obvious (i.e., Juliet’s death is most likely bloodier and slower than Romeo’s), Juliet’s death by dagger is more of an impulsive decision than Romeo’s death by poison. Romeo went out and bought the poison, which demonstrates that his decision was premeditated. Juliet, on the other hand, has awoken from a deep sleep to find her husband dead beside her. Her death by dagger is a decision made quickly and in the heat of the moment.

Round Robin Discussion and Brief Written Responses Inform students that they will conclude their exploration of 5.3 with a Round Robin

Example 1 minute Round Robin responses:


10

Round Robin rationale: The purpose of this exercise is for students to


discussion of the lesson’s focusing question: Who or what is responsible for Juliet’s death? Directions for Round Robin: Instruct students to arrange themselves into two concentric circles. Each circle should contain the same number of students, creating pairs between the two circles. Student pairs should be facing each other.

DRAFT Student 1 from inner circle (1 min): I think Juliet is responsible for her own death because she is the one who decided to take Romeo’s dagger and stab herself. She could have decided to go with Friar Laurence, but she didn’t.

Student 2 from outer circle (1 min): I think Romeo is responsible for Juliet’s death because she only kills herself so that she can be with him. If Romeo had only realized that Juliet wasn’t dead before he took the The Round Robin begins with each student poison, he would be alive and so would in the inner circle discussing their answer to Juliet. the following prompt for 1 minute: Who or what do you think is responsible for Juliet’s death? Why? Each student’s counterpart on the outer circle first listens and then responds with his or her own answer to the focusing question for 1 minute. Then, at your direction, students in the outer circle rotate to the right one spot and repeat the protocols established with a new partner. This Round Robin will include three rotations. Circulate and observe student discussions and assess comprehension.


11


practice how to make a claim and support it with evidence. This exercise also has the added benefit of brainstorming and oral processing.


DRAFT


Once three rotations have been completed, direct students to briefly record their response to the Round Robin discussion question, using evidence from the text to support their response. Collect these written responses to assess for comprehension as students exit the class. 5%

Closing For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.




12


9.1.3

DRAFT


Lesson 19

Introduction This lesson is the first in a series of two lessons that comprise the End-of-Unit Assessment for Unit 3. This lesson requires students to draw upon their cumulative understanding of Shakespeare’s language and structural choices in order to make a claim about character development across all five acts of the play. This exploration will be guided by a pair of complementary tools that prompt students to develop evidence-based claims about both Romeo and Juliet. Working first as a class and then in small groups, students will take note of textual details, establish a connection between these details, and finally draw upon these connections to make a claim about the text. These tools will act as a framework for the final writing assignment in Lesson 20, in which students will choose either Romeo or Juliet as their focus character, and craft a formal written response. This response will serve as their End-of-Unit Assessment. For homework students will continue to review their text and gather evidence in preparation for their End-of-Unit Assessment. Note: The Lesson 19 tools provide students with the key excerpts that will help structure their final analysis of character development. Student essays in Lesson 20 will require that students independently select supporting evidence to build upon the claim they established in Lesson 19.





Assessment Assessment(s) Description Romeo and Juliet evidence-based claims tools High Performance Response(s) 

Romeo: See model Romeo tool for sample student response.


1




DRAFT


Juliet: See model Juliet tool for sample student response.

Note: The two model tools illustrate two different ways students might approach and organize their exploration of the text. The essential goal of this exercise is for students to engage with details of the text and actively make connections.


jointure (n.) – money that the groom’s family pays the bride if the groom dies and she survives her husband



enmity (n.) – the state of being hostile/angry



sacrifices (n.) – lives offered for a higher purpose


None.


% of Lesson



Standards: RL.9-10.3, RL.9-10.4



Text: Act 5.3.296–310









Text Dependent Questions and Activities



Romeo and Juliet Tools Activity



EBC Review and End-of-Unit Assessment Preparation



Closing

Materials 

Romeo Tool



Juliet Tool


2

5% 5% 30% 30% 25% 5%


DRAFT



Student Actions

Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: RL.9-10.3, RL.910.4. Inform students that today is the first day of a two-day arc dedicated to the End-ofUnit Assessment. Today, students will begin the process of developing an evidence-based claim about Romeo and Juliet. In Lesson 20, students will craft their claim into a formal written response.


