With Rhymes and Reason TG - Scuolabook

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Volume 1 From the Beginnings to the Romantic Age

Volume 2 From the Victorian Age to Modern Times

Genres Portfolio (guida all’analisi dei generi letterari)

CD-ROM (testi aggiuntivi con analisi del testo e ascolti in mp3)

+ +

+

CD-ROM (testi aggiuntivi con analisi del testo e ascolti in mp3)

Materiale per lavagne interattive (LIM)

Un Corso cronologico costruito con l’aiuto degli insegnanti L’esperienza degli insegnanti ha aiutato nella selezione di autori, testi, approfondimenti, e nella nella trattazione di aspetti importanti quali le strategie di studio, la scelta dei temi, le parti in preparazione dell’esame e i test. Forti legami interdisciplinari e percorsi tematici e di attualità Molti i percorsi CLIL, i riferimenti ad altre letterature e a temi di educazione alla convivenza civile. Un percorso di studio guidato Alla fine di ogni modulo lo studente trova glossari, riassunti e esercizi in preparazione di prove e interrogazioni. Una guida allo studio è inoltre presente in fondo ai volumi. Attenzione alle abilità linguistiche Dopo le attività di analisi del testo si propongono spesso esercizi di scrittura creativa, dal titolo Writer’s Corner, e attività guidate di Discussion.

I testi aggiuntivi presenti sul CD-ROM per lo studente possono essere utilizzati in classe con l’ausilio della lavagna interattiva. Lo stesso può essere fatto con gli spezzoni video del DVD per la classe e con il materiale presente nell’area WEB.

Area WEB Autori e brani completi di analisi del testo, non contenuti nei volumi, né nei testi aggiuntivi su CD-ROM. Testi aggiuntivi e schede di analisi contenuti nei CD-ROM Audio contenuti nei CD-ROM

Per l’insegnante e la classe Teacher’s Guide (soluzioni, script degli spezzoni video e test) DVD con spezzoni di film e, nella sezione Extra, i test in formato modificabile 2 CD audio per la classe

online in www.imparosulweb.eu Questo corso è costituito da: ISBN 978-88-201-3033-6 VOLUME 1 + CD-ROM 1 + GENRES PORTFOLIO ISBN 978-88-201-3034-3 VOLUME 2 + CD-ROM 2 ISBN 978-88-201-3035-0 TEACHER’S GUIDE + DVD PER LA CLASSE ISBN 978-88-201-7003-5 2 CD AUDIO per la classe

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Medaglia, Young With Rhymes and Reason TEACHER’S GUIDE + DVD PER LA CLASSE

With Rhymes and Reason Teacher’s Guide

With Rhymes and Reason Teacher’s Guide

Le caratteristiche del corso

Medaglia, Young

In copertina: M. Denis, Le Muse (particolare), 1893, olio su tela, Parigi, Musée d‘Orsay. © Foto Scala, Firenze

With Rhymes and Reason

Cinzia Medaglia, Beverley Anne Young

con DVD

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Cinzia Medaglia, Beverley Anne Young

With Rhymes and Reason Teacher’s Guide A. La vita: unitarietà e diversità dei viventi

LOESCHER EDITORE Loescher Editore - Vietata la vendita e la diffusione

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© Loescher Editore - Torino - 2010 http://www.loescher.it I diritti di elaborazione in qualsiasi forma o opera, di memorizzazione anche digitale su supporti di qualsiasi tipo (inclusi magnetici e ottici), di riproduzione e di adattamento totale o parziale con qualsiasi mezzo (compresi i microfilm e le copie fotostatiche), i diritti di noleggio, di prestito e di traduzione sono riservati per tutti i paesi. L'acquisto della presente copia dell'opera non implica il trasferimento dei suddetti diritti né li esaurisce. Fotocopie per uso personale (cioè privato e individuale), nei limiti del 15% di ciascun volume, possono essere effettuate dietro pagamento alla SIAE del compenso previsto dall'art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Tali fotocopie possono essere effettuate negli esercizi commerciali convenzionati SIAE o con altre modalità indicate da SIAE. Per riproduzioni ad uso non personale l'editore potrà concedere a pagamento l'autorizzazione a riprodurre un numero di pagine non superiore al 15% delle pagine del presente volume. Le richieste per tale tipo di riproduzione vanno inoltrate a: Associazione Italiana per i Diritti di Riproduzione delle Opere dell'ingegno (AIDRO) Corso di Porta Romana n. 108, 20122 Milano e-mail [email protected] e sito web www.aidro.org L'editore, per quanto di propria spettanza, considera rare le opere fuori del proprio catalogo editoriale. La fotocopia dei soli esemplari esistenti nelle biblioteche di tali opere è consentita, non essendo concorrenziale all'opera. Non possono considerarsi rare le opere di cui esiste, nel catalogo dell'editore, una successiva edizione, le opere presenti in cataloghi di altri editori o le opere antologiche. Nel contratto di cessione è esclusa, per biblioteche, istituti di istruzione, musei ed archivi, la facoltà di cui all'art. 71 - ter legge diritto d'autore. Maggiori informazioni sul nostro sito: http://www.loescher.it

Ristampe 6 2015

5 2014

4 2013

3 2012

2 2011

1 2010

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ISBN 9788820130350 Nonostante la passione e la competenza delle persone coinvolte nella realizzazione di quest’opera, è possibile che in essa siano riscontrabili errori o imprecisioni. Ce ne scusiamo fin d’ora con i lettori e ringraziamo coloro che, contribuendo al miglioramento dell’opera stessa, vorranno segnalarceli al seguente indirizzo: Loescher Editore s.r.l. Via Vittorio Amedeo II, 18 10121 Torino Fax 011 5654200 [email protected] Loescher Editore S.r.l. opera con sistema qualità certificato CERMET n. 1679-A secondo la norma UNI EN ISO 9001-2008

La parte relativa ai testi aggiuntivi su CD-ROM è stata curata dalla prof.ssa Luisanna Paggiaro. Hanno collaborato alla stesura dei Tests il prof. Marco Cavallotti e il prof. Riccardo Rota. Un vivo ringraziamento va a Anthony Stroud per la attenta rilettura del testo. Realizzazione editoriale e tecnica: Salviati s.r.l. - Milano - redazione: Tessa Vaughan - progetto grafico: Graforam - Noviglio (MI) - videoimpaginazione: Graforam - Noviglio (MI) - segreteria di redazione: Sara Belolli Coordinamento editoriale: Laura Cavaleri, Mario Sacco Copertina: Graphic Center - Torino Stampa: Sograte - Città di Castello (PG)

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Contents With Rhymes and Reason Text 1 Text 2

From the Origins (700 BC-AD 900) to the Middle Ages (1066-1485) 11

The Historical Background The Literary Context Anonymous, Beowulf Anonymous, The Seafarer On Screen Robin Hood: Prince of Thieves On and Off Screen Robin Hood: Men in Tights

11 11 11 12 13 13

The Middle Ages (1066-1485)

14

The Historical Background CLIL Geography and Art Matthew Paris The Literary Context Insight to the Age

14 14 14 15 15 16 16 16

Literature Around the World Sir Thomas Malory, Le Morte Darthur

Theme Heroes Beowulf Anonymous Text 1 Text 2 Le Morte Darthur Sir Tomas Malory

General Overview

The Puritan Age (1625-60)

35

The Historical Background The Literary Context

35 36 36 36 37 37 37 37

Literature Around the World Shakespeare and Italy

The Origins (700 BC-AD 900)

Anonymous, ‘Lord Randal’ Aerosmith, ‘I Don’t Want to Miss a Thing’ Geoffrey Chaucer, The Canterbury Tales ‘April’s Sweet Showers’ ThinkTank From Hip-hop to Lit-hop with The Canterbury tales ‘The Knight’ ‘The Prioress’ ‘The Wife of Bath’

Much Ado About Nothing The Merchant of Venice Julius Caesar Hamlet Macbeth On Screen Macbeth On and Off Screen The South Bank Show Shakespeare’s sonnets, ‘Sonnet 18’ ‘Sonnet 130’ Sir Philip Sidney, ‘My True Love Hath My Heart’ John Donne, ‘The Good Morrow’

26 27 27 27 28 29 30 30 31 32 33 33 34 35

17 17 18 18 19 19 20 20 20 20 21 21

The Renaissance (1485-1625) and the Puritan Age (1625-60)

The Renaissance (1485-1625)

22

ThinkTank The Two Elizabeths The Historical Background CLIL Architecture Renaissance versus Tudor The Literary Context Insight to the Age Literature Around the World The 16th and 17th

22 22 22 22 23

Centuries Christopher Marlowe, Doctor Faustus William Shakespeare, Richard III A Midsummer Night’s Dream Kaleidoscope Quoting Shakespeare Romeo and Juliet

23 24 25 25 26 26

John Milton, Paradise Lost Text 1 Text 2

Theme Utopia Utopia Sir Thomas More The New Atlantis Sir Francis Bacon

General Overview

38

The Restoration (1660-1714) and the Augustan Age (1714-60)

The Restoration (1660-1714)

40

The Historical Background The Literary Context

40 40 40

William Congreve, The Way of the World

The Augustan Age (1714-60)

41

The Historical Background CLIL Art Gin Lane Hogarth Kaleidoscope Bluestockings The Literary Context ThinkTank Newspapers Now and Then The Literary Context Insight to the Age

41 41 41 41 42 42 43 43 43 43 44 44 45 45 46 46 47

Daniel Defoe, Robinson Crusoe Text 1 Text 2 CLIL Geography Isla Robinson Crusoe On Screen Castaway On and Off Screen Madagascar Jonathan Swift, Gulliver’s Travels Samuel Richardson, Pamela Text 1 Text 2

