Act 3 Scene 2
A) Puck thinks that Bottom is the most stupid, insensitive blockhead of the bunch. This is a rather extreme, scornful view. Bottom does speak some good sense into Titania in Act 3 Scene 2 lines 140-144 and exhibits enthusiasm and initiative in rehearsal which can be seen as endearing if not intelligent. Despite his drawbacks, it is almost certain that his character is more ‘alert’ than Starveling, Snout or Snug. Although he is self-opinionated, he does, at least, have an opinion. He may be dim but never dull.
B) Puck compares the craftsmen running away at the sight of Bottom to wild birds that are startled when they spy the huntsman / hear the sound of his gun. Like the birds that noisily scatter and frantically fly away, the craftsmen flee in noisy/fearful/wild panic and confusion. As well as being an extremely vivid image, it also suggests the simple foolishness of the craftsmen.
C) gleeful (at what has happened- he finds it funny)
Exultant (he was successful at his task)
Scornful (of the crude mechanicals)
D) She thinks that Demetrius has murdered him because:
i) She cannot believe that Lysander would have left her voluntarily
ii) Demetrius has a forbidding / joyless/ ‘deadly’ look
E) i) She begins in an imploring/ importunate/ solicitous/ entreating/ coaxing manner (line 63) but ends with a fierce/ impassioned denunciation of Demetrius. She scornfully rebukes/ attacks him for being a cowardly, underhand murderer, calling him a dog and a snake.
This change is due to Demetrius’ insensitive/ scornful/ provocative response (line 64) to her initial plea.
ii) Helena is right when, later in the scene, she calls Hermia ‘keen’ (sharp-tongued) and ‘fierce’. Hermia seems to be a volatile character with a temper.
iii) At the end of Act 2, Scene 2 (lines 151-156) when Hermia recounts her nightmare in which a serpent ate her heart while Lysander sat smiling. She might connect the snake with Demetrius who has broken her heart because he has (or so she thinks) murdered Lysander. Lysander’s previous attestation that he and Hermia’s hearts are knit together as one (Act 2 Scene 2 lines 53-54) may add ominous forces to her foreboding.
F) i) In an insinuating/ wheedling manner with the suggestion of sexual blackmail (ie: what would you give me in exchange if I assured you that Lysander was safe)
ii) She is indignant/ outraged/ shocked by his insinuation which she obviously finds offensive to her honor.
G) i) He is concerned where Puck is amused. He takes the mistake seriously whereas Puck regards it as relatively unimportant.
ii) He is shown to be benevolent and/ caring/ concerned/ protective.
H) Demetrius has just compared Hermia to Venus (Act 3 Scene 2 lines 60-61) which is ironic given his imminent (and dramatic) change of affection.
I) He is typically scornful and enjoys watching the mortals make fools of themselves with mischievous relish.
J) This depends partly on Oberon’s overall attitude to Puck’s mistake. If his tone was harsh/scolding/ reprimanding in lines 88-91 (‘What hast thou done?’) then he could have been more exasperated and irritated here by Puck’s lack of concern/ gloating coupled with the possibility of Lysander’s unwanted presence complicating matters.
If however, his reaction was more indulgent/ paternal, we could imagine him partly sharing in Puck’s amusement whilst still retaining a more concerned/responsible air.
A mixture of all three emotions is probable with the emphasis determined by the actor’s overall reading of Oberon’s character/ how the actor chooses to interpret Oberon’s character or how it is brought to life.
K) His mischievous nature.
L) Dramatic irony: the audience knows that the reverse is true—contrary to what he believes, the enchanted Lysander is now behaving irrationally whereas previously he was in his proper senses. The effect is comic.
M) i) There is dramatic contrast between Lysander’s bald statement and Demetrius suddenly waking to contradict him by lavishly professing his love for Helena. They are surprised, we are amused.
ii) See Stage 3, page 15
N) i) Compliments: goddess, nymph, perfect, divine, princess, seal of bliss
Comparisons: eyes clearer than crystal, lips like cherries, skin (hand0 whiter than the purest snow.
ii) shallow, clichéd, extravagant, artificial
iii) We should be amused by their antics—all the more so because they are taking themselves so seriously.
O) Indignant, offended, angry
She thinks the two gentlemen are making fun of her. She feels that it is cruel and ungentlemanly of them to mock at her misfortune.
P) Bewildered rather than hurt (not fierce, indignant or accusatory)
Q) Helena thinks that Hermia is part of the conspiracy to mock her i.e. she is in ‘cahoots’ with Demetrius and Lysander. She believes this because it seems that Hermia is feigning ignorance/ bewilderment/ confusion/ distress to give Lysander’s ‘performance’ credibility.
R) Descriptions: closed confidantes (shared counsel), promises of fidelity (sister’s vows), schoolfriends (schooldays’ friendship) and old/intimate friends (ancient love)
Comparisons: Like two skilled gods, they ‘created’ (embroidered) one flower as if they were one person. (Note the emphasis on unity: ‘one flower’, ‘one sampler’, ‘one cushion’, ‘one song’, ‘one key’, and the deliberate suggestion of the two women being in total harmony in the last two images). They are like two cherries on the same stem—they appear separate but are in fact joined.
Two bodies with one heart like two coat of arms joined together—as in the case of a man and woman after their marriage—so that the new shield carries both and yet has a single, unifying crest above the two sets of arms.
All Helena’s comparisons effectively stress the intimate and inseparable nature of their friendship.
S) Hurt and betrayed.
T) She probably means that she has only herself to blame because she is such an easy target (i.e.: she invites ridicule). She may also be referring to the fact that she betrayed Hermia and told Demetrius of her plan to elope with Lysander. Hence, she is responsible for all subsequent proceedings. Even if Helena does not have a sense of this ironic retribution, the audience does.
U) Ethiope, cat, burr, vile thing, serpent (by inference), tawny Tartar, loathed med’cine, hated potion, dwarf, minimus, hindering knotgrass, bead, acorn.
Most of the insults refer to either her darker complexion or her small stature.
V) It suggests that Hermia is clinging tenaciously to Lysander whilst he is trying to brush her off—it is an amusing almost farcical situation. The comparison implies that Lysander finds Hermia an unwelcome and irritating hindrance/ nuisance/ pest—she is ‘cramping his style’ and spoiling his chances of success in wooing Helena.
W) Hermia dreamt that a serpent ate her heart away whilst Lysander
X) It is not just Hermia but Lysander who is bewithed/deluded by Puck’s love juice.
Y) She enquires falteringly whether or not Lysander is serious in line 281 (In earnest, shall I say?) and immediately confirms her worst fears (Ay, by my life). When she replies, ‘O me!’ (line 286) she is sure Lysander is serious.
Z) i) Helena could be referring to Hermia’s putative (alleged) part in the ‘conspiracy’ to mock her. She might be accusing Hermia of perfidious (deceitful) play-acting i.e. she is the ‘puppet’ of the two men who are pulling her strings according to her designated role in their plot to ridicule her.
ii) ‘Because she is something lower than myself…’ (line 307)
‘And though she be but little…’ (line 310)
They could be played as intentional—this would give the conversation a ‘catty’ flavor with Helena giving as good as she gets. Hence, instead of being timorous/ timid/ naïve/ guileless in her comments, they are intentionally barbed/ cutting (this could be made particularly apparent in lines such as: ‘…I was never curst; / I have no gift at all in shrewishness;’ where the ‘I’ could be ironically emphasized and the invidious (unpleasant) comparison made evident.
Helena’s present hostility/ backbiting/ snide innuendo would then form an amusing contrast to her previous heart-rending depiction of their close friendship. (Act 3 Scene 2 lines 199-220)
On the other hand, if Helena were to be played as a totally innocent/guileless, the effect would be equally amusing. Watching her grow more frightened/tense as she intentionally made Hermia more angry by her innocent / inadvertent remarks would highlight the pantomine-like nature of the situation and add a farcical element.
a) timidly/ timorously/ imploringly
They reveal her more ‘feminine’, timid, gentle, sensitive nature (It is possible, of course, to regard Helena in a less sympathetic light and view her as insipid (bland), cringing, cowardly, …)
b) i) The way she ‘turns’ on Demetrius (Act 3 Scene 2 lines 65-81)
ii) Her fierce verbal attack on Helena ‘You juggler, you canker blossom…’ (line 286)
iii) Her attempted physical ‘assault’ on Helena at the end of the scene (act 3 Scene 2 line 345)
c) Probably stern/ reprimanding, maybe annoyed/ angry, definitely serious/ authoritative.
d) (b)
e) i) Evil, ‘dammed’, restless spirits of the night (see Puck’s previous description of them (Act 3 Scene 2 lines 388-394) and later (Act 5 Scene 1 lines 371-374) who leave their graves and haunt the night.
ii) Oberon, Puck and other fairies are good/benevolent spirits who are kind to mortals and in harmony with nature. Shakespeare does not want us to confuse them with malevolent ghosts of demons.
f) An open discussion is called for here. Students might like to discuss how the scene could have been played in Shakespeare’s time (as a daytime performance with limited scenery and props) and how it could be played in a modern theatre (sound effects to echo voices, noise made chaos in the forest takes place etc.) The most difficult part of is to convey a sense of ‘ordered confusion’ as opposed to chaotic disarrangement i.e: the action (chaos) needs to be highly structured in order to avoid awkward/ accidental/ unnecessary distraction.
g) He could be sympathetic (shaking his head and ‘tutting’ sorrowfully) or he could be gleefully gloating at the foolish mortals’ ‘fond pageant’. Probably the former is more apposite (appropriate) given the woebegone, bedraggled nature of Hermia and Helena.
h) They have both been subject to delusions.