The Lesson 19 tools provide students with the key excerpts that will help structure their final analysis of character development. Students will make observations of Shakespeare’s language and structural choices in these excerpts. From these observations, they will make an inference about character. Finally, students will be asked to make connections between these details and inferences. Students will draw upon these connections in order to make a claim about Romeo or Juliet’s development across all five acts of the play. Students will begin these tools as a class, and then finish them in groups of four. Students File: 9.1.3 Lesson 19 Date: 8/31/13 Classroom Use: Starting 9/2013 © 2013 Public Consulting Group. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/

3




DRAFT

will be expected to draw upon these worksheets as a framework for their final formal written response in Lesson 20. 5%


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Text-Dependent Questions and Activities Read aloud 5.3.296–310, or play an audio recording.


Pose the following questions for students to discuss in their groups before sharing out with the whole class. Direct students to Capulet’s lines 296–297. 1. What does Capulet ask from Montague? What is Capulet offering in return?

Student responses may include the following: 1. He asks him to ”give me thy hand.” He is offering to make peace.

Direct students to lines 298–302. 2. What does Montague offer to give Capulet? Hint: What is Montague really offering here?

2. He offers to make a statue of Juliet ”out of pure gold.” He is also offering peace.


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What does Capulet call Montague? Capulet calls Montague brother.



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Direct students to lines 303–304. 3. According to Capulet, who/what is to blame for Romeo and Juliet’s deaths? What have Romeo and Juliet been sacrificed for?

Direct students to lines 305–310. 4. Who has made peace? Why might the Prince describe this peace as "glooming"?

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3. Capulet blames the feud between the two households for Romeo and Juliet’s deaths; he says that Romeo and Juliet are sacrifices to the hatred between the two families (“poor sacrifices of our enmity”). Romeo and Juliet have been sacrificed for peace.

4. The Montagues and the Capulets have made peace. The prince might be saying that it is good that they have made peace but there is “sorrow” that it took the deaths of Romeo and Juliet to make it happen.

Romeo and Juliet Tools Activity Pass out copies of both the Romeo Tool and the Juliet Tool to students. Project on the board a blank tool (you may choose Romeo or Juliet to model; refer to the model worksheet for examples of responses). Encourage students to fill in their own tool as you perform this model activity.

Students participate in model tool activity by offering key details and claims about Romeo’s character development. Students record class observations on tool.

Instruct students to turn back in their text to


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If students struggle with question 3, define the word sacrifice as “the offering of lives for a higher purpose.” Additional scaffolding question for lines 303–304: 

What words does Capulet use in line 304 to describe the deaths of Romeo and Juliet? “Poor sacrifices.”

Additional scaffolding question for lines 305–310: 

How does the Prince sum up the story of Romeo and Juliet? There never was a story of more woe.


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the text selection written on their tool. Ask students to offer examples of textual details they see in these lines that may offer insight into Romeo as a character. After students have offered several textual details, ask them to begin to establish a connection between these details. Use questions such as: What do these details have in common? What pattern do you notice? Finally, ask students to draw upon these connections to make an observation about Romeo’s character in this passage. Divide students into groups of four. Ask student groups to begin the process for the next row, working as a group to find textual details and make a second inference about Romeo’s character. Once students complete the first two boxes in the second row, call the class back together and ask students to compare this second inference with the one that they generated as a class. What has changed? What has stayed the same? Model filling in this response on the tool. Have students reassemble into their small groups. Instruct student groups to repeat this activity for the remainder of class. Explain that the goal is for groups to complete both

Student groups complete both tools.