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Contents Literature Around the World The Epistolary Novel Henry Fielding, Tom Jones Laurence Sterne, Tristram Shandy Text 1 Text 2 Text 3

Theme Women Moll Flanders Daniel Defoe Clarissa Samuel Richardson

General Overview

47 47 48 48 49 49 49 49 50 50

The Romantic Age (1760-1837) The Historical Background ThinkTank Slavery The Literary Context Insight to the Age Thomas Gray, ‘Elegy Written in a Country Churchyard’ Literature Around the World Gray and Foscolo CLIL Art The Nightmare Füssli William Blake, ‘The Lamb’ ‘The Tyger’ ‘The Chimney Sweeper’ ‘London’ William Wordsworth, ‘Preface to Lyrical Ballads’ ‘Sonnet Composed on Westminster Bridge’ ‘My Heart Leaps Up’ CLIL Art Rain, Steam and Speed Turner CLIL Art Hampstead Heath Constable Samuel Taylor Coleridge, The Rime of the Ancient Mariner Kaleidoscope The Wandering Jew Lord Byron, Don Juan Percy Bysshe Shelley, ‘Ode to the West Wind’ John Keats, ‘Ode on a Grecian Urn’ Sir Walter Scott, Ivanhoe Literature Around the World Scott and Manzoni Jane Austen, Pride and Prejudice Text 1 Text 2 On Screen Pride and Prejudice On and Off Screen Etiquette, dating and dancing in Jane Austen’s time Mary Shelley, Frankenstein Text 1 Text 2 Text 3 James Fenimore Cooper, The Last of the Mohicans Edgar Allan Poe, ‘The Tell-Tale Heart’

52 52 53 53 53 54 54 55 55 56 56 57 57 58 59 59

CLIL Philosophy John Stuart Mill and Utilitarianism ThinkTank Evolution –The Controversy Continues The Historical Background The Literary Context Insight to the Age Charles Dickens, Oliver Twist Hard Times Charlotte Brontë, Jane Eyre Text 1 Text 2 Emily Brontë, Wuthering Heights Thomas Hardy, Tess of the d’Urbervilles On Screen Tess On and Off Screen Polanski and Seymour on Tess Henry James, The Portrait of a Lady Oscar Wilde, The Picture of Dorian Gray Literature Around the World The Decadents The Importance of Being Earnest George Bernard Shaw, Pygmalion Alfred, Lord Tennyson, ‘Ulysses’ Robert Browning, ‘My Last Duchess’ Herman Melville, Moby Dick Walt Whitman, ‘O Captain! My Captain!’ Emily Dickinson, ‘I’m Nobody’ ‘A narrow fellow in the grass’

Theme The Double in Man and Society Dr Jekyll and Mr Hyde R.L. Stevenson The Time Machine H.G. Wells

Theme Children’s Literature 60 60 61 62 63 64 65 65 65 66 66

67 67 68 68 69 69 70 Theme Nature 71 ‘I Wandered Lonely as a Cloud’ William Wordsworth 71 ‘Frost at Midnight’ Samuel Taylor Coleridge 71 Theme The Negative Hero 71 The Monk Matthew Lewis 72 ‘La Belle Dame Sans Merci’ John Keats 72

General Overview

The Victorian Age (1837-1901)

72

The Jungle Book Rudyard Kipling Tom Sawyer Mark Twain

Theme Women’s Literature Middlemarch George Eliot The Awakening Kate Chopin

General Overview

74 74 74 75 75 75 76 77 77 78 78 79 80 80 81 82 83 83 84 85 86 87 87 88 88 89 89 90 90 90 91 91 91 91 92

The Twentieth Century – Part I (1901-45) CLIL Physics The splitting of the atom The Historical Background Literature Around the World Imagism versus Futurism

The Literary Context Insight to the Age Joseph Conrad, Heart of Darkness Text 1 Text 2 E.M. Forster, A Room with a View Text 1 Text 2 James Joyce, Dubliners ‘Eveline’ ‘The Dead’

94 94 95 95 95 95 95 96 97 97 97 98 98 99



Contents Ulysses Text 1 Text 2 Virginia Woolf, Mrs Dalloway Text 1 Text 2 On Screen The Hours On and Off Screen Interview with Michael Cunningham D.H. Lawrence, Sons and Lovers Text 1 Text 2 W.B. Yeats, ‘The Wild Swans at Coole’ ‘Easter 1916’ T.S. Eliot, The Love Song of J.Alfred Prufrock The Waste Land Wilfred Owen, ‘Dulce et Decorum Est’ ThinkTank War W.H. Auden, ‘The Unknown Citizen’ ‘O Tell Me The Truth About Love’ Dylan Thomas, ‘Do Not Go Gentle Into That Good Night’ ‘The Hunchback in the Park’ F. Scott Fitzgerald, The Great Gatsby Text 1 Text 2 Ernest Hemingway, The Old Man and the Sea

Theme Poverty ‘Life of Ma Parker’ Katherine Mansfield The Grapes of Wrath John Steinbeck

Theme Racism A Passage to India E.M. Forster Black Boy Richard Wright

General Overview

99 99 100 100 100 101 102 102 102 102 103 103 104 105 106 106 107 108 108 109 110 110 110 111 112 112 113 113 113 113 114 114

The Literary Context Insight to the Age George Orwell, Animal Farm Nineteen Eighty-Four Text 1 Text 2 William Golding, Lord of the Flies Doris Lessing, The Grass is Singing Nadine Gordimer, ‘Ah, Woe is Me’ V.S. Naipaul, In a Free State Salman Rushdie, Midnight’s Children Ian McEwan, Atonement On Screen Atonement On and Off Screen The making of Atonement Samuel Beckett, Waiting for Godot Text 1 Text 2 Text 3 John Osborne, Look Back in Anger Oasis, ‘Don’t Look Back in Anger’ Harold Pinter, The Dumb Waiter Tom Stoppard, Rosencrantz and Guildenstern Are Dead Philip Larkin, ‘Toads’ Ted Hughes, ‘Perfect Light’ ‘The Thought Fox’ Seamus Heaney, ‘Digging’ Tennessee Williams, The Glass Menagerie Arthur Miller, Death of a Salesman Robert Frost, ‘Stopping by Woods on a Snowy Evening’ Allen Ginsberg, ‘A Supermarket in California’ Ray Bradbury, Farenheit 451 Text 1 Text 2

Theme Adolescence The Catcher in the Rye J.D. Salinger Trainspotting Irvine Welsh

The Twentieth Century – Part II (1945-present day)

Theme Travel On the Road Jack Kerouac In Patagonia Bruce Chatwin

ThinkTank The 20th-Century Internet Revolution, Past and Present

116

CLIL Science Biotechnology 116 The Historical Background 116 Literature Around the World Postcolonial Literature 117

Theme Postmodernism Slaughterhouse-Five Kurt Vonnegut London Fields Martin Amis

General Overview

117 117 118 118 118 119 119 120 121 122 123 123 124 125 126 126 126 126 127 128 128 129 130 131 131 132 133 134 135 135 136 136 136 137 137 137 138 138 138 138 139 139 139



Contents

Texts Plus (CD-ROM) Volume 1 Anonymous, Beowulf Geoffrey Chaucer, ‘The Wife of Bath’s Tale’ ‘The Doctor’ William Shakespeare, Richard III Much Ado About Nothing The Merchant of Venice Hamlet Text 1 Text 2 Text 3 Macbeth Text 1 Text 2 Twelfth Night Text 1 Text 2 Othello ‘Sonnet 27’ ‘Sonnet 116’ Sir Philip Sidney, ‘Sonnet 71’ Edmund Spenser, ‘Sonnet 75’ John Donne, ‘The Flea’ ‘The Sun Rising’ ‘The Dream’ John Milton, ‘On His Blindness’ Daniel Defoe, Robinson Crusoe A Journal of the Plague Year Text 1 Text 2 Jonathan Swift, A Modest Proposal Lord Byron, Childe Harold’s Pilgrimage Text 1 Text 2 Jane Austen, Emma Text 1 Text 2

141 141 142 143 144 144 145 145 145 145 146 146 146 147 147 147 148 148 149 149 150 151 151 152 153 153 154 154 154 154 155 155 156 157 157 157

Edgar Allan Poe, ‘The Black Cat’ Text 1 Text 2 Text 3

158 158 158 158

Volume 2 Charles Dickens, Hard Times Thomas Hardy, Tess of the d’Urbervilles Oscar Wilde, The Picture of Dorian Gray The Importance of Being Earnest George Bernard Shaw, Mrs Warren’s Profession Nathaniel Hawthorne, The Scarlet Letter W.M. Thackeray, Barry Lyndon Text 1 Text 2 George Eliot, Middlemarch Text 1 Text 2 R.L. Stevenson, Dr Jekyll and Mr Hyde Joseph Conrad, Heart of Darkness Virginia Woolf, Mrs Dalloway Text 1 Text 2 Ernest Hemingway, ‘A Very Short Story’ George Orwell, Nineteen Eighty-Four Nadine Gordimer, Burger’s Daughter Samuel Beckett, Waiting for Godot John Osborne, Look Back in Anger Jean Rhys, Wide Sargasso Sea Text 1 Text 2 Anthony Burgess, A Clockwork Orange John Fowles, The French Lieutenant’s Woman Text 1 Text 2 Sylvia Plath, ‘Mirror’ Don DeLillo, White Noise

160 160 160 161 161 162 162 162 163 163 163 164 164 164 165 165 165 166 166 167 167 168 168 168 168 169 169 169 169 170 170