They have both been driven to distraction.
They have both been engaged in a mad/ frenzied flight.
They have both been frightened / confused.
They are both made weary/ exhausted from their flight.
They are both torn with briers/ thorns.
i) Her love of and loyalty to Lysander despite his infidelity.
j) A sense of silent rest/ relief/ reconciliation/ restoration of order/ harmony is established in contrast to the noisy/ hectic/ feverish confusion of the rest of the scene.
Sunday, September 21, 2008
Saturday, September 20, 2008
ANSWERS TO KEY QUESTIONS (ACT 3 SCENE 1)
Act 3 Scene 1
A) Objection 1: Pyramus’ suicide will be too shocking / disturbing for the ladies
Solution: to write Bottom a prologue assuring the audience that Pyramus is not really Pyramus but Bottom the weaver and that the suicide is not real but merely play-acting.
Objection 2: The lion will frighten the ladies
Solution: Ensure that half of Snug’s face can be seen below the lion’s mask and have him plainly announce his true identity so that everyone will understand that he is not a ‘real’ lion.
B) Rather than recognizing the absurdity of the discussion, Quince appears to genuinely share the concerns of his comrades. Since he seems deferential towards Bottom and accommodating in his response to his other suggestions, it is likely that his reaction is more positive than negative. Even if he is not enthusiastic, he will be compliant.
C) i) effect
ii) line 56- disfigure – figure (represent/symbolize)
line 77- odious-- odors
line 93- Ninny – Ninus
D) Problems:
i) to ‘bring moonlight’ into the great hall of the Duke’s palace where they will be performing
ii) to bring in a wall which is required as a ‘prop’ in the play.
Solutions:
i) Either: leave a window open so that the moon can shine through
Or: have an actor represent the man in the moon with a thorn brush or lantern
ii) Have an actor wearing a costume covered in roughcast to represent a wall on stage, using his fingers to signify the chink/hole.
E) i) With deference
They listen attentively to his criticism; are influenced by his points; solicit his advice (line 61); and appear impressed by his solutions.
ii) Some commentators have noted in consistency, confusion /contradiction in their approach. On the one hand they do not want the audience to ‘believe’ that Pyramus and the lion are real; on the other, they want to make the setting as ‘literal’ as possible by providing physical renditions of the wall and the moonshine. This could reflect a general ignorance of/insensitivity towards/ lack of thought about the nature and purpose of drama (which would include a suspension of reality and the flight of the imagination).
Alternatively, one could say that they are consistent in the sense that they have a very naïve view of drama- considering it as a ‘copy’ of real life rather than an interpretation of/exploration of experience. Their interpretation of reality is self-conscious and childlike requiring the audience to appreciate/admire rather than suspend belief.
Either way, we can say that the craftsmen have a very limited/ superficial/ restricted/ naïve appreciation of their theatrical medium and role.
F) i) Presumably, the craftsmen are rehearsing in a rather ridiculous, self-important, exaggerated fashion.
ii) He is contemptuous / scornful of the craftsmen whom he regards as
bumpkins. He is amused by their absurd attempts at acting. He might
consider them impudent./audacious for rehearsing ‘so near the cradle of
the Fairy Queen’ (although they are admittedly not aware of her presence, they might inadvertently disturb her sleep).
G) The content is absurdly contradictory (lily-white of hue/ color like the red rose), the language is stilted/ affected (brisky juvenal), the rhyme is trite, the superlatives are excessive (‘most’, ‘truest’, ‘never’), the comparison comical (‘as true as the truest horse’), and the words are wrong (‘Jew’, ‘Ninny’s’). It is very bad verse, deliberately.
H) i) Thisbe (Flute) has just compared Pyramus (Bottom) to a horse (in terms of dedication/faithfulness) and he enters (ironically) looking like an ass.
ii) Probably because of his asinine nature.
I) If the commas are omitted after ‘fair’, the adjective is yoked (attached to) Thisbe (ie: beautiful Thisbe) rather than linked to Pyramus.
‘If I were’ then becomes a reply to Thisbe’s previous remark that Pyramus is ‘As true a horse that yet would never tire’.
So, the new sense becomes:
‘If I were the most faithful man, it would only be to you and you alone.’
ii) By putting the comma after ‘fair’, Bottom changes the above to (presumably intending to do so) meaning to:
‘If I were handsome, I would only be yours.’
This is ironically appropriate given that Bottom’s appearance and the craftsmen horrified reaction.
J) He thinks that they are playing a trick on him. They are running away/ leaving him alone to frighten him.
K) i) The dramatic irony is obvious: Bottom believes that his fellow craftsmen are trying to make him, figuratively speaking, appear an ass when he is unaware that he looks like one.
ii) No. Witness his indignant reaction to his fellow craftsmen’s flight and his self-possessed manner with Titania, none of which suggests he is aware of his transformation.
L) The remark is absurdly incongruous— Bottom’s bestial appearance and discordant singing are the antithesis of angelic.
M) Words such as ‘much enamored’, ‘enthralled’, ‘fair’s virtue force’, ‘swear’, all underline the emphatic/ intense nature of her attraction to Bottom— the delusion is total and she is thoroughly captivated.
It is interesting that her physical infatuation with Bottom (‘Mine ear is much enamored’, ‘mine eye enthralled’) persuades Titania to imagine that Bottom is also virtuous and wise. In this sense, her behavior is a perfect illustration of Helena’s observation in Act 1 Scene 1 line 232-241 regarding the effects of dotage.
N) Present situation: Titania’s love is obviously irrational based on the
delusion caused by Oberon’s love juice.
Previous action: the various rash/ irrational actions of the young lovers due to:
- Helena’s infatuation with Demetrius
- Demetrius’ infatuation with Hermia
- Lysander and Hermia’s rash/reckless elopement
- The enchanted Lysander’s rejection/ desertion of Hermia and infatuation with Helena.
Theme: Unpredictable nature of Love. (‘Love and reason keep little company’)
O) The fairies will:
- Fetch Bottom jewels from the sea-bed
- Sing to him while he sleeps on a bed of flowers
- Dance for him
- Feed him with apricots, berries etc.
- Give him stolen honey stolen from the bees
- Light candles for him made from beeswax
- Fan him with butterfly wings
- Minister / attend to him/ obey him dutifully
The atmosphere created is exotic / luxurious / magical / ethereal / quaint.
P) (c) composed and self-assured
He speaks to them in much the same confident/ self-assured/ familiar/ self-possessed manner as he does with the craftsmen.
Is Bottom imperturbable/ unflappable because he is so thick-skinned / un-poetic/earth bound or is he merely putting his acting skills to good use?
It is worth mentioning that at least one critic has disagreed with the view that Bottom is composed and self-assured. He believes that Bottom should not be portrayed as oblivious/ insensitive to his predicament. In his view, whilst Bottom is trying to appear nonchalant, he is in fact unsuccessfully trying to cover up his nervousness and this should be made apparent in performance.
Q) Either i) despite her infatuation, Titania has had enough of Bottom’s foolishness by this time and does not want him to speak to Moth in a similar vein
Or: ii) The amorous/captivated Titania is keen to have Bottom all to herself and grows impatient with his prolonged pleasantries.
R) We might imagine Bottom behaving like a donkey throughout the scene, making unpleasant ‘hee-haw’ noises.
S) Bottom
Appearance: bestial, ugly, gross
Behavior: brutish, unrefined/coarse, noisy/clumsy
Language: mundane prose, trite, banal, colloquial
Fairies
Appearance: ethereal, enchanting, diminutive
Behavior: graceful, charming, lively/dainty
Language: poetic verse (Titania), beautiful, exotic, imaginative
A) Objection 1: Pyramus’ suicide will be too shocking / disturbing for the ladies
Solution: to write Bottom a prologue assuring the audience that Pyramus is not really Pyramus but Bottom the weaver and that the suicide is not real but merely play-acting.
Objection 2: The lion will frighten the ladies
Solution: Ensure that half of Snug’s face can be seen below the lion’s mask and have him plainly announce his true identity so that everyone will understand that he is not a ‘real’ lion.
B) Rather than recognizing the absurdity of the discussion, Quince appears to genuinely share the concerns of his comrades. Since he seems deferential towards Bottom and accommodating in his response to his other suggestions, it is likely that his reaction is more positive than negative. Even if he is not enthusiastic, he will be compliant.
C) i) effect
ii) line 56- disfigure – figure (represent/symbolize)
line 77- odious-- odors
line 93- Ninny – Ninus
D) Problems:
i) to ‘bring moonlight’ into the great hall of the Duke’s palace where they will be performing
ii) to bring in a wall which is required as a ‘prop’ in the play.
Solutions:
i) Either: leave a window open so that the moon can shine through
Or: have an actor represent the man in the moon with a thorn brush or lantern
ii) Have an actor wearing a costume covered in roughcast to represent a wall on stage, using his fingers to signify the chink/hole.
E) i) With deference
They listen attentively to his criticism; are influenced by his points; solicit his advice (line 61); and appear impressed by his solutions.
ii) Some commentators have noted in consistency, confusion /contradiction in their approach. On the one hand they do not want the audience to ‘believe’ that Pyramus and the lion are real; on the other, they want to make the setting as ‘literal’ as possible by providing physical renditions of the wall and the moonshine. This could reflect a general ignorance of/insensitivity towards/ lack of thought about the nature and purpose of drama (which would include a suspension of reality and the flight of the imagination).
Alternatively, one could say that they are consistent in the sense that they have a very naïve view of drama- considering it as a ‘copy’ of real life rather than an interpretation of/exploration of experience. Their interpretation of reality is self-conscious and childlike requiring the audience to appreciate/admire rather than suspend belief.
Either way, we can say that the craftsmen have a very limited/ superficial/ restricted/ naïve appreciation of their theatrical medium and role.
F) i) Presumably, the craftsmen are rehearsing in a rather ridiculous, self-important, exaggerated fashion.
ii) He is contemptuous / scornful of the craftsmen whom he regards as
bumpkins. He is amused by their absurd attempts at acting. He might
consider them impudent./audacious for rehearsing ‘so near the cradle of
the Fairy Queen’ (although they are admittedly not aware of her presence, they might inadvertently disturb her sleep).
G) The content is absurdly contradictory (lily-white of hue/ color like the red rose), the language is stilted/ affected (brisky juvenal), the rhyme is trite, the superlatives are excessive (‘most’, ‘truest’, ‘never’), the comparison comical (‘as true as the truest horse’), and the words are wrong (‘Jew’, ‘Ninny’s’). It is very bad verse, deliberately.
H) i) Thisbe (Flute) has just compared Pyramus (Bottom) to a horse (in terms of dedication/faithfulness) and he enters (ironically) looking like an ass.
ii) Probably because of his asinine nature.
I) If the commas are omitted after ‘fair’, the adjective is yoked (attached to) Thisbe (ie: beautiful Thisbe) rather than linked to Pyramus.
‘If I were’ then becomes a reply to Thisbe’s previous remark that Pyramus is ‘As true a horse that yet would never tire’.
So, the new sense becomes:
‘If I were the most faithful man, it would only be to you and you alone.’
ii) By putting the comma after ‘fair’, Bottom changes the above to (presumably intending to do so) meaning to:
‘If I were handsome, I would only be yours.’
This is ironically appropriate given that Bottom’s appearance and the craftsmen horrified reaction.
J) He thinks that they are playing a trick on him. They are running away/ leaving him alone to frighten him.
K) i) The dramatic irony is obvious: Bottom believes that his fellow craftsmen are trying to make him, figuratively speaking, appear an ass when he is unaware that he looks like one.
ii) No. Witness his indignant reaction to his fellow craftsmen’s flight and his self-possessed manner with Titania, none of which suggests he is aware of his transformation.
L) The remark is absurdly incongruous— Bottom’s bestial appearance and discordant singing are the antithesis of angelic.
M) Words such as ‘much enamored’, ‘enthralled’, ‘fair’s virtue force’, ‘swear’, all underline the emphatic/ intense nature of her attraction to Bottom— the delusion is total and she is thoroughly captivated.
It is interesting that her physical infatuation with Bottom (‘Mine ear is much enamored’, ‘mine eye enthralled’) persuades Titania to imagine that Bottom is also virtuous and wise. In this sense, her behavior is a perfect illustration of Helena’s observation in Act 1 Scene 1 line 232-241 regarding the effects of dotage.
N) Present situation: Titania’s love is obviously irrational based on the
delusion caused by Oberon’s love juice.
Previous action: the various rash/ irrational actions of the young lovers due to:
- Helena’s infatuation with Demetrius
- Demetrius’ infatuation with Hermia
- Lysander and Hermia’s rash/reckless elopement
- The enchanted Lysander’s rejection/ desertion of Hermia and infatuation with Helena.
Theme: Unpredictable nature of Love. (‘Love and reason keep little company’)
O) The fairies will:
- Fetch Bottom jewels from the sea-bed
- Sing to him while he sleeps on a bed of flowers
- Dance for him
- Feed him with apricots, berries etc.
- Give him stolen honey stolen from the bees
- Light candles for him made from beeswax
- Fan him with butterfly wings
- Minister / attend to him/ obey him dutifully
The atmosphere created is exotic / luxurious / magical / ethereal / quaint.
P) (c) composed and self-assured
He speaks to them in much the same confident/ self-assured/ familiar/ self-possessed manner as he does with the craftsmen.
Is Bottom imperturbable/ unflappable because he is so thick-skinned / un-poetic/earth bound or is he merely putting his acting skills to good use?
It is worth mentioning that at least one critic has disagreed with the view that Bottom is composed and self-assured. He believes that Bottom should not be portrayed as oblivious/ insensitive to his predicament. In his view, whilst Bottom is trying to appear nonchalant, he is in fact unsuccessfully trying to cover up his nervousness and this should be made apparent in performance.
Q) Either i) despite her infatuation, Titania has had enough of Bottom’s foolishness by this time and does not want him to speak to Moth in a similar vein
Or: ii) The amorous/captivated Titania is keen to have Bottom all to herself and grows impatient with his prolonged pleasantries.
R) We might imagine Bottom behaving like a donkey throughout the scene, making unpleasant ‘hee-haw’ noises.
S) Bottom
Appearance: bestial, ugly, gross
Behavior: brutish, unrefined/coarse, noisy/clumsy
Language: mundane prose, trite, banal, colloquial
Fairies
Appearance: ethereal, enchanting, diminutive
Behavior: graceful, charming, lively/dainty
Language: poetic verse (Titania), beautiful, exotic, imaginative
Thursday, September 18, 2008
ANSWERS TO KEY QUESTIONS (ACT 4 SCENE 1&2)
Act 4 Scene 1
A)
- She is adoring
-She tries to make him comfortable, caresses his cheeks, adorns his head with flowers & kisses his cheeks (lines 1-4)
-She embraces him in her arms & unabashedly proclaims her love for him (lines 40-45)
-Note her besotted description of Bottom ‘amiable cheeks’ ‘sleek smooth head’ ‘fair large ears’ ‘gentle joy’ ‘sweet love’
- She is also very attentive.
- Asks Bottom if he would like to hear music (line 28) or if he wanted something to eat (line 31)
B)
- He does not respond directly to Titania’s questions nor does he take her up on her offers to put him at ease.
- He seems more keen on to have the fairy Peaseblossom scratch him than having Titania embrace him lovingly.
- His requests are bland/pedestrian/base and he is more concerned with making himself comfortable/satisfy himself.
C)
i) His surroundings are magical /ethereal, his attendants are beautiful/graceful/delicate/exotic but his requests are crass/vulgar/coarse/prosaic- he wants to fairies to scratch him, prefers to eat oats and peas and wants crude musical instrument to listen to.
ii) Overall effect is comic. Titania’s fawning over him seems all the more pathetic/absurd/ridiculous.
iii) The same. He is courteous, but indifferent.
D)
•He has got what he wanted- Titania has surrendered the changeling child (lines 59-60)
•She has changed her attitude (line 58)
•He feels that she has suffered enough and pities her predicament.
•He feels she has learnt her lesson.
•He feels disgraced by her shameful behavior(?)- Line 49
•He is jealous(?)- Line 49
•He is ashamed/ thinks he has gone too far(?)
E)
-She is so infatuated with Bottom that she no longer cares about what happens to the changeling child.
-The love potion has rendered her placid; she is more agreeable with Oberon’s plans.
-She feels the force and justification of Oberon’s rebuke about falling in love with an ass (line 50) and is shamed by his taunts.
-She now considers Oberon’s request reasonable.
F)
Yes- the lovers awake confused/puzzled/bewildered and find it difficult to distinguish dream fro reality.
• Note the use of words such as ‘seem’ ‘like’ ‘methinks’ ‘seems double’ and
• Demetrius’ lines ‘Are you sure / That we are awake? It seems to me / That yet we sleep, we dream.
G)
i) Initially, we can imagine Titania being in a half-daze/ bewildered state. She seems unsure whether her experiences have been real or merely a dream. After Oberon points out sleeping Bottom, she registers shock, amazement, disgust (and shame?)
ii) Her present abhorrence / loathing / disgust is in stark contrast to her previous fawning / adulation of Bottom.
H)
-It is a dramatic ploy to account for the fact that neither Bottom nor the lovers are awakened by the music or dancing. They ‘sleep’ a charmed sleep; likened to being under a spell.
-The music also signals the new ‘amity’ or reconciliation between Titania & Oberon. Music here is probably soothing, calming and has such an effect on the sleeping mortals who will wake up refreshed and reconciled.
I)
• The dance symbolizes the reunion of Titania & Oberon.
• Significance? When they quarreled, Oberon refused Titania’s offer to ‘patiently dance in our round / And see our moonlight revels’.
• Here, the music, the holding hands and the dancing signify the personal reconciliation coupled with the restoration of harmony to the previously tumultuous world of man.
J)
•The fairies’ music (calm / soothing / soporific / lulling / enchanting)
•The hunting horn ‘blaring’
Effect?
•It dispels the magic-like / dream-like atmosphere quite effectively.
•Attention is now drawn away from the world of fairies and to the world of men as represented by the appearance of Theseus and his train.
K)
‘the musical confusion / of hounds and echo in conjunction’
‘I never heard / so musical a discord, such sweet thunder’
• Concord comes from discord. The discordant sound of the hounds come together harmoniously during the hunt. This mirrors the way the discord in the last two acts have been resolved
(THINK quarrel between Titania & Oberon and confusion between amongst the young lovers.)
There is still a sense of incongruity. Although the sounds of the baying hounds are harmonious, the unrestrained nature of the animals, the excitement of the pack and their frenzied cries still evoke the impression of roaring noise / tumult/ confusion.Hence, there is a suggestion of the thin line that exists between order/disorder, concord/discord, dreaming/being awake etc. Impressions are subjective and open to interpretation.
L)
Theseus definitely says this in a teasing manner.He was probably trying to put the couples (rudely awakened by the blaring of the hunting horn) at ease. He is not chiding them and has no intention of embarrassing them, probably.
M)
Refer back to answer to question K. Music as a symbol of resolution of previous conflicts.
N)
Lysander- half asleep, half waking- I truly cannot say- But, as I think…And now I do bethink me
Demetrius- …I know not by what power- plus lines 187-195
O)
i) He is similarly testy/ irascible/ impatient/ intolerant.
ii) - He is the only discordant note in an otherwise harmonious scene.
- He insists on revenge / retribution (“I beg the law, upon his head.”)
even while the rest embody a sense of reconciliation
- He is the only main character without a love partner.
P)
- His love for Hermia is melted like snow.
- It now seems like a toy which, as a child, he was obsessed with but now recognizes it as being trivial / trifling.
- Like a sick man rejects his usual healthy diet, so her rejected Helena. Now that he is well, he has reverted to his ‘natural taste’. The 1st comparison stresses the way his infatuation with Hermia has completely disappeared.
2nd suggests the childishness of his infatuation3rd reflects the unnatural & unhealthy nature of his previous obsession.
Q)
i) We now see him in a more favorable / sympathetic light.
He humbly and freely confesses his fault of forsaking Helena (…To her, my lord, / Was I betrothed ere I saw Hermia) and vows to be true to Helena henceforth.ii) In one sense, this is highly ironic because, strictly speaking, Demetrius is the only character that is still under the spell of Puck’s love juice.
However, this is quite cynical. If we accept that Demetrius was behaving irrationally because of his obsession with Hermia, then we could view Puck’s love potion as having a restorative effect.Instead of making him deluded (as Lysander was when he fell for Helena), it brings Demetrius to his senses. Demetrius’ speech (lines 160-176) is obviously heartfelt. The sincere, simple style is in stark contrast to his previous contrived declarations of love which sounded too exaggerated to be true.
R)
i)Theseus had previously insisted that he was powerless to change the law, but now, he overrides it.
ii)Theseus’ decision to be compassionate or merciful instead of ‘siding’ with Egeus and dispensing strict justice is consistent with the specific dramatic context and overall spirit of the play. This is Theseus’ eagerly awaited wedding day with Hippolyta and it should not be marred by the tragic forced separation of other lovers. Instead, the weddings of Demetrius/Helena and Lysander/Hermia reinforce the prevailing sense of harmony, pomp and celebration.
-Also, as a romantic comedy, we expect a happy ending and a sense that ‘all’s well that ends well’
- Another reason could be that the situation has now changed considerably. Initially, both Egeus and Demetrius insisted upon their ‘rights’ over Hermia. Now, Demetrius has renounced his claim and declared his love for Helena. Hence, all the lovers are now content with their respective partners. Only Egeus remains an unreasonable obstacle to the lovers’ happiness. Hence, Theseus’ decision to overrule Egeus now seems fair and reasonable.
- Also, we must remember how Egeus’ insistence that Lysander be punished comes before Demetrius’ declaration of love for Helena. This announcement would come as a major shock to Egeus who assumed that Demetrius would be on his side: ‘They would have stol’n away, they would, Demetrius, / Thereby to have defeated you and me- / You of your wife, and me of my consent, / Of my consent that she should be your wife.’ (lines 156-159)
Although Egeus is not given any more lines after Demetrius’ speech, we can imagine him being flabbergasted by what he has just heard. He might een shrug his shoulders and bemusedly accept Theseus’ decision, realizing that there is no point in pursuing his claim without Demetius’ compliance.
S)
i)Our experiences seem remote and vague/ indistinct, like distant mountains appear to transform/dissolve into cloud (Demetrius)
I seem to have double-vision (with the suggestion that everything is blurred / confused / unreal) (Hermia)
I feel like I have found a jewel (Demetrius) which I would like to keep but am afraid may not be rightfully mine (might be taken away from me) (Helena)
ii)They are all confused/bewildered/ unsure whether their experiences were real or merely dreams.
T)
Based on what he says and his reaction, we can fairly deduce that Bottom still thinks that he is still at the rehearsal.
U)
•‘Vision’ suggests something extraordinary / rare / mystical involving a revelationary insight. It also suggests a vivid experience.
•Bottom (typically, but also, this time, accurately) conceives his experience as being no ordinary dream but a unique and profound experience.
•Oberon uses the word in 3. 2. 378
•Titania uses the word in 4.1.76
•Puck uses the word in 5.1. 418
V)
•We can imagine him either
-Feeling about for/ touching his ass’s head / ears / nose
OR
- re-enacting the embrace of Titania / his manner with his fairy attendants
W)
i)Bottom (typically) has comically transposed the sense impression.
ii)It reflects his own uncertainty regarding the credibility, nature and meaning of his experience.
- He is disoriented and confused. Although Bottom says he will get Quince to portray his dream in a ballad, we see that he is actually incapable of articulating (or understanding?) his experience.
Indeed, he ironically insists that it would be both foolish and impossible to try and describe his dreams in words.
Just how much Bottom is ‘awake’ to the rarity of his vision and changed by it is open to question, although it must be said that the audience are more amused than moved by his waking reaction and he himself appears unaltered by his experience.
X)
Similarity
Both are confused / bewildered / unsure whether their experiences were real or dreamed.
They are unsure whether they are still asleep or awake. (Refer to answers N, S & W)
Difference
Bottom views his vision in a more profound / mystical / revelationary light (see answer to U) and regards himself as a unique and privileged individual
Act 4 Scene 2
A)
He is anxious / tense / concerned / agitated.
B)
i)He enters energetically / purposefully / enthusiastically and speaks heartily / cheerfully with his usual exuberant / irrepressible / genial self-confidence.
ii)They are happily surprised and wholly relieved / elated. We could imagine the men rushing towards Bottom and embracing him warmly.
C)
No. he is supremely confident / hearty / foolish
(“…if I tell you, I am no true Athenian- I will tell you everything, right as it fell out.”)
He is also vociferous and conceited / assertive (notice the way in which he immediately takes charge and issues orders).
A)
- She is adoring
-She tries to make him comfortable, caresses his cheeks, adorns his head with flowers & kisses his cheeks (lines 1-4)
-She embraces him in her arms & unabashedly proclaims her love for him (lines 40-45)
-Note her besotted description of Bottom ‘amiable cheeks’ ‘sleek smooth head’ ‘fair large ears’ ‘gentle joy’ ‘sweet love’
- She is also very attentive.
- Asks Bottom if he would like to hear music (line 28) or if he wanted something to eat (line 31)
B)
- He does not respond directly to Titania’s questions nor does he take her up on her offers to put him at ease.
- He seems more keen on to have the fairy Peaseblossom scratch him than having Titania embrace him lovingly.
- His requests are bland/pedestrian/base and he is more concerned with making himself comfortable/satisfy himself.
C)
i) His surroundings are magical /ethereal, his attendants are beautiful/graceful/delicate/exotic but his requests are crass/vulgar/coarse/prosaic- he wants to fairies to scratch him, prefers to eat oats and peas and wants crude musical instrument to listen to.
ii) Overall effect is comic. Titania’s fawning over him seems all the more pathetic/absurd/ridiculous.
iii) The same. He is courteous, but indifferent.
D)
•He has got what he wanted- Titania has surrendered the changeling child (lines 59-60)
•She has changed her attitude (line 58)
•He feels that she has suffered enough and pities her predicament.
•He feels she has learnt her lesson.
•He feels disgraced by her shameful behavior(?)- Line 49
•He is jealous(?)- Line 49
•He is ashamed/ thinks he has gone too far(?)
E)
-She is so infatuated with Bottom that she no longer cares about what happens to the changeling child.
-The love potion has rendered her placid; she is more agreeable with Oberon’s plans.
-She feels the force and justification of Oberon’s rebuke about falling in love with an ass (line 50) and is shamed by his taunts.
-She now considers Oberon’s request reasonable.
F)
Yes- the lovers awake confused/puzzled/bewildered and find it difficult to distinguish dream fro reality.
• Note the use of words such as ‘seem’ ‘like’ ‘methinks’ ‘seems double’ and
• Demetrius’ lines ‘Are you sure / That we are awake? It seems to me / That yet we sleep, we dream.
G)
i) Initially, we can imagine Titania being in a half-daze/ bewildered state. She seems unsure whether her experiences have been real or merely a dream. After Oberon points out sleeping Bottom, she registers shock, amazement, disgust (and shame?)
ii) Her present abhorrence / loathing / disgust is in stark contrast to her previous fawning / adulation of Bottom.
H)
-It is a dramatic ploy to account for the fact that neither Bottom nor the lovers are awakened by the music or dancing. They ‘sleep’ a charmed sleep; likened to being under a spell.
-The music also signals the new ‘amity’ or reconciliation between Titania & Oberon. Music here is probably soothing, calming and has such an effect on the sleeping mortals who will wake up refreshed and reconciled.
I)
• The dance symbolizes the reunion of Titania & Oberon.
• Significance? When they quarreled, Oberon refused Titania’s offer to ‘patiently dance in our round / And see our moonlight revels’.
• Here, the music, the holding hands and the dancing signify the personal reconciliation coupled with the restoration of harmony to the previously tumultuous world of man.
J)
•The fairies’ music (calm / soothing / soporific / lulling / enchanting)
•The hunting horn ‘blaring’
Effect?
•It dispels the magic-like / dream-like atmosphere quite effectively.
•Attention is now drawn away from the world of fairies and to the world of men as represented by the appearance of Theseus and his train.
K)
‘the musical confusion / of hounds and echo in conjunction’
‘I never heard / so musical a discord, such sweet thunder’
• Concord comes from discord. The discordant sound of the hounds come together harmoniously during the hunt. This mirrors the way the discord in the last two acts have been resolved
(THINK quarrel between Titania & Oberon and confusion between amongst the young lovers.)
There is still a sense of incongruity. Although the sounds of the baying hounds are harmonious, the unrestrained nature of the animals, the excitement of the pack and their frenzied cries still evoke the impression of roaring noise / tumult/ confusion.Hence, there is a suggestion of the thin line that exists between order/disorder, concord/discord, dreaming/being awake etc. Impressions are subjective and open to interpretation.
L)
Theseus definitely says this in a teasing manner.He was probably trying to put the couples (rudely awakened by the blaring of the hunting horn) at ease. He is not chiding them and has no intention of embarrassing them, probably.
M)
Refer back to answer to question K. Music as a symbol of resolution of previous conflicts.
N)
Lysander- half asleep, half waking- I truly cannot say- But, as I think…And now I do bethink me
Demetrius- …I know not by what power- plus lines 187-195
O)
i) He is similarly testy/ irascible/ impatient/ intolerant.
ii) - He is the only discordant note in an otherwise harmonious scene.
- He insists on revenge / retribution (“I beg the law, upon his head.”)
even while the rest embody a sense of reconciliation
- He is the only main character without a love partner.
P)
- His love for Hermia is melted like snow.
- It now seems like a toy which, as a child, he was obsessed with but now recognizes it as being trivial / trifling.
- Like a sick man rejects his usual healthy diet, so her rejected Helena. Now that he is well, he has reverted to his ‘natural taste’. The 1st comparison stresses the way his infatuation with Hermia has completely disappeared.
2nd suggests the childishness of his infatuation3rd reflects the unnatural & unhealthy nature of his previous obsession.
Q)
i) We now see him in a more favorable / sympathetic light.
He humbly and freely confesses his fault of forsaking Helena (…To her, my lord, / Was I betrothed ere I saw Hermia) and vows to be true to Helena henceforth.ii) In one sense, this is highly ironic because, strictly speaking, Demetrius is the only character that is still under the spell of Puck’s love juice.
However, this is quite cynical. If we accept that Demetrius was behaving irrationally because of his obsession with Hermia, then we could view Puck’s love potion as having a restorative effect.Instead of making him deluded (as Lysander was when he fell for Helena), it brings Demetrius to his senses. Demetrius’ speech (lines 160-176) is obviously heartfelt. The sincere, simple style is in stark contrast to his previous contrived declarations of love which sounded too exaggerated to be true.
R)
i)Theseus had previously insisted that he was powerless to change the law, but now, he overrides it.
ii)Theseus’ decision to be compassionate or merciful instead of ‘siding’ with Egeus and dispensing strict justice is consistent with the specific dramatic context and overall spirit of the play. This is Theseus’ eagerly awaited wedding day with Hippolyta and it should not be marred by the tragic forced separation of other lovers. Instead, the weddings of Demetrius/Helena and Lysander/Hermia reinforce the prevailing sense of harmony, pomp and celebration.
-Also, as a romantic comedy, we expect a happy ending and a sense that ‘all’s well that ends well’
- Another reason could be that the situation has now changed considerably. Initially, both Egeus and Demetrius insisted upon their ‘rights’ over Hermia. Now, Demetrius has renounced his claim and declared his love for Helena. Hence, all the lovers are now content with their respective partners. Only Egeus remains an unreasonable obstacle to the lovers’ happiness. Hence, Theseus’ decision to overrule Egeus now seems fair and reasonable.
- Also, we must remember how Egeus’ insistence that Lysander be punished comes before Demetrius’ declaration of love for Helena. This announcement would come as a major shock to Egeus who assumed that Demetrius would be on his side: ‘They would have stol’n away, they would, Demetrius, / Thereby to have defeated you and me- / You of your wife, and me of my consent, / Of my consent that she should be your wife.’ (lines 156-159)
Although Egeus is not given any more lines after Demetrius’ speech, we can imagine him being flabbergasted by what he has just heard. He might een shrug his shoulders and bemusedly accept Theseus’ decision, realizing that there is no point in pursuing his claim without Demetius’ compliance.
S)
i)Our experiences seem remote and vague/ indistinct, like distant mountains appear to transform/dissolve into cloud (Demetrius)
I seem to have double-vision (with the suggestion that everything is blurred / confused / unreal) (Hermia)
I feel like I have found a jewel (Demetrius) which I would like to keep but am afraid may not be rightfully mine (might be taken away from me) (Helena)
ii)They are all confused/bewildered/ unsure whether their experiences were real or merely dreams.
T)
Based on what he says and his reaction, we can fairly deduce that Bottom still thinks that he is still at the rehearsal.
U)
•‘Vision’ suggests something extraordinary / rare / mystical involving a revelationary insight. It also suggests a vivid experience.
•Bottom (typically, but also, this time, accurately) conceives his experience as being no ordinary dream but a unique and profound experience.
•Oberon uses the word in 3. 2. 378
•Titania uses the word in 4.1.76
•Puck uses the word in 5.1. 418
V)
•We can imagine him either
-Feeling about for/ touching his ass’s head / ears / nose
OR
- re-enacting the embrace of Titania / his manner with his fairy attendants
W)
i)Bottom (typically) has comically transposed the sense impression.
ii)It reflects his own uncertainty regarding the credibility, nature and meaning of his experience.
- He is disoriented and confused. Although Bottom says he will get Quince to portray his dream in a ballad, we see that he is actually incapable of articulating (or understanding?) his experience.
Indeed, he ironically insists that it would be both foolish and impossible to try and describe his dreams in words.
Just how much Bottom is ‘awake’ to the rarity of his vision and changed by it is open to question, although it must be said that the audience are more amused than moved by his waking reaction and he himself appears unaltered by his experience.
X)
Similarity
Both are confused / bewildered / unsure whether their experiences were real or dreamed.
They are unsure whether they are still asleep or awake. (Refer to answers N, S & W)
Difference
Bottom views his vision in a more profound / mystical / revelationary light (see answer to U) and regards himself as a unique and privileged individual
Act 4 Scene 2
A)
He is anxious / tense / concerned / agitated.
B)
i)He enters energetically / purposefully / enthusiastically and speaks heartily / cheerfully with his usual exuberant / irrepressible / genial self-confidence.
ii)They are happily surprised and wholly relieved / elated. We could imagine the men rushing towards Bottom and embracing him warmly.
C)
No. he is supremely confident / hearty / foolish
(“…if I tell you, I am no true Athenian- I will tell you everything, right as it fell out.”)
He is also vociferous and conceited / assertive (notice the way in which he immediately takes charge and issues orders).
Tuesday, September 16, 2008
ANSWERS TO KEY QUESTIONS (ACT 2 SCENE 2)
Act 2 Scene 2
A) It reinforces / adds to our sense of their:
- smallness (rosebuds/ reremice)
- speed (for the third part of a minute)
- delicacy (to make my small elves coats)
- dependence / lack of self-will / devotion
- obedient/ willing nature (their unquestioning / enthusiastic / immediate compliance)
- goodness/ benignity (kill cankers / keep back the clamorous owl)
- closeness to Nature
A) It reinforces / adds to our sense of their:
- smallness (rosebuds/ reremice)
- speed (for the third part of a minute)
- delicacy (to make my small elves coats)
- dependence / lack of self-will / devotion
- obedient/ willing nature (their unquestioning / enthusiastic / immediate compliance)
- goodness/ benignity (kill cankers / keep back the clamorous owl)
- closeness to Nature
B) Because Oberon is about to enact his plan of revenge. Also, the fact that harm will befall Titania but not from a poisonous animal but rather from Titania’s counterpart, Oberon.
C) Excluding the melodious nightingale
- spotted snakes
- thorny hedgehogs
- newts
- blindworms
- weaving spiders
- black beetles
- worms
- snails
The common associations are all negative relating to danger / poison / darkness / evil/ witchcraft. The elves sing to cast these animals as far away from Titania’s bower as is possible.
D) Being a lullaby, the song is appropriately soothing / rhythmic/ melodic / incantatory to ‘lull’ Titania to sleep. The simple, full rhymes; the chorus (with its long lingering line sand vowels); the abundant alliteration (especially of the letter ‘I’) and chant-like repetition all convey a sense of relaxed drowsiness.
E) It would probably be a mixture of both. Oberon’s displeasure is tinged with mischeviousness. He may be annoyed still when he recalls Titania’s refusal to give him the changeling. He is however, playfully hoping that Titania will awaken ‘when some vile thing is near!” (line 40, p.91)
F) Tired/ exhausted / weary / slow /stumbling
Evidence: Fair love, you faint with wand’ring in the wood;
And- to speak troth- I have forgot our way.
Evidence: Fair love, you faint with wand’ring in the wood;
And- to speak troth- I have forgot our way.
G) i) Her modesty/virtue / virginity (to protect her reputation)
ii) Friendly but firm (she is affectionate / gentle in her coaxing)
ii) Friendly but firm (she is affectionate / gentle in her coaxing)
H) i) I did not mean that I would literally lie down beside you. Instead, I meant that, because our two hearts are as one/ inseparable, wherever you lie, I also (figuratively speaking) will be.
ii) Lysander’s remarks in lines 47-48 can accommodate both meanings. Possibly this is a deliberate ploy. He could be ‘testing the water’ by making a playfully provocative proposal to see how Hermia will react. His remark is sufficiently ambiguous (just in case Hermia vehemently rejects his proposal and/or is horrified by it) for him to protect his ostensible innocence and feign righteous indignation! This situation is comically familiar. Basically, his response would have depended highly on Hermia’s reaction to his bold ‘suggestion’.
ii) Lysander’s remarks in lines 47-48 can accommodate both meanings. Possibly this is a deliberate ploy. He could be ‘testing the water’ by making a playfully provocative proposal to see how Hermia will react. His remark is sufficiently ambiguous (just in case Hermia vehemently rejects his proposal and/or is horrified by it) for him to protect his ostensible innocence and feign righteous indignation! This situation is comically familiar. Basically, his response would have depended highly on Hermia’s reaction to his bold ‘suggestion’.
I) Sense / innocence
To lie (speak falsely /to lie down)
To lie (speak falsely /to lie down)
J) Playful and teasing
K) Far from lasting until death, Lysander’s love for Hermia is about to be rapidly dissolved by Puck’s flower juice. In this light, Hermia’s wish in line 67 and Lysander’s subsequent declaration of loyalty are equally ironic. ‘With half that wish the wisher’s eyes be pressed.’ Ironically foreshadows Puck physically applying the love juice to Lysander’s eyelids.
L) Addressing the audience would probably be more effective but either interpretation is admissible.
M) i) Scornful / derisory / derogatory—he calls Lysander (whom he mistakes for Demetrius) ‘lack-love’, ‘kill-courtesy’ and ‘churl’. He obviously considers him to be rude, insensitive and ill-mannered.
ii) Lysander is wearing Athenian garments. He is sleeping at a distance form Hermia (which Puck interprets as him shunning her).
ii) Lysander is wearing Athenian garments. He is sleeping at a distance form Hermia (which Puck interprets as him shunning her).
N) Infatuation is often based on surface appearances and superficial impression. It is usually a product of the senses, particularly the eyes.
O) Unlike Lysander and Hermia who would enter together (possibly holding hands), Demetrius and Helena will be apart, the latter in pursuit of the former.
Whereas Lysander and Hermia enter in a slow, tired fashion, Demetrius and Helena are running. The weary sighs of the former will be sharp contrast to the breathless gasps of latter.
Whereas Lysander and Hermia enter in a slow, tired fashion, Demetrius and Helena are running. The weary sighs of the former will be sharp contrast to the breathless gasps of latter.
P) We know, but Helena does not, that, because of Puck’s love juice, Lysander will no longer consider Hermia’s eyes blessed and attractive. When he awakes, Lysander will find Hermia ‘hateful’ to behold and Hermia will be left alone distraught.
Note how Hermia’s subsequent situation is an ironic counterpart to Helena’s—she too is destined to faithfully ‘pursue’ a man who both spurns her affection and is infatuated with her best friend.
Note how Hermia’s subsequent situation is an ironic counterpart to Helena’s—she too is destined to faithfully ‘pursue’ a man who both spurns her affection and is infatuated with her best friend.
Q) i) Helena is obviously dispirited/ dejected/ despondent. Her self-esteem is very low; she considers herself unworthy / unattractive/ undesirable and compares herself unfavorably with Hermia.
Most would sympathize with Helena’s predicament although some might feel that she is feeling unnecessarily sorry for herself/ wallowing in self- pity.
Either way, we must remind ourselves that Shakespeare presents the lovers’ self-indulgent antics in a comic light. Hence, while Helena earnestly bemoans her sorry plight, the sympathy of the audience is accompanied by a mile.
We are divided in our reactions. We may pity her because Demetrius does not love her in spite of her ‘mad’ infatuation with him. However, we also would like her to retain some dignity as a woman and not debase herself in such a manner.
ii) A person’s self- esteem inevitably suffers when suddenly and inexplicably rejected by a loved one. It can lead to excessive / unhealthy introspection (we question our self worth). We brood, blame ourselves unfairly, and brand ourselves as failures. Hence, Helena’s hyper-critical reaction is a psychologically credible and familiar reaction.
Most would sympathize with Helena’s predicament although some might feel that she is feeling unnecessarily sorry for herself/ wallowing in self- pity.
Either way, we must remind ourselves that Shakespeare presents the lovers’ self-indulgent antics in a comic light. Hence, while Helena earnestly bemoans her sorry plight, the sympathy of the audience is accompanied by a mile.
We are divided in our reactions. We may pity her because Demetrius does not love her in spite of her ‘mad’ infatuation with him. However, we also would like her to retain some dignity as a woman and not debase herself in such a manner.
ii) A person’s self- esteem inevitably suffers when suddenly and inexplicably rejected by a loved one. It can lead to excessive / unhealthy introspection (we question our self worth). We brood, blame ourselves unfairly, and brand ourselves as failures. Hence, Helena’s hyper-critical reaction is a psychologically credible and familiar reaction.
R) *I am sure you can figure this out for yourself :)
S) Physical description
- Hermia is dark like a raven.
- Helena is fair / white like a dove.
Character /Personality
- Hermia is more aggressive/ energetic like a raven
- Helena is timid/ meek like a dove
Character /Personality
- Hermia is more aggressive/ energetic like a raven
- Helena is timid/ meek like a dove
T) i) He claims that he is now more mature/ sensible/ reasonable. Whereas previously he was governed by youthful impetuosity, reason now controls his desire and directs him more wisely.
ii) The dramatic irony is obvious. The audience sees clearly that the reverse is true: far from behaving logically, Lysander is being irrational.
Instead of seeing clearly, he is self-deluded. Whilst we realize that he is infatuated, he is convinced that he is truly in love. Whilst we know that his condition is an artificial product of Puck’s love juice, he believes that he is making a genuine choice of his own free will.
ii) The dramatic irony is obvious. The audience sees clearly that the reverse is true: far from behaving logically, Lysander is being irrational.
Instead of seeing clearly, he is self-deluded. Whilst we realize that he is infatuated, he is convinced that he is truly in love. Whilst we know that his condition is an artificial product of Puck’s love juice, he believes that he is making a genuine choice of his own free will.
U) Helena thinks that Lysander is making fun of her/ mocking her inability to attract Demetrius.
V) Indignant, hurt, shocked, reproachful, bemused
W) Surfeit: someone who has eaten too many sweet things will be bloated and feels sick at the thought of consuming more.
Heresy: The false beliefs which men reject are despised the most by those who were once deceived by them.
Heresy: The false beliefs which men reject are despised the most by those who were once deceived by them.
X) Lysander’s intense loathing for Hermia is reflective in his powerfully emotive language (‘loathing’, ‘hated’) and extreme declarations (‘never’, ‘deepest’, ‘most’, ‘all’). This revulsion is similar to Demetrius’ strong aversion to Helena. It is almost as though the extent of both men’s dislike for their old loves is in inverse proportion to the strength of their affection for their new ones.
Again, such revulsion is psychologically credible. Often, the disgust a person feels for a rejected lover is either a symptom of their own guilt or an attempt to justify / excuse their own unpardonable betrayal. Another reason for both men’s extreme positions is the fact that they are both infatuated ad therefore impassioned and irrational. Their lack of self-control, impulsive outbursts and exaggerated declamations are comically absurd and illustrate the excesses of young love.
Y) The dream is ironically appropriate given the fact that (unbeknownst to Hermia) Lysander has just ‘betrayed’ and forsaken her. We know that her nightmare is about to become a reality.
Z) Confused, frightened, distraught, concerned, desperate.
Monday, September 15, 2008
ANSWERS TO KEY QUESTIONS (ACT 2 SCENE 1)
Act 2 Scene 1 (Suggested Answers)
A) Differences
Act One Act Two, Scene One
Mortal world Fairy world
Theseus’ palace Moonlit woods
Reason/Law Magic/Supernatural
B) i) To distinguish the fairy world from the mortal world. The verse form is said to reflect the more ethereal / spritely nature of the fairies being more brisk and rhythmic / incantatory with shorter lines, stronger stresses and rhyming couplets. Notice how the use of repetition and alliteration enhances this effect. (see lines 2-5 in particular)
ii) in a high-pitch sing-song manner
C) swift/speedy
small / petite / tiny / diminutive
ethereal / delicate/ dainty / graceful
dutiful and industrious servants
magical and supernatural powers
special relationship with natural world
D) Titania dotes on a changeling boy from the distant Indian sands. Oberon is jealous of her diverted attention and so wants the child as part of his royal retinue (as a page). Titania’s stubborn refusal to give up the boy has made Oberon angry.
E) She is infatuated / obsessed with the child and gives him her exclusive attention (which is
possibly the cause of Oberon’s jealousy)
F) Makes the sound of a young female horse (filly) to trick the male horse.
Changes into a crab apple in an old woman’s drinking bowl and bobs against the side to spill the drink.
As a stool, he slips out from under the person seated on him thus causing the person to fall onto his/her backside.
G) Mischievous— his pranks
Mirthful—his gleeful accounts of his exploits, plus his function as Oberon’s ‘jester’
H) There is a ‘frosty’, strained / tense atmosphere. They are hostile / aggressive / accusatory.
I) i) Titania accuses Oberon of being flirtatious with mortals (amorous Philida) and being overly fond of HIppolyta. Oberon accuses Titania of being similarly over-fond of Theseus, aiding and abetting him to forsake several lovers.
ii) The jealousy
The mutual accusation / recrimination
The sarcasm / insults / petty jibes
The way in which the argument escalates as each party looks for added ammunition to support their initial grievance.
Their mutual intransigence— both refuse to budge an inch.
J) Mockingly (perhaps with an elaborate sweep of her train / an elaborate curtsy)
K) No. She is speaking scathingly/ scornfully/ sarcastically. Titania is disparaging Hippolyta’s muscular / masculine / aggressive aspects as the military leader of a tribe of warriors (‘buskined’, ‘warrior’) and possibly, her large, strong, athletic figure (the noun ‘amazon’ is still used today to describe such a physique). Both aspects are in obvious contrast to Titania’s own delicate shape and ethereal nature.
L) Although they are here to bless the royal wedding / union of Theseus and Hippolyta, their own royal relationship is shown to be ‘on the rocks’—they are divided in hostile disagreement.
M) We glimpse the rasher /feckless/ fickle/ passionate/ romantic side of Theseus’ youth. This is in contrast to the stable/ mature/ rational/ wise duke that we see in the play. Age, experience and responsibility have obviously worked wonders!
N) i) Humans are wretched / miserable and confused/ bewildered.
ii) Contagious fogs / rheumatic diseases
Flooding rivers
Spoiled crops
Diseased / dying sheep and cattle
No village games or merriment
Unpredictable / changeable/ weather / seasons affecting natural cycles of rebirth / growth.
All these phenomena are unnatural and discordant reflecting the conflict / lack of harmony in Oberon and Titania’s relationship.
O) Titania compares herself and Oberon to parents and the ‘evils’ afflicting the mortal world to their children/offspring. This is a highly effective metaphor since it directly and ‘organically’ links the fairy king and queen to mortal problems. It emphasizes both the unnatural state of their relationship and the symbiotic relationship between the supernatural and mortal worlds. It also highlights their royal ‘obligation’ to and the relationship with humans—instead of acting like caring parents, they are behaving in a selfish and irresponsible manner.
P) The first line could be said as a fierce, rather petulant rebuke/ rejoinder. The next three lines suggest a change in tone/approach. Perhaps Oberon is more cajoling/ mild/ reasonable with maybe a hint of whining/ injured/childish self-pity?
Q) Titania leaves to avoid an outright, more vehement quarrel. She probably makes an extremely brisk, if not brusque, exit. We can imagine her tossing her head and sweeping from the stage in a regal, haughty manner.
R) It reinforces our general impression of the supernatural /magical and specifically emphasizes Oberon’s supernatural status and power. The measured / stately/ poetic quality of the description also contrasts to the previous petty squabbling and effectively puts the scene back on a more even keel.
S) Cupid shot an arrow at a beautiful virgin in the West (usually taken to be Queen Elizabeth I) but his ‘fiery shaft’ was quenched by the chaste beams of the moon (which was personified by Diana, goddess of chastity) an the royal virgin passed unscathed. The arrow fell on the pansy
A) Differences
Act One Act Two, Scene One
Mortal world Fairy world
Theseus’ palace Moonlit woods
Reason/Law Magic/Supernatural
B) i) To distinguish the fairy world from the mortal world. The verse form is said to reflect the more ethereal / spritely nature of the fairies being more brisk and rhythmic / incantatory with shorter lines, stronger stresses and rhyming couplets. Notice how the use of repetition and alliteration enhances this effect. (see lines 2-5 in particular)
ii) in a high-pitch sing-song manner
C) swift/speedy
small / petite / tiny / diminutive
ethereal / delicate/ dainty / graceful
dutiful and industrious servants
magical and supernatural powers
special relationship with natural world
D) Titania dotes on a changeling boy from the distant Indian sands. Oberon is jealous of her diverted attention and so wants the child as part of his royal retinue (as a page). Titania’s stubborn refusal to give up the boy has made Oberon angry.
E) She is infatuated / obsessed with the child and gives him her exclusive attention (which is
possibly the cause of Oberon’s jealousy)
F) Makes the sound of a young female horse (filly) to trick the male horse.
Changes into a crab apple in an old woman’s drinking bowl and bobs against the side to spill the drink.
As a stool, he slips out from under the person seated on him thus causing the person to fall onto his/her backside.
G) Mischievous— his pranks
Mirthful—his gleeful accounts of his exploits, plus his function as Oberon’s ‘jester’
H) There is a ‘frosty’, strained / tense atmosphere. They are hostile / aggressive / accusatory.
I) i) Titania accuses Oberon of being flirtatious with mortals (amorous Philida) and being overly fond of HIppolyta. Oberon accuses Titania of being similarly over-fond of Theseus, aiding and abetting him to forsake several lovers.
ii) The jealousy
The mutual accusation / recrimination
The sarcasm / insults / petty jibes
The way in which the argument escalates as each party looks for added ammunition to support their initial grievance.
Their mutual intransigence— both refuse to budge an inch.
J) Mockingly (perhaps with an elaborate sweep of her train / an elaborate curtsy)
K) No. She is speaking scathingly/ scornfully/ sarcastically. Titania is disparaging Hippolyta’s muscular / masculine / aggressive aspects as the military leader of a tribe of warriors (‘buskined’, ‘warrior’) and possibly, her large, strong, athletic figure (the noun ‘amazon’ is still used today to describe such a physique). Both aspects are in obvious contrast to Titania’s own delicate shape and ethereal nature.
L) Although they are here to bless the royal wedding / union of Theseus and Hippolyta, their own royal relationship is shown to be ‘on the rocks’—they are divided in hostile disagreement.
M) We glimpse the rasher /feckless/ fickle/ passionate/ romantic side of Theseus’ youth. This is in contrast to the stable/ mature/ rational/ wise duke that we see in the play. Age, experience and responsibility have obviously worked wonders!
N) i) Humans are wretched / miserable and confused/ bewildered.
ii) Contagious fogs / rheumatic diseases
Flooding rivers
Spoiled crops
Diseased / dying sheep and cattle
No village games or merriment
Unpredictable / changeable/ weather / seasons affecting natural cycles of rebirth / growth.
All these phenomena are unnatural and discordant reflecting the conflict / lack of harmony in Oberon and Titania’s relationship.
O) Titania compares herself and Oberon to parents and the ‘evils’ afflicting the mortal world to their children/offspring. This is a highly effective metaphor since it directly and ‘organically’ links the fairy king and queen to mortal problems. It emphasizes both the unnatural state of their relationship and the symbiotic relationship between the supernatural and mortal worlds. It also highlights their royal ‘obligation’ to and the relationship with humans—instead of acting like caring parents, they are behaving in a selfish and irresponsible manner.
P) The first line could be said as a fierce, rather petulant rebuke/ rejoinder. The next three lines suggest a change in tone/approach. Perhaps Oberon is more cajoling/ mild/ reasonable with maybe a hint of whining/ injured/childish self-pity?
Q) Titania leaves to avoid an outright, more vehement quarrel. She probably makes an extremely brisk, if not brusque, exit. We can imagine her tossing her head and sweeping from the stage in a regal, haughty manner.
R) It reinforces our general impression of the supernatural /magical and specifically emphasizes Oberon’s supernatural status and power. The measured / stately/ poetic quality of the description also contrasts to the previous petty squabbling and effectively puts the scene back on a more even keel.
S) Cupid shot an arrow at a beautiful virgin in the West (usually taken to be Queen Elizabeth I) but his ‘fiery shaft’ was quenched by the chaste beams of the moon (which was personified by Diana, goddess of chastity) an the royal virgin passed unscathed. The arrow fell on the pansy
and colored this previously milk-white flower purple. Because of this, the juice of the flower is magic. When applied to a sleeping person’s eyelids, it causes him or her to dote upon the first thing they see upon awakening.
T) i) Because TItania is already ‘doting’ on the changeling, which is the cause of their quarrel.
ii) Perhaps Oberon thinks that making her dote on a ‘vile creature’ will teach her a lesson about the irrational and unreasonable nature of her present obsession.
In this sense, he is not being cruel but making the punishment fit the crime. This, however, could be construed as a rather generous interpretation. Even though there is a certain amount of poetic justice in Oberon’s plan, we feel that his plot is also marred by a jealous desire for revenge (Act 2, Scene 1, line 147)
U) Most probably either (b) or (c). Less likely to be (a) given her timidity / embarrassment and discomfort.
V) Most probably (a) given his present tone (see line 194), his subsequent blunt speaking (lines 199-201 and 211-212), harsh rebuke (lines 214-219), callous indifference and threatening behavior (lines 227-228 and 235-237)
W) We have to bear in mind Helena’s state of mind. Not only is she infatuated with Demetrius but also, he has reciprocated her affection and publicly courted her (evidenced by Lysander’s knowledge that he had ‘made love to Nedar’s daughter’). She has been driven to distraction by his sudden rejection and is desperate to regain his love.
We also have to bear in mind the nature of the play—Helena’s fawning is intended to appear to the Elizabethan audience as comically absurd and embarrassing.
On a general level, it constitutes an amusing comment on the irrational and obsessive nature of young love. If one adopts a more political, feminist viewpoint then her self-abasement could be considered demeaning and disgraceful. This more damning judgment is rather dubious and inappropriate given the period in which the play was written and the dramatic context of Romantic Comedy.
X) Again, we must bear in mind the genre and specific dramatic context. From his point of view, he is sick of being persistently pestered by Helena. Just as Helena dotes on him, so does he dote on Hermia. In this respect, his dismissive attitude is no better or worse than Lysander’s contemptuous rejection of Hermia in Act 3. Hence, although Demetrius is being unreasonable, he is no more or less so than Lysander—both men seem to be equally as vehement in their rejection of previous loves as they are passionate in their adoration of present ones.
Y) Hermia (Act1, Scene1, lines 206-207)
‘O then what graces in my love do dwell, / that he hath turned a heaven unto a hell!’
Both women are bemoaning their plight. They are both ‘in hell’ without their loves, and ‘in heaven’ when with them.
Z) Prolific natural images (relating to sight and smell) evoke a sensuous/ voluptuous atmosphere. We are given a sense of luxuriant wild plants emitting rich/ fragrant odors and creating a narcotic effect.
‘Overcanopied’ gives a sense of secure enclosure which, combined with the soothing / slow/ rhythmic connotations of ‘nodding’ and ‘lulled’, convey a sense of comfortable, sweet drowsiness.
The reference to the snake’s skin encircling a fairy reinforces this sense of envelopment and serves to add a magical/exotic touch.
a) i) He is concerned / caring / sympathetic / compassionate.
ii) Students should be able to guess that Puck will ‘anoint’ the wrong Athenian’s eyes because they know of Lysander and Hermia’s agreement to meet in the woods.
SUGGESTED ANSWERS FOR ACT 2, 3 & 5
Hi all
I'm still in the process of consolidating the above for uploading. I promised Suying they'd be up by today but I don't think that's going to be possible :(
My apologies to all.
Please check in again periodically within the week. They should be up by Friday 19th Sept latest. Once again, I'm sorry for the delay.
ALSO
Please use the comments function to post queries regarding EOY exams. I will read and respond accordingly. Any tips / hints etc. will depend highly on the queries posted.
AND LASTLY
Projects are OVERDUE. Please submit your group projects ASAP. Please also help spread the message to E.Lit classmates who may not check the blog as regularly.
I'm still in the process of consolidating the above for uploading. I promised Suying they'd be up by today but I don't think that's going to be possible :(
My apologies to all.
Please check in again periodically within the week. They should be up by Friday 19th Sept latest. Once again, I'm sorry for the delay.
ALSO
Please use the comments function to post queries regarding EOY exams. I will read and respond accordingly. Any tips / hints etc. will depend highly on the queries posted.
AND LASTLY
Projects are OVERDUE. Please submit your group projects ASAP. Please also help spread the message to E.Lit classmates who may not check the blog as regularly.
Tuesday, September 9, 2008
BY REQUEST
TERM 3 GROUP PROJECT
To date, much of what is known about Shakespeare is the result of careful research into the life and times of the bard.
In Term 3, you will be conducting some research into some relevant aspects of Elizabethan times that will hopefully help to unravel the enigma surrounding the works and life of William Shakespeare.
This project work will carry 30 marks and is due on the FIRST AMSND lesson in Term 4. Your group will be assigned topics to research a question at random.
Your completed project should include three things, namely:
A Powerpoint presentation for class viewing during the first week’s lesson.
(Max: 15 slides) (10 marks)
A A4 booklet compiling all the information you have managed to uncover.
(Max: 15 pages of 2 sides each OR 30 pages, single sided) (10 marks)
and
An A3 presentation board (vanguard sheet or plastic corrugated board) that summarizes the pertinent points of your research project. This board will be put up on display in the Literature Room for perusal by any interested parties. Again, please decorate the display board as you deem fit.
(Max: 1 side of the chosen board) (10 marks)
You must include the source of your information
Website : http://www.shakespeare.com/, reference book etc.
Your research may incorporate information from the play itself, any reference books as well as the Internet. Plagiarism will be penalized.
The use of visuals, while not compulsory, will enhance your presentation. The research questions will be assigned at random to different groups. Minimum FOUR and maximum FIVE persons per group.
Assignation of project questions:
Yi Hong Yang Rong Noelle Wu Yi
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
Boon Hee Allan Lim Joshua Kwek Jia Jing
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Teresa Cheng Hui Qian Hui Christina Clarisse Fiona(?)
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Yeh Wen and company
Describe in your own words as much as possible the genre of court masque in Elizabethan times and explain how A Midsummer Night’s Dream fits this genre.
Marcus and company
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Lin Bing and company
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Alicia Wee and company
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Yan Yun and company
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Yan Yan and company SUBMITTED *Thank you, ladies :)
Research the world of Athens. What would the lives of Athenians such as those in the play have been like?
Genevieve and company
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
Esther and company
Describe in your own words as much as possible the genre of court masque in Elizabethan times and explain how A Midsummer Night’s Dream fits this genre.
Chrystal and company
Research the world of Athens. What would the lives of Athenians such as those in the play have been like?
Sherri and company
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
To date, much of what is known about Shakespeare is the result of careful research into the life and times of the bard.
In Term 3, you will be conducting some research into some relevant aspects of Elizabethan times that will hopefully help to unravel the enigma surrounding the works and life of William Shakespeare.
This project work will carry 30 marks and is due on the FIRST AMSND lesson in Term 4. Your group will be assigned topics to research a question at random.
Your completed project should include three things, namely:
A Powerpoint presentation for class viewing during the first week’s lesson.
(Max: 15 slides) (10 marks)
A A4 booklet compiling all the information you have managed to uncover.
(Max: 15 pages of 2 sides each OR 30 pages, single sided) (10 marks)
and
An A3 presentation board (vanguard sheet or plastic corrugated board) that summarizes the pertinent points of your research project. This board will be put up on display in the Literature Room for perusal by any interested parties. Again, please decorate the display board as you deem fit.
(Max: 1 side of the chosen board) (10 marks)
You must include the source of your information
Website : http://www.shakespeare.com/, reference book etc.
Your research may incorporate information from the play itself, any reference books as well as the Internet. Plagiarism will be penalized.
The use of visuals, while not compulsory, will enhance your presentation. The research questions will be assigned at random to different groups. Minimum FOUR and maximum FIVE persons per group.
Assignation of project questions:
Yi Hong Yang Rong Noelle Wu Yi
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
Boon Hee Allan Lim Joshua Kwek Jia Jing
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Teresa Cheng Hui Qian Hui Christina Clarisse Fiona(?)
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Yeh Wen and company
Describe in your own words as much as possible the genre of court masque in Elizabethan times and explain how A Midsummer Night’s Dream fits this genre.
Marcus and company
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Lin Bing and company
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Alicia Wee and company
Research and discuss how Elizabethans viewed marriage. Who made decisions about whom young women of means were to marry? Were there any repercussions for those who refused to marry or be married off?
Yan Yun and company
Research and identify the Elizabethan celebration activities for Midsummer Nights, June 23rd. Explain how the activities carried out on Midsummer Night relate to what happens in the play A Midsummer Night’s Dream.
Yan Yan and company SUBMITTED *Thank you, ladies :)
Research the world of Athens. What would the lives of Athenians such as those in the play have been like?
Genevieve and company
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
Esther and company
Describe in your own words as much as possible the genre of court masque in Elizabethan times and explain how A Midsummer Night’s Dream fits this genre.
Chrystal and company
Research the world of Athens. What would the lives of Athenians such as those in the play have been like?
Sherri and company
Research how Elizabethans viewed fairies. Was this part of the plot more consistent with the Athenian world or the Elizabethan world?
Monday, September 8, 2008
TERM 3 GROUP PROJECTS
Hi ELITE Elit people...
I would like to have the above submitted to me by
Friday 12th September 2008
so that I have a week or so to mark and key in the grades before we adjourn for the EOY exams.
Submissions after 12th September will have 1 mark penalty deduction for EACH day (weekends included) that the project is overdue.
I look forward to seeing your project work.
Cheers
Ms. Nsa
I would like to have the above submitted to me by
Friday 12th September 2008
so that I have a week or so to mark and key in the grades before we adjourn for the EOY exams.
Submissions after 12th September will have 1 mark penalty deduction for EACH day (weekends included) that the project is overdue.
I look forward to seeing your project work.
Cheers
Ms. Nsa
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