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tools. Remind students that they may use their past assignments and notes for reference. Circulate around the room. Observe student process and assist as needed. 25%

EBC Review and End-of-Unit Assessment Preparation Instruct students that there are two steps in this lesson’s homework assignment: 

Review your tools and decide which character you will focus on in your End-ofUnit Assessment.



Formulate a claim about your chosen character’s development. Record this claim at the top of your tool, and come to the next class ready to write.

Review and Contextualize the EBC Process: The EBC is a three-step process in making evidence-based claims (EBC): 

Textual details: First take note of textual details that tell you about Romeo or Juliet.



Text-to-text connections: Explain a connection you have made between these details.



Make a claim: Draw a conclusion about Romeo or Juliet’s character development that can be referenced back to the textual

Students record the steps to their homework assignment.

Students participate in EBC review activity and store their tools in their notebooks for homework and Lesson 20’s End-of-Unit Assessment.


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Students may benefit from having the EBC steps projected on the board.


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details and text-to-text connections. Instruct students that they have already completed steps 1 and 2 using their tool. Now they need to make a claim that will become the focus of their in-class essay in the next lesson. Demonstrate how you might form a claim using the text-to-text details and connections established on the model Lesson 19 tools. Read aloud observations and observation comparisons from the model Lesson 19 tools (second and third rows of table). Model drawing a conclusion about Romeo or Juliet’s character development from these connections. 5%

Closing For homework, instruct students to review their completed tools, select which character they are going to focus on, and formulate a claim about that character’s development. Students record their claim in the designated place on their tool and bring this tool to the next class. Remind students that they must bring their tools with them to the next class, as the tools will be valuable resources to refer to while writing their End-of-Unit Assessment.


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Homework Students review their completed tools, select which character they are going to focus on, and formulate a claim about that character’s development. Students record their claim in the designated place on their tool and bring this tool to the next class. Note: If students have not been able to complete the tools in class, they may complete them independently for homework.


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Romeo Tool Claim: ROMEO Text Selection (Act, Scene, Lines)

Word Choice/Text Details: What are some specific images, words, and phrases that Shakespeare uses to tell you about Romeo?

Observations: What can you infer about Romeo from these details?

1.1.206-236 (Romeo talks to Benvolio about Rosaline)

2.2.1-32 (Balcony scene soliloquy)


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How does your observation compare to your understanding of Romeo in the previous acts?


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3.1.59-138 (Mercutio and Tybalt death scenes)

5.3.70-120* (Romeo commits suicide)

*Romeo does not appear in Act 4 of Romeo and Juliet


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Juliet Tool Claim: JULIET Text Selection (Act, Scene, Lines)

Word Choice/Text Details: What are some specific images, words, and phrases that Shakespeare uses to tell you about Juliet?

Observations: What can you infer about Juliet from these details?

1.3.64-100 (Juliet talks to Lady Capulet about marriage)

2.2.107-138 (Balcony scene exchange of vows)


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How does your observation compare to your understanding of Juliet in the previous acts?


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3.2.1-31 (Juliet’s speech while she waits for Romeo)

4.1.50-88 (Juliet threatens to kill herself)

5.3.139-170 (Juliet commits suicide)


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Model Romeo Tool Claim: Romeo struggles between his dedication to love and his dedication to honor throughout Romeo and Juliet. ROMEO Text Selection (Act, Scene, Lines) 1.1.206-236 (Romeo talks to Benvolio about Rosaline)

Word Choice/Text Details: What are some specific images, words, and phrases that Shakespeare uses to tell you about Romeo?

Observations: What can you infer about Romeo from these details?

How does your observation compare to your understanding of Romeo in the previous acts?

1. “O, she is rich in beauty” (1.1.213)

Romeo cares a lot about beauty, and it seems to be what he values most about Rosaline.

n/a (this is first intro to Romeo)

“She is too fair, too wise, wisely too fair” (1.1.219) “Fair” = x6 in lines 206-236 and “beauty” = x4 in lines 209-218. Romeo only describes his love for Rosaline in terms of her beauty, and he describes her beauty only in general terms. 2. “ …The precious treasure of his eyesight lost” (1.2.230-1)

Romeo takes his love for Rosaline very seriously; he thinks his feelings for Rosaline are unique. Benvolio doesn’t take Romeo as seriously as Romeo takes himself. Maybe Romeo takes himself too seriously? Maybe he has said this kind of thing before?