Genres Portfolio The Novel

172

The Short Story Poetry

173 173



Contents

Tests From the Origins (700 BC-AD 900)

The Augustan Age

to the Middle Ages (1066-1485) Drama

174

The Origins Test 1 Test 2

176 179

181 186

The Renaissance (1485-1625)

223 235

The Victorian Age (1837-1901) 240 249

The Twentieth Century – Part I

The Renaissance

(1901-45) 190 198

The Puritan Age Test 1 Test 2

The Romantic Age (1760-1837)

Test 1 Test 2

and the Puritan Age (1625-60)

Test 1 Test 2

214 219

Test 1 Test 2

The Middle Ages Test 1 Test 2

Test 1 Test 2

204 207

The Restoration (1660-1714)

Test 1 Test 2

256 267

The Twentieth Century – Part II (1945-present day) Test 1 Test 2

and the Augustan Age (1714-60)

273 288

The Restoration Test 1 Test 2

209 212

Keys to Tests

297



Introduction The title In Shakespeare’s comedy As You Like It, Orlando, when trying to explain how much he loves Rosalind, states: ‘Neither rhyme nor reason can express how much,’ (Act III, scene ii). In other words, no poetry or prose could express the depth of his love. Over the years this expression, along with many others by Shakespeare, has become a part of the English language – although its meaning has been modified. If we say today that something is ‘without rhyme or reason’ we mean it does not make sense. This anthology is entitled With Rhymes and Reason since it aims to give sense and clarity to all the poetry and prose presented, not only informing students but also entertaining them, and perhaps even cultivating a passion for the world of literature. Studying literature can be a daunting challenge for teenagers and the difficulties are multiplied when studying in a foreign language. For this reason the authors have aimed at a correct yet simple language. An exhaustive glossary for each text has been supplied and, where texts are particularly difficult, an Italian translation has been given.

The structure of the anthology The anthology is made up of 2 volumes: Volume 1: From the Origins to the Romantic Age – divided into 4 modules (1-4) Volume 2: From the Victorian Age to Modern Times – divided into 3 modules (5-7) Each module contains the following:

Timeline A visual section highlighting parallels between the main historical events and works of literature.

Historical Background An in-depth analysis of the period.

Literary Context An in-depth analysis of the literary trends.

Insight to the Age An informative section focusing on the main cultural characteristics of the period.

Literature Around the World An interdisciplinary exploration of literature from other countries.

ThinkTank These are special feature articles which focus on a concept aimed at arousing the students’ curiosity and interest in the period in order to give them a greater understanding of the culture which produced the literary works and how they are intrinsically related. This concept is then linked with a similar, contemporary idea, in this way showing how past actions, ideas and beliefs are often mirrored in our own time.

Kaleidoscope These represent short articles which focus on either a literary or historical characteristic related to the period. Both special features, ThinkTank and Kaleidoscope, provide an opportunity to introduce English from sources other than literary ones, while at the same time reinforcing aspects of the English-speaking world for students, favouring a multi-cultural approach. 8 Loescher Editore - Vietata la vendita e la diffusione


Introduction

CLIL This is an inter-disciplinary feature presenting material related to each period on subjects ranging from art and geography to science and psychology from all over the world. It provides an interesting moment of reflection for teachers and students and further broadens their knowledge of the period. It can also be a useful tool for inter-disciplinary work in preparation for the Esame di Stato.

On Screen / On and Off Screen Each module presents a film extract on DVD related to one of the works presented. This provides teachers with an opportunity to bring the work to life by consolidating the students’ understanding and interest through the visual image. It also provides an important moment for testing listening skills and offering possibilities for discussion and oral work. On and Off Screen gives students a different perspective on a work by either providing the parody of a scene already shown in On Screen or showing interviews with the director and actors involved in the making of a film and their views on the work of literature and its author.

Themes Each module presents 2 or 3 themes which give the teacher an opportunity to elaborate a certain aspect of the period through the chosen authors and also to develop further the students’ understanding of writers through interesting comparisons of their works. The themes are presented in a lively and interactive way with an emphasis on a communicative approach, thus providing ample opportunity for class discussion while at the same time giving students ideas which could later be used in their projects for the Esame di Stato.

In Short In order to help students test their own understanding and prepare for oral and written exams, at the end of every module students are provided with this useful revision appendix. This contains a glossary of the most difficult or relevant vocabulary / expressions and the main historical and literary events of the period written in short, clear summaries.

General Overview This is another useful revision tool, providing questions on everything covered in each module, including the major writers of the time.

How authors and their works are presented Each author is first presented with his / her biography which is kept deliberately short in order to dedicate more time to the author’s works and style. There is then a list of every author’s most important works followed by a commentary focusing on the main characteristics, novelties and originalities of each individual writer. This is then accompanied by a more specific and detailed commentary on the work to be presented along with a summary of this work. Students are then presented with a pre-reading activity, Let’s get started, which functions as a ‘warm-up’ to the extract by providing either information on the piece or relevant questions to stimulate students’ curiosity. After every extract follows a fixed group of exercises, Understanding the text, which first test the students’ basic understanding of the piece to then move on to an in-depth analysis of meaning, Analysis and interpretation, looking at language, style, form and possible themes. All questions are aimed at helping students build up a guided and gradually more complex understanding of each extract. The questions in Context help the students relate the work to the specific period or other works from the same period. 9 Loescher Editore - Vietata la vendita e la diffusione


Introduction Finally, in the Discussion exercise, students are supplied with questions formed to stimulate class or group discussion and an opportunity is also provided for students to practise their written skills in Writer’s corner. The final exercise, Review, enables the students to check what they have understood and remembered about each specific writer and his / her works.

Working with the anthology Chronological approach With Rhymes and Reason provides variety and flexibility for the teacher both in contents and approach. The 2 CD-ROMs supply the teacher with further extracts by certain authors from the canon. These are either extracts taken from works already presented in the main anthology or extracts from different works by the same author to provide a more complete picture of the author. In this way teachers are not limited to the works presented in the anthology alone but have a much greater choice and therefore flexibility when preparing their literature programme. All works on the CD-ROMs can be downloaded from the Internet. In addition, it will also be possible to find further extracts on the Internet available for download.

Thematic approach Teachers may decide to work through the volumes horizontally and develop the themes presented at the end of each module but they also have the opportunity to work through the volumes vertically, in a theme based approach by developing one or more of the 6 Theme Paths presented at the beginning of Volume 1 and 2. The themes presented – Love, Alienation, Women, Conflict & Power, The Journey, Prejudice & Discrimination – are all popular and appeal especially to students who may like to develop one of them more fully for the Esame di Stato. Studying literature through a specific theme can be motivating and stimulating for students, giving them a universal link between works which span over centuries rather than focusing on each period as a separate entity.

Supplementary material The Genres Portfolio is a clear and practical presentation of the different literary genres; the novel, poetry, etc., and may be used by the teacher prior to beginning the literature programme or as a constant reference during the academic year, providing both teacher and student with an excellent guide throughout the course. The Teacher’s Guide provides the answers to all the exercises present in the anthology and also contains an ample supply of tests. A DVD provides all the film extracts used in the anthology. It also contains the tests in PDF and Word format, allowing teachers to make modifications and adapt the tests to meet the requirements of their class. 2 audio CDs are available containing recordings of selected texts in the anthology.

Supplementary material for the student The 2 CD-ROMs provide the student with all the additional texts and extracts, as well as MP3 audio files of all recorded texts. At the end of Module 1 the section Study Tips provides the students with a comprehensive and practical guide to studying and revision and how to prepare for both oral and written tests. At the end of each volume, tests specifically designed for the Terze Prove in the Esame di Stato are also provided.


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With Rhymes and Reason – Volume 1

1

titoletto

From the Origins (700 BC-AD 900) to the Middle Ages (1066-1485)

The Origins (700 BC-AD 900) The Historical Background Over to you, p.7 1 1.Iberians 2.Celts 3.Romans 4.Anglo-Saxons 5.Vikings 2 1.Anglo-Saxons 2.Romans 3.Vikings 4.Celts 5.Romans

The Literary Context Over to you, p.10 1 1.F 2.T 3.F 4.T 5.F 2 1.Prose and poetry. 2.Epic and elegy. 3.Loss (of a lord, of friendship, of love, etc.). 4.Cynewulf and Caedmon. 5.Heroism, loyalty, generosity, the struggle against evil and the dignity of sacrifice. 6.Because it derives directly from an oral tradition. 7.Kenning, caesura, alliteration.

3 1.in English literature 2.in a library in England 3.5th century 4.partly legend and partly historical

Anonymous Beowulf (C. 8th CENTURY) Let’s get started, p.16 1 2 3 4

1.Hydra 2.Medusa 3.Cyclops 4.Minotaur Nothing, no weapons. A sword. The rhythm is very fast flowing, just like the action. The use of commas to break up the lines contributes to this effect.

Over to you, p.18 Understanding the text 1 2 3 4 5 6 7

a.2 b.6 c.4 d.1 e.5 f.3 g.7 Captain of evil, loser, Hell-serf. Alert hero. He was pretending to be asleep. To catch Grendel off his guard. His strength. It was very strong: ‘handsomely structured’.

Analysis and interpretation 8 9 10 11 12 13

‘Grabbed’, ‘mauled’, ‘bit’, bolted down his blood’, ‘gorged’. We associate these words with a beastly animal. He was not brave like a warrior but cowardly. ‘Devil’ because they are evil, and ‘litter’ because it is a word we associate with a family of animals. God. 1.bone-lappings: meat 2.mead-benches: tables 3.fen-bank: lake Open answer.


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Teacher’s Guide

Context 14 Open answer.

Discussion 15 Open answer. Possible ideas: football and hooliganism is one of the main forms of tribalism we have today along with the rise in violence in general.

Review 1 It is the most important, surviving poem in Old English; the first major poem in a European vernacular; a brilliant example of an epic poem; it also has a rich and varied language in a powerful verse.

2 The exact dating; whether or not it was part of an oral tradition; and to what extent it was ‘Christianised’ by the monks who transcribed it.

3 … a long, narrative poem describing heroic deeds and often involving long journeys. 4 …strong, fierce, cruel and heroic. Fighting was his mission and courage his greatest virtue. 5 1.Grendel 2.Grendel’s mother 3.the dragon

Anonymous The Seafarer Let’s get started, p.20 1 Open answer. 2 Apart from ‘me’ it will all seem incomprehensible. This exercise serves to illustrate how much the English language has changed. 3 Solemn.

Over to you, p.22 Understanding the text 1 1.The seafarer / narrator. 2.Negative 3.Very hostile conditions: extreme cold, ice, rain, hail, etc. 4.How he could endure such conditions and also being without any family. 5.Listening to the sounds of the sea birds – the swan, the gannet and the curlew for him substituted the laughter, singing and drinking of people.

Analysis and interpretation 2

The hostility of the sea

The hostility of the climate

terrible surging of the waves ice-cold sea the raging of the sea the ice-cold wave

feet pinched by the cold shackled by the frost in cold chains hung about by ice-spikes hail pelted in showers storms would pound

3 Underlined words should include: suffered times of hardship / days of toil / endured cruel anxiety at heart / experienced many anxious lodging places / hazardous night watch / anxieties sighed hot about my heart / hunger tore from within / one wearied by the ocean / I wretchedly anxious / bereft of kinsfolk / No protective kinsman could comfort the inadequate soul.

4 5 6 7

Loneliness. We ask ourselves why he chooses this life. Examples of kennings: ‘ice-spikes’: icicles, ‘ring-receiving ceremonial: marriage, ‘the whale-path’: the sea. It is less like a poem and looks more like a piece of prose, especially when compared with the other examples.

Context 8 The main difference the students should notice is the personal tone. The reader feels he is sharing the narrator’s thoughts. The heroic aspects are more subtle. There is no monster to fight but the sailor must fight the elements. The similarities can be found


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The Origins in the rich and figurative language and the notion of a quest – the killing of the monster in Beowulf, the journey towards a better life after death in The Seafarer.

Discussion 9 Open answer.

Review 1 1.lyrical 2.Essex Book 3.Christian / pagan elements 4.personal

ON SCREEN Robin Hood Over to you, p.28 1 1.cap, shirt, dagger, belt, jerkin, bow, arrows, tights

Robin Hood: Prince of Thieves (1991) Script ROBIN. We have food, wood for weapons. We’ll find safety and solace in our trees. VILLAGER. Yes, but what about our kin? The Sheriff’s taken all they got too. ROBIN. Then, by God, we take it back.

Over to you, p.28 1 1.safety 2.trees 3.by / God 4.it / back 2 1.make bows and arrows 2.practice with bows and arrows 3.fight with swords 4.re-build their villages 5.build hide-outs in the trees 6.fight with sticks 7.collect animals for food 8.accumulate weapons 9.use bows and arrows successfully

3

Similarities

Differences

he has a bow and arrows he has a jerkin he has a belt he has boots

he wears a hood instead of a cap he wears trousers instead of tights he doesn’t have a dagger

ON AND OFF SCREEN

Robin Hood: Men in Tights (1993) Script ROBIN. Men, grab your equipment and prepare for the training sequence. BLINKIN. All right gentleman, grab your feathered caps, jerkins, bodkins, boots, swords, quivers and pantyhose. ROBIN. Now, men, the object of this exercise is to hit the target. Now men, I want you to keep your eye on Will and do exactly as he does. Very good, well done Will. MEN. It’s not so hard. We can do that. Yeah, piece of cake. ROBIN. [to Will] Good boy. Ready men? CHARGE! ACHOO. Man..., maybe we should take the dummies in the band.

Over to you, p.29 1 2 3 4

1. T 2. F 3. T 4. F 5. T The villagers are given feathered caps, jerkins, boots, swords, quivers, pantyhose. 1.He is almost identical. 2.He was more concerned with making people laugh than with historical precision. 1.Unlike a typical heroic figure, Robin is not physically strong or brave. The title of the film implies an effeminate and rather comical figure. 2.He treats the men in his band like pets. He gives Will a treat after his example of jousting. 3.The film poster


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Teacher’s Guide mocks the historically incorrect special effects used in the Hollywood films, as we saw in On Screen, when Kevin Costner’s arrow divides into three parts at the end of the sequence.

The Middle Ages (1066-1485) The Historical Background Over to you, p.31 1 1.French 2.Anglo-Saxons 3.William I / William the Conqueror 2 1.The Norman aristocracy. 2.It meant that the law was applied commonly throughout the king’s land and it started to pave the way for trial by jury. 3.Up until this time, clerks or clergy who had been accused of committing crimes were tried in the Bishop’s court. According to the Constitutions of Clarendon, they had to be tried at the king’s court and then judged by the Church court. In this way their king was offering a kind of compromise between the power of the state and the Church. 4.Thomas Becket was the Archbishop of Canterbury who opposed the Constitutions of Clarendon: he went into exile and when he returned six years later he was killed in Canterbury cathedral by three of the king’s knights.

3 1.the top 2.had almost absolute power over their territories 3.received land from the barons in exchange for their military service 4.was made up of merchants and yeomen 5.made up the majority of the population; they owned no land of their own and had very little freedom.

4 1.the Lion-Heart, almost entirely abroad, the Third Crusade, in the war against France, he died 2.he imposed high taxation, sign the Magna Carta 3.the building of the English modern political system 4.the control of the monarchy, the development of Parliament with further reforms 5.weak king who abdicated in 1327

5 1.The Domesday Book is a great record of English land-holding (the first census in English history) containing the names of the people who owned the lands and how much land was owned. 2.The Magna Carta limited the absolute powers of the king: he was forced to ask the approval of a council of advisors before imposing taxes.

6 1.The Anglo-Saxon aristocracy came to consider itself truly English. 2.It was a plague that killed one third of the population at the time. 3.It was a protest against the corruption and excessive wealth of the Church and a forerunner of the Protestant movement of the 16th century.

7 1.the House of Lancaster 2.the House of York 3.thirty years 4.Tudor

A Different Perspective Geography and Art Matthew Paris (c. 1200-59) Over to you, p.33 1 Open answer. 2 The greatest inaccuracies are along the western coast. 3 Historians must be careful that Paris’s work was not influenced by his own personal ideas, or based on gossip, but is as objective as possible.

4 The Art of Painting has an extremely old map of the Netherlands on the wall in the background. The map was by Claes Jansz Visscher and shows the old 17 provinces of the Netherlands. Interestingly the west is at the top of the map and the east at the bottom – this was the normal way of presenting maps at that time. There is a tear down the middle of the map dividing north and south. This division is symbolic of the division between the Dutch Republic in the north and the Habsburg controlled provinces in the south. By 1666 when Vermeer finished his painting this situation had changed.

The Literary Context Over to you, p.37 1 1.poems 2.music 3.oral 4.balladeers 5.audiences 6.simple 7.refrain 8.love and war 9.tragic death 10.1200-1700 2 1.Religious origins. 2.From the 13th century. 3.In marketplaces. 4.Religious stories. 5.First in Latin then in English. 6.Entertaining and amusing their audiences. 7.Miracle and mystery plays (then morality plays). 8.Everyman.

3 1.anonymous 2.knight 3.purity of heart 4.man’s spiritual quest 5.vague 6.supernatural elements 7.elements of fantasy 4 1.France 2.12th century 3.Wales 4.Thomas Malory


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The Middle Ages

Insight to the Age Over to you, p.38 1 Old English: German origins in vocabulary, sentence structure and word endings. It went through many transformations in about 700 years. Old English had some sounds which no longer exist today. Vocabulary was strongly influenced by Latin. Middle English: in the course of the 14th century it became the main language used throughout the country; a combination of the language of the conquerors and the old Anglo-Saxon. It is considered the beginning of Modern English. Still a Germanic language, but different from Old English in grammar and phonetics. Many words were borrowed from French. Modern English: used from mid-late 16th century onwards. In the course of the following centuries English borrowed more and more words from Latin, Greek and other languages.

2 1.Minstrels. 2.Minstrels were professional entertainers or ‘nomadic poets’; troubadours were more sophisticated and bettereducated and therefore considered to be of a higher social standing. 3.This figure grew in importance as a result of the prosperity achieved by the courts, particularly in France, where the nobles wanted to hear stories about heroes, adventures and chivalry. 4.He was expected to be loyal to his king or lord, fight for him and be brave in battle, if necessary sacrificing himself for honour. He should have faith in God, be humble, protect the weak and poor, merciful to his enemies and gentle towards noble ladies. 5.He had to uphold a code of chivalry: be honourable, virtuous and adhere to the ideals of courtly love. 6.A love relationship between a knight and his lady, in which the knight served his lady with the same loyalty he had for his lord. 7.Christian duties involved having faith in God, serving him and fighting against evil.

Anonymous ‘Lord Randal’ (C. 13/15th CENTURIES) Let’s get started, p.39 1 & 2 Open answers.

Over to you, p.40 Understanding the text 1 2 3 4

A mother is talking to her son. Into the greenwood (the mysterious part of the forest). He met his true love and she gave him fried eels to eat. She suspects he has been poisoned because he ate the same things as his hawks and hounds and they have all died, and also because he feels very tired and just wants to lie down.

