My Perspectives Grade 12 Student Edition-Unit 3

NOTES Doctor. A great perturbation in nature, to receive at © Pearson Education, Inc., or its affiliates. All rights reserved. perturbation (puhr tuhr BAY shuhn) once the benefit of sleep and do the effects of watching!3 n. disturbance 10 In this slumb’ry agitation, besides her walking, and other actual performances, what, at any time, have you 3. effects of watching, deeds of heard her say? one awake. Gentlewoman. That, sir, which I will not report after her. agitation (aj uh TAY shuhn) n. state of nervous anxiety Doctor. You may to me, and ’tis most meet4 you should. 4. meet suitable. 15 Gentlewoman. Neither to you nor anyone, having no witness to confirm my speech. 5. guise custom. 6. close hidden. [Enter Lady Macbeth, with a taper.] 7. sense power of sight. Lo you, here she comes! This is her very guise,5 and, upon my life, fast asleep! Observe her; stand close.6 8. satisfy support. Doctor. How came she by that light? 9. to accompt into account. 20 Gentlewoman. Why, it stood by her. She has light by her CLOSE READ continually. ’Tis her command. ANNOTATE: In lines 29–59, mark details that relate to being soiled Doctor. You see, her eyes are open. or unclean. Mark other details that relate to fear. Gentlewoman. Ay, but their sense7 are shut. QUESTION: With what emotions does Lady Macbeth seem to be Doctor. What is it she does now? Look, how she rubs struggling in her sleep? 25 her hands. CONCLUDE: How does this scene add to the readers’ Gentlewoman. It is an accustomed action with her, understanding of Lady Macbeth’s to seem thus washing her hands; I have known her character? continue in this a quarter of an hour. Lady Macbeth. Yet here’s a spot. 30 Doctor. Hark! She speaks. I will set down what comes from her, to satisfy8 my remembrance the more strongly. Lady Macbeth. Out, damned spot! Out, I say! One: two: why, then ’tis time to do ’t. Hell is murky. Fie, my lord, fie! A soldier, and afeard? What need we fear 35 who knows it, when none can call our pow’r to accompt?9 Yet who would have thought the old man to have had so much blood in him? Doctor. Do you mark that? Lady Macbeth. The Thane of Fife had a wife. Where is 40 she now? What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that! You mar all with this starting. Doctor. Go to, go to! You have known what you should not. Gentlewoman. She has spoke what she should not, I am 45 sure of that. Heaven knows what she has known. Lady Macbeth. Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! 336  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

Doctor. What a sigh is there! The heart is sorely charged.10 NOTES 10. charged burdened. 50 Gentlewoman. I would not have such a heart in my 11. dignity worth. bosom for the dignity11 of the whole body. 12. on ’s of his. Doctor. Well, well, well— 13. annoyance injury. Gentlewoman. Pray God it be, sir. 14. mated baffled. Doctor. This disease is beyond my practice. Yet I have 55 known those which have walked in their sleep who have died holily in their beds. Lady Macbeth. Wash your hands; put on your nightgown; look not so pale! I tell you yet again, Banquo’s buried. He cannot come out on ’s12 grave. 60 Doctor. Even so? Lady Macbeth. To bed, to bed! There’s knocking at the gate. Come, come, come, come, give me your hand! What’s done cannot be undone. To bed, to bed, to bed! [Exit Lady Macbeth.] Doctor. Will she go now to bed? 65 Gentlewoman. Directly. Doctor. Foul whisp’rings are abroad. Unnatural deeds Do breed unnatural troubles. Infected minds To their deaf pillows will discharge their secrets. More needs she the divine than the physician. 70 God, God forgive us all! Look after her; Remove from her the means of all annoyance,13 And still keep eyes upon her. So good night. My mind she has mated14 and amazed my sight: I think, but dare not speak. Gentlewoman. Good night, good doctor. [Exit.] © Pearson Education, Inc., or its affiliates. All rights reserved. ⌘ ⌘ ⌘ Scene ii • The country near Dunsinane. [Drum and colors. Enter Menteith, Caithness, Angus, Lennox, Soldiers.] Menteith. The English pow’r1 is near, led on by Malcolm. 1. pow’r army. His uncle Siward and the good Macduff. Revenges burn in them; for their dear causes 2. Would . . . man would incite a Would to the bleeding and the grim alarm dead man to join the bloody, 5 Excite the mortified man.2 grim call to arms. Angus. Near Birnam Wood Shall we well meet them; that way are they coming. The Tragedy of Macbeth, Act V  337

NOTES Caithness. Who knows if Donalbain be with his brother? 3. file list. 4. unrough beardless. Lennox. For certain, sir, he is not. I have a file3 5. Protest assert. Of all the gentry: there is Siward’s son, 10 And many unrough4 youths that even now 6. rule self-control. Protest5 their first of manhood. 7. minutely . . . faith-breach every Menteith. What does the tyrant? minute revolts rebuke his disloyalty. Caithness. Great Dunsinane he strongly fortifies. Some say he’s mad; others, that lesser hate him, 8. pestered tormented. Do call it valiant fury: but, for certain, 15 He cannot buckle his distempered cause 9. med’cine . . . weal Malcolm Within the belt of rule.6 and his supporters are “the medicine” that will heal “the Angus. Now does he feel sickly” commonwealth. His secret murders sticking on his hands; purge (purj) n. ousting; removal 10. Each . . . us every last drop of Now minutely revolts upbraid his faith-breach.7 our blood. Those he commands move only in command, 11. dew . . . weeds water the royal 20 Nothing in love. Now does he feel his title flower (Malcolm) and drown the weeds (Macbeth). Hang loose about him, like a giant’s robe 1. let . . . all let them all desert Upon a dwarfish thief. me! Menteith. Who then shall blame 2. taint become infected. 3. mortal consequences future His pestered8 senses to recoil and start, human events. When all that is within him does condemn 4. epicures gluttons. 25 Itself for being there? 5. sway move. Caithness. Well, march we on, To give obedience where ’tis truly owed. Meet we the med’cine of the sickly weal,9 And with him pour we, in our country’s purge, Each drop of us.10 Lennox. Or so much as it needs 30 To dew the sovereign flower and drown the weeds.11 Make we our march towards Birnam. [Exit, marching.] ⌘ ⌘ ⌘ © Pearson Education, Inc., or its affiliates. All rights reserved. Scene iii • Dunsinane. In the castle. [Enter Macbeth, Doctor, and Attendants.] Macbeth. Bring me no more reports; let them fly all!1 Till Birnam Wood remove to Dunsinane I cannot taint2 with fear. What’s the boy Malcolm? Was he not born of woman? The spirits that know 5 All mortal consequences3 have pronounced me thus: “Fear not, Macbeth; no man that’s born of woman Shall e’er have power upon thee.” Then fly, false thanes, And mingle with the English epicures.4 The mind I sway5 by and the heart I bear 338  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

10 Shall never sag with doubt nor shake with fear. NOTES 6. loon fool. [Enter Servant.] 7. patch fool. The devil damn thee black, thou cream-faced loon.6 8. linen pale as linen. Where got’st thou that goose look? 9. push effort. Servant. There is ten thousand— 10. disseat dethrone. 11. the sear withered state. Macbeth. Geese, villain? 12. moe more. Servant. Soldiers, sir. 13. skirr scour. Macbeth. Go prick thy face and over-red thy fear. 14. Raze out erase. 15 Thou lily-livered boy. What soldiers, patch?7 antidote (AN tuh doht) n. remedy Death of thy soul! Those linen8 cheeks of thine Are counselors to fear. What soldiers, whey-face? Servant. The English force, so please you. Macbeth. Take thy face hence. [Exit Servant.]  Seyton!—I am sick at heart. 20 When I behold—Seyton, I say!—This push9 Will cheer me ever, or disseat10 me now. I have lived long enough. My way of life Is fall’n into the sear,11 the yellow leaf, And that which should accompany old age, 25 As honor, love, obedience, troops of friends, I must not look to have; but, in their stead, Curses not loud but deep, mouth-honor, breath, Which the poor heart would fain deny, and dare not. Seyton! [Enter Seyton.] 30 Seyton. What’s your gracious pleasure? Macbeth. What news more? Seyton. All is confirmed, my lord, which was reported. © Pearson Education, Inc., or its affiliates. All rights reserved. Macbeth. I’ll fight, till from my bones my flesh be hacked. Give me my armor. Seyton. ’Tis not needed yet. Macbeth. I’ll put it on. 35 Send out moe12 horses, skirr13 the country round. Hang those that talk of fear. Give me mine armor. How does your patient, doctor? Doctor. Not so sick, my lord, As she is troubled with thick-coming fancies That keep her from her rest. Macbeth. Cure her of that. 40 Canst thou not minister to a mind diseased, Pluck from the memory a rooted sorrow, Raze out14 the written troubles of the brain, And with some sweet oblivious antidote The Tragedy of Macbeth, Act V  339

NOTES Cleanse the stuffed bosom of that perilous stuff 45 Which weighs upon the heart? 15. physic medicine. Doctor. Therein the patient 16. cast the water diagnose the Must minister to himself. illness. Macbeth. Throw physic15 to the dogs. I’ll none of it. pristine (prihs TEEN) adj. original; Come, put mine armor on. Give me my staff. unspoiled Seyton, send out.—Doctor, the thanes fly from me.— 17. Pull ’t off Pull off a piece of 50 Come, sir, dispatch. If thou couldst, doctor, cast The water16 of my land, find her disease armor, which has been put on And purge it to a sound and pristine health, incorrectly in Macbeth’s haste. I would applaud thee to the very echo, That should applaud again.—Pull ’t off,17 I say.— 18. it his armor. 55 What rhubarb, senna, or what purgative drug, 19. bane destruction. Would scour these English hence? Hear’st thou of them? Doctor. Ay, my good lord; your royal preparation Makes us hear something. Macbeth. Bring it18 after me. I will not be afraid of death and bane19 60 Till Birnam Forest come to Dunsinane. Doctor. [Aside] Were I from Dunsinane away and clear, [Exit.] Profit again should hardly draw me here. ⌘ ⌘ ⌘ Scene iv • Country near Birnam Wood. [Drum and colors. Enter Malcolm, Siward, Macduff, Siward’s Son, Menteith, Caithness, Angus, and Soldiers, marching.] 1. That . . . safe that people will Malcolm. Cousins, I hope the days are near at hand be safe in their own homes. That chambers will be safe.1 2. shadow conceal. Menteith. We doubt it nothing. 3. discovery those who see us. Siward. What wood is this before us? © Pearson Education, Inc., or its affiliates. All rights reserved. 4. setting down before ’t laying siege to it. Menteith. The Wood of Birnam. Malcolm. Let every soldier hew him down a bough 5 And bear’t before him. Thereby shall we shadow2 The numbers of our host. and make discovery3 Err in report of us. Soldiers. It shall be done. Siward. We learn no other but the confident tyrant Keeps still in Dunsinane, and will endure 10 Our setting down before ’t.4 Malcolm. ’Tis his main hope, 340  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

For where there is advantage to be given NOTES Both more and less5 have given him the revolt, 5. more and less people of high And none serve with him but constrained things and low rank. Whose hearts are absent too. 6. our . . . event true judgment Macduff. Let our just censures await the actual outcome. 15 Attend the true event,6 and put we on 7. owe own. Industrious soldiership. 8. strokes . . . arbitrate fighting must decide. Siward. The time approaches, 9. war army. That will with due decision make us know What we shall say we have and what we owe.7 Thoughts speculative their unsure hopes relate, 20 But certain issue strokes must arbitrate;8 Towards which advance the war.9 [Exit, marching.] ⌘ ⌘ ⌘ Scene v • Dunsinane. Within the castle. [Enter Macbeth, Seyton, and Soldiers, with drum and colors.] Macbeth. Hang out our banners on the outward walls. 1. ague fever. The cry is still “They come!” Our castle’s strength 2. forced reinforced. Will laugh a siege to scorn. Here let them lie 3. dareful boldly. Till famine and the ague1 eat them up. 5 Were they not forced2 with those that should be ours, 4. fell scalp. We might have met them dareful,3 beard to beard, 5. treatise story. And beat them backward home. 6. start startle. [A cry within of women.]  What is that noise? 7. should inevitably would. 8. word message. Seyton. It is the cry of women, my good lord. [Exit.] © Pearson Education, Inc., or its affiliates. All rights reserved. Macbeth. I have almost forgot the taste of fears: 10 The time has been, my senses would have cooled To hear a night-shriek, and my fell4 of hair Would at a dismal treatise5 rouse and stir As life were in ’t. I have supped full with horrors. Direness, familiar to my slaughterous thoughts, 15 Cannot once start6 me. [Enter Seyton.]  Wherefore was that cry? Seyton. The queen, my lord, is dead. Macbeth. She should7 have died hereafter; There would have been a time for such a word.8 Tomorrow, and tomorrow, and tomorrow 20 Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The Tragedy of Macbeth, Act V  341

NOTES The way to dusty death. Out, out, brief candle! CLOSE READ Life’s but a walking shadow, a poor player ANNOTATE: In lines 17–28, mark 25 That struts and frets his hour upon the stage details that relate to the ideas of And then is heard no more. It is a tale foolishness or futility. Told by an idiot, full of sound and fury QUESTION: Why does Macbeth Signifying nothing. pause to make this statement? CONCLUDE: What does this [Enter a Messenger.] speech suggest about Macbeth’s view of what he has done—and, Thou com’st to use thy tongue: thy story quickly! perhaps, what he will do? 30 Messenger. Gracious my lord, 9. cling wither. I should report that which I say I saw, 10. sooth truth. But know not how to do ’t. 11. avouches asserts. Macbeth. Well, say, sir. 12. harness armor. Messenger. As I did stand my watch upon the hill, I looked toward Birnam, and anon, methought, 1. leavy leafy. 35 The wood began to move. Macbeth. Liar and slave! Messenger. Let me endure your wrath, if ’t be not so. Within this three mile may you see it coming; I say a moving grove. Macbeth. If thou speak’st false, Upon the next tree shalt thou hang alive, 40 Till famine cling9 thee. If thy speech be sooth,10 I care not if thou dost for me as much. I pull in resolution, and begin To doubt th’ equivocation of the fiend That lies like truth: “Fear not, till Birnam Wood 45 Do come to Dunsinane!” And now a wood Comes toward Dunsinane. Arm, arm, and out! If this which he avouches11 does appear, There is nor flying hence nor tarrying here. I ’gin to be aweary of the sun, 50 And wish th’ estate o’ th’ world were now undone. © Pearson Education, Inc., or its affiliates. All rights reserved. Ring the alarum bell! Blow wind, come wrack! At least we’ll die with harness12 on our back. [Exit.] ⌘ ⌘ ⌘ Scene vi • Dunsinane. Before the castle. [Drum and colors. Enter Malcolm, Siward, Macduff, and their Army, with boughs.] Malcolm. Now near enough. Your leavy1 screens throw down, And show like those you are. You, worthy uncle, Shall, with my cousin, your right noble son, 342  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

Lead our first battle.2 Worthy Macduff and we NOTES 5 Shall take upon ’s what else remains to do, 2. battle battalion. 3. order plan. According to our order.3 4. power forces. Siward. Fare you well. Do we find the tyrant’s power4 tonight. Let us be beaten, if we cannot fight. Macduff. Make all our trumpets speak; give them all breath 10 Those clamorous harbingers of blood and death. [Exit. Alarums continued.] ⌘ ⌘ ⌘ Scene vii • Another part of the field. [Enter Macbeth.] Macbeth. They have tied me to a stake; I cannot fly, 1. bearlike . . . course like a bear But bearlike I must fight the course.1 What’s he chained to a stake being That was not born of woman? Such a one attacked by dogs, I must fight Am I to fear, or none. until the end. [Enter Young Siward.] 2. staves spears. 3. undeeded unused. Young Siward. What is thy name? 5 Macbeth. Thou’lt be afraid to hear it. Young Siward. No: though thou call’st thyself a hotter name Than any is in hell. Macbeth. My name’s Macbeth. Young Siward. The devil himself could not pronounce a title More hateful to mine ear. Macbeth. No, nor more fearful. © Pearson Education, Inc., or its affiliates. All rights reserved. 10 Young Siward. Thou liest, abhorred tyrant; with my sword I’ll prove the lie thou speak’st. [Fight, and Young Siward slain.] Macbeth. Thou wast born of woman. But swords I smile at, weapons laugh to scorn. Brandished by man that’s of a woman born. [Exit.] [Alarums. Enter Macduff.] Macduff. That way the noise is. Tyrant, show thy face! 15 If thou be’st slain and with no stroke of mine, My wife and children’s ghosts will haunt me still. I cannot strike at wretched kerns, whose arms Are hired to bear their staves.2 Either thou, Macbeth, Or else my sword, with an unbattered edge, 20 I sheathe again undeeded.3 There thou shouldst be; By this great clatter, one of greatest note The Tragedy of Macbeth, Act V  343

 Macduff and Macbeth battle each other. NOTES Seems bruited.4 Let me find him, Fortune! [Exit. Alarums.] 4. bruited reported. And more I beg not. 5. gently rend’red easily [Enter Malcolm and Siward.] surrendered. Siward. This way, my lord. The castle’s gently rend’red:5 © Pearson Education, Inc., or its affiliates. All rights reserved. 6. strike . . . us deliberately miss us. 25 The tyrant’s people on both sides do fight; The noble thanes do bravely in the war; The day almost itself professes yours, And little is to do. Malcolm. We have met with foes That strike beside us.6 30 Siward. Enter, sir, the castle. [Exit. Alarum.] ⌘ ⌘ ⌘ 1. play . . . sword die like Brutus Scene viii • Another part of the field. and Cassius, who killed themselves with their own [Enter Macbeth.] swords in the moment of Macbeth. Why should I play the Roman fool, and die defeat. On mine own sword?1 Whiles I see lives,2 the gashes Do better upon them. 2. Whiles . . . lives so long as I see living men. 344  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

[Enter Macduff.] NOTES Macduff. Turn, hell-hound, turn! 3. terms . . . out words can describe you. Macbeth. Of all men else I have avoided thee. 5 But get thee back! My soul is too much charged 4. intrenchant incapable of being cut. With blood of thine already. 5. impress make a dent in. Macduff. I have no words: 6. angel fallen angel; fiend. My voice is in my sword, thou bloodier villain 7. his . . . ripped Macduff’s Than terms can give thee out!3 mother died before giving birth to him. [Fight. Alarum.] 8. better . . . man courage. Macbeth. Thou losest labor: 9. palter juggle. As easy mayst thou the intrenchant4 air 10. gaze o’ th’ time spectacle of 10 With thy keen sword impress5 as make me bleed: the age. Let fall thy blade on vulnerable crests; 11. monsters freaks. 12. Painted . . . pole pictured on a I bear a charmed life, which must not yield banner stuck on a pole by a To one of woman born. showman’s booth. CLOSE READ Macduff. Despair thy charm, ANNOTATE: In lines 8–22, mark details that relate to the witches’ And let the angel6 whom thou still hast served prophesies. QUESTION: What do these 15 Tell thee, Macduff was from his mother’s womb details show about Macbeth’s sense of certainty up until this Untimely ripped.7 point in the play? CONCLUDE: Does the knowledge Macbeth. Accursèd be that tongue that tells me so, that Macbeth has been tricked For it hath cowed my better part of man!8 change how the reader sees And be these juggling fiends no more believed, him? 20 That palter9 with us in a double sense; That keep the word of promise to our ear, 13. Retreat and flourish trumpet And break it to our hope. I’ll not fight with thee. call to withdraw and fanfare. Macduff. Then yield thee, coward, And live to be the show and gaze o’ th’ time:10 25 We’ll have thee, as our rarer monsters11 are, Painted upon a pole,12 and underwrit, “Here may you see the tyrant.” Macbeth. I will not yield, © Pearson Education, Inc., or its affiliates. All rights reserved. To kiss the ground before young Malcolm’s feet. And to be baited with the rabble’s curse. 30 Though Birnam Wood be come to Dunsinane, And thou opposed, being of no woman born, Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff; And damned be him that first cries “Hold, enough!” [Exit, fighting. Alarums.] [Re-enter fighting, and Macbeth slain. Exit Macduff, with Macbeth. Retreat and flourish.13 Enter, with drum and colors, Malcolm, Siward, Ross, Thanes, and Soldiers.] 35 Malcolm. I would the friends we miss were safe arrived. The Tragedy of Macbeth, Act V  345

NOTES Siward. Some must go off;14 and yet, by these I see, 14. go off die. So great a day as this is cheaply bought. 15. unshrinking station place Malcolm. Macduff is missing, and your noble son. where he stood firmly. Ross. Your son, my lord, has paid a soldier’s debt: usurper (yoo SURP uhr) n. person 40 He only lived but till he was a man; who takes control without the proper authority The which no sooner had his prowess confirmed 16. The . . . free Our country is In the unshrinking station15 where he fought, But like a man he died. liberated. 17. compassed . . . pearl Siward. Then he is dead? surrounded by the noblest Ross. Ay, and brought off the field. Your cause of sorrow people in the kingdom. 45 Must not be measured by his worth, for then 18. reckon . . . loves reward each of you for your devotion. It hath no end. 19. make . . . you pay what we owe you. Siward. Had he his hurts before? 20. What’s . . . time what remains to be done at the beginning of Ross. Ay, on the front. this new age. Siward. Why then, God’s soldier be he! Had I as many sons as I have hairs, I would not wish them to a fairer death: And so his knell is knolled. 50 Malcolm. He’s worth more sorrow, And that I’ll spend for him. Siward. He’s worth no more: They say he parted well and paid his score: And so God be with him! Here comes newer comfort. [Enter Macduff, with Macbeth’s head.] Macduff. Hail, King! for so thou art: behold, where stands 55 Th’ usurper’s cursèd head. The time is free.16 I see thee compassed with thy kingdom’s pearl,17 That speak my salutation in their minds, Whose voices I desire aloud with mine: Hail, King of Scotland! All. Hail, King of Scotland! © Pearson Education, Inc., or its affiliates. All rights reserved. [Flourish.] 60 Malcolm. We shall not spend a large expense of time Before we reckon with your several loves,18 And make us even with you.19 My thanes and kinsmen, Henceforth be earls, the first that ever Scotland In such an honor named. What’s more to do, 65 Which would be planted newly with the time20— As calling home our exiled friends abroad That fled the snares of watchful tyranny, Producing forth the cruel ministers Of this dead butcher and his fiendlike queen, 70 Who, as ’tis thought, by self and violent hands Took off her life—this, and what needful else 346  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

That calls upon us, by the grace of Grace NOTES We will perform in measure, time, and place:21 So thanks to all at once and to each one, 21. in measure . . . place fittingly 75 Whom we invite to see us crowned at Scone. at the appropriate time and [Flourish. Exit all.] place. Media Connection Discuss It  How does viewing this video add to your understanding of The Tragedy of Macbeth? Write your response before sharing your ideas. The Darkness in Macbeth’s SCAN FOR Human Characters MULTIMEDIA Comprehension Check Complete the following items after you finish your first read. 1. What does Lady Macbeth reveal to the Gentlewoman and Doctor during her sleepwalking? © Pearson Education, Inc., or its affiliates. All rights reserved. 2. Why is Macbeth at first unafraid when he finally meets Macduff on the battlefield? 3.   Notebook  Confirm your understanding of the text by writing a summary of Act V. RESEARCH Research to Clarify  Choose at least one unfamiliar detail from the text. Briefly research that detail. In what way does the information you learned shed light on an aspect of the play? Research to Explore  Choose something from the text that interested you, and formulate a research question. Write your question here. The Tragedy of Macbeth, Act V  347

making meaning THE TRAGEDY OF MACBETH, Close Read the Text ACT V 1. This model, from Act V, Scene v, lines 19–25, shows two sample annotations, along with questions and conclusions. Close read the passage, and find another detail to annotate. Then, write a question and your conclusion. ANNOTATE: Macbeth repeats two particular words. ANNOTATE: Using metaphor, QUESTION: What effect does this repetition have? Macbeth equates life to three CONCLUDE: The repetition serves to reinforce Macbeth’s distinct ideas. message—that time marches on relentlessly. QUESTION: How Macbeth. Tomorrow, and tomorrow, and are the ideas tomorrow. / Creeps in this petty pace from similar? day to day, / To the last syllable of recorded time. . . . / Life’s but a walking shadow, a CONCLUDE: poor player / That struts and frets his hour Each idea upon the stage / And then is heard no more. expresses It is a tale / Told by an idiot, full of sound that life is a and fury / Signifying nothing. meaningless waste of time. 2. For more practice, go back into the play, and complete the close-read notes. 3. Closely reread a section of the text you found important during your first read. Annotate what you notice. Ask yourself questions such as “Why did the playwright make this choice?” What can you conclude? Analyze the Text Cite textual evidence to support your answers.  Standards Notebook  Respond to these questions. © Pearson Education, Inc., or its affiliates. All rights reserved. Reading Literature • Cite strong and thorough textual 1. (a) Interpret  To whom is Lady Macbeth referring when she says, evidence to support analysis of “The Thane of Fife had a wife. Where is she now?” in Act V, Scene i, what the text says explicitly as well lines 39–40? (b) Connect  How is this relevant to Lady Macbeth’s state of as inferences drawn from the text, mind in her sleepwalking scene? including determining where the text leaves matters uncertain. 2. Evaluate  What character trait does Macbeth reveal as he meets his fate? • Analyze the impact of the author’s Explain your position, citing evidence from the text. choices regarding how to develop and relate elements of a story or 3. Historical Perspectives  Write a question related to Scottish history, drama. arising from the text, that you would like to answer. • Analyze how an author’s choices concerning how to structure specific 4. Essential Question:  How do our attitudes toward the past and parts of a text contribute to its future shape our actions? How does the play shed light on our overall structure and meaning as well relationship with time? as its aesthetic impact. 348  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

essential question: How do our attitudes toward the past and future shape our actions? Analyze Craft and Structure Shakespearean Tragedy  Shakespeare’s tragedies usually contain these elements: • A tragic character—a central character who is of high rank and possesses great personal qualities, yet who also has a tragic flaw, or weakness. • Causally related events that lead this character to disaster, at least partly through his or her flaw. • Dialogue and events that provoke a mixture of reactions from the audience, including pity, fear, and awe. • Powerful action that creates a spectacle, and the use of comic scenes to offset the mood of sadness. Consider how Shakespeare introduces Macbeth as a war hero. The playwright then develops Macbeth’s character, adding complexity and depth through his words and actions, ultimately revealing a tragic flaw. Note, too, how Shakespeare includes plot events that lead to Macbeth’s downfall and that make his tragic flaw evident. Shakespeare builds interest in Macbeth’s actions by employing dramatic irony. Dramatic irony is present when audiences know more about a character’s situation than the character does. For example, in Act III, Scene i, the audience knows that Macbeth murdered Duncan. Banquo comes to the same conclusion: Thou hast it now: King, Cawdor, Glamis, all, As the weird women promised, and I fear Thou play’dst most foully for’t. . . . (lines 1–3) However, Banquo does not know that Macbeth plans to have him killed. The audience knows more about Banquo’s peril than he does. Practice  CITE TEXTUAL EVIDENCE to support your answers. 1. Review the notes in your Evidence Log that relate to Macbeth’s character and motivations. Then, answer the questions in the chart to explore this aspect of his character. © Pearson Education, Inc., or its affiliates. All rights reserved. What are Macbeth’s tragic flaw(s)? Which actions reveal Macbeth’s tragic flaw(s)? 2. Notebook  In Act V, Scene iii, Macbeth rails against the reports of Malcolm’s upcoming attack. Reread this scene, and analyze the elements of dramatic irony that it contains. The Tragedy of Macbeth, Act V  349

LANGUAGE DEVELOPMENT Concept Vocabulary perturbation agitation purge antidote pristine usurper THE TRAGEDY OF MACBETH, Why These Words?  These concept words help reveal the mood of Act V. ACT V The words are related to the existence or establishment of disorder and the return to order. For example, the Doctor learns that Lady Macbeth has been in a state of agitation, sleepwalking and talking aloud. He says that it is a great perturbation of nature to be in her condition. 1. How does the concept vocabulary express the idea of the existence or establishment of disorder and the return to order? 2. What other words in the text connect to this concept?   WORD NETWORK Practice Add interesting words Notebook  The concept vocabulary words appear in Act V of Macbeth. related to time from the text to your Word Network. 1. Use each concept word in a sentence that demonstrates your understanding of the word’s meaning. 2. Challenge yourself to replace the concept words with one or two synonyms. How does the word change affect the meaning of the sentence? For example, does one synonym have a more positive meaning than the other?  STANDARDS Word Study © Pearson Education, Inc., or its affiliates. All rights reserved. Language • Demonstrate command of the Latin Root: -turb-  In Act V of Macbeth, the Doctor refers to Lady conventions of standard English Macbeth’s sleepwalking as a “great perturbation in nature.” The word capitalization, punctuation, and perturbation contains the Latin root -turb-, which tends to carry a meaning spelling when writing. related to confusion or turmoil. Shakespeare could just as easily have used • Observe hyphenation conventions. the word disturbance instead—a synonym for perturbation that also contains • Consult general and specialized the root -turb-. reference materials, both print and digital, to find the pronunciation of Based on your understanding of the root -turb-, write your best guesses as a word or determine or clarify its to the definitions of the adjective turbid and the noun turbulence. Then, look precise meaning, its part of speech, up each word in a thesaurus. Use the synonyms and antonyms you find to its etymology, or its standard usage. draw conclusions about the words’ meanings. Revise your original definitions • Verify the preliminary as needed. determination of the meaning of a word or phrase. 350  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

essential question: How do our attitudes toward the past and future shape our actions? Conventions and Style Hyphenation of Compound Adjectives  A compound adjective is a single adjective that is made up of two or more words. When a compound adjective precedes the noun or pronoun it modifies, the two words that make up the adjective are joined by a hyphen (-). When a compound adjective follows the word it modifies, a hyphen is usually not necessary. The exception to this rule occurs when a compound adjective is listed with a hyphen in a reliable dictionary, in which case the adjective will always be hyphenated. This table gives examples of the many ways compound adjectives can be formed. Pattern EXAMPLES OF Compound Adjectives Noun + Adjective duck-like (walk)   computer-literate (professor) Noun + Verb profit-driven (company)   button-pushing (assistant) (past or present participle} Adjective + Noun high-speed (chase)   middle-class (neighborhood) Adjective + Verb bare-faced (lie)   half-baked (story) (past or present participle) Adverb + Adjective ever-gentle (nurse)   forever-memorable (singer) Adverb + Verb highest-ranking (officer)   much-loved (woman) (past or present participle) Varied never-to-be-remembered (lyrics)   soon-to-be-forgotten (speech) © Pearson Education, Inc., or its affiliates. All rights reserved. When the adverbial ending -ly is used in a compound adjective, a hyphen is not used. Example:  A beautifully sewn tapestry hung on the wall. Writers may use compound adjectives to pack vivid descriptions into a compact amount of space. Shakespeare, in particular, uses them to invent colorful insults—for example, ”rump-fed ronyon” (Act I) and “shag-eared villain” (Act IV). These descriptions create for the audience clear, colorful, amusing mental pictures of the people being described. Read It Reread Act V, Scene iii, of The Tragedy of Macbeth. Mark two hyphenated compound adjectives that Shakespeare uses as insults. Notebook  (a) Explain the meaning of each of the compound adjectives you found. (b) Connect to Style  What effect do these compound adjectives have on your impression of the person being insulted? Write It Notebook  Choose three patterns from the chart, and write a compound adjective for each. Use each compound in a sentence. The Tragedy of Macbeth, Act V  351

EFFECTIVE EXPRESSION THE TRAGEDY OF MACBETH, Writing to Sources ACT V One way to delve deeply into a play is to analyze one of its characters. By examining not only what that character does but also what he or she thinks and feels, the reader can more fully appreciate both the play and its writer’s intentions. Write a character profile in which you examine Macbeth’s character and decision making, with a focus on killing Duncan. In your profile, make sure you state a clear position about your view of Macbeth. Then, defend your position using evidence from the text. As you plan your profile, consider the following: • Macbeth’s actions • his perspectives on other characters • his motivations As part of your defense, think of differing opinions, called counterclaims, that another reader might make about Macbeth. Address each of the counterclaims you raise, showing why your analysis is stronger. Vocabulary and Conventions Connection  In your character profile, consider including several of the concept vocabulary words. Also, consider using compound adjectives to add variety to your sentences. perturbation agitation purge antidote pristine usurper Reflect on Your Writing After you have written your character profile, answer the following questions. 1. How do you think including counterclaims helped you develop a thorough profile? 2. What other character from The Tragedy of Macbeth would you like to © Pearson Education, Inc., or its affiliates. All rights reserved. profile? Why?  STANDARDS 3. Why These Words?  The words you choose make a difference in your Writing writing. Which words did you specifically choose to add power to your Write arguments to support claims character profile? in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. 352  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

essential question: How do our attitudes toward the past and future shape our actions? Speaking and Listening   evidence log Assignment Before moving on to a Imagine that you are a war correspondent reporting on the battle new selection, go to your described in Macbeth for television or for a digital streaming service. Write Evidence Log and record a news report, in which you do the following: what you learned from Act V of The Tragedy of • Describe what the battlefield looks like. Macbeth. • Explain the causes for the conflict. • Interview several surviving participants in the battle. • Discuss the consequences of the battle. 1. Plan Your News Report  Use this chart to help you plan your news report. From which location am I reporting? (Look at the stage directions for this information.) What is the cause of the conflict? Whom can I interview? (Choose key characters in the battle.) What might be the consequences of the battle? © Pearson Education, Inc., or its affiliates. All rights reserved. 2. Prepare Your News Report  Perform the following tasks:  Standards • Write a script explaining where you are and what you can see. You Writing might wish to give your audience some background on the conflict. Use technology, including the • Prepare the interviews. Write the dialogue between yourself and the Internet, to produce, publish, and characters you are interviewing. You might ask some classmates to update individual or shared writing read the script as the various characters you are “interviewing.” products in response to ongoing feedback, including new arguments Record your report, including interviews, and post it for others to view. or information. Speaking and Listening 3. Evaluate News Reports  Watch several classmates’ news reports. Use • Come to discussions prepared, an evaluation guide like the one shown to analyze each report. having read and researched material under study; explicitly draw on that EVALUATION GUIDE preparation by referring to evidence from texts and other research on Rate each statement on a scale of 1 (not demonstrated) to 4 (demonstrated). the topic or issue to stimulate a thoughtful, well-reasoned exchange The speaker thoroughly explained the background of the battle. of ideas. • Adapt speech to a variety of The speaker communicated clearly and expressively. contexts and tasks, demonstrating a command of formal English when The speaker asked relevant questions to key battle figures. indicated or appropriate. The speaker summed up the battle effectively. The Tragedy of Macbeth, Act V  353

MAKING MEANING THE TRAGEDY OF Comparing Text to Media THE TRAGEDY OF MACBETH, ACT V, SCENE i MACBETH, ACT V, SCENE i You will now listen to audio recordings of two different performances of Act V, Scene i, of The Tragedy of Macbeth. As you listen, compare and contrast the performances, and evaluate how each of them interprets Shakespeare’s drama. About the Performers The Tragedy of Macbeth, L.A. Theatre Works was Act V, Scene i founded in 1974 as a not-for- profit media organization with Media Vocabulary the primary goal of producing and distributing classic and These words or concepts will be useful to you as you analyze, discuss, and write contemporary plays. The about audio recordings. productions are full-length and performed by experienced sound effects: recorded • Sound effects may add a sense of reality to actors. To date, the theatrical sounds that are neither a performance by creating the illusion that organization has aired more speech nor music something is actually happening. than 400 dramas, all of which are available online. editing: process of • They may also help set a mood—for instance, selecting, correcting, and one that is joyful or ominous. LibriVox was founded in sequencing the elements of 2005 with the goal of creating a media production • Editors may choose to condense or expand a free audio books of texts that particular segment of a work. are in the public domain. pacing: overall speed Volunteers, most of whom at which a theatrical • Good editing results in a seamless production and have no professional acting or production takes place ensures the clarity of the flow of ideas and events. performing experience, create the audio files at home. The • Pacing may be slow or quick. files are then catalogued and posted free online. To date, • The pacing of specific segments may vary to LibriVox has posted more than reflect characters’ actions and emotions. 8,000 recordings. First Review MEDIA: AUDIO © Pearson Education, Inc., or its affiliates. All rights reserved. Apply these strategies as you conduct your first review. As you listen, record your observations and questions, making sure to note time codes for later reference. You will have an opportunity to complete a close review after your first review.  STANDARDS LISTEN and note who is NOTE elements that you find Reading Literature speaking, what they’re saying, interesting and want to revisit. Analyze multiple interpretations of and how they’re saying it. a story, drama, or poem, evaluating RESPOND by completing how each version interprets the CONNECT ideas in the the Comprehension Check. source text. audio to other media you’ve experienced, texts you’ve Language read, or images you’ve seen. Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. 354  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

essential question: How do our attitudes toward the past and future shape our actions? MEDIA | AUDIO PERFORMANCES The Tragedy of Macbeth, Act V, Scene i L.A. Theatre Works LibriVox Background SCAN FOR A trio of witches has convinced Macbeth that he will be king. His ambition roused, MULTIMEDIA Macbeth, with the help of Lady Macbeth, murders King Duncan. Upset by the witches’ © Pearson Education, Inc., or its affiliates. All rights reserved. prophecy that his friend Banquo’s progeny will rule Scotland, Macbeth orders the death of Banquo and his son, Fleance. Banquo dies, but Fleance escapes. Macbeth gives a banquet, in the course of which he sees Banquo’s ghost. Lady Macbeth sends the guests away. When Macbeth learns that his enemy Macduff has fled to England, he sends his men to kill Macduff’s wife and children. As Act V begins, we see the effect of these events on Lady Macbeth. NOTES The Tragedy of Macbeth, Act V, Scene i  355

Comprehension Check © Pearson Education, Inc., or its affiliates. All rights reserved. Complete the following items after you finish your first review. 1. At the beginning of the L.A. Theatre Works audio production of The Tragedy of Macbeth, Act V, Scene i, what does the listener hear? 2. In which version do the actors’ performances most accurately reflect normal speech? 3. In which version does the listener hear the actual stage directions? 4. Which version contains sound effects? 5. What is the primary difference between the two versions? 6. Notebook  As you listen, record your observations and questions, making sure to note time codes for later reference. RESEARCH Research to Clarify  Choose at least one unfamiliar detail from one of the versions of Act V, Scene i. Briefly research that detail. In what way does the information you learned shed light on an aspect of the scene? Research to Explore  Choose something from the audio presentations that interests you, and formulate a research question. Write your question here. 356  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

MAKING MEANING Close Review THE TRAGEDY OF MACBETH, ACT V, SCENE i Listen to the audio performances again. Write down any new observations that seem important. What questions do you have? What can you conclude? Analyze the Media Notebook  Respond to these questions. 1. (a)  What is the major difference between the pacing of the LibriVox and the L.A. Theatre Works presentations? (b) What effect does this difference have on your understanding of the scene? 2. As a class, review the two audio performances. Which performance would be more easily understood by someone unfamiliar with Shakespeare’s language? 3. Essential Question:  How do our attitudes toward the past and future shape our actions? How do Macbeth’s and Lady Macbeth’s attitudes about their past actions influence their future actions? language development Media Vocabulary sound effects   editing   pacing Use the vocabulary words in your responses to the questions. 1. In the LibriVox audio performance, what element most helps you understand Act V, Scene i, of The Tragedy of Macbeth? © Pearson Education, Inc., or its affiliates. All rights reserved. 2. In the L.A. Theatre Works audio performance, how is the mood  STANDARDS established? Reading Literature Analyze multiple interpretations 3. Which audio has better pacing? Explain. of a story, drama, or poem, evaluating how each version interprets the source text. Language Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression. The Tragedy of Macbeth, Act V, Scene i  357

EFFECTIVE EXPRESSION THE TRAGEDY OF MACBETH, Writing to Compare ACT V, SCENE i You have read Shakespeare’s Macbeth, and you have listened to two THE TRAGEDY OF MACBETH, audio interpretations, or versions, of Act V, Scene i. Now, deepen your ACT V, SCENE i understanding of the play by comparing the audio interpretations and considering how each one presents the scene. Note that an interpretation  STANDARDS of a play is any version that differs from the original production or text. An Reading Literature interpretation may simply involve the choices a director makes in staging a Analyze multiple interpretations production. Alternatively, it may involve more sweeping changes, such as of a story, drama, or poem, those required when remaking the play in a new medium. evaluating how each version interprets the source text. Assignment Writing Write a compare-and-contrast essay in which you analyze the • Write informative/explanatory interpretations of Act V, Scene i, of Macbeth presented in the two audio texts to examine and convey performances. Discuss the following: complex ideas, concepts, and information clearly and accurately • elements of the text that are stressed or muted in each version through the effective selection, organization, and analysis of • ways in which each version affects the listener’s experience of the text content. • Introduce a topic; organize Support your ideas with references to the audio versions and the original complex ideas, concepts, and text. Your references may take the form of quotations, descriptions, or information so that each new paraphrases. element builds on that which precedes it to create a unified Prewriting whole; include formatting, graphics, and multimedia when Analyze the Texts  Identify the audience and purpose of the two audio useful to aiding comprehension. versions. Consider how each version uses theatrical elements, provides • Use appropriate and varied listeners with information about the physical setting and action, and portrays transitions and syntax to link the characters. the major sections of the text, create cohesion, and clarify the L.A. THEATRE WORKS LIBRIVOX relationships among complex INTERPRETATION INTERPRETATION ideas and concepts. • Apply grades 11–12 Reading Audience and standards to literature. Purpose Theatrical Elements (music, sound) Physical Scene: How is © Pearson Education, Inc., or its affiliates. All rights reserved. information conveyed to listeners? Interpretations of Characters: How are traits and emotions conveyed? Notebook  Respond to these questions. 1. What impressions of the setting, action, and characters does each version create for listeners? 2. How does the experience of listening to each version differ from that of reading the scene? 358  THE FUTURE, CONFRONTING THE PAST

essential question: How do our attitudes toward the past and future shape our actions? Drafting   evidence log Summarize Key Points of Comparison  Review your Prewriting notes. Before moving on to a Then, summarize the major similarities and differences you hear between the new selection, go to your two audio interpretations of the scene. Evidence Log and record Major Similarities: what you’ve learned from Macbeth, the L.A. Major Differences: Theatre Works audio performance of Act V, Develop a Working Thesis  Use your summary to write a working thesis Scene i, and the LibriVox for your essay. Your thesis should do two things: audio recording of the same scene. • indicate major similarities and differences between the versions; and • indicate how those differences affect listeners. Working Thesis: © Pearson Education, Inc., or its affiliates. All rights reserved. Choose a Format  Decide how you will structure your essay. Choose one of the following formats. • Block Format: Discuss the audience, purpose, techniques, and effects of one interpretation. Then, discuss the audience, purpose, techniques, and effects of the other interpretation. • Point-by-Point Format: First, discuss the audience and purpose of each version. Next, discuss the techniques used in each version. Finally, discuss the effects of each version on the listener. Conclude your essay by explaining which interpretation you feel is the most successful. Consider which one provides listeners with a more effective entrance into the world of Macbeth. Review, Revise, and Edit When you have finished drafting, reread your essay. Mark ideas that need more support, and then return to your Prewriting notes, the original play, or the audio versions to find useful evidence. Make sure your transitions from sentence to sentence and from paragraph to paragraph are clear and logical. Edit your work for grammar, sentence structure, and word choice. Finally, proofread your essay to eliminate spelling and punctuation errors. The Tragedy of Macbeth, Act V, Scene i  359

Performance Task: Writing focus WRITING TO SOURCES Write an Argument • The Tragedy of Macbeth In this section of the unit, you studied The Tragedy of Macbeth and analyzed related video and audio. Now, take some time to revisit what you have • The Tragedy of Macbeth, learned, and to share your learning by completing the following assignment. Act V, Scene i (audio) Assignment Write a brief response to literature in which you address this question: In what ways does Macbeth attempt to control the future and to bury the past? In your essay, first state a position, or claim. Then, use specific evidence from the text to support your claim. Identify a possible counterclaim and use evidence to dispute it. Finish with a conclusion that follows logically from your argument. Tool Kit  Elements of an Argument Student Model of an An argument is a logical way of presenting a viewpoint, belief, or stand on Argument an issue. One form of argument is a response to literature, a deep analysis of some aspect of a text that leads to a conclusion or claim about the text, Academic the author’s intent, or the relation of the text to human behavior or world Vocabulary events. A well-written argument may convince the reader or change the As you craft your reader’s mind. argument, consider using some of the academic An effective argument contains these elements: vocabulary you learned in the beginning of the unit. • a precise claim justify diverse • consideration of counterclaims, or opposing positions, and a discussion proficient of their strengths and weaknesses catalyst assertion • logical organization that makes clear connections among claim, counterclaim, reasons, and evidence   Standards Writing • valid reasoning and relevant and sufficient evidence • Write arguments to support claims in an analysis of substantive topics • a concluding statement or section that logically completes the argument or texts, using valid reasoning and relevant and sufficient evidence. • formal and objective language and tone • Write routinely over extended time frames and shorter time frames • error-free grammar, including accurate use of transitions for a range of tasks, purposes, and © Pearson Education, Inc., or its affiliates. All rights reserved. audiences. Analyze the Writing Model LAUNCH TEXT © Pearson Education, Inc., or its affiliates. All rights reserved. Model Argument  For a model of a well-crafted 3UNIT INTRODUCTION argument, see the Launch Text, “Better Never to Have Met at All.” LAUNCH TEXT | ARGUMENT MODEL Better Never to Have Met at All Challenge yourself to find all of the elements of an This selection is an example effective response to literature in the text. You will of an argument in the form of have an opportunity to review those elements as you a response to literature. This prepare to write your own argument. is the type of writing you will develop in the Performance- Based Assessment at the end of the unit. As you read, look for evidence the writer uses to support an opening claim. Mark the evidence you find especially strong. NOTES I1 n William Shakespeare’s Romeo & Juliet, love is fire. It burns through everything: through the lovers of the title, through their families, and through people on the sidelines. The romance between Romeo and Juliet hurts so many people that one wonders whether it would have been better if time unwound and the two leads had never met. If we examine the play from the beginning, the evidence for this is overwhelming. 2 Winding back the clock, we begin in Verona, where we find Romeo, heir of the noble House of Montague, feeling sorry for himself. His reason: rejection at the hands of Rosaline, niece to Lord Capulet, leader of the House of Capulet and rival to the Montagues. Romeo’s friend, Mercutio, wishing to improve his friend’s spirits, disguises Romeo and sneaks him into a Capulet party. Romeo has his own motive for going—he wants to see Rosaline again—but at the party he meets Juliet, daughter of Lord Capulet, instead. From that moment in time, they are in love, and everyone’s life gets worse. 3 The first one to suffer is Mercutio, a member of neither house, but a relative of Prince Escalus, ruler of Verona. He fights a duel on Romeo’s behalf with Juliet’s cousin Tybalt. Romeo meddles in the fight, and his interference gets Mercutio killed. Romeo, furious at his friend’s death, kills Tybalt. 4 For this action, Prince Escalus exiles Romeo from the city and threatens him with execution should he ever return. The Prince has his own plans for Juliet—a hope to see his cousin Paris marry the young woman. Juliet’s family is also in favor of the marriage, as it would raise the status of the House of Capulet and bring them closer to destroying the Montagues. Juliet ignores her family’s history, wishing to be with Romeo and no one else. Desperate, she plans a way for them to escape their families and disappear together. 240 UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST SCAN FOR MULTIMEDIA LIT17_SE12_U03_LT.indd 240 2/20/16 2:43 PM 360  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? Prewriting / Planning Write a Claim  Reread the question in the prompt, and think about the drama and the scene you heard presented. Write a sentence in which you state your claim, or position on the question posed in this assignment. You will have an opportunity to revise your claim, if needed, as you draft and revise your essay. Claim:  . Consider Possible Counterclaims  A strong argument anticipates counterclaims, or opposing positions. No matter which side of the argument you choose, you should consider what opposing readers or writers might say. For example, someone might claim that Macbeth was not trying to control the future at all as much as he was reacting to fast-moving events and his wife’s ambitious urgings. Complete these sentences to address a counterclaim. Another reader might claim that . He or she might offer these reasons: . However, my position is stronger, because . © Pearson Education, Inc., or its affiliates. All rights reserved. Gather Evidence  For a response to literature, your evidence will come   evidence log from the text itself. One way to gather evidence is to skim and scan. Review your Evidence Log 1. Reread the question in the prompt and keep the question in front of you and identify key details you as you look for evidence. may want to cite in your argument. 2. Skim each act of the play to remind yourself of the content and plot.  Standards 3. Then, scan each scene to look for specific details that relate directly to Writing the prompt. Key words to look for might include time, past, history, and • Introduce precise, knowledgeable future. claim(s), establish the significance of the claim(s), distinguish the 4. Take notes on your findings. Circle notes that best support your claim. claim(s) from alternate or opposing Does any evidence contradict your claim? Save it for a discussion of claims, and create an organization counterclaims. that logically sequences claim(s), counterclaims, reasons, and evidence. Consider Audience and Purpose  Before drafting your response to • Develop claim(s) and counterclaims literature, consider who will be reading it. fairly and thoroughly, supplying the most relevant evidence for each • How much does your audience know about the play? Will you need to while pointing out the strengths and provide details about the plot or can you focus solely on your argument? limitations of both in a manner that anticipates the audience’s knowledge • Are your readers likely to agree with your claim? If not, what kind of level, concerns, values, and possible evidence is most apt to convince them? biases. • What vocabulary will readers already know, and what words might you need to define? Choose words that are appropriate for your readers’ level of knowledge. Refer to the prompt to remind you of your purpose, and keep your audience in mind as you write. Performance Task: Write an Argument  361

Performance Task: Writing focus  Standards Drafting Writing • Develop claim(s) and counterclaims Present Your Reasoning  The presentation of evidence in an argument fairly and thoroughly, supplying the often follows a particular pattern. Here are a few commonly used patterns. most relevant evidence for each while pointing out the strengths and • weakest to strongest, in which the critical piece of evidence comes last limitations of both in a manner that anticipates the audience’s knowledge • strongest to weakest, in which you lead with the critical piece of level, concerns, values, and possible evidence biases. • Provide a concluding statement • point/counterpoint, in which you present a series of counterclaims and or section that follows from and undermine them in turn supports the argument presented. The example provided shows the pattern used by the Launch Text writer. Notice that the flow of the argument is clear, and the argument proceeds from weakest to strongest evidence. No matter which pattern you choose, make sure that you link your ideas with clear transitions and connect each point to your claim. LAUNCH TEXT Argument Outline Model:  “Better Never to Have Met at All” Introduction Outline Body INTRODUCTION Paragraph 1 states the claim:  The romance between Romeo and Juliet hurts so many that one wonders whether it would have been better for everyone involved if time wound backward and the two leads never met at all. BODY Weak evidence: Mercutio dies in a duel. (Mercutio is a secondary character.) Stronger evidence: Romeo kills Tybalt and is banished. (Romeo is a main character.) Strongest evidence: Romeo and Juliet kill themselves. (Both © Pearson Education, Inc., or its affiliates. All rights reserved. main characters are affected, which affects everyone else.) Counterclaim: Shakespeare claims that “with their death,” Conclusion the tragic couple “bury their parents’ strife.” CONCLUSION The tragic events are not worth it; the two should never have met. Write a First Draft  Use your outline to write your first draft. Make sure to include a precise claim and to address possible counterclaims. Choose the pattern that works best to present your evidence. Consider your audience as you write—will they be able to follow the logic in your argument? Have you supplied the best, most relevant evidence to support your claim? Conclude with a strong statement that ties your ideas together. 362  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESESSESNETNIATLIAQL UQEUSETSIOTINO:NH:oInw wdhoaot uwraaytstidtuodeessthtoewsatrudgtghlee pfoarstfraeneddofumtucrehasnhgaepewoituhrhaisctoiorny?s? © Pearson Education, Inc., or its affiliates. All rights reserved. LANGUAGE DEVELOPMENT: AUTHOR’S STYLE USAGE Do not spoil your formal essay Establish Voice: Formal Style by misusing unfamiliar words. • Make sure that you are To give appropriate weight and seriousness to its arguments, the language of a response to literature should be formal and objective. Formal writing using any unfamiliar words uses advanced, academic vocabulary and few contractions, and avoids correctly. slang terms. Objective writing is specific, impersonal, and well supported • Check a dictionary if you by evidence. It lacks excessive emotion or exaggeration and rarely uses are unsure of the meaning “I” statements. of a word you wish to use. • When in doubt, use a Read It simpler word. Below, a formal sentence from the Launch Text is contrasted with an informal  Standards version. How would you describe the differences between them? Wrinting Establish and maintain a formal style • If we examine the play from the beginning, the evidence for this is and objective tone while attending overwhelming. (formal) to the norms and conventions of the discipline in which they are writing. • If you read over the play from the beginning, there’s lots of Language evidence for this. (informal) Apply knowledge of language to understand how language functions Write It in different contexts, to make effective choices for meaning or style, As you draft your argument, check your writing for use of informal elements. and to comprehend more fully when Use this checklist to test your writing for formality and objectivity. reading or listening.  H ave I used vocabulary that is appropriate for my topic and suitable for a formal essay?  H ave I used observations and evidence from the text as opposed to personal opinions and assumptions?  Should I change idioms or slang expressions to more formal language?   Should I replace any contractions?  Should I replace any exaggerated or emotional language with more neutral, unbiased language? Use Rhetorical Devices  A powerful way to boost the strength of a formal argument is to include a variety of appeals in your writing. Consider using one or more of the following: • appeals to logic, in which you present evidence and reasons that fit together in a convincing way. (“Macbeth’s attitude toward the past fits a certain pattern. His avoidance of the unpleasant parts of the witches’ prophecies is the same impulse causing him to banish all kind thoughts of Banquo.”) • analogies, extended comparisons to things that are familiar to readers to help them understand the point you are trying to make. (“Macbeth behaves like an overambitious politician; he doesn’t care whom he has to destroy as long as he gets what he wants in the end.”) • case studies, famous examples of a particular behavior or pattern. (“Macbeth fits the pattern of a typical narcissist; like the main character from Citizen Kane, he cares only about himself and his own grip on power.”) Performance Task: Write an Argument  363

Performance Task: Writing focus The writer uses a participial MAKING WRITING SOPHISTICATED © Pearson Education, Inc., or its affiliates. All rights reserved. phrase to indicate that the information to follow comes Creating Cohesion: Structuring Sentences  As writers develop from the start of the play. arguments, they must tie evidence together to establish logical support The prepositional phrases for a claim. Writers may link ideas in any of several ways. The most at the end of the paragraph common methods include: announce that this event affects future events. • introductory phrases or clauses that connect ideas The words however and • transition words that express specific relationships nevertheless indicate that the information to follow Read It contrasts with what came before. Thus means that the These examples from the Launch Text demonstrate how to use transition information that follows is words and sentence structure to connect ideas and create a logical flow. supported by what came before. LAUNCH TEXT EXAMPLES Writing Winding back the clock, we begin in Verona, where Use words, phrases, and clauses we find Romeo, heir of the noble House of Montague, as well as varied syntax to link the feeling sorry for himself. His reason: rejection at the major sections of the text, create hands of Rosaline, niece to Lord Capulet, leader of the cohesion, and clarify the relationships House of Capulet and rival to the Montagues. Romeo’s between claim(s) and reasons, friend, Mercutio, wishing to improve his friend’s spirits, between reasons and evidence, and disguises Romeo and sneaks him into a Capulet party. between claim(s) and counterclaims. Romeo has his own motive for going—he wants to see Rosaline again—but at the party he meets Juliet, daughter of Lord Capulet, instead. From that moment in time, they are in love, and everyone’s life gets worse. … However, Shakespeare would disagree on this point. His argument against this comes at the play’s very beginning, where he writes: A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents’ strife. Thus, the miserable, painful deaths of so many characters and the grief of their friends and relatives lead to a lasting peace between the rival families. Future generations, living without strife, might consider the sacrifice a necessary step to a better age. Nevertheless, it is doubtful that Shakespeare’s own dead characters would agree with him. Mercutio certainly would not. 364  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESESSESNETNIATLIAQLUQEUSETSIOTNIO:NH:oIwn wdohaotuwr aaytstitduodeesstthoewsatrdugtghelepfaosrtfraeneddfoumtucrehasnhgaepewoituhr haicstioornys?? College and Career Readiness Write It As you revise your response to literature, look for places you might use transition words or introductory phrases or clauses to connect ideas. Look especially for ways to connect your evidence to your claim or one piece of evidence to the next. Here are some transition words that are appropriate for formal writing. PURPOSE EXAMPLE addition again, besides, furthermore, in addition, likewise, moreover, too cause/effect accordingly, as a result, consequently, for this reason, therefore, thus comparison also, in the same way, similarly contrast emphasis although, conversely, despite that, even though, however, in contrast, instead, example nevertheless, on the other hand, regardless, yet summary certainly, especially, indeed, in fact, surely after all, for example, for instance, in other words, in particular, namely, specifically, that is altogether, finally, in brief, in conclusion, in essence, to summarize • Read over your first draft. Are the connections between ideas and from paragraph to paragraph clear? Could you vary the beginnings of sentences by adding a word, a phrase, or a clause that clarifies the links between your examples or your evidence and your claim? • Take notes on your draft and write your new ideas for rewording here. © Pearson Education, Inc., or its affiliates. All rights reserved. PARAGRAPH WORD OR WORDS TO ADD REVISED SENTENCE Performance Task: Write an Argument  365

Performance Task: Writing focus Revising Evaluating Your Draft Use this checklist to evaluate the effectiveness of your first draft. Then, use your evaluation and the instruction on this page to guide your revision. FOCUS AND ORGANIZATION EVIDENCE AND ELABORATION CONVENTIONS   Provides an introduction that   Develops the claim using   Attends to the norms establishes a precise claim. text evidence. and conventions of the discipline.   Distinguishes the claim from   Provides adequate opposing claims. support for each claim and   Establishes and counterclaim. maintains a formal style   Provides a conclusion that follows and objective tone. from the argument.   Uses vocabulary and word choices that are appropriate   Establishes a logical organization for the audience and and develops a progression purpose. throughout the argument.   Uses words, phrases, and clauses to clarify the relationships between and among ideas.   WORD NETWORK Revising for Focus and Organization © Pearson Education, Inc., or its affiliates. All rights reserved. Include interesting words Organization  Review your draft to be sure that its organization helps you from your Word Network in achieve your purpose. Add transitions where needed to ensure readers can your argument. follow your argument.  Standards Revising for Evidence and Elaboration Writing • Produce clear and coherent Evidence  Make sure that your examples provide evidence that directly writing in which the development, supports your claim, and that you have drawn examples from a variety of organization, and style are places in the text. Eliminate any examples that are interesting but irrelevant appropriate to task, purpose, and to the point you are trying to make. audience. • Develop and strengthen writing as Adequate Support  If you provide a great deal of evidence for a claim and needed by planning, revising, editing, next to none for a counterclaim, that is not a fair argument. Try to balance rewriting, or trying a new approach, the amount of support that you offer. Then carefully tell why the support for focusing on addressing what is most your claim is stronger, more plausible, or more believable than the support significant for a specific purpose and for the counterclaim is. audience. Language Vocabulary  Because you are writing a response to literature, use words Acquire and use accurately general that are specific to the study of literature. Instead of referring to the story, academic and domain-specific words for example, you might use the word plot. Instead of writing about parts of and phrases, sufficient for reading, the play, write about acts or scenes. Are there other terms from your study writing, speaking, and listening at of literature that might make your argument and evidence more specific the college and career readiness and clear for your audience? Using specific, technical vocabulary adds to the level; demonstrate independence formal tone of your writing. in gathering vocabulary knowledge when considering a word or phrase important to comprehension. 366  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? PEER REVIEW Exchange papers with a classmate. Use the checklist to evaluate your classmate’s argument and provide supportive feedback. 1. Is the claim clear?   yes   no If no, explain what confused you. 2. Did you find the argument convincing?   yes   no If no, tell what you think might be missing. 3. Does the response to literature conclude in a logical way?   yes   no If no, suggest what you might change. 4. What is the strongest part of your classmate’s paper? Why? Editing and Proofreading Edit for Conventions  Reread your draft for accuracy and consistency. Correct errors in grammar and word usage. Remember to avoid contractions and informal vocabulary. Proofread for Accuracy  Read your draft carefully, correcting errors in spelling and punctuation. Make sure to use commas after introductory clauses, participial phrases, or a series of introductory prepositional phrases. © Pearson Education, Inc., or its affiliates. All rights reserved. Publishing and Presenting Create a final version of your argument. Join a four-person “reading group” and read each other’s work. Complete an index card for each paper you read, commenting on the best points of each essay and making one suggestion for next time. Keep your remarks impersonal and considerate. Reflecting Reflect on what you learned by writing your argument. Did writing about the text help you better understand the text? What step in the process helped you focus your argument most? What will you do differently the next time you write a response to literature?  Standards Writing Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. Performance Task: Write an Argument  367

OVERVIEW: SMALL-GROUP LEARNING ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? As you read these selections, work with your group to explore this question. From Text to Topic  Renaissance writers, whose works span the fourteenth to the seventeenth centuries, shared a passionate interest in ancient cultures and civilizations. This interest bore fruit in writings that explored a multitude of questions related to how human beings should govern themselves and what their relationship should be with the natural world, two issues seen in The Tragedy of Macbeth. Amid dramatic shifts in leadership, religion, and worldview, Renaissance writers such as William Shakespeare created exciting literary works that challenged readers’ established ideas. Centuries later, critics Cleanth Brooks and Frank Kermode explored how Shakespeare and his contemporaries shaped the past to meet their dramatic needs. As you read, consider what these selections show about how attitudes toward the past and the future shape how we act in the present. Small-Group Learning Strategies Throughout your life, in school, in your community, and in your career, you will continue to develop strategies when you work in teams. Use these strategies during Small-Group Learning. Add ideas of your own for each step. STRATEGY ACTION PLAN Prepare • Complete your assignments so that you are prepared for group work. • Organize your thinking so that you can contribute to your group’s discussions. • Participate fully • Make eye contact to signal that you are listening and taking in what is being said. • Use text evidence when making a point. © Pearson Education, Inc., or its affiliates. All rights reserved. • Support others • Build off ideas from others in your group. • Invite others who have not yet spoken to do so. • Clarify • Paraphrase the ideas of others to ensure that your understanding is correct. • Ask follow-up questions. • 368  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST SCAN FOR MULTIMEDIA

CONTENTS POETRY COLLECTION 1 Sonnet 12 Sonnet 60 Sonnet 73  William Shakespeare Sonnet 32 from Pamphilia to Amphilanthus Mary Wroth Sonnet 75  Edmund Spenser How might poetry have the power to halt time— and even ensure a kind of immortality? © Pearson Education, Inc., or its affiliates. All rights reserved. LITERARY CRITICISM from The Naked Babe and the Cloak of Manliness from The Well Wrought Urn Cleanth Brooks from Macbeth from Shakespeare’s Language Frank Kermode Tastes change over time, so how do we judge literature—by the standards of the past or those of the present? PERFORMANCE TASK SPEAKING AND LISTENING FOCUS Present an Argument The Small-Group readings are examples of sonnets and Shakespearean criticism. After reading, your group will present an argument about whether or not literature from earlier eras should be rewritten in present-day language. Overview: Small-Group Learning  369

OVERVIEW: SMALL-GROUP LEARNING © Pearson Education, Inc., or its affiliates. All rights reserved. Working as a Team 1. Take a Position  In your group, discuss the following question: “Those who do not remember the past are condemned to repeat it.” – George Santayana As you take turns sharing your positions, be sure to provide reasons for your choice. After all group members have shared, discuss some of the connections among the issues that were presented. 2. List Your Rules  As a group, decide on the rules that you will follow as you work together. Two samples are provided. Add two more of your own. As you work together, you may add or revise rules based on your experience together. • Build on the comments of others to enhance discussion. • Share ideas in a constructive manner. • • 3. Apply the Rules  Practice working as a group. Share what you have learned about ways that our attitudes towards the past and future shape our actions. Make sure each person in the group contributes. Take notes on and be prepared to share with the class one thing that you heard from another member of your group. 4. Name Your Group  Choose a name that reflects the unit topic. Our group’s name: 5. Create a Communication Plan  Decide how you want to communicate with one another. For example, you might use email, an online bulletin board, or a collaborative annotation tool. Our group’s decision: 370  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? Making a Schedule First, find out the due dates for the small-group activities. Then, preview the texts and activities with your group, and make a schedule for completing the tasks. SELECTION ACTIVITIES DUE DATE Sonnet 12 Sonnet 60 Sonnet 73 Sonnet 32 Sonnet 75 from The Naked Babe and the Cloak of Manliness from Macbeth Working on Group Projects As your group works together, you’ll find it more effective if each person has a specific role. Different projects require different roles. Before beginning a project, discuss the necessary roles, and choose one for each group member. Some possible roles are listed here. Add your ideas to the list. Project Manager:  monitors the schedule and keeps everyone on task Researcher:  organizes research activities Recorder:  takes notes during group meetings © Pearson Education, Inc., or its affiliates. All rights reserved. SCAN FOR Overview: Small-Group Learning  371 MULTIMEDIA

MAKING MEANING POETRY COLLECTION 1 Sonnet 12, Sonnet 60, Sonnet 73 Sonnet 32 Sonnet 75 Concept Vocabulary As you perform your first read, you will encounter these words. toil   assay   devise Context Clues  To find the meaning of an unfamiliar word, look for clues in the context, which includes the words, punctuation, and images that surround the unknown word. In poetry, be sure to look for context clues in lines that come before and after unfamiliar words. Unfamiliar Word: hasten Context: Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Possible Meaning: The speaker compares the passing of time to the movement of waves. The verb hasten may indicate a type of motion. Apply your knowledge of context clues and other vocabulary strategies to determine the meanings of unfamiliar words you encounter during your first read. First Read POETRY Apply these strategies as you conduct your first read. You will have an opportunity to complete a close read after your first read.  STANDARDS NOTICE who or what is ANNOTATE by marking © Pearson Education, Inc., or its affiliates. All rights reserved. Reading Literature “speaking” the poem and vocabulary and key passages By the end of grade 12, read and whether the poem tells a story you want to revisit. comprehend literature, including or describes a single moment. stories, dramas, and poems, at the RESPOND by completing high end of the grades 11–CCR text CONNECT ideas within the the Comprehension Check. complexity band independently and selection to what you already proficiently. know and what you’ve already read. Language • Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 11–12 reading and content, choosing flexibly from a range of strategies. • Use context as a clue to the meaning of a word or phrase. 372  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? About the Poets Backgrounds William Shakespeare (1564–1616) In Sonnet 12, Sonnet 60, Sonnet 73 addition to numerous plays, Shakespeare also wrote two long narrative poems—Venus Like the sonnet sequences of other and Adonis and The Rape of Lucrece—as poets, Shakespeare’s 154 sonnets are well as 154 sonnets. During Shakespeare’s numbered. Most of them are addressed to time, poetry was widely regarded as an art a handsome, talented young man, urging practiced only by nobles and gentlemen. him to marry and have children who can Nonethless, Shakespeare, a rustic interloper, carry on his talents. Shakespeare, among introduced himself as a poet between 1593 other poets, used the sonnet form to bring and 1594. His sonnets, poignant musings the fundamental experiences of life—time, about life, provide insights about love, death, love, and friendship—into tight mortality, and the effects of time. focus. Mary Wroth (1587–1651) was born into Sonnet 32 an aristocratic family. She spent most of her childhood in Penshurst Place, one of the This sonnet comes from Mary Wroth’s great country houses of the Elizabethan and sonnet sequence Pamphilia to Jacobean periods. She was well educated Amphilanthus, an extended meditation and a fixture of the social life of London. Her on the nature of love, with its joys poems were widely circulated among the and sorrows. The turning point in this elites of her time. She fell out of favor with sequence is the extravagant “Crowne,” a polite society after the publication of her set of fourteen sonnets that explored the romance, The Countess of Montgomery’s possibility of a spiritual and perfected love, Urania, and lived the rest of her life in and broke with the tradition of the time obscurity. that focused more on courtship. © Pearson Education, Inc., or its affiliates. All rights reserved. Edmund Spenser (1552–1599) was born Sonnet 75 in London into a working-class family. As a boy, he attended the Merchant Taylors’ Edmund Spenser’s “Sonnet 75” comes School on a scholarship and later worked from a longer work by Spenser—the his way through Cambridge University. In sonnet sequence Amoretti, Italian for 1580, he took a position as secretary to “little love poems.” This sonnet sequence the Lord Deputy of Ireland. There he began is unique in that it is addressed to the his greatest work, The Faerie Queen. In his poet’s wife, Elizabeth Boyle, not to some sonnet sequence Amoretti, he created a new distant, unattainable, or unrequited love. sonnet form, now known as the Spenserian It’s also an example of the Spenserian sonnet. Spenser was well regarded by his sonnet, which he created using a unique contemporaries for his formal innovation and structure and rhyme scheme. unique style. Poetry Collection 1  373

POETRY Sonnet 12 Sonnet 60 Sonnet 73 William Shakespeare SCAN FOR Sonnet 12 MULTIMEDIA NOTES When I do count the clock that tells the time, And see the brave day sunk in hideous night; When I behold the violet past prime, © Pearson Education, Inc., or its affiliates. All rights reserved. And sable curls all silvered o’er with white; 5 When lofty trees I see barren of leaves, Which erst1 from heat did canopy the herd, And summer’s green all girded2 up in sheaves, Borne on the bier3 with white and bristly beard; Then of thy beauty do I question make, 10 That thou among the wastes of time must go, Since sweets and beauties do themselves forsake, And die as fast as they see others grow, And nothing ’gainst Time’s scythe can make defense, Save breed,4 to brave him when he takes thee hence. 1. erst  in the past; formerly. 2. girded  encircled or bound. 3. bier  (bihr) stand on which a corpse or coffin is placed. 4. breed  children. 374  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

Sonnet 60 NOTES Like as the waves make towards the pebbled shore, Mark context clues or indicate So do our minutes hasten to their end; another strategy you used that Each changing place with that which goes before, helped you determine meaning. In sequent toil all forwards do contend. toil (toyl) n. 5 Nativity, once in the main1 of light, Crawls to maturity, wherewith2 being crowned, MEANING: Crooked eclipses ’gainst his glory fight, And Time that gave doth now his gift confound. Time doth transfix3 the flourish set on youth, 10 And delves the parallels in beauty’s brow, Feeds on the rarities of nature’s truth, And nothing stands but for his scythe to mow: And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand. 1. main  open sea. 2. wherewith  with which. 3. transfix  impale, as with a sword or lance. © Pearson Education, Inc., or its affiliates. All rights reserved. Sonnet 73 That time of year thou mayst in me behold, When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruin’d choirs where late the sweet birds sang. 5 In me thou see’st the twilight of such day, As after sunset fadeth in the west, Which by and by black night doth take away, Death’s second self, that seals up all in rest. In me thou see’st the glowing of such fire 10 That on the ashes of his youth doth lie, As the deathbed whereon it must expire, Consumed with that which it was nourish’d by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere1 long. 1. ere  (ehr) before. Sonnet 12 • Sonnet 60 • Sonnet 73  375

POETRY Sonnet 32 from Pamphilia to Amphilanthus Mary Wroth SCAN FOR How fast thou fliest, O Time, on love’s swift wings MULTIMEDIA To hopes of joy, that flatters our desire NOTES Which to a lover, still, contentment brings! Yet, when we should enjoy thou dost retire. © Pearson Education, Inc., or its affiliates. All rights reserved. 5 Thou stay’st1 thy pace, false time, from our desire, When to our ill thou hast’st2 with Eagle’s wings, Slow, only make us see thy retire Was for despair, and harm, which sorrow brings; O! slack3 thy pace, and milder pass to love; 10 Be like the Bee, whose wings she doth but use To bring home profit, masters good to prove Laden, and weary, yet again pursues, So lade4 thyself with honey of sweet joy, And do not me the Hive of love destroy. 1. stay’st  continues. 2. hast’st  hurries. 3. slack  slow. 4. lade  load. 376  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

POETRY Sonnet 75 Edmund Spenser © Pearson Education, Inc., or its affiliates. All rights reserved. One day I wrote her name upon the strand,1 SCAN FOR But came the waves and washèd it away: MULTIMEDIA Again I wrote it with a second hand, But came the tide, and made my pains his prey. NOTES 5 “Vain man,” said she, “that dost in vain assay, Mark context clues or indicate A mortal thing so to immortalize, another strategy you used that For I myself shall like to this decay, helped you determine meaning. And eek2 my name be wipèd out likewise.” assay (uh SAY) v. “Not so,” quod3 I, “let baser things devise 10 To die in dust, but you shall live by fame: MEANING: My verse your virtues rare shall eternize, And in the heavens write your glorious name. devise (dih VYZ) v. Where whenas death shall all the world subdue, Our love shall live, and later life renew.” MEANING: 1. strand  beach. 2. eek  also. 3. quod  said. Sonnet 75  377

Comprehension Check © Pearson Education, Inc., or its affiliates. All rights reserved. Complete the following items after you finish your first read. Review and clarify details with your group. SONNET 12 1. What connection does the speaker make between the change of seasons and the loved one’s beauty? 2. According to the speaker, what is the only defense against time? SONNET 60 1. To what does the speaker compare the passing of time? 2. What hope does the speaker express regarding his verse? SONNET 73 1. At what stage of life is the speaker of this poem? 2. What advice does the speaker give in the last two lines? 378  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

© Pearson Education, Inc., or its affiliates. All rights reserved. SONNET 32 1. According to the speaker, when does time hurry, and when does it slow down? 2. What request does the speaker ask of Time? SONNET 75 1. What happens twice to the name the speaker writes in the sand? 2. How does the speaker’s beloved respond to his actions? 3. How does the speaker plan to immortalize his beloved? RESEARCH Research to Clarify  Choose at least one unfamiliar detail from one of the poems. Briefly research that detail. In what way does the information you learned shed light on an aspect of the poem? Research to Explore  Use Internet or library resources to locate media interpretations, such as audio or video recordings, of these poems. You might want to compare and contrast different interpretations of the same poem and share your reactions with your group. Poetry Collection 1  379

MAKING MEANING Close Read the Text With your group, revisit sections of the texts you marked during your first read. Annotate details that you notice. What questions do you have? What can you conclude? POETRY COLLECTION 1 Analyze the Text CITE TEXTUAL EVIDENCE to support your answers. GROUP DISCUSSION Complete the activities. Paraphrasing, or restating a writer’s ideas in your 1. Review and Clarify  With your group, reread Sonnet 12. Does the poem own words, can help address a universal human problem, or is the situation specific to the you check your group’s speaker and an unseen listener? comprehension and compare your interpretations. Take 2. Present and Discuss  Now, work with your group to share the turns paraphrasing key or passages from the poems that you found especially important. Take confusing lines. turns presenting your passages. Discuss what details you noticed, what questions you asked, and what conclusions you reached.   WORD NETWORK 3. Essential Question:  How do our attitudes towards the past and Add interesting words future shape our actions? What have these texts taught you about how related to time from the text people respond to time? Discuss with your group. to your Word Network. language development Concept Vocabulary toil   assay   devise Why These Words?  The three concept vocabulary words are related. With your group, discuss the words, and determine what they have in common. How do these word choices enhance the impact of the text?  STANDARDS Practice © Pearson Education, Inc., or its affiliates. All rights reserved. Reading Literature Notebook  Confirm your understanding of the concept vocabulary • Determine two or more themes or central ideas of a text and analyze words by answering these questions. Use the concept words in your answers. their development over the Reading text, including how they interact and 1. What are three examples of toil? build on one another to produce a complex account; provide an 2. When you assay to do something, do you always succeed? Explain. objective summary of the text. • Analyze how an author’s choices 3. If you devise to do a task, do you intend to accomplish it? Explain. concerning how to structure specific parts of a text contribute to its Word Study overall structure and meaning as well as its aesthetic impact. Notebook  Multiple-Meaning Words  Many words have different meanings when used in scientific and nonscientific contexts. In chemistry, for Language instance, assay frequently appears as a noun meaning “detailed analysis”—a Determine or clarify the meaning usage quite different from Spenser’s in Sonnet 75. Find several other words of unknown and multiple-meaning that have different scientific and nonscientific meanings. Write the words and words and phrases based on grades their meanings. 11–12 reading and content, choosing flexibly from a range of strategies. 380  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attituedsseesnttoiwaalrqdutehsetpioanst: aWnhdaftudtuorees siht atpakeeotuor saucrtvioivnes?? Analyze Craft and Structure Development of Theme  Each of these poems is a sonnet, a fourteen-line lyric poem with a single theme. Most traditional sonnets are written in rhymed iambic pentameter—five groups of two syllables, each with the accent on the second syllable. There are two main types of sonnets: English, or Shakespearean; and Italian, or Petrarchan. The sonnets in this collection are Shakespearean. However, Sonnet 75 by Edmund Spenser represents a Spenserian sonnet, a variation on the English sonnet. • The Shakespearean sonnet consists of three quatrains (four-line stanzas) and a couplet (two lines), with the rhyme scheme abab cdcd efef gg. • The Spenserian sonnet also contains three quatrains and a couplet. However, the rhyme scheme is abab bcbc cdcd for the quatrains and ee for the couplet. Note that even if a poet uses a sonnet form, he or she may alter elements, such as the stanza spacing or rhyme scheme. Traditional sonnet structures allow poets to develop themes with a certain clear logic. For example, in Shakespearean sonnets, each quatrain explores a different aspect of a theme, and the couplet serves as a concluding comment that may offer a surprise or twist on the ideas that came earlier. Practice CITE TEXTUAL EVIDENCE to support your answers. 1. As a group, choose a sonnet from this collection, and analyze how its structure helps to develop theme. Consider how each quatrain explores a different aspect of the theme and how the couplet offers a surprising comment. Development of Theme Sonnet: © Pearson Education, Inc., or its affiliates. All rights reserved. First Quatrain Second Quatrain Third Quatrain Couplet 2. Notebook  Choose another sonnet from this collection. Working on your own, analyze how the poet uses the sonnet structure to develop the theme. Then, share your analysis with your group. Poetry Collection 1  381

LANGUAGE DEVELOPMENT POETRY COLLECTION 1 Conventions and Style  STANDARDS Word Choice  Poetry often uses figurative language, or language that Reading Literature is not meant to be taken literally, to evoke emotions and express ideas Determine the meaning of words in imaginative ways. Figurative language includes one or more figures of and phrases as they are used in speech, devices for making unexpected comparisons or for changing the the text, including figurative and usual meaning of words. Three common types of figures of speech are connotative meanings; analyze the metaphor, simile, and personification. impact of specific word choices on meaning and tone, including words • Similes—direct comparisons of dissimilar things using the words like or with multiple meanings or language as: Cats’ eyes glow like lamps at night. that is particularly fresh, engaging, or beautiful. • Metaphors—comparisons in which one thing is identified with another Writing dissimilar thing: All the world’s a stage. • Introduce a topic; organize complex ideas, concepts, and information so • Personification—giving human qualities to nonhuman subjects: The that each new element builds on that trees dance in the wind. which precedes it to create a unified whole; include formatting, graphics, Masters of their art, the poets in this collection use various types of figurative and multimedia when useful to language to express complex ideas about time, love, and human frailty. aiding comprehension. • Develop the topic thoroughly by Read It selecting the most significant and relevant facts, extended definitions, Notebook  Identify the type of figurative language being used in each concrete details, quotations, or passage in the chart. Then, explain what is being compared and how the other information and examples device adds meaning to the poem. appropriate to theaudience’s knowledge of the topic. PASSAGE TYPE OF FIGURE OF ANALYSIS Language SPEECH • Demonstrate understanding of figurative language, word And see the brave day relationships, and nuances in word sunk in hideous night . . . meanings. • Interpret figures of speech in (Sonnet 12, line 2) context and analyze their role in the text. Like as the waves make © Pearson Education, Inc., or its affiliates. All rights reserved. towards the pebbled shore, / So do our minutes hasten to their end. . . . (Sonnet 60, lines 1–2) And time that gave doth now his gift confound. (Sonnet 60, line 8) Write It Notebook  Complete each sentence. Use either a simile, a metaphor, or an example of personification in each new sentence. 1. To Shakespeare, youth . 2. Wroth feels that time is . 3. Spenser suggests that immortality . 382  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

EFFECTIVE EXPRESSION Writing to Sources COLLABORATION Assignment Your group response may With your group, write a response to literature that compares and include multiple perspectives contrasts ideas from these sonnets. Choose from the following for your on the same text. Create a writing. format for your response that allows each group member   Write a reflection in which you explain which of these sonnets to contribute equally, even expresses ideas about time that are most similar to your own. Cite if you do not agree on specific lines or details from the poems to illustrate your views. Draft every interpretation. The your reflections individually. Then, gather them into a group response. final response will be more engaging if it accurately   Write an introduction to an anthology of sonnets that includes reflects each group the poems in this collection. Explain why these particular poems are member’s readings of the excellent examples of the sonnet form. poems being discussed.   Choose a popular song that you could use as background music for   EVIDENCE LOG a website about the sonnets by Shakespeare, Wroth, and Spenser. Write an explanatory statement about the song in which you tell Before moving on to a why you chose it and how it reinforces the messages of the sonnets. new selection, go to your Evidence Log and record Plan Your Argument  Work with your group to plan the claim you will what you learned from make and support in your response to literature. Express your position in these sonnets. clear and precise language. Then, look for specific support, including details from the poems in this collection, as well as your own ideas, quotations from other texts, or the responses of other readers. CLAIM SUPPORT Details From the Text(s) Additional Support © Pearson Education, Inc., or its affiliates. All rights reserved. Draft and Revise Your Response  Remember that a response to literature usually employs formal language. That doesn’t mean your language needs to be stiff and ornate, but it does mean that you should adopt a professional tone while writing. Consider the voice of your writing while you are drafting and revising to create a response that is authoritative and confident. Poetry Collection 1  383

MAKING MEANING LITERARY CRITICISM from The Naked Babe and the Cloak of Manliness from Macbeth Concept Vocabulary As you perform your first read, you will encounter these words. perception   unambiguous   idiosyncratic Context Clues  To find the meaning of an unfamiliar word, look for clues in the context, which includes the words, punctuation, and images that surround the unknown word. Pay close attention to negative qualifiers when trying to determine a word’s meaning. Unfamilar Word: adventitious Context: But the pathos is not adventitious; the scene ties into the inner symbolism of the play. Analysis: If the pathos were adventitious, it would not tie into the rest of the play. Possible Meaning: Adventitious may mean “outside” or “unrelated.” Apply your knowledge of context clues and other vocabulary strategies to determine the meanings of unfamiliar words you encounter during your first read. Consult a resource such as an online dictionary to verify meanings you infer. First Read NONFICTION Apply these strategies as you conduct your first read. You will have an opportunity to complete a close read after your first read.  STANDARDS NOTICE the general ideas of ANNOTATE by marking © Pearson Education, Inc., or its affiliates. All rights reserved. Reading Informational Text the text. What is it about? Who vocabulary and key passages By the end of grade 12, read and is involved? you want to revisit. comprehend literary nonfiction at the high end of the grades 11–CCR text CONNECT ideas within RESPOND by completing complexity band independently and the selections to what you the Comprehension Check and proficiently. already know and what by writing a brief summary of you’ve already read. the selection. Language • Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 11–12 reading and content, choosing flexibly from a range of strategies. • Use context as a clue to the meaning of a word or phrase. • Verify the preliminary determination of the meaning of a word or phrase. 384  UNIT 3 • FACING THE FUTURE, CONFRONTING THE PAST

ESSENTIAL QUESTION: How do our attitudes toward the past and future shape our actions? About the Authors Backgrounds Cleanth Brooks (1906–1994) was born in from The Naked Babe and the Cloak Kentucky. Brooks is perhaps best known for of Manliness helping, through his literary criticism, change the way that poetry was taught in American Throughout his plays, William Shakespeare colleges and universities. He is the author of uses complex symbolism to explore and highly regarded works of literary criticism, convey his key themes. In this piece of literary including The Well Wrought Urn and Modern criticism, from the book The Well Wrought Poetry and the Tradition. Urn, Cleanth Brooks examines the usage and development of symbolic imagery related to children and growth in The Tragedy of Macbeth. Frank Kermode (1919–2010) was a literary from Macbeth critic who wrote in-depth analyses of works ranging from the Bible to those of In this essay, Frank Kermode explores the Shakespeare and beyond. He was a former concept of time in The Tragedy of Macbeth. professor of modern English at University Much of the play is driven by concerns about College, London, and was knighted by Queen the future, its uncertainty, and its ambiguity. Elizabeth in 1991. This piece of literary criticism is a prime example of the ideas found in Kermode’s Shakespeare’s Language, in which he explores how audiences, since Shakespeare’s time, have found meaning in the playwright’s intricate, poetic language. Note that Kermode follows British spelling conventions (for instance, behaviour) and cites line numbers that may differ from those that appear in the version of Macbeth the play presented earlier in this unit. As is common in scholarly works, the author has included citations and commentary in the form of footnotes. © Pearson Education, Inc., or its affiliates. All rights reserved. from The Naked Babe and the Cloak of Manliness • from Macbeth  385