Romeo And Juliet
Unit Lessons
CURRICULUM AND STRATEGIES FOR THE GIFTED LEARNER
MARY ANN RICKETSON
JANUARY 18, 2007
Romeo and Juliet Unit
Ricketson/English 9
Page 1
Table of Contents
Table of Contents……………………………………………………....…..1
Essential Questions and Unit Objectives………………………………...….2
Lesson 1……………………………………………….……………...…..3
K-W-L Strategy
Research
Graphic Organizer: Literary, Historical and Cultural Context Chart
Lesson 2.....…………………………………………………………...…..6
Concept Attainment Activity, Choral Readings, Writing
Lesson 3……………………………………………………………….....12
Prologue Activity, Cooperative Learning
Lesson 4.……………………………………………………………..…..13
Puns, Allusions, and Gold Foil (Analogy)
Lesson 5.……………………………………………………………..…..15
Opposites Attract / An Exploration of Paradox (Synectics)
Poem in Two Voices
Lesson 6..……………………………………………………………..….17
A Fortnight of Vocabulary; Differentiated Centers
Lesson 7…………………………………………………………………20
The Balcony Scene & Paraphrasing
Lesson 8……………………………………………………….…………22
Discussion Utilizing the Fishbowl Strategy
Lesson 9……………………………………………………….…….…...24
Plot Structure of Romeo and Juliet (Mnemonics)
Lesson 10……………………………………………………….….……..26
“Who Is To Blame?” / Elements of Reasoning Strategy
Lesson 11………………………………………………………………….30
Timeless Voices, Timeless Themes /Culminating Collaborative Discussion
Resources…………………………………………………...……………33
Romeo and Juliet Unit
Ricketson/English 9
Page 2
Romeo and Juliet / Unit Plans
In this unit students will read, perform, and interpret dramatic scenes of Shakespeare’s Romeo and
Juliet in order to develop an understanding of dramatic literature. Throughout the unit, students will
not only explore the elements of dramatic literature but also Shakespeare’s language, characters, and
themes in order to discover the playwright’s relevance today.
Essential Questions:
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Why has Shakespeare’s work survived the test of time?
How are the themes and issues in Romeo and Juliet relevant today?
How does literature help us better understand ourselves?
How can we make sense of the language and syntax employed by Shakespeare?
How did Shakespeare contribute to the language we use today?
How do dramatic elements support and enhance interpretation of dramatic literature?
How does dramatic literature reflect universal themes?
How do poets use literary devices to convey theme and create tone/mood?
How does style impact the message of the work?
Unit objectives:
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Students demonstrate comprehension by identifying evidence (e.g., diction, imagery, point of
view, figurative language, symbolism, plot events), main ideas in dramatic literature and use this
evidence as the basis for interpretation (ELA RL1)
Students identify, analyze, and apply knowledge of theme in a literary work and provide evidence
from the works to support understanding. (ELA RL2)
Students deepen understanding of a literary work by relating it to its contemporary context or
historical background as well as to works from other time periods. (ELA RL3)
Students will employ a variety of writing genres to demonstrate a comprehensive grasp of
significant ideas in a sophisticated literary work. (ELA RL4)
Students will understand and acquire new vocabulary and use it correctly in reading and writing.
(ELA RL5)
Students produce writing that establish an appropriate organizational structure, set a context and
engage the reader, maintain a coherent focus throughout, and signal a satisfying closure.
(ELA W1)
Students demonstrate competence in a variety of genres of writing. (ELA W2)
Students use research and technology to support writing. (ELA W3)
Students participate in student-to-teacher, student-to-student, and group verbal interactions.
(ELA LSV1)
The student formulates reasoned judgments about written and oral communication in dramatic
literature; delivers focused, coherent and polished presentations that convey a clear and distinct
perspective, demonstrate solid reasoning and combine traditional rhetorical strategies of
narration, exposition persuasion and description. (ELA LSV2)
Students demonstrate understanding and control of the rules of the English language, realizing
that usage involves the appropriate application of conventions and grammar in both written and
spoken formats. (ELA C1)
Romeo and Juliet Unit
Ricketson/English 9
Page 3
Lesson 1 (4 days)
Day 1
OBJECTIVE/CONTENT:
Students will deepen their understanding of a literary work, Romeo and Juliet, by exploring its
literary, cultural and historical context; students will also develop an awareness of William
Shakespeare, an author who has contributed to the development of the English language.
(ELA 9RL 3)
PROCESS:
K-W-L Strategy
Ask students to spend a few minutes recording what they know about Shakespeare on a K-W-L
Handout. Elicit responses and write them on the board. Organize ideas into categories, for
example, put titles of plays together, quotations, etc. Have students add items from the board to
their list in the “K” column (What We KNOW). Ask students what they would like to learn about
Shakespeare. (When he lived, what he wrote, why he is so famous, etc.). List these items in the “W”
column (What we WANT TO KNOW), and leave the last column, “L” (What we have LEARNED)
blank.
Media: View the film, Shakespeare / A Life of Drama (approx. 50 min.). Students answer
questions on a handout while watching the film. After the film, students can add some information
to the “L” column of their handouts.
PRODUCT:
Assign mini-research topics on Elizabethan England: 1.) Queen Elizabeth & politics, 2.) Religion (&
Puritans), 3. Science (& astrology) 4. Health (& plague), 5.) Everyday life (food, clothing, etc), 6.)
Renaissance music & art, 7.) English language (modern English), and 8.) the Globe Theater (&
Shakespeare).
Provide a rubric listing criteria for mini-research topic:
Criterion
Presentation
Organization
Handout/visual
1
Inadequate research;
selection of main ideas not
evident
Hard to follow and to
figure out main ideas
Handout/visual does not
enhance presentation
2
Adequately researched;
sufficient number of main
ideas presented
Can follow with a bit of
effort
Handout and visual(s)
adequately convey info on
topic
3
Thoroughly researched –
clearly took time and effort
Leads audience clearly
through main points
Handout and visuals
effectively enhance
presentation
Romeo and Juliet Unit
Ricketson/English 9
Page 4
Day 2: Research
Go to media center to research assigned topics and create handouts on the computer.