5 1.24 cows 2.his gold and silver 3.his houses and lands 4.hell and fire 6 The man dies.

Analysis and interpretation 7 Wealthy. 8 Before line 24 he may have fooled himself into thinking that he was simply tired or ill but his mother makes him realise that he has been poisoned by his true-love. Now he is not only sick but ‘sick at the heart’ (heart-broken) as well as poisoned.

9 Selfish and indifferent. 10 Structurally it is made up of four-line stanzas and has a refrain. It tells a simple story about tragic love.



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Teacher’s Guide

Aerosmith ‘I don’t Want to Miss a Thing’ (1998) Let’s get started, p.41 1 & 2 Open answers.

Over to you, p.44 1 In a bed / bedroom. 2 His lover. 3 He doesn’t want to miss a moment of being with his lover.


Similarities

Differences

They both tell a story. They both speak about love / relationships. They both involve repetition and a refrain.

Structurally they are very different: ‘Lord Randal’ is made up of four-line stanzas and the story is told in dialogue form. ‘Lord Randal’ is a tragic love-story, Aerosmith’s story is not tragic but romantic.


Review 1 2 3 4

Main characteristics are: short, narrative poems accompanied by music with 4 line stanzas and a chorus or refrain. From 1200-1700. Tragic death, love and war. 1.F 2.T 3.T 4.F

Geoffrey Chaucer (C. 1343-1400) The Canterbury Tales (c. 1387-1400) Let’s get started, p.47 1 1.Possible answers include: to pay homage to a particular saint or icon, to serve a penance, historical interest in a shrine or building, as a form of reflection and meditation, a way of getting away from the stress of everyday life (as most pilgrimages are carried out in peaceful places). 2.Visiting the tomb or birth place of a famous singer/celebrity (for example Elvis Presley’s grave in Graceland); visiting a famous monument e.g. the seven wonders of the world etc.; doing something particularly challenging e.g. climbing Everest, etc. 3.Open answer.

2 Enthusiastic, light-hearted.

‘April’s Sweet Showers’ Over to you, p.48 Understanding the text 1 1.Spring. 2.Nature comes alive. 3.a)rain: ‘sweet showers fall / And pierce the drought of March’ b)wind: ‘Zephyr with his sweet breath / Exhales an air in every grove’ c)plants: ‘veins are bathed in liquor of such power / As brings about the engendering of the flower’ d)animals: ‘the small fowl are making melody / That sleep away the night with open eye’ 4.Because nature is coming alive after the winter and people feel the need to give thanks. 5.The flowers multiply and the birds sing and fall in love (‘heart engages’). 6.By praying to him he healed them in their sickness. 7.From all over England (‘from every shire’s end’).


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The Middle Ages

Analysis and interpretation 2 His enthusiasm for spring is reflected in words and phrases such as: veins are ‘bathed’ in liquor, ‘power,’ ‘sweet’ breath, ‘tender’ shoots, ‘young’ sun, ‘making melody’.

3 Lines 1-5, although poetic, are also scientific in their description; the reference to the Ram (aries/ariete) is associated with astronomy.

4 The verse is in rhyming couplets in iambic pentameter. 5 The style is colloquial; the use of enjambement contributes to this. It is interesting that these opening 18 lines form only one sentence.

ThinkTank From Hip-hop to Lit-hop with The Canterbury Tales Over to you, p.49 1 1.Similarities include: it is the same month of April, the showers are ‘sweet,’ he speaks about the plants and vegetation coming to life in springtime. 2.Differences: in Brinkman’s Prologue the people come out of their houses not to go on pilgrimages but to go to shows and hip-hop or rap concerts. The language is extremely colloquial and modern, e.g. ‘you gotta picture it…’.

2 Open answer.

Over to you, p.50 1 2 3 4 5

Open answer. Negative connotations might include: gang violence, bad language, gun culture. Open answer. Open answer. Student research.

‘The Knight’ Let’s get started, p.51 1 & 2

Probable answers: heroic, handsome and experienced.

Over to you, p.52 Understanding the text 1 Chaucer describes the Knight as ‘a most distinguished man’, full of ‘chivalry, Truth, honour, generousness and courtesy’ and with ‘noble graces’. A ‘distinguished knight’, ‘of sovereign value in all eyes’, ‘he was wise’, ‘in his bearing modest as a maid’, ‘never yet a boorish thing had said’. ‘He was a true, a perfect, gentle- knight’.

2 No. 3 Christian and heathen places; Alexandria, Prussia, Lithuania, Russia, Grenada (Spain), North Africa, Anatolia, the Mediterranean coast, Tramissene.

4 15 times. 5 He was revered and highly respected abroad, too. 6 He fights for God and the spread of Christianity.

Analysis and interpretation 7 8 9 10

Wise but also modest. To reinforce his heroism, he may also be making fun of the stereotype. Idealised, romantic and in part stereotypical (apart from his modesty). Students may find it difficult to believe, perhaps, that someone as heroic, brave and worldly-wise could also be so gentle and kind. The students may find the whole image of the Knight too exaggerated.


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Teacher’s Guide

‘The Prioress’ Let’s get started, p.52 1 Given that she is from the estate of the church, we might expect Chaucer to describe her as being reserved, devoted to her work and to helping man, extremely pious and modest in dress.

2 The changes in tone begin from lines 18-26 and lines 27 to the end of the passage.

Over to you, p.53 Understanding the text 1

Physical aspect and dress Her nose was elegant, her eyes glassy-grey, her mouth very small, soft and red; her forehead was high, she was quite tall (by no means ‘under-grown’); her veil gathered in a ‘seemly way’, her cloak had a ‘graceful charm’; she wore a coral trinket, a set of beads and a golden brooch. How she behaved She was simple and coy, she sang well (has a ‘fine intoning’), she spoke daintily, manners well-taught, she had a ‘zest’ for courtliness, was very entertaining, had a courtly kind of grace, a stately bearing, and was all sentiment and tender heart.

2 She seems to have a very relaxed and comfortable life, participating in a lively social environment.

Analysis and interpretation 3 You would not expect a nun to be enthusiastic about socialising around the court. 4 She is at her most tender and sympathetic with her dogs and animals in general. Considering the poverty and lack of food for many people at that time, it seems that she is more generous to animals than people; this is not normally how a nun should be.

5 Not at all. 6 Students may come up with a different answer, but from the evidence in Chaucer’s presentation we can imagine that this prioress isn’t particularly religious and seems to like ‘the good life’. Therefore, the secular translation may be the one she would prefer, ‘Love conquers all.’

7 It is more ironic. 8 For many women, they either married or were sent to a nunnery. The Prioress may not have chosen a life with the church herself, consequently she may not necessarily be especially pious.

‘The Wife of Bath’ Let’s get started, p.54 1 A detailed description of her appearance and character told with humour and irony.

Over to you, p.55 Understanding the text 1

Physical aspect

Occupation

Character

Dress

Past life

deaf, gap in her front teeth, red face, large hips

cloth maker

self-important, bossy

ten pounds of cloth on her head, red stockings, new shoes

five husbands, many lovers before, travelled widely on pilgrimages

2 1.ugly 2.domineering (but could also be lively) 3.fashion-conscious 4.adventurous 3 1.Ugly, because although Chaucer says she was ‘handsome’ her face was red and she had ‘gap teeth’ and was also a bit deaf. 2.Lively, because ‘she liked to laugh and chat’ and domineering because of the lines: ‘In all the parish not a dame dare stir /


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The Middle Ages Towards the altar steps in front of her, / And if indeed they did, so wrath was she / As to be quite put out of charity.’ 3.Fashionconscious, because in his presentation Chaucer gives the following descriptions of her clothing: ‘Her kerchiefs were of finely woven ground’, ‘Her hose were of the finest scarlet red’, ‘her shoes were soft and new.’ She also made her own cloth which was of the finest quality. 4.Adventurous, because Chaucer tells us of the places she has been and says ‘she was skilled in wandering’.

Analysis and interpretation 4 Both presentations are ironic, surprising, humorous, lively. 5 They both seem vain and quite particular about their appearance. They are sociable and they seem to enjoy life. 6 Students’ opinions may differ but possible answers are: 1.the Knight 2.the Wife of Bath 3.the Knight 4.the Wife of Bath 5.the Prioress 6.the Wife of Bath 7.the Knight / the Wife of Bath.

7 1.The Knight is distinguished and heroic but in some aspects of his character he is also likened to a girl: ‘in his bearing modest as a maid’. 2.The Prioress seems religious and holy but she is also vain and ‘for courtliness she had a special zest’. 3.The Wife of Bath is going on a holy pilgrimage but she has had five husbands and many lovers.


Context 9 Open answer.

Review 1 1.29 2.the Tabard Inn 3.pilgrimage 4.Thomas Becket 5.the three estates 6.the Knight 7.highest 8.brave 9.crusades 10.typical 11.court 12.morals 13.humble 14.laity 15.fun-loving 16.5 17.red stockings

2 Chaucer established the beginnings of a modern, standard English language; he is regarded as the first truly English poet. 3 Petrarch, Boccaccio, Dante. 4 Skilful characterisation.

Literature Around the World Chaucer and Boccaccio Over to you, p.57 1 We have no proof of this as he never mentions him in his writings. 2 They are both written in vernacular and not in Latin; their structure is that of a frame narrative and the stories are told by the characters themselves.

3 Characterisation and narrative perspective. 4 Both quotations convey an idea of women which is different from the typical medieval conception. The idea expressed here is that of a woman who is free to act as she likes.

Sir Thomas Malory (1410?-71) Le Morte Darthur (1485) Let’s get started, p.60 1 & 2 They all involve the quest for the Holy Grail, one of the stories in Le Morte Darthur.