Romeo calls Rosaline the precious treasure of his eyesight. 2. “Benvolio: Be ruled by me, forget to think of her …Examine other beauties.” (1.2.223225) Benvolio’s practicality contrasts with


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Romeo’s romanticism. 3. “Show me a mistress …thou canst not teach me to forget.” (1.2.232-235) Romeo says that he won’t ever forget about Rosaline’s beauty.

2.2.1-32 (Balcony scene soliloquy)

1. “But soft, what light …her maid art far more fair than she.” (2.1.2-5) Romeo has fallen in love with Juliet and forgotten all about Rosaline. Romeo compares Juliet to the sun. Her beauty is being described as a force that lights things up.

2. “She speaks. O speak again…a winged messenger of heaven” (2.1.25-28) Romeo repeats the word speak twice in his entreaty.

Romeo seems to fall in love easily (Benvolio was right!). Romeo is demonstrating how much he values beauty again. Romeo understands Juliet’s beauty as a force that lights up everything around him (the night). Romeo is interested in more than just looking at Juliet, because he asks her to speak to him. Something about Juliet makes Romeo want to hear her voice.


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Romeo’s quick switch from Rosaline to Juliet confirms my observation that maybe in Act 1, he was more in love with “being in love” than he was with Rosaline herself. Romeo’s focus on Juliet’s beauty seems different here than it was with Rosaline. He repeatedly describes her beauty as a light that illuminates their surroundings. Romeo doesn’t want Juliet to remain just the “treasure of his eyesight” like in Act 1. When he asks her to speak to him, he is opening a dialogue and giving her the chance to be more than just beautiful.


3.1.59-138 (Mercutio and Tybalt death scenes)

1. “my very friend… And in my temper softened valour’s steel!” (3.1.111-117) Romeo feels ashamed that he did not defend his own honor. He thinks that Juliet’s beauty has made him less of a man. 2. “Away to heaven…fury be my conduct now.” (3.1.125-126)


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Romeo understands his love of beauty as a weakness that makes him not want to fight and defend his family’s honor. He eventually chooses violence over peace, and the need to defend his honor over his love for Juliet.

Romeo understands his earlier desire for peace between the Montagues and Capulets as shameful. His decision to be guided by fury rather than leniency suggests that his priorities have changed or are being called into question.

Romeo is choosing violence over the tolerance he previously showed Tybalt.

5.3.70-120* (Romeo commits suicide)

“For here lies Juliet…full of light.” (5.3.85-86) Romeo sees Juliet’s beauty as lighting up the tomb. “Oh my love…Hath had no power yet upon thy beauty.” (5.3.91-93) Death has not extinguished her light.

Turning point for Romeo? Juliet’s beauty is not only not the most important thing to him anymore, it is a negative thing. Romeo understands Juliet’s beauty as the cause of his friend’s death.

Romeo sees Juliet’s beauty as illuminating the tomb that she and Tybalt lie in. For Romeo, Juliet’s beauty is more powerful than Death. Romeo regrets killing Tybalt, seems like he wishes he hadn’t given into the anger/violence.

After questioning his earlier dedication to Juliet, Romeo makes a choice to stay with her, rather than with his family and the fighting.

“Tybalt, liest thou there…Forgive me, cousin!” (5.3.97-101) Romeo regrets killing Tybalt. *Romeo does not appear in Act 4 of Romeo and Juliet


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Model Juliet Tool Claim: Juliet's attitude toward love and marriage changes throughout Romeo and Juliet.

JULIET Text Selection (Act, Scene, Lines)

1.3.64-100 (Juliet talks to Lady Capulet about marriage)

2.2.107-138 (Balcony scene exchange of vows)

Word Choice/Text Details: What Observations: What can are some specific images, you infer about Juliet words, and phrases that from these details? Shakespeare uses to tell you about Juliet?