Day 3 & 4: Literary, Historical and Cultural Context of Romeo and Juliet
OBJECTIVE/CONTENT:
Students will see a work of literature in its literary, historical, and cultural context.
PROCESS:
Mini-research Presentations
Students assigned the same mini-research topics get together in focus groups for approximately 10
minutes to compare information and handouts. Then these students collaborate on a presentation
to the class as experts on their topic. Handouts are collected and graded according to the criteria
provided to students (See Day 1).
Media:
Students listen to an audiotaped lecture (approx. 45 min.) on Shakespeare by Professor
Engels, who provides a very entertaining overview of what it was like to attend a Shakespearean
play. Students answer questions on a handout while they are listening to the audiotape. Upon
completion, students can add more information to the “L” column of their K-W-L handout.
Additional Resources:
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The last 20 minutes of the film Shakespeare in Love is a great visual resource for the Globe
Theater, the playgoers (including groundlings), Queen Elizabeth I, and a recitation of the
prologue to Romeo and Juliet.
View the coronation scene of Queen Elizabeth I (approx. 15 minutes) in the film Elizabeth;
it contains wonderful examples of Renaissance music and dancing.
Because students have a tendency to think that Shakespeare’s English is Old English rather
than Modern English, share a copy of the Lord’s Prayer in Old English. Students will also
recognize the inverted sentence structure.
The Lord's Prayer in Old English
Fæder ure þu þe eart on heofonum;
Si þin nama gehalgod
to becume þin rice
gewurþe ðin willa
on eorðan swa swa on heofonum.
urne gedæghwamlican hlaf syle us todæg
and forgyf us ure gyltas
swa swa we forgyfað urum gyltendum
and ne gelæd þu us on costnunge
ac alys us of yfele soþlice
Father our thou that art in heavens
be thy name hallowed
come thy kingdom
be-done thy will
on earth as in heavens
our daily bread give us today
and forgive us our sins
as we forgive those-who-have-sinnedagainst-us
and not lead thou us into temptation
but deliver us from evil. truly.
Romeo and Juliet Unit
Ricketson/English 9
Page 5
PRODUCT/ASSESSMENT:
Hand out a Context Chart Graphic Organizer to help students do the following:
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remember that a work of literature is a product of a particular time and place
establish the original context of a work of literature
show relationships among literature, history, and culture
Explain that context is the setting or set of circumstances in which an event occurs. Write The Tragedy
of Romeo and Juliet in the center box on the chart. Inform students that this play was written by
William Shakespeare in the late sixteenth century, in or about the year 1595. Therefore, the
literature, culture, and history of that time in England constitute the context of this play.
Write Shakespeare’s Early Plays in the box labeled Literary. The box labeled Cultural can be labeled
Elizabethan language and customs. Remind students that Queen Elizabeth I was queen of England when
this play was written, so they can write her name and/or the Tudor Dynasty in the box labeled
Historical. Information learned from the videotape and audiotape on Shakespeare, the miniresearch presentations, and the segment from Shakespeare in Love can be recorded on the graphic
organizer. Students can work cooperatively in small groups and refer to handouts to complete the
Context Chart Graphic Organizer.
Romeo and Juliet Unit
Ricketson/English 9
Page 6
Lesson 2 (1-2 days)
In fair Verona where we lay our scene…
OBECTIVE/CONTENT:
Students will identify and analyze the inverted sentence structure frequently used by Shakespeare;
identify, analyze, and apply the characteristics of a sonnet, including rhyme scheme, meter and
iambic pentameter; and appreciate how rhythm propels speech. (ELA9RL1b)
PROCESS (A):
Concept Attainment Activity
Write “Yes” and “No” on the board and leave plenty of space under and around each word. Create
several sentences (listed below) on sentence strips and put masking tape on the back. Hold up
sentences and ask students under which heading to place each sentence.
1. Find what you are looking for, you will.
2. I will always follow you.
3. The right path is there, you just need to find it.
4. Always two there are, no more.
5. Go there, I can not.
5. Much to learn, you still have.
7. You must unlearn what you have learned.
8. Strive to reach your goals.
9. Try to do your best, can you?
10. When nine hundred years old you reach, look as good you will not.
Some students will recognize some of the examples of inverted sentences as those spoken by Yoda,
from Star Wars, who used the same unique sentence structure as found in the early Modern English
of Shakespeare. (Since Yoda is 900 years old, I guess Shakespeare was influenced by Yoda’s language.) If not,
share the next two sentences, and students will surely recognize the Star Wars origin.
11. You must learn the ways of the Force. (Obi-Wan)
12. Learn the ways of the Force you must (Yoda)
Examine these two sentences. Which sounds more important? The fact that you have to spend a
little more time untangling Yoda’s sentence into normal English word order makes you think harder
about what Yoda is saying -- or at least to notice that he did in fact say something, which thereby
makes it seem more important than what Obi-Wan said. Remind students that Shakespeare makes
frequent use of this inverted order in Romeo and Juliet as will be evidenced in the prologue.
Romeo and Juliet Unit
Ricketson/English 9
Page 7
PRODUCT (A):
Using the Yoda method, write five sentences on this handout. (How about writing resolutions for 2007?)
Try the O.S.V. order: Object, Subject, Verb.
How to Talk like Yoda
in Four Easy Steps
(adapted from http://www.yodajeff.com/pages/talk/likeyoda.shtml)
O.K., all you Star Wars fans. Can you talk like Jedi Master Yoda? His unique style of reversing the
words in a sentence are easily recognized by fans around the world.
Here's How:
1. Take the first two or three words of a sentence, and just add them to the end. For example: 'You
will find what you are looking for' turns into 'Find what you are looking for, you will.'
2. Rearranging the negative in a sentences works very well. For example: 'I will not help you' turns
into 'I will help you not.' Avoiding contractions will help in this -- 'I can't go there' turns into 'Go
there, I can not.'
3. Adding a 'hmmmm...' at the end of an altered question. For example, 'Do you know what I am
talking about?' turns into 'Know what I am talking about, do you? Hmmm...?'
4. Adding a 'yes' to an altered statement. For example: 'You are here for my help' turns into 'Here
for my help, you are... yes...'