Over to you, p.62 Understanding the text 1 1.F 2.T 3.F 4.T 2 1.Because he needed a sword for Sir Kay and he knew about the sword in the stone. 2.No-one. 3.It was very easy. 4.Because he did not completely trust his son and made him swear on the Bible as to how he got the sword. He wanted to see it with his own eyes. 5.He tells Arthur to put the sword back in the stone and then asks both Arthur and Sir Kay to try and pull


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Teacher’s Guide it out again.

Analysis and interpretation 3 He is naïve. Arthur wants to please his foster-brother in every way and doesn’t understand that Sir Kay is being dishonest. He makes nothing of having pulled the sword out of the stone and cannot understand why he should be king.

4 He wasn’t entirely honest and didn’t tell the whole truth when he told his father, Sir Ector, that he should be king as he had the sword.

5 When Sir Ector tells him that he is now the rightful king of England Arthur answers, ‘Wherefore I?’ and ‘and for what cause?’. He also says that pulling the sword out of the stone ‘is no maistry,’ meaning it is not difficult.

6 Malory’s style is basic.

Discussion 7 Students may be surprised at the simplicity of the incident, also due to Malory’s basic style. They would probably have imagined Arthur to have been much older, a mature man rather than a young boy.

8 A sword represents power, strength and courage, which a good leader must have to defend his country. Anyone can become king but a good king must have these particular qualities.

9 Excalibur.

Context 10 The magic still exists but now the miracles are a result of God’s wish: God knew who should be king. This also links up with the idea held at that time that the monarch reigned by God’s will and by divine right.

Writer’s corner 11 Student research.

Review 1 1.knight 2.criminal 3.prison 4.Wars of the Roses 5.exemplary figure 6.original 7.5th century 8.religious 9.popularity 10.fiction

Theme Heroes, p.64 1 Classical heroes’ powers were given to them by the gods and goddesses. In the Middle Ages, due to the spread of Christianity, only God could have these supernatural powers.

2 A dragon has the enormous body of a snake, spits fire and also has wings to fly. The element of fire gives him a certain supernatural quality.

3 Physical strength, courage and determination. 4 Because in the past women were traditionally given a subordinate role. 5 Open answer.

Anonymous Beowulf Text 1

Over to you, p.67 1 & 2 1. ‘A son in halls, whom heaven sent’ (l.3) 2. ‘with world’s renown. / Famed was this Beowulf’ (ll.7-8) 3. ‘That erst they had lacked an earl for leader / So long a while’ (ll.5-6) 4. ‘The Wielder of Wonder’ (l.7) ‘By lauded deeds’ (l.10) 5. (several times in the text he is called) ‘an earl’ (l.5, l.7)

Text 2

Over to you, p.67 1 1.sea 2.human beings 3.evil 4.hero 5.kill 2 He is proud and boasts; he is brave. 3 ‘And since, by them / on the fathomless sea-ways sailor-folk / are never molested.’ 20 Loescher Editore - Vietata la vendita e la diffusione

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General Overview

Sir Thomas Malory Le Morte Darthur Over to you, p.69 1 2 3 4 5

woman (lady), monster (dragon) Courage, faith in God, chivalry, strength, piety. Open answer. Possible ideas: Robin Hood, the superheroes (eg Spiderman, Superman, etc). Open answer.

General Overview, p.74 The Origins The Historical Background 1 1.T 2.F 3.F 4.F 5.F 6.T

The Literary Context 2 1.The 5th century. 2.The runes. 3.The Christian scribes. 4.Yes. 5.Pagan poetry consisted of epic and elegy. 6.Religious poetry.

Beowulf 3 1.Old English 2.an oral tradition 3.Christian religion 4.in Scandinavia 5.a typical warrior of the time

The Seafarer 4 1.T 2.T 3.T 4.F

The Middle Ages The Historical Background 1 1.French 2.had to partially submit to Norman rule 3.the clergy 4.an archbishop 5.because he disagreed with the king 6.to make all nobles pay the right taxes 7.represented a step towards modern institutions

2 1.F 2.F 3.T 4.F

The Literary Context 3 1.religious dramatisations 2.scenes from the bible 3.Latin 4.churches 5.churchyards 6.independent from the liturgy 7.pageants ie. mobile stages 8.miracle and mystery plays

4 1.T 2.T 3.F 4.F 5.F 6.T 7.F 8.T

‘Lord Randal’ 5 1.T 2.T 3.F 4.F 5.T

Geoffrey Chaucer 6 1.a verse narrative 2.a frame-tale 3.thirty pilgrims 7 1.a cross-section of contemporary society 2.the three estates 3.characterisation 4.humour

Thomas Malory 8 1.In medieval times. 2.King Arthur, Lancelot, Guinivere. 3.The book’s enduring popularity is due to the fact that it has something for everybody. 4.Most events of the book take place in Britain (particularly in Camelot, the capital of Arthur’s realm) and France. 5.It is about a brave heroic leader who follows an honourable code of justice and chivalry in his courageous quest for the Holy Grail. It contains elements of love and romance (between Arthur and Guinivere), betrayal (Launcelot and Guinivere), magic, wizadery and mystery.


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2

The Renaissance (1485-1625) and the Puritan Age (1625-60)

ThinkTank The Two Elizabeths Over to you, p.81 1 She says she can compensate this since she has the heart and stomach of a man, and she shows her courage by saying she is prepared to die with her men.

2 Her references to God reinforce the belief that God is on England’s side during battle, therefore theirs is the noble and righteous cause. She refers to the Spanish as ‘the enemies of my God.’

3 There are many patriotic elements in her speech. Not only does she say she has the ‘heart and stomach of a king’ but of a ‘king of England,’ implying a greater strength and worthiness.

Over to you, p.83 1 The tone of this speech is less formal and more personal. 2 By referring to herself as a ‘grandmother’ she wants to underline her ‘human’ qualities, not just her official role as queen. By doing this she is also putting herself on the same level as millions of other grandmothers in the country, who may empathise with her feelings.

3 Patriotic elements are evident when she says that it is ‘...a chance to show the whole world the British nation united in grief and respect.’ She is saying that the British can suffer with dignity.

4 Open answer.

The Renaissance (1485-1625) The Historical Background Over to you, p.84 1 1.Elizabeth I 2.Mary Stuart 3.Henry VIII 4.Henry VII 5.Edward VI 2 1.the Pope refused to grant him a divorce from his first wife, Catherine of Aragon 2.declare his marriage void 3.the Anglican Church, in 1534 4.formal head of the Church of England

3 1.the country’s religious and political power and stability 2.following a wise policy of compromise between the Catholics and the Anglicans 3.discovery, the first English colony in America, Virginia, named after his Queen. 4.East India Company

4 1.Threats came from Mary Stuart, Elizabeth’s cousin, who hoped to restore Catholicism to the country by becoming queen; and from Philip II of Spain who sent his powerful fleet, The Invincible Armada, to invade England (it was defeated by the English fleet). 2.In 1620. They wanted to escape religious persecution (in order to practice their religion freely). 3.Ship: The Mayflower. Colony: New Plymouth.

A Different Perspective Architecture Renaissance versus Tudor Over to you, p.85 1 1.T 2.R 3.R 4.T 5.T 6.R 7.T 8.R 2 Open answer.

The Literary Context Over to you, p.93 1 1.re-birth 2.the Middle Ages 3.Europe 4.humanism 2 The Italian Renaissance developed in the late Middle Ages, the English one in the 16-17th century. In the Italian Renaissance visual arts were extremely significant, in the English one only literature. The English Renaissance was less influenced by the classics than the Italian one.


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The Renaissance 3 1.theatre 2.classical and popular sources 3.earn a lot of money and become successful. 4.James Burbage 5.The Theatre 6.The Globe

4 1.Description: public theatres were based on the style of ancient amphitheatres: octagonal or circular with a raised platform for a stage. They were built in the open air with only the stage half-covered. Around the sides there were 2 or 3 galleries with wooden benches but most people stood in the space in front of the stage. 2.Yes. 3.On temporary stages built in the yards of inns. 4.Performances were held in the afternoon during the 5 warmer months of the year (around summertime). 5.Disease and criminality were common problems connected with theatres. 6.The most important companies were ‘The Chamberlain’s Men’ and ‘The Lord Admiral’s Men’. 7.Yes, but not to perform in the plays. 8.Private theatres were smaller and indoors; they were more expensive and aimed at a more refined audience.

5 1.young men who graduated from Oxford or Cambridge 2.Lyly, Lodge, Kyd, Marlowe 3.Ben Jonson 6 1.the last years of the 16th and early 17th century (during the reign of King James I) 2.refined 3.formal discipline 4.acts 5.scenes

7 8 9 10 11

Sir Thomas Wyatt. 1.14 2.three quatrains and a final couplet Edmund Spenser, The Faerie Queen; Sir Philip Sidney, Astrophel and Stella 1.John Donne 2.the poetic diction of the age which was rich in conventions 3.new feelings and aspects of reality Sir Thomas More

life main work contents

Lord Chancellor for Henry VIII, imprisoned and executed for his refusal to accept England’s Reformation and the schism with Rome. Utopia He depicts an ideal republic, based on the principles of liberty, fraternity, moral and civil integrity; a republic hostile to war.

Sir Francis Bacon

main work contents

The New Atlantis He established the modern language of analysis, characterised by a lively and concise style of short sentences with sudden variations in rhythm. He depicts an ideal land.

John Lyly

main work characteristics

Euphues and His England It has a very artificial and rhetorical style, rich in alliteration and similes. It gave birth to the term euphuism, which means an excessively cultivated and refined piece of prose based on rhetoric.

Insight to the Age Over to you, p.95 1 1.God 2.the celestial beings 3.the vital central link 4.inanimate objects 2 The mental faculties and the social structure of humans (in family, society, etc). 3 1.Scholasticism. 2.Plato and Aristotle. 3.The power of reason. 4.Sir Thomas More and Sir Francis Bacon. 5.Because Renaissance thinkers renounced absolute truths. 6. Shakespeare’s Hamlet.

4 1.improving man’s knowledge 2.a more rapid and extensive diffusion of knowledge and literary works 5 1.By observing the motion of the planets, Copernicus demonstrated that the sun and not the earth was at the centre of the universe 2.Galileo Galilei designed a powerful telescope and supported the theory of Copernicus.

Literature Around the World The 16th and 17th Centuries Over to you, p.96 1 In France in the 16th century Rabelais wrote Gargantua and Pantagruel about a giant and his son. The best representative of French Humanism was Michel de Montaigne who wrote Essays. Pierre Corneille and Jean Racine wrote powerful tragedies. The other great playwright was Molière who revived comedies. In Spain the most famous authors were: Miguel de Cervantes with Don Quixote in the 16th century, between the two centuries


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Teacher’s Guide Lope de Vega and Calderon de la Barca, who wrote in the 17th century. This century also saw the birth of the picaresque novel. In Germany the phenomenon of the Volksbücher is important (Doctor Faustus). In Italy the Renaissance started in the late Middle Ages and had a great influence on English literature, in particular the novella (short story).

Christopher Marlowe (1564-93) Doctor Faustus (1604) Let’s get started, p.100 1 & 2 Faustus is proud and underestimates the perils of damnation. / Faustus is determined to challenge the wrath of God.

Over to you, p.102 Understanding the text 1 2 3 4 5 6 7 8 9 10 11 12 13

1.In his study, somewhere in an inner room. At midnight. ...stand still or slow down. If time slows down he will have time to repent : ‘That Faustus may repent and save his soul.’ The planets. A drop of Christ’s blood. ‘From the heavy wrath of God.’ The stars. That his condemnation can be shortened. Metempsychosis is when the soul survives but not in the same body. It flies from one body to another. To a beast’s body because their souls dissolve when they die. His parents, himself, Lucifer. The Devil comes for Faustus and takes him down to hell.


1.despair 2.suffering forever in hell 3.no 4.fair but ready to punish Lines 10, 13, 14, 17, 19, 24, 38, 50, 54, 55, 56, 57. Line 10. The playwright was trying to satisfy all sections of the public.

Context 18 1.groundlings (and possibly also the selected public) 2.selected public 3.selected public

4.selected public 5.groundlings

and selected public 6.groundlings (possibly also selected public)

Discussion 19 Because he didn’t repent.

Review 1 1.F 2.F. 3.F 4.T 5.F 6.F


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The Renaissance

William Shakespeare (1564-1616) Richard III (1592-93) Let’s get started, p.109 1 Probable answer is ‘one of uncontrollable anger’ but also ‘other’ if students can justify with their own reasons and ideas.

Over to you, p.111 Understanding the text 1 1.walking in the funeral procession 2.their contrasting feelings for each other 3.seems to hate Richard 2 He is attempting to seduce Lady Anne. 3 1.arrogant 2.furious

Analysis and interpretation 4 Richard says Lady Anne’s beauty was responsible: ‘your beauty was the cause of that effect’ (l.2). 5 Her reaction is violent, she says she would tear her beauty from her face with her own nails: ‘These nails should rend that beauty from my cheeks.’ (l.7)

6 He compares her beauty to the sun, and says that her beauty has the same effect on him that the sun has on the world: ‘As all the world is cheered by the sun, So I by that; it is my day, my life.’(l.11)

7 8 9 10 11 12

Lines 17-18, ‘It is a quarrel just and reasonable, To be reveng’d on him that kill’d my husband.’ He justifies the murder saying that he did it so that she could have a better husband: himself. Line 21: ‘His better doth not breathe upon the earth.’ Lines 1-2, 12-13, 21-22, 30-31, 33-37 Examples of violent and aggressive language can be found in lines 7, 12, 30, 32-33, 35. Most powerful image: open answer. He says her eyes have the power to cause him a ‘living death’ since they can reduce even him to tears (and he has never cried for compassion or remorse before).

13 He is hoping Lady Anne will be moved by his tears and will pity him.

Discussion 14 Open answer. 15 Open answer.

Review 1 1.England. 2.To become king. 3.Yes, he does, by killing six people who stood between him and the throne. 4.By emphasising his physical deformities (hunched-back, withered arm). 5.The Wars of the Roses. 6.Such an evil king could not have reigned with God’s approval so he was deservedly killed at the Battle of Bosworth.

2 1.Sir Thomas More 2.ambition, fate 3.ruthless 4.cunning

A Midsummer Night’s Dream (1595) Let’s get started, p.113 1 1.Hippolyta 2.Oberon 3.rude mechanicals / workmen 4.Theseus 5.Lysander 6.Demetrius 7.Demetrius

Over to you, p.115 Understanding the text 1 2 3 4 5 6

1.5 2.8 3.1 4.6 5.3 6.7 7.4 8.2 1.Night time. 2.Puck’s master is Oberon and Puck thinks ‘he’ is Demetrius but it is actually Lysander. 1.raven 2.dove A raven is black: negative; a dove is white: symbol of purity and all that is good. 1.T 2.F 3.T 4.F Titania now loves Bottom and Lysander loves Helena.


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Teacher’s Guide


1.l.17 2.ll.7-8 3.ll.34-35 4.ll.12-13 5.ll.24-25 He uses the analogy of a fruit when it ripens / matures (in line 20 we have the words, ‘grow’ ‘ripe’ ‘season.’) Possible answer: the man I really love (Demetrius) never even looks at me and now you are making fun of my sad situation. The whole extract is in iambic pentameter in rhyming couplets.

Context 11 A few examples include: Alice in Wonderland by Lewis Caroll, Gulliver’s Travels by Jonathan Swift.


Review 1 1.comedies 2.earlier 3.popular 4.magical atmosphere 5.performed 6.June 23 7.English tradition 8.young girls 9.loss 10.fantasy

2 Plutarch’s Life of Theseus, Ovid’s Metamorphoses and Chaucer’s Knight’s Tale.

Kaleidoscope Quoting Shakespeare Over to you, p.116 1 1.è Arabo 2.è sparito nel nulla 3.non si muove di un centimetro 4.senza parole 5.vecchio come il cucù 6.morto stecchito 7.un pugno in un occhio 8.un idiota totale 9.per l’amore del cielo 10.è lo stesso per me

Romeo and Juliet (1595) Let’s get started, p.118 1 Their deaths finally reconciled the two families.

Text 1

Over to you, p.119 Understanding the text 1 1.Both families are wealthy. 2.They have recently begun to quarrel again. 3.The children from these two families have fallen in love. 4.The children are destined to die. 5.What happens to Romeo and Juliet finally reconciles the two families.

2 1.‘Two households, both alike in dignity’ 2.‘From ancient grudge break to new mutiny’ 3.‘From forth the fatal loins of these two foes a pair of star-crossed lovers take their life’ 4.’their parents’ rage, which, but their children’s end, naught could remove’ 5.‘do with their death bury their parents’ strife’


ab,ab,cd,cd,ef,ef,gg, in iambic pentameter A Shakespearian sonnet. The play will last two hours. The actors hope for a successful and entertaining performance. In Shakespeare’s time there was direct dialogue between actors and audience.



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The Renaissance

Text 2

Over to you, p.120 Understanding the text 1 2 3 4

1.T 2.F 3. F 4.T 5.F 6.T 7.T 8.F To the audience. Line 18. She recognises his voice.

Analysis and interpretation 5 6 7 8 9 10 11

He is curious and wants to hear more, so doesn’t interrupt her. Juliet is saying that a name has no importance. It is not a physical part of a person, simply a label. It is better to die a victim of their hate than live without your love. Positive: ‘bescreen’d in night’ / ‘I have night’s cloak to hide me’ Juliet’s family. 1.dialogue: lines 18 to the end 2.monologue: lines 1-4, 6-17 3.aside: line 5 Probable answer: 2

Discussion 12 Open answer. 13 Open answer.

Writer’s corner 14 Open answer. 15 Celebrities and other famous people in the news can cause a name to rise in popularity. 16 Open answer.

Review 1 1.Montague 2.Capulet 3.Verona 4.tragedies 2 Arthur Brooke’s poem The Tragicall Historye of Romeus and Juliet and parts of a prose version by William Painter. 3 1.Shakespearean sonnet 2.the hate between the two families

Literature Around the World Shakespeare and Italy Over to you, p.122 1 1.the text is made up of dialogues / the text is a narrative in prose. 2.More complex and imaginative. 2 He recreated the whole passage. For example: Luigi da Porto: Onde ella conosciutolo e per nome chiamatolo, gli disse: Shakespeare: O Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name!

Much Ado About Nothing (1598) Let’s get started, p.124 1 2 3 4

Open answer. He has begun to talk in an elaborate way. It turns them into fools. Because he says no woman can ever have all three qualities.


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Teacher’s Guide

Over to you, p.127 Understanding the text 1 1.Benedick and Beatrice 2.find it difficult to admit their love for each other. 2 1.T 2.T 3.F 4.T 3 1.Hero was dead and he was going to marry Leonato’s niece 2.stole it 3.he pities her

4.she was told he was ill (and to save

his life)


Exact words

Said by

1. 2. 3. 4.

Leonato Benedick Benedick Claudio

‘She died, my Lord, but whiles her slander lived.’ ‘Here’s our own hands against our hearts.’ ‘a college of wit-crackers cannot flout me out of my humour.’ ‘...to make thee a double-dealer, which, out of the question, thou wilt be, if my cousin do not look exceeding narrowly to thee.’

5 They seem indifferent. 6 He has been ‘converted’ and transformed into an ‘oyster’.

Discussion 7 1.Man cannot rule his life with only logic and reasoning; the heart and emotions are just as important. 2.Man is impulsive and consequently may easily change his mind about things.

8 Open answer. 9 Open answer.

Review 1 1.a comedy 2.Italy 2 Seeming and being; appearances and deception.

The Merchant of Venice (1596-97) Let’s get started, p.129 1 Open answer.

Over to you, p.131 Understanding the text 1 1.She has run away (to get married). 2.He has lost all his ships. 3.To force Antonio to respect their agreement. 2 1.F 2.T 3.F 4.T 3 1.call me usurer 2.lend money for a Christian courtesy 3.disgraced me, and hindered me half a million 4.laughed 5.mocked 6.scorned 7.thwarted 8.cooled 9.heated

4 Because Shylock is a Jew.

Analysis and interpretation 5 He means that she is completely different from her father, i.e. she is a very likeable character. 6 He says: ‘what’s that good for?’, meaning what is the real point in doing that; what could Shylock possibly do with a pound of Antonio’s flesh.

7 8 9 10 11

He uses the word four times; it emphasises the importance of this act for Shylock. He says he was taught by Christians. Line 32: ‘The villany you teach me I will execute’. His own revenge will be harder than any he was ever taught. This piece is written entirely in prose.


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The Renaissance 12 It underlines the conversational aspect of the piece but also the fact that there is an emphasis on reason as opposed to feeling; Shakespeare abandons his use of iambic pentameter in rhyming couplet. Furthermore Shakespeare, in his works, generally used prose as the language of his villains and verse for his protagonists.

Discussion 13 Open answer. 14 It is a plea for tolerance, equality and human rights as he is saying that in the end we are all human beings with the same needs, bodily functions, feelings and passions. We are, therefore, all fundamentally the same, regardless of colour or religion.

15 Open answer.

Review 1 1.F 2.F 3.F 4.T 2 1.A pound of Antonio’s flesh (which would mean taking Antonio’s life). 2.Anti-Semitism is regarded as a major theme of the play but also love and mercy versus greed, and revenge. 3.In the modern world it is easy to see the play as strongly antiSemitic, especially when Shylock is forced to become a Christian, but the play, and especially some of Shylock’s speeches, can also be used as a call for tolerance.

Julius Caesar (1598) Let’s get started, p.133 1 1.He states that he loved Rome more than Caesar and wanted to keep its citizens free. 2.Their patriotism. 3.Yes, he convinces the crowd.

Over to you, p.135 Understanding the text 1 1.Caesar’s cloak (mantle). 2.He focuses on the holes caused by the knives of the different conspirators. 3.They all stabbed Caesar. 4.The actual body of the dead Caesar. 5.The crowd now supports Antony. 6.Kill all the conspirators.


Yes, line 25 indicates this.

6 7 8 9 10

A knife.

Their emotions. Pity. He begins with the words, ‘well-beloved,’ (l.8), then refers to him as ‘Caesar’s angel,’ (l.13), and describes ‘how dearly Caesar lov’d him’ (l.14). Because, up to that moment, Brutus was Caesar’s most faithful friend. With Caesar’s death (fall) Antony says the whole of Rome has fallen; ‘Then I, and you, and all of us fell down,’ (l.23). For dramatic effect and to gain more pity for Caesar and generate hatred towards the conspirators. Antony’s, since he has managed to turn the situation completely around. The crowd is now on his side and wants to take revenge for Caesar’s assassination. His was a more convincing argument because he appealed to the crowd’s personal emotions and not to objective reasoning.

11 1.Brutus 2.Antony 3.Brutus 4.Antony 5.Antony 6.Brutus

Discussion 12 Open answer. Possible ideas include: Martin Luther King’s ‘I have a Dream’ speech;

Writer’s Corner 13 Open answer.

Review 1 1.F 2.T 3.T 4.T 5.F 6.T 7.F


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Teacher’s Guide

Hamlet (1600-01) Let’s get started, p.137 1 Possible explanations could include: Shall I continue living or shall I commit suicide? or Shall I act and kill or shall I give up?

Over to you, p.138 Understanding the text 1 Hamlet’s two alternatives are: ‘Whether ‘tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles, and by opposing end them?’ Possible explanation: Is it better to submit passively to the events in life or to react by putting an end to one’s suffering?

2 3 4 5

Sleep. That suicide could be desirable. He could have bad dreams. 1.(l.16) ‘the pangs of dispriz’d love’ 2.(l.15) ‘the oppressor’s wrong’ 3.(l.16) ‘the law’s delay’ 4.(l.14) ‘the whips and scorns of time’ 5.(l.17-18) ‘the spurns that patient merit of the unworthy takes’

6 (ll.22-26) ‘But that dread of something after death.’ Fear of what comes after death.

Analysis and interpretation 7 Neutral. 8 He thinks that man’s conscience makes action impossible. The following words are all adjectives with a negative connotation: cowards / is sicklied / the pale cast of thought / awry.

9 That he is very reflective and thinks a lot. 10 Obscure and charged with imagery. 11 1.problems and suffering 2.are afraid of what comes after death

Context 12 Possible answers include: Doctor Faustus, Romeo and Juliet, Othello.

Discussion 13 Possible answer: because it expresses fundamental life concepts. 14 The fear of death. The meaning of life. The idea of suicide. The difficulty of finding truth. The link between thought and action.

Review 1 1.Denmark. 2.His father’s. 3.Ophelia. 4.Rosencrantz and Guildenstern. 5.Everybody dies. 2 1.a revenge drama, a tragedy, (possibly a love story), a thriller 2.an Italian short story 3.reality versus illusion / madness 4.the protagonist’s soliloquies 5.sensitive / thoughtful 6.Polonius’s daughter 7.neither negative nor positive 8.evil and corruption

Macbeth (1606) Let’s get started, p.142 1 1.some centuries before Shakespeare 2.King of Scotland 3.three witches 4.Duncan’s visit to the castle 5.Duncan 6.he becomes afraid and suspicious of everybody 7.she goes mad 8.with Macbeth’s death

Over to you, p.146 Understanding the text 1 1.T 2.F 3.T 4.F 5.T 6.F 7.F 2 1.To not think about it. 2.To get some water and wash his hands as they’re blood-stained. 3.They awoke for a minute, and then went back to sleep. 4.To go back into Duncan’s room and smear the guards with blood. He’s afraid to think about or look at what he has done. 5.Because the sleeping and the dead are just like pictures (people who are asleep or dead cannot harm anyone). 6.They are red with blood because she went to Duncan’s room, left the daggers there and smeared the guards with


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The Renaissance blood. 7.Because someone is knocking at the castle gate and she does not want strangers to find them in their day clothes, which, in the middle of the night, would arouse suspicion.

Analysis and Interpretation 3 He cannot say Amen. Ll.38-39 ‘I had most need of blessing, and “Amen” stuck in my throat.’ / Ll.42-43: he hears the voice saying ‘Sleep no more! Macbeth does murder sleep’.

4 In lines 26, 36, 40-41 she advices her husband not to be obsessed by what he did because he risks going mad; in lines 52-58 she reproaches him for being weak. Other reproaches: lines 62-65.

5 Lady Macbeth. She reproaches her husband because he shows weakness. Examples: ‘A foolish thought, to say a sorry sight.’, ‘Consider it not so deeply’, ‘These deeds must not be thought After these ways; so, it will make us mad.’, ‘Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go, get some water, And wash this filthy witness from your hand.’, ’Infirm of purpose! Give me the daggers. The sleeping and the dead Are but as pictures. ‘Tis the eye of childhood That fears a painted devil.’

6 Macbeth hears voices (l. 15; ll. 32-51). He believes he sees hands pulling his eyes from their sockets (l. 70). 7 1.The owl signifies approaching death. 2.He realises that not even all the water on the surface of the earth could cleanse the blood from his hands, on the contrary they would stain all the waters red. His guilt cannot be pardoned or removed. 3.He feels too guilty to sleep, he doesn’t want to sleep in case he is persecuted by his victims’ spirits.

Discussion 8 It increases the tension. 9 The scene is quite realistic. 10 Open answer.

Context 11 Macbeth is a typical product of the Renaissance with regards to the thrilling atmosphere, the definition of the characters and the development of the theme of ‘ambition’. Medieval elements: the witchcraft, supernatural elements linked with superstition. The sense of guilt can be both medieval and of the Renaissance. .

Review 1 1.F 2.T 3.T 4.T 5.T 6.F 7.T 8.F 2 1.She has no scruples when she acts but then she feels a strong sense of guilt. 2.She is in love with her husband and is very ambitious.

3 1.The potential for evil in man. 2.Ambition. 3.The plot.

ON SCREEN

Macbeth (1971) Script MACBETH. I have done the deed. Didst thou not hear a noise? LADY MACBETH. I heard the owl - scream and the cricket’s cry. Did not you speak? MACBETH. When? LADY MACBETH. Now. MACBETH. As I descended? LADY MACBETH. Ay. MACBETH. Hark! Who lies i’ the second chamber? LADY MACBETH. Donalbain. MACBETH. [looks at his hands] This is a sorry sight. LADY MACBETH. A foolish thought, to say a sorry sight. MACBETH. Methought I heard a voice cry ‘Sleep no more! Macbeth does murder sleep - the innocent sleep, Sleep that knits up the ravelled sleave of care,