How does your observation compare to your understanding of Juliet in the previous Acts?

Juliet only has four lines.

n/a (first introduction to Juliet)

She uses like instead of love. Juliet says she has not thought about marriage.

Juliet asks Romeo not to swear or vow: “swear not by th’inconstant moon.” Juliet uses the image of lightning:“too rash, too unadvised, too sudden” Juliet gives Romeo her vow of

Juliet does not care about marriage, but her mother really, really does. Juliet might not have a close relationship with her mother. Juliet wants to take things slow with Romeo. Juliet wants their love to last. Juliet is being practical.


Juliet changed her mind about taking things slow with Romeo in a matter of minutes.

This seems like a turning point for Juliet; there is a big shift in BUT Juliet gives Romeo character. her vow of love, which she


Juliet is using Romeo’s imagery to respond to him, like in the party scene. She is thinking about practical matters, like in the soliloquy.

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3.2.1-31 (Juliet’s speech while she waits for Romeo)

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love. “give it thee again”

just asked him not to do.

Juliet describes her love as deep and infinite.

Juliet’s love for Romeo has made her forget her practical worries.

Juliet uses imagery of fiery horses and the god of the sun, a raven with snow on its back, and Romeo as stars.

Juliet’s love for Romeo has made her more romantic in her language and imagery use.

Juliet is completely in love with Romeo. She is pretty much only thinking about love and marriage, and not about the practical worries that she expressed in the balcony scene.

Juliet is very sad and feels like her situation is hopeless.

Juliet uses a combination of imagery and direct language, and expresses both a dramatic desire to die and a practical desire to get advice from the Friar. She has combined her practical ways from before she gave her vow of love to Romeo with her romantic expressions after she gave the vow of love.

The word come repeats five times and night repeats ten times. Juliet compares herself to an impatient child. 4.1.50-88 (Juliet threatens to kill herself)

Juliet uses long to mean a length of time and a desire. Juliet begs the Friar to give her advice. Juliet threatens to kill herself with a knife. Juliet uses lots of imagery to express all the things she would do to avoid marrying Paris.

She wants to kill herself, but she also asks for advice, which is really practical. Juliet is willing to do anything to get out of marrying Paris.

Juliet says she is without fear or doubt.


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5.3.139-170 (Juliet commits suicide)

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It takes Juliet a minute after she wakes up to realize what happened.

Juliet’s suicide wasn’t something she planned to do in the tomb.

Juliet tells the Friar to go away, and refuses his offer to take her to a nunnery.

Juliet is overcome by sorrow, and is happy to die to escape the situation she is in.

Juliet’s speech before she kills herself is brief; she says “I’ll be brief.” Juliet uses Romeo’s knife to kill herself.

The friar offers another option, but Juliet rejects it.

Juliet calls the poison friendly and the knife happy.


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Juliet has given up on hope. Her language is brief, like in the first scene where she comes in. She rejects the Friar’s advice, which is different from when she begged for it in 4.1. She no longer cares about life, and just wants to die to get out of the terrible situation she is in. Her language is more direct and practical, like before she gave Romeo her vow of love.


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Lesson 20

Introduction This lesson is the second in a series of two lessons that comprise the End-of-Unit Assessment for Unit 3. In this lesson, students will craft a formal in-class essay exploring how Shakespeare unfolds character throughout the play. This response requires students to draw upon their cumulative understanding of Shakespeare’s language and structural choices in order to make a claim about character development across all five acts of the play. Students will use the textual details they collected throughout the unit as well as the connections they established in their Lesson 19 tools to structure their end-of-unit written response. During the writing process, students will independently select supporting evidence to strengthen the claim they produced independently for their Lesson 19 homework. For homework, students will continue to read their Accountable Independent Reading texts.



W.9-10.2

Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.



W.9-10.9

Draw evidence from literary or informational texts to support analysis, reflection and research.

Assessment Assessment(s) In-class essay response to the following prompt: Choose either Romeo or Juliet, and write an essay that explains how Shakespeare unfolds that character throughout the play. Reference Shakespeare’s language and the events of the play as supporting evidence. High Performance Response(s)


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

See sample student essays for High Performance Responses.



Use NY Regents Text Analysis Rubric to assess student work.



None.


None.

Student-Facing Agenda Agenda Items

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

Standards: R.9-10.1, R.9-10.3, W.9-10.2, W.9-10.9



Text: Shakespeare’s Romeo and Juliet









Independent Writing: Essay due at end of class period.



Closing

Materials 

None.


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Introduction of Lesson Agenda Begin by reviewing the agenda and sharing the standards for this lesson: R.9-10.1, R.910.3, W.9-10.2, W.9-10.9.

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Student Actions


Homework Accountability Ask students to volunteer the claims they have written on the top of their Lesson 19 tool for homework accountability.

Students offer the claims they constructed for homework.

Lead a quick debriefing session to ensure that student claims reflect the requirements of the assessment. 80%

Independent Writing Transition students to independent writing Students write End-of-Unit Assessment time. essay. Circulate around the room and offer support as needed.

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Closing Collect student essays as students leave the class.

Hand in End-of-Unit Assessment.


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For homework, instruct students to continue their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.

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Homework Homework Students should continue to read their Accountable Independent Reading through the lens of their focus standard and prepare for a 3-5 minute discussion of their text based on that standard.


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Model Student Response with Juliet as Focus Character First Comes Love, Then Comes Marriage: Juliet’s Shifting Attitude Toward Love and Marriage in Romeo and Juliet

Claim: Juliet's attitude toward love and marriage changes throughout Romeo and Juliet. Throughout Romeo and Juliet, by William Shakespeare, Juliet's attitude toward love and marriage changes dramatically. She begins the play ambivalent toward love and marriage, but after meeting Romeo, she quickly shifts her attitude and falls in love. Ultimately, Juliet commits suicide because she discovers Romeo is dead, and she cannot go on living without Romeo's love. Shakespeare provides evidence for this change through Juliet's use of language, imagery, and dramatic irony in the play. Juliet's first introduction in Act 1, Scene 3, establishes the fact that she does not think about marriage, and she is reluctant to use the word love. Juliet's mother asks her what she thinks about marriage and Juliet replies "it is an honour that I dream not of." (1.3.67) Later in the same scene, Juliet's mother asks her if she can "like of Paris' love?" (1.3.97) Juliet replies that she will "look to like" (1.3.98) but does not use the word love. In Act 1, Scene 5, Juliet meets Romeo for the first time and he kisses her. At first she tries to avoid having him kiss her hand, playing with his imagery of the pilgrim and the saint, but she quickly allows him to kiss her. Juliet's interest in Romeo is different from the indifference she shows in 1.3, when she is talking to her mother. Juliet is beginning to consider love, or at least "like," because of her interaction with Romeo. Juliet's soliloquy on the balcony reveals her true feelings for Romeo. She only says so much because she thinks she is alone, but the audience knows that Romeo is listening to her talk. Juliet dwells on Romeo's name and expresses a desire for him to "be but sworn my love" (2.2.35) and "be some other name." (2.2.42) She argues that even with a new name Romeo would still have "dear perfection." (2.2.46) After Romeo reveals himself to Juliet, she worries about his safety and about the possibility that “thy will murder” Romeo (2.2.70), while in the same passage Romeo uses lots of romantic language and dwells on love and ignores Juliet's worries about his safety. When Romeo tries to give his vow of love to Juliet she stops him, worrying that it will be like "th' inconstant moon" (2.2.109) and that Romeo will "prove likewise variable." (2.2.110) She worries about how fast things are moving and tries to say goodnight to Romeo before they exchange vows, in the hope of allowing "this bud of love" (2.2.121) to become "a beauteous flower" (2.2.122) over time. However, Romeo makes one more request of Juliet, and then she completely changes her mind and gives Romeo her vow of love. She seems to completely forget about her previous worries and give herself over to love. The balcony scene is Juliet's turning point in her opinion of love and marriage.