1. _____________________________________________________________________
2. ______________________________________________________________________
3. ______________________________________________________________________
4. ______________________________________________________________________
5. ______________________________________________________________________
Romeo and Juliet Unit
Ricketson/English 9
Page 8
PROCESS (B):Choral Readings of the Prologue to Act I of Romeo and Juliet
(Lesson adapted from Shakespeare Set Free)
Provide students with a copy of the prologue written as below:
Two households
(In fair Verona
both alike in dignity
where we lay our scene),
From ancient grudge
break to new mutiny,
Where civil blood makes civil hands
From forth the fatal loins
unclean.
of these two foes
A pair of star-crossed lovers
take their life;
Whose misadventured
piteous overthrows
Doth with their death
bury their parents’ strife.
The fearful passage
And the continuance
of their death-marked love
of their parents’ rage,
Which, but their children’s end,
Is now the two hours’ traffic
The which, if you
What here shall miss,
naught could remove,
of our stage;
with patient ears attend,
our toil shall strive to mend.
Proceed with several choral readings:
Reading #1: Have students sit in a circle and read the prologue aloud in unison.
Reading #2: Going around the circle, have students read the prologue one word at a time. This
helps students recognize the importance of individual words.
Reading #3: Repeat #2, but try and speak words as if spoken by one voice, without lengthy pauses
between readers. Use expression.
Reading #4: Each student reads a half line, reading to the pause in the line (see handout).
Reading #5: Read to the punctuation stops – semicolons, and periods, not commas. This reading
helps to clarify the meaning of the passage and allows for more natural stress.
Reading #6: Have students walk and read the prologue, stamping one foot and changing direction
on the final word before each full stop.
Romeo and Juliet Unit
Ricketson/ English 9
Page 9
Focusing on “Two”
Give attention to the word two. Ask the students to circle the word each time it occurs in the
prologue (“two households,” “two foes,” “two hours”) and identify any other ways in which the
concept of two is reinforced (“pair of star-crossed lovers,” twosomes in repeated words like “civil,”
in echoing concepts like “grudge” and “mutiny,” and in alliterations such as “doth with their
death” or “forth the fatal.” Discuss effects of this repetition.
Have students work with a partner to determine the characteristics of the poem/prologue. They
should determine the number of lines, the end rhyme pattern, and the 3 quatrains and a couplet;
some students will discover the rhythm or meter created by 10 syllables per line. Explain that
through inductive learning, they have determined the characteristics of a sonnet. Have students
mark the rhyme scheme, quatrains, couplets, and iambic pentameter (stressed and unstressed
syllables) on their copy of the prologue.
Provide a definition of 1.) meter - the sound patterns of a verse, or the arrangement of syllables into
repeated patterns and 2.) iambic pentameter – an iamb is the pattern of one unstressed syllable
followed by a stressed one – dah DUM. Each pattern is referred to as a foot. Shakespeare used five
iambic feet to a line :
a GLOOMing PEACE this MORNing WITH it BRINGS
Students write definitions of meter, iambic pentameter, and sonnet on their Literary Terms
Handout.
PRODUCTS (B):
 Memorized Recitation of the Prologue
 Read two of Shakespeare’s most famous sonnets, Sonnet 18 and Sonnet 130. For
Shakespeare’s sonnets and interpretations, go to Shakespeare’s Sonnets
http://www.shakespeares-sonnets.com/index.htm For additional activities relating to
sonnets, go to Shakespearean Sonnets at Web English Teacher:
http://www.webenglishteacher.com/shakesonnets.html Additional help with interpretation
can be found at Sparknotes.com:
http://www.sparknotes.com/shakespeare/shakesonnets/
Sonnet XVIII
Sonnet CXXX
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grown on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
Romeo and Juliet Unit
Ricketson/English 9
Page 10
Option 1: Write a one-page essay comparing/contrasting Shakespeare’s Sonnets 18 and 130. Discuss
subject, theme, language, how sonnet’s structure informs the narrative (ex. final comment provided by
couplet). Utilize a graphic organizer to list compare/contrast attributes.
Rubric for Compare/Contrast
CATEGORY
Purpose &
Supporting
Details
4
The paper compares and
contrasts items clearly. The
paper points to specific
examples to illustrate the
comparison. The paper
includes only the
information relevant to the
comparison.
3
The paper compares and
contrasts items clearly,
but the supporting
information is general.
The paper includes only
the information relevant
to the comparison.
2
The paper compares and
contrasts items clearly,
but the supporting
information is
incomplete. The paper
may include information
that is not relevant to
the comparison.
Organization
& Structure
The paper breaks the
information into whole-towhole, similarities -todifferences, or point-bypoint structure. It follows a
consistent order when
discussing the comparison.
The paper breaks the
information into wholeto-whole, similarities -todifferences, or point-bypoint structure but does
not follow a consistent
order when discussing
the comparison.
Transitions
The paper moves smoothly
from one idea to the next.
The paper uses
comparison and contrast
transition words to show
relationships between
ideas. The paper uses a
variety of sentence
structures and transitions.
The paper moves from
one idea to the next, but
there is little variety. The
paper uses comparison
and contrast transition
words to show
relationships between
ideas.
The paper breaks the
information into wholeto-whole, similarities -todifferences, or point-bypoint structure, but
some information is in
the wrong section. Some
details are not in a
logical or expected
order, and this distracts
the reader.
Some transitions work
well; but connections
between other ideas are
fuzzy.
Grammar &
Spelling
(Conventions)
Writer makes no errors in
grammar or spelling that
distract the reader from the
content.
Writer makes 1-2 errors
in grammar or spelling
that distract the reader
from the content.
Total of all categories ______ x 5 = _______ x 5 = _________% Grade
Writer makes 3-4 errors
in grammar or spelling
that distract the reader
from the content.
1
The paper
compares or
contrasts, but does
not include both.
There is no
supporting
information or
support is
incomplete.
Many details are not
in a logical or
expected order.
There is little sense
that the writing is
organized.
The transitions
between ideas are
unclear or
nonexistent.
Writer makes more
than 4 errors in
grammar or spelling
that distract the
reader from the
content.
Romeo and Juliet Unit
Ricketson/English 9
Page 11
Option 2: Write a sonnet that serves as a prologue to To Kill A Mockingbird (from 1st semester) or a
favorite book. Remember that the prologue to Romeo and Juliet serves as the play’s summary.
Option 3: Write a Shakespearean sonnet in which you utilize metaphors to make comparisons between
your subject and something else. It can be sincere praise (as in Sonnet 18) or it can be humorous and
sarcastic (as in Sonnet 130). Each of the quatrains should explore aspects of the main idea – raising a
question (Sonnet 18), stating a problem, and/or presenting a narrative situation. The final couplet may
present a seemingly contrasting concluding statement (Sonnet #130).
Rubric for Sonnet
Rubric adapted from the Rubistar Website at: http://rubistar.4teachers.org
CATEGORY
Excellent 4
Good 3
Satisfactory 2
Needs
Improvement 1
Word Choice
___1-4 pts.
Writer uses vivid words and
phrases that linger or draw
pictures in the reader's mind,
and the choice and
placement of the words
seems accurate, natural and
not forced.
Writer uses vivid words
and phrases that linger or
draw pictures in the
reader's mind, but
occasionally the words are
used inaccurately or seem
overdone.
Writer uses words that
communicate clearly,
but the writing lacks
variety, punch or flair.
Writer uses a limited
vocabulary that does not
communicate strongly or
capture the reader's
interest. Jargon or cliches
may be present and
detract from the meaning.
Support for
Topic
(Content)
___1-4 pts.
Relevant, telling, quality
details give the reader
important information that
goes beyond the obvious or
predictable. Each line has a
clear and obvious purpuse.
Supporting details and
information are relevant,
but one key issue or
portion of the theme is
unsupported.
Supporting details and
information are
relevant, but several key
issues or portions of the
theme are unsupported.
Supporting details and
information are typically
unclear or not related to
the topic.
Conclusion
(Turn at
couplet)
___1-4 pts.
The conclusion is strong
and leaves the reader with a
feeling that the topic has
been skillfully addressed.
The conclusion is
recognizable and
satisfactory, although not
insightful or skillful.
Attempt to turn mood
or subject is
recognizable, but does
not tie up several loose
ends or does so in a
trite manner.
There is no clear
conclusion; the couplet
does not turn or shift the
mood or subject.
Flow &
Rhythm
___1-4 pts.
All lines sound natural and
are fluently written. The
work has mastered the
iambic pentameter meter.
Rhyme scheme is 100%
correct for an English
sonnet.
Almost all lines sound
natural and when read
aloud, but 1 or 2 are stiff
and awkward or forced to
fit in the meter. Works
receiving a 3 in this
category might also have 1
or 2 errors in the rhyme
scheme.
Most lines sound
natural when read
aloud, but several are
stiff and awkward or
forced to fit in the
meter. Works receiving
a 2 in this category may
also have several errors
in the rhyme scheme.
The lines are difficult to
read aloud because they
sound awkward and do
not fit within the required
meter. Works receiving a
1 in this category may also
have written without
regard to the expected
rhyme scheme for an
English sonnet.
Grammar &
Spelling
(Conventions)
___1-4 points
Writer makes no errors in
grammar or spelling that
distract the reader from the
content.
Writer makes 1-2 errors in
grammar or spelling that
distract the reader from
the content.
Writer makes 3-4 errors
in grammar or spelling
that distract the reader
from the content.
Writer makes more than 4
errors in grammar or
spelling that distract the
reader from the content.
TOTAL OF ALL CATEGORIES
______ X 5 = _______% Grade
Romeo and Juliet Unit
Ricketson/English 9
Page 12
Lesson 3
Prologue activity that fosters cooperative learning and independence:
OBJECTIVE/CONTENT:
Students will:
 develop awareness of
authors who have
contributed to the
development of the
English language
 identify and respond
to the aesthetic effects
of sound devices
(rhyme scheme),
structure (rhymed,
narrative, fixed forms
– sonnet), and
figurative language in
poetry
 read challenging text
for understanding
 acquire new
vocabulary
 participate in group
verbal interactions
 apply knowledge of
the concept that the
theme of a selection
represents a universal
view or comment on
life
 deepen understanding
of literary works by
relating them to
contemporary context
or historical
background
 relate a literary work
to non-literary
documents (video).
PROCESS:
MATERIALS
EVALUATION/
PRODUCT
Designed as preparation for the
3 envelopes per Students are
reading of Shakespeare’s play, Romeo group, each
assessed on the
and Juliet, this lesson focuses on the
containing lines following:
prologue.
to the
 group
prologue/sonnet
participation,
Lessons leading up to this lesson include:
to Romeo and
cooperation,
Juliet.
 several whole class recitations of the
and effort to
prologue to Romeo and Juliet,
determine the
Envelopes
are
including walking and reciting
order of lines
labeled to
while stressing steps prior to end
and decipher
indicate that one
punctuation
the meaning of
envelope
the prologue
 viewing of the recitation of the
contains the first
to Romeo and
prologue to Romeo and Juliet in
quatrain,
the
Juliet
the film, Shakespeare in Love
second
envelope
 background information on
contains the
 employment
Shakespeare, Elizabethan
second quatrain,
of group
England, and the history of the
and
the
third
decisionEnglish language
envelope
making and
contains
the
problemStudents work in small groups of 3-5;
third
quatrain
solving
each group is given three envelopes,
and
final
strategies
containing the 14 lines to the
couplet.
prologue/sonnet to Romeo and Juliet.
Two of the envelopes each contain a
 ability to
Students are
quatrain (4 lines) from the sonnet,
discuss,
seated
at
desks
and the third contains the third
interpret, and
or tables where
quatrain (4 lines) and a couplet (2
infer the
they
can
display
lines).
meaning of the
Groups are asked to arrange the lines their lines of
lines of the
poetry so
of poetry in the correct order based
prologue
everyone
in
the
on content, rhyme scheme,
group can see
punctuation, and flow of language.
 writing skills
Students are encouraged to recite the them.
employed to
lines. After assembling the lines,
explain the
students discuss their meaning, line by Students also
meaning of the
line, and write an interpretation of the need to have
prologue
pens and paper.
sonnet, line by line. Two or more
lines of poetry can be combined to
create one sentence.
Romeo and Juliet Unit
Ricketson /English 9
Page 13
Lesson 4
“Puns, Allusions, and “Gold Foil”
OBJECTIVE/CONTENT:
Students identify and analyze literary terms that provide evidence from the text to support
understanding, including puns, allusions, and dramatic foil. (ELA RL1)
PROCESS:
Students become familiar with the characters by recording their names on the What’s in a Name?”
chart and listing their relationships with Romeo and Juliet. Explain how some of the characters have
meaningful names; for example Prince Escalus’ name comes from the word for scale, which relates to
his position as ruler of Verona, having to “weigh” both sides of issues.
Before reading Act I, scene 1: Provide some jokes that include puns.
What do you do when your wheels wear out? Re-tire.
What did the boss say when he sold the carnival? It was a fair deal.
A vulture boards an airplane, carrying two dead raccoons. The stewardess looks at him and says, “I’m
sorry, sir, only one carrion allowed per passenger.”
Write on board:

carry coals – submit to insults and humiliation
colliers – workmen who carry coals
in choler – angry
collar – hangman’s noose
Explain that these words sound alike but have different meanings; they are used as puns by the
Capulet servants Sampson and Gregory at the beginning of Act I, scene 1. Although Sampson
maintains that he will not endure any insults, Gregory accuses him of not being courageous
enough to stand up to his enemy, the house of Montague.
 Describe how the street and gutter may have appeared in Verona in the 1500s. Assign parts
and have students act out this street scene to line 101 when the Prince departs.
 What did students notice about Benvolio and Tybalt? Record the meanings of the names of
these two characters on the “What’s In A Name?” handout. Benvolio is benevolent. Tybalt is
antagonistic, like the Prince of Cats in the popular medieval beast fable, Reynard the Fox. Explain
the concept of dramatic foil as a person who is paired with another character to develop the
latter's traits and personality by contrast.
 Discuss Romeo’s seclusion and depression. He responds to Benvolio’s question - “What
sadness lengthens Romeo’s hours?” with “Not having that which having makes them short.”
(line 163) We learn that he has been spurned by Rosaline. “She’ll not be hit with Cupid’s arrow.
She hath Dian’s wit.” (line 207) Romeo refers to Rosaline’s unwillingness to have a
relationship with him by comparing her to Diana, the Roman goddess of the hunt, who has
vowed to live a life of chastity. This comparison is an allusion, or reference to a famous
person, place, event, etc.
 Definitions for pun, allusion and dramatic foil are added to Literary Terms Handout.
Discussion after reading: Why do you think Shakespeare introduces Romeo as one dissatisfied with love?
PRODUCTS:
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Option 1: Puns and Allusions
Find five examples of puns and/or allusions in magazines and create a poster, no larger than 8 ½” x
11”, that can be put on the classroom bulletin board.
Option 2: “Gold Foil “ Analogy (For those of you who are feeling creative!)
(adapted from Traci’s Lists of Ten http://www.tengrrl.com/tens/041.shtml):
The use of the term foil for contrasting characters in a piece of literature is an analogy that grew from
the use of the word as it relates to jewelry. In jewelry making, foil is often placed behind a jewel to
increase its brilliance. In its literary use, a foil is a character who works in the same way: a character who
is set near another character in the work to make key characteristics stand out, to increase the key
character's brilliance, so to speak.
Now, your assignment: Pretend that the word "foil" has not been applied to this relationship between two
contrasting characters. Your assignment is to discover a new analogy to describe their relationship.
You can be a literary critic and write a brief paper that explains your new analogy in detail and shows
how two characters from a work that we've read or are reading illustrate the analogy. Be creative!
Think about how music or the visual arts (painting, photography, etc.) could describe the relationship
between two contrasting characters.
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Lesson 5
A Fortnight or Two of Vocabulary
OBJECTIVE:
Students acquire new vocabulary and utilize knowledge of Greek and Latin prefixes, suffixes and roots
to understand the meanings of new words; (ELA9RL5) students engage in cooperative learning;
higher-level thinking, including analysis (examine, categorize, compare, contrast, differentiate),
synthesis (design, develop, organize) and evaluation (relate, solve, compare); and a wide range of
activities that meet the needs of different learner profiles.
PROCESS:
Students work collaboratively at centers to discover word origins, determine word stems, draw cartoons
illustrating meanings of words, and explore real-life examples of word usage (ex. words in news, on TV,
etc.).
Part I: Once per week (or per reading of each of the Acts), students are given a handout (4 total; one
each for Acts I – III, and one for Act IV & V) with sentences in which the vocabulary words appear in
the text. There are approximately 10 – 15 words/sentences on each handout. In groups of four or
five, students read each sentence and use context clues and prior knowledge to guess the meaning of
the words.
Part II: After trying to figure out the meanings of words, students match the vocabulary words to their
dictionary definitions. If students cannot determine the definitions by contextual clues, they need to
look them up in the dictionary.
Part III: Students are assigned to Learning Centers, where they complete tasks using various resources
and activities for Word Study. Students work at different centers on each of the four vocabulary so
they engage in a wide range of activities that meet the needs of different learner profiles.
Center #1: Using dictionaries, etymological dictionaries, and thesauri, each student completes a chart for
4 words that highlights etymology, synonyms, antonyms, etc.
Definition
Etymology
Word
Synonym
Antonym
Sentence
Center #2: Using dictionaries and workbooks with word stems, students determine Latin prefixes/root
words, Greek roots, suffixes, etc. to determine meanings.
Word
Prefix
Meaning
Root
Meaning
Suffix
Meaning
Definition
P.O.S.
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Center #3: “Vocabutoons” Following the mnemonic principle of association, Vocabulary Cartoons
link together an auditory (rhyming) word association and a visual association in the form of a humorous
cartoon. For example, the new word FATHOM is associated (linked with) the rhyming word FAT
THUMB, which in turn is then presented visually as a humorous cartoon. Students select their favorite
words and create cartoons.
Center #4 (at 4 computers): Various websites: Wordsmith.org, dictionary.com, worldwidewords.org.,
vocabulary.com, etc.
Students work collaboratively at centers to determine word origins, discover word stems, play
games/take quizzes, and explore real-life examples of word usage (ex. words in news, on TV, etc.).
PRODUCTS:
Vocabulary word maps/clusters (new words in the center linked to boxes containing their
definitions, antonyms, synonyms, etc.); word parts chart (with columns for prefixes, roots, suffixes,
and vocabulary words) that students use to deconstruct vocabulary words by breaking the words into
parts that are put in the appropriate columns; vocabutoons (word cartoons and captions); word
handouts created on the computer using information /usage of words learned from having
investigated the suggested websites.
Using dictionaries, etymological dictionaries, and thesauri, students ascertain word origins, synonyms,
and antonyms. Each student completes a chart for 3/4 words and presents them to the group.
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Lesson 6
Opposites Attract / An Exploration of Paradox
This lesson utilizes the synectic method of symbolic analogy, in which seemingly contradictory concepts
stimulate ideas.
OBJECTIVE/CONTENT:
Students identify oxymoron, a literary device widely used by Shakespeare, and develop an
understanding of the concept of paradox. Students also explore metaphor as another literary device
used to make a comparison between two things essentially unalike.
PROCESS:
Warm-up:
Write the following on the board. Ask students what they have in common.
True lies
War games
Deafening silence
Original copy
Student teacher
Front end
Random order
Living dead
Same difference
Although students will recognize that each is a combination of words that have opposite meanings,
give them a few minutes to think about how to articulate the concept that apparently contradictory
pairs of words can be found to be true. On their Literary Terms Handout, students record a
definition of oxymoron: a literary device employing paradox, a seeming contradiction reduced to
two words, such as plastic silverware or sweet sorrow. Oxymorons are used for effect, complexity,
emphasis, or wit when things have gone contrary to expectation or belief. (An oxymoron is one
type of paradox, a statement or situation containing apparently contradictory or incompatible
elements in which an apparently self-contradictory statement is nevertheless found to be true.
Sometimes the paradox is expressed in a longer phrase -- such as “Misshapen chaos of well-seeming
forms.”)
Explain that Shakespeare delighted his audiences with oxymorons and other forms of word play.
as seen the following passage from Act I, scene 1 when Romeo realizes that yet another brawl has
just taken place in the streets of Verona between his family, the Montagues, and his family’s longstanding enemy, the family of the Capulets.
O me! What fray was here?
Here’s much to do with hate, but more with love.
Why then, O brawling love, O loving hate!
O anything, of nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep that is not what it is!
This love feel I, that feel no love in this. (Act I, scene 1, 171 - 180)
Have students find several oxymorons and explain how they illustrate the contradictions that Romeo
feels as he reacts to the senseless violence in Verona.
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Read two poems by Robert Frost: “Nothing Gold Can Stay” and “Fire and Ice.”
Locate paradoxes in each poem that describe seemingly contradictory or incompatible elements, but
on closer inspection, may be true.
Example of paradox in “Nothing Gold Can Stay”: Frost says that “Nature’s first green is gold.”
Although we know that green is not gold, how can this be true? The first green to appear is really more
like a temporary golden hue as the buds break open. In a short time, the leaves mature to green. Students begin to
think metaphorically; for example, the brief appearance of gold may be precious and rare like the metal gold. What
other examples might Frost be referring to as “gold”?
Example of paradox in “Fire and Ice”: Frost refers to the world dying more than once in the line “But if
it had to perish twice,” even though we know this is impossible. Both fire and ice can be viewed as
destructive forces that can end life, each in a very different way. This can lead to a discussion about the contrast
between the way fire destroys and the way ice destroys. What else might the poet have been thinking of when using
words like fire and ice? Can passion and desire be destructive? What about neglect and desertion? Students begin to
think metaphorically; for example, they may compare/contrast a traditional view of war and a “cold” war.
PRODUCT:
After students have begun to recognize the existence of paradoxes as a natural phenomenon, have
them consider seemingly contradictory characteristics within themselves. Can they see themselves in
more than one way? Are they courageous, yet afraid? Bold, yet shy? Compassionate, yet vengeful?
Followers, yet leaders?
Students will create an Autobiographical Poem in Two Voices to demonstrate their
understanding of paradox and to express the contradictions that exist within themselves. The twocolumn format allows students to juxtapose two contrasting ideas, concepts, or perspectives.
Alternating lines indicate opposing view points and are read separately. Adjacent lines represent
agreement or compromise and are read in unison. The poem must contain literary devices, including
oxymorons/paradoxes and metaphors. One voice in the poem may demonstrate how the student
views himself/herself and the second voice can illustrate how someone else -- a parent or sibling or
friend -- sees the student differently OR the two voices can represent contrasting “outer” and
“inner” selves.(Share a couple of examples from Fleischman’s Joyful Noises: Poems for Two Voices.
Rubric for Autobiographical Poem in Two Voices
1 Not Yet Meeting
Standard
2 Progressing
3 Proficient
4 Exemplary
• “Two voices” are
vaguely portrayed
• Lacks content and/or
focus
• Spelling errors interfere
with reader’s
understanding of poem
• Needs to be redone
• “Two voices” may be
somewhat inconsistent
• May need to include
more of the “two voices”
thoughts, feelings, and
attitudes
• Lacking figurative
language
• May contain some
errors in spelling
• Needs more work
•Expresses thoughts,
feelings, and attitudes of
the “two voices”
• Uses “poem in two
voices” format correctly
• Voices of both
characters are clear and
distinctive
• Uses oxymorons and
metaphors.
• All criteria for
Proficient have been met
• Uses “poem in two
voices” format creatively
• Voices of both
characters are clear,
distinctive, and fresh
• Uses imagery,
oxymorons, and
figurative language
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
Continue to read Act I aloud and be alert for “opposites” and contrasts -- light vs dark,
examples of irony, dramatic foil, etc. -- that follow along with Shakespeare’s theme of
contrast.

Discuss the differences between Romeo’s and Mercutio’s perceptions of love and dreams
(Act I, scene 4). Mercutio is mercurial, meaning that he is volatile, changeable, and erratic.
He has a more violent side and appears to have a cynical view of love and dreams as
witnessed in his Queen Mab speech. Discuss why Shakespeare may have included this
scene. Does it advance the plot?
Optional: Students can either illustrate Queen Mab or write an interpretation of this complex speech.

Discuss Romeo’s reference to fate (end of Act I, scene 4): “…my mind misgives/ some
consequence, yet hanging in the stars,/ shall bitterly begin his fearful date/ with this night’s
revels and expire the term/ of a despised life, closed in my breast,/ by some vile forfeit of
untimely death.” Again, Romeo seems to be shrouded in darkness just as he and his friends
are about to attend the light-filled Capulet party.

Contrast Mercutio’s cynicism about love with Romeo and Juliet’s expressions of love as
exchanged in their shared sonnet, where they liken love to religion with metaphors of
pilgrims and saints (Act I, scene 5).

View segments from Franco Zefferelli’s film (1969) Romeo and Juliet that cover what
students have read.

Read the Prologue to Act II and identify the characteristics of a sonnet. Some critics have
claimed that this prologue neither adds to the action of the play no enhances our
understanding of the play’s meaning. Can you discover anything redeeming about it? (More
contrasts: old versus young; not fair Rosaline versus fair Juliet; extreme danger and extreme
sweet).

Act II, scene 1: Compare Mercutio’s view of love with Romeo’s. Mercutio’s vulgar remarks
contrast with Romeo’s spiritual view of his love for Juliet.
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Lesson 7
The Balcony Scene
OBJECTIVE:
Students will identify and analyze aside, monologue, soliloquy, blank verse, and tone;
students will paraphrase as a means to comprehend complex text.
PROCESS:
Provide a definition of paraphrase: a restatement in your own words and your own style of
someone else’s words and ideas. You must change both the words and the sentence structure of the
original.
Try and paraphrase the following:
In 1623, Shakespeare’s first folio was published. The folio included: 154 sonnets, 37 plays, and 2 long poems.
His friends compiled all of his work into this folio before anyone could reproduce his plays and claim them as
their own. Many of his p lays are famous and are studied by students today.
Possible response:
In 1623, Shakespeare’s friends published his first folio for him so that no one else could steal his works. Contained in this
folio were 154 sonnets, 37 plays, and 2 long poems. Thanks to them students still study these works of Shakespeare today.
If there is access to computers, go to Paraphrase Craze , an interactive lesson on paraphrasing at
http://www.beaconlearningcenter.com/search/GetWebLesson.asp?ID=3151
Students read Act II, scene 2 and paraphrase difficult sections.
 Paraphrase the first line of Act II, scene 2: “He jests at scars that never felt a wound.” (Romeo)
What is Romeo saying to Benvolio, who just left the scene?
 Read lines 2 – 9. What does Romeo compare Juliet to? Why is the moon envious?
What does Romeo compare Juliet’s eyes with? This is a soliloquy, a speech in which a character, who
is usually alone onstage, expresses private thoughts or feelings that the audience hears. (A soliloquy is
different form a monologue, which is a long speech directed to other characters onstage.)
 Read Juliet’s soliloquy (lines 33 – 4). Note that this is blank verse, or unrhymed iambic pentameter.
Romeo’s aside – “Shall9 I hear more, or shall I speak at this?” – is a remark that other characters on
stage are not supposed to hear; it is not heard by Juliet.
 Paraphrase lines 58 – 59. What does Juliet mean when she says “My ears have yet not drunk a
hundred words/Of thy tongues’ uttering, yet I know the sound.”
 Compare the tone of Romeo with that of Juliet. Which one is cautious and fearful, reckless and
elated?
 Paraphrase lines 75 – 78. What does Romeo tell Juliet?
 While reading Juliet’s monologue (lines 85 – 106), note her change of emotions from
embarrassment to frankness to pleading to anxiety. Read aloud paying close attention to the
punctuation (lines 85 – 106).
 Contrast Juliet’s lines 117 – 120 to lines 143 – 148. How has her tone changed?
 Paraphrase what Romeo says about leaving Juliet. “Love goes toward love as schoolboys from
their books; /But love from love, toward school with heavy looks.” (lines 157-158)
 Paraphrase Juliet’s response to Romeo (lines 159-164).
 Read the lovers’ two famous farewell speeches. Note Juliet’s oxymoron – “Parting is such
sweet sorrow (Is she enjoying this prolonged farewell?) and foreshadowing “That I should kill
thee with much cherishing.”: of Romeo and Juliet
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PRODUCT:
Paraphrase a longer piece of writing by Shakespeare; take the difficult language and explain it
in easier, more understandable, language. It can be as long as or longer than the original. It
does not have to contain any of the original language. Be creative! Have fun and try to
contemporize the piece to illustrate that Shakespeare’s writing is timeless.
Paraphrase one of the following:
 Shakespeare’s Sonnet #18
 Shakespeare’s Sonnet #33
 Prince Escalus’s speech (Act I, scene 1, lines 77 – 100)
 Sonnet shared by Romeo and Juliet when they first meet (Act I, scene 5, lines 93 – 106)
 Act II Prologue
 Juliet’s monologue (Act II, Scene 2, lines 85 – 106)
 Friar Lawrence’s soliloquy (Act II, Scene 3, lines 1-22)
Below is Shakespeare’s Sonnet #29 followed by a paraphrased version.
Sonnet # 29
When in disgrace with Fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon my self and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least,
Yet in these thoughts my self almost despising,
Haply I think on thee, and then my state,
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven's gate,
For thy sweet love remembered such wealth brings,
That then I scorn to change my state with kings.
Sonnet #29 (paraphrased)
When I feel and lucky and as if no one likes me
And I feel all alone and cry
And it's as if my prayers to heaven have no power at all because no one is listening
And I feel sorry for myself and think that 'm the unluckiest person alive
I wish that I had that persons opportunities
That I looked like that cute person and was as popular as the most popular person in my class
Wishing that I had that man's talent, and that man's understanding of difficult concepts
Not at all happy with the things I usually enjoy.
Even then, almost hating myself for thinking this way
Perhaps my thoughts think about you, and then my soul,
Just like the lark that sings at the moment the light of day
Breaks over the cold earth, sings a song filled with joy and light
Because I remember the sweet love we share, and the richness that it brings
And, at that point, remembering what we have together, I wouldn't change
my present condition even with a king.
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Lesson 8 (2 days)
Discussion Utilizing the Fishbowl Strategy
OBJECTIVE/CONTENT:
Students participate in student-to-student verbal interactions: initiate new topics, ask relevant
questions, respond to questions with appropriate information, actively solicit another person’s
comments or opinion, offer own opinion forcefully without domineering, divide labor to achieve
the overall group goal efficiently, and clarify, illustrate, or expand on a response; enhance
comprehension and understanding of literature through oral discussion and active reading
strategies, including formulating questions, summarizing, clarifying, and predicting outcomes;
formulate reasoned judgments about ideas under discussion and support those judgments with
convincing evidence; deliver oral responses to literature that incorporate the same elements
found in written literary analysis; utilize the focused discussion as an activity that both reviews
prior knowledge and produces new knowledge and understanding. ((ELA LSV1 a-j, ELA LSV2
c, 2c, h)
Day 1
PROCESS:
After reading through the climax, or turning point of Romeo and Juliet (Act III, scene 1), students
prepare for a “Fishbowl” discussion.
Preparation for the discussion:
In the class prior to the “Fishbowl” discussion, students work in pairs to generate meaningful
questions. Questions are written on slips of paper and dropped into the “fishbowl.”
Students are guided on how to create a meaningful question as follows:
1. Ask an obvious question about Romeo and Juliet.
Example: Which of the protagonists seems to be overly impulsive and emotional?
2. Create a question that relates something about Romeo’s life to your own.
Example: Have you ever felt misunderstood and/or depressed and wanted to get away on your
own?
3. Connect Romeo and Juliet to another story or event.
Example: Is there a character in a book or movie or T.V. show that you could compare to
Romeo?
4. Create a meaningful question, attempting to combine all three of the earlier questions.
Example: Why does Romeo feel alienated from his friends and how is his alienation related to
what today’s teens feel?
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In pairs, students work to create meaningful questions that pertain to the events, themes, literary
terms, etc. that have developed so far in the play. The teacher acts as a facilitator as students
compose questions. After successful questions are generated, students write their questions on the
board. As a whole-class discussion, students determine which questions are meaningful and worthy
of discussion. Students write down the selected questions in order to prepare for the “Fishbowl”
discussion in the following class.
Day 2
PROCESS:
“Fishbowl” Discussion:
1. Four or five students are selected (some may volunteer) to be the “fish” in the “fishbowl.”
The fish form the inner circle seated in the center of the room. (It may be a good idea to
assign one of the fish the role of facilitator. It will be his/her responsibility to facilitate the
discussion, and make sure everyone has an opportunity to talk.)
2. One “fish” in the inner circle draws a question out of a fishbowl to discuss.
3. The “fish” take turns to discuss the question, talking and responding to each other rather
than to the teacher or their classmates.
4. The “bowl” forms an outer circle and quietly listens to the discussion within the bowl. They
are encouraged to make observations and take notes in order to later pose questions.
5. When the “water” (conversation) that supports the fish has run dry -- the teacher indicates
that the bowl may participate in the discussion.
6. The “bowl” discusses what they have observed and offers their comments, insights and
perspectives on the subject of the discussion.
7. A new group is selected to be the “fish” and a new question is drawn from a fishbowl.
Limiting the discussion to one question per group of fish encourages in-depth responses.
8. Repeat the process until all students have had the opportunity to be “fish” (approximately 5
questions).
PRODUCT:
After the “Fishbowl” discussion, in a whole-class discussion, students evaluate the success of the
discussion. What made it successful? Unsuccessful? How did it help to enhance understanding of
the themes, events, etc. of the play?
Written response: Students write a brief reflection on one thing that they learned from the experience –
a new perspective, a new understanding of a character, event, theme, etc.
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Lesson 9
Plot Structure of Romeo and Juliet
This lesson utilizes mnemonics strategies to help students retain information concerning the elements of plot
structure and the sequence of actions and events.
OBJECTIVE/CONTENT:
Students will identify, analyze, and apply knowledge of the structures, elements, and themes of
dramatic literature; identify and analyze dramatic elements of the plot (exposition, rising action,
climax/turning point, and resolution/denouement); examine how dramatic elements (plot elements,
dialogue, monologue, soliloquy, aside, dramatic irony, etc.) support and enhance interpretation of
dramatic literature; demonstrate comprehension by identifying evidence (i.e., examples of imagery,
point of view, figurative language, plot events, etc.) to use as the basis for interpretation.
(ELA9RL1a, c) Students will also produce expository writing to convey information and ideas from
primary and secondary sources accurately and coherently (ELA9W2)
PROCESS:
Complete a graphic organizer to identify the five elements of a plot structure for a five-act play, and create a mnemonic
to facilitate recall of elements of plot.
Exposition, Rising Action, Turning Point, Falling Action, Resolution
Act III
Turning Point
Act II
Rising Action
Act IV
Falling Action
Act I
Exposition
Act V
Resolution
A mnemonic will facilitate students’ ability to remember the five elements of plot:
Every Running Athlete Takes Pains For A Race.
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Once the five elements of plot are committed to memory, they can be used as part of another
mnemonic strategy to remember the basic plot, or sequence of events and actions in the five-act
play.
Act I:
Exposition of feuding families
Act II:
Rising to the occasion results in Romeo’s balcony Action
Act III:
Tragic Turning Point of Tybalt’s sword
Act IV:
Friar’s Failing (Falling) Action Plan
Act V:
Resolution and Rest in Peace
PRODUCT:
Optional: Students create their own mnemonic for the five plot elements (E, R A, T P, F A, R).
Required: Students elaborate on the sequence of events and actions in the five acts. For example,
expand Act I: Exposition of feuding families to Act I: Exposition introduces the Capulet and Montague
families feuding in the streets of Verona.
ENRICHMENT WITH TECHNOLOGY:
OBJECTIVE: Students visualize ideas, concepts, and relationships; analyze, compare and evaluate
information; develop an understanding of characters and their relationships.
PROCESS:
Use Inspiration software to create graphic organizers to represent the characters of Romeo and
Juliet and illustrate the relationships among them. Begin by placing two ovals in the center (shape,
etc. can be changed later into two symbols for Romeo and Juliet, perhaps a heart and a rose) and
insert text with the names Romeo and Juliet. Link symbols and add words to create a visual diagram
that clarifies the relationships among characters. Use challenging and creative symbols and words so
that you can give your diagram to someone else to figure out who the characters are from the
symbols and text you created. Be mysterious!!
PRODUCT:
Completed diagrams are used as a way to quiz students on