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TA: Geoffrey McNeil

Fall 2002

English 105A: Early Shakespeare

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Contents 1 Keys for Exam 2 1.1 Midsummer Night’s Dream 1.1.1 Speeches 1.1.2 Movie Scenes 1.1.3 Key Ideas 1.2 Merchant of Venice 1.2.1 Speeches 1.2.2 Movie Scenes 1.2.3 Key Ideas 1.3 Hamlet 1.3.1 Speeches 1.3.2 Movie Scenes 1.3.3 Key Ideas

Keys for Exam 2

Midsummer Night’s Dream

Speeches

• Theseus & Egeus (1.1. 1-19)
• Hermia & Lysander (2.2. 34-65)
• Lysander (1.1. 157-60)
• Hermia (2.2. 144-156)
• Helena (1.1. 226-245)
• Helena (3.2. 192-219)
• Bottom (1.2. 22)
• Lovers (4.1. 142-202)
• Oberon & Titania (2.1. 87-117)
• Bottom (4.1. 203-22)
• Titania (2.1. 118-145)
• Theseus & Hippolyta (5.1. 1-27)
• Theseus (5.1. 211-218)
• Puck (5.1. 425-440)

Movie Scenes

1935:

• 1.1.1-19
• 2.1.1-115
• Acts 2 & 3
• 4.1.203-22

1968:

• 4.1.203-22

1999:

• 2.1.118-145
• Acts 2 & 3
• 5.1 27-372

Key Ideas

• Midsummer as Old Comedy + New Comedy + Festival Tradition
• Tension Between Love and Authority
  • irrationality of both; suprarational reason of love
  • mechanicals – embody this tension
  • Native Misrule and Woods undermine authority
• Changeling Boy (mortality, femininity, change vs. stagnation, magic of mortality)
• Doubling
  • Hermia’s Dream
  • Helena & Hermia as friends
• Hangover: Have lovers changed in woods? (Yes & No); How does Bottom review his own dream?
• Play within Play: How does it relate to play as a whole? How does it comment on authority & love?

Merchant of Venice

Speeches

• Bassanio/Antonio: 1.1.122-72
• Lorenzo & Jessica: 5.1.1-88
• Gratiano: 3.2.241
• Salerio: 1.1.8-36
• Morocco: 2.1.23-38, 2.7.20-69
• Aragon: 2.9.24-54
• Portia: 3.2.53-60, 3.2.63-70, 3.2.149-74, 4.1.183-204, 5.1.89-109
• Bassanio: 3.2.73-107, 3.2.253-66
• Shylock: 3.1.111-16, 3.1.50-69, 1.3.75-87, 2.5.28-38, 1.3.1-27

Movie Scenes

1.1; 2.9.1-77; 3.2.1-72; 3.1.50-69; 1.3.1-27; 4.1.166-407; 5.1.1-109

Key Ideas

• Four Plot Strands

• Women become connection between Men (Shylock & Portia plots connected by structure of relationships)

• Choosing the Casket: intrinsic values vs. ascribed values

• Adultery question permeates Play

• Shylock’s Jewels: Portia & Shylock interchangeable

• Staging Shylock (Conventional Readings, Charles Macklin’s portrayal, Shylock as Comic Type, killjoy)

• Civilized Wealth is Beneficent

• Shylock embodies the discontent (both opposite Venetians and like them)

• Equity and Mercy Strained

• Relativity

Hamlet

Speeches

• Hamlet: 1.2. 76-86; 1.2.129-159; 1.5.92-112; 3.1.56-89, 3.1.121-152; 2.2.559-617

• Ophelia: 4.5.22-198

Movie Scenes

3.1.56-89; 3.1.121-152; 4.5.22-198; 3.4

Key Ideas

• Liminality (Betwixt & Between)

• Interiority (inability to keep opposites separate, consciousness is what is inside, suicide & time)

• Self as Ghost

• 'To Be or Not To Be': Mixing of Counter Examples

• Conscience/Thinking = Cowardice

• Ophelia: version of Hamlet (mad, sexual, used, suicidal, fathers die)

• Gertrude: the expression of Hamlet’s obsessions (female sexuality)

• Hamlet and Oedipal Complex (Hamlet needs the women to change in order to act)[[category:Fall 2002)