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The next time Juliet has a soliloquy, it is while she is waiting for Romeo to come to her room. They are now married, and Juliet does not yet know that Romeo has killed her cousin Tybalt. Juliet uses rich imagery, unlike anything she has used up to this point in the play, including the image of Romeo scattered across the sky, "in little stars" (2.2.22) where "he will make the face of heaven so fine / that all the world will be in love with night." (2.2.23–24) Juliet's love for Romeo has made love something she thinks about all the time, which is a clear change from her statement in 1.3, where she says marriage is something she "dream[s] not of." (1.3.67) In Act 4, Juliet now knows that Romeo has killed her cousin, and her parents are trying to force her to marry Paris. She goes to see the Friar and gives a speech that combines her old worrying nature and practicality, and her new concern with love and her marriage to Romeo. Juliet begs for the Friar's "wisdom," "counsel," and "remedy" (4.1.50–67), while simultaneously describing her desire to end her life with a "bloody knife" (4.1.62) and repeating the word "long" (4.1.66) to indicate both her deep desire and the speed with which she needs the Friar's help. After the Friar offers her a plan, Juliet goes to great lengths to describe all the things she would be willing to do to avoid marrying Paris and get to "live an unstained wife" to Romeo, her "sweet love." (4.1.87–88) Love and marriage give Juliet the strength and the reason to do things she would not have otherwise attempted. When Juliet wakes up in the tomb in Act 5, she is faced with Romeo’s dead body. The Friar offers to take her to a nunnery, but Juliet tells him to leave her alone, she “will not away” (5.3.160) from Romeo. She doesn’t talk very much, and even says “I’ll be brief.” (5.3.169) Once Juliet decides to end her life, she doesn’t hesitate and even calls the poison that Romeo took “friendly” (5.3.163) and the knife that she kills herself with “happy.” (5.3.169) Juliet does not explicitly give a reason for committing suicide, but her final actions indicate that she is dying because Romeo is dead. She calls him her “true love” (5.3.161) and kisses him before she dies. Romeo changed Juliet and gave her a reason to care about something she didn't care about before. Her love for Romeo changed the way she spoke and the things she was concerned with. When Romeo convinces Juliet to give him her vow of love she changes both the things she spends time talking about, and the way she talks. She uses more complex imagery and is less concerned with practical matters, like the family feud or the possibility her parents will find out about Romeo. Romeo's banishment and her parents making her marry Paris made her desperate and gave her the fearlessness to take the potion and pretend to be dead. Her love for Romeo changed her character to allow her to attempt things she would not have otherwise. Juliet's suicide is ultimately the final confirmation of her shift to being a romantic. She rejects the practical option, and without Romeo, without their marriage, and without love, ends her life.


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Model Student Response with Romeo as Focus Character Love and Honor in Romeo and Juliet

Claim: Romeo struggles between his dedication to love and his dedication to honor throughout Romeo and Juliet. Romeo and Juliet is considered by many to be the greatest romance ever told, and Romeo is often idealized as the perfect romantic partner. Yet a closer examination of the play reveals Romeo to be a man with complex motivations and equally complex relationships. Throughout Shakespeare’s play, Romeo struggles between his dedication to love and his dedication to honor. In Act 1, Shakespeare introduces Romeo as a shallow and overly romantic young man. When Romeo swooningly describes his crush Rosaline to his cousin Benvolio, he uses the word “fair” six times, and the word “beauty” four times. (1.1.206–236) The repetition of these words highlights that Rosaline’s beauty is what Romeo values most about her; she is the “precious treasure of his eyesight.” (2.1.231) Benvolio’s dismissive response to his lovesick cousin indicates that he thinks Romeo is shallow and inconsistent. He advises Romeo, “be ruled by me, forget to think of her… examine other beauties.” (2.1. 223–225) According to Benvolio, Romeo will forget about Rosaline as soon as he sees another pretty girl. Romeo’s refusal to accept Benvolio’s advice and his declaration that “thou canst not teach me to forget” (1.2.235) suggests that Romeo takes himself and his love for Rosaline a lot more seriously than Benvolio does. Benvolio’s doubtful opinion of Romeo’s devotion is quickly proven correct. Romeo spies Juliet at the Capulet ball and immediately forgets all about Rosaline. Romeo’s quick swap of Juliet for Rosaline once again suggests a young man who is more in love with being in love than he is with any individual woman. Yet Romeo’s first conversation with Juliet at the ball seems to begin a slight shift in his attitude towards love. As Romeo waits outside Juliet’s balcony in the hopes of seeing her again, his declarations of love take on a slightly different hue. Although his speech is still centered upon descriptions of her beauty, he does not describe this beauty in general terms as he did with Rosaline. Instead, Romeo repeatedly compares Juliet’s beauty to light; she is “the fair sun” whose “light through yonder window breaks,” (2.1.2–5) a “bright angel glorious to this night.” (2.1.26–27) For Romeo, Juliet’s beauty is something more powerful and dynamic than a pretty face. She lights up the darkness that surrounds them, and illuminates Romeo with her radiance. Made brighter by Juliet’s own brilliance, Romeo doesn’t want Juliet to remain just the “treasure of his eyesight.” When he begs her “O speak again” (2.1.26), he is opening up a conversation and giving Juliet the chance to be more than just a pretty face. Romeo’s relationship with Juliet has deepened his understanding of love. But Romeo and Juliet’s relationship cannot stay in the space of Juliet’s balcony for long. The young lovers must deal with the bloody feud that pits their families and friends against each other. After


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witnessing his best friend Mercutio’s death at the hands of Juliet’s cousin Tybalt, Romeo begins to question his previous dedication to beauty and love. He says “my very friend, hath got this mortal hurt on my behalf; my reputation stained With Tybalt’s slander...O sweet Juliet, Thy beauty hath made me effeminate And in my temper softened valour’s steel!” (3.1.111–117) Here, Romeo blames Juliet’s beauty, the very beauty that he once saw as lighting up the world, for his best friend’s death. Romeo believes his love for Juliet and her beauty is making him less of a man. He now finds his earlier desire for peace between the Montagues and Capulets shameful and dishonorable. Romeo’s decision to be guided by anger rather than forgiveness when he says “away to heaven, respective lenity, and fire-eyed fury be my conduct now” (3.1.125–126) suggests that he is questioning everything he once believed in. When Romeo decides to kill Tybalt, he chooses violence over peace and his family’s honor over his love for Juliet. This is the true tragedy of Shakespeare’s play. As the events of the play reach their disastrous conclusion, Romeo makes the ultimate choice in his struggle between love and honor. As Romeo enters the Capulet tomb and finds Juliet’s body lying next to that of Tybalt, he is once again struck by the brilliance of her beauty and his love for her; “her beauty makes this vault a feasting presence full of light.” (5.3.85–86) For Romeo, Juliet’s beauty is more powerful even than death “Oh my love, my wife, Death that sucked the honey of the breath hath had no power yet upon thy beauty.” (5.3.91–93) Faced with the consequences of his decisions, Romeo feels regret for killing Tybalt, “Forgive me, cousin!” he pleads (5.3.101) before he takes his own life. After questioning his dedication to the peace that his love for Juliet has brought him, Romeo makes the final decision to stay with Juliet in the light, rather than return to the darkness of violence and family feuds. Romeo’s suicide is a tragedy, but it is just one death among many. Romeo’s conflicting motivations expose the true tragedy of Shakespeare’s play – the ongoing violence between the Montagues and the Capulets. The Romeo who takes his own life is a very different man from the lovesick young boy who only cared about a pretty face. His final choice indicates a complex understanding of the value of real love and the sacrifices it requires.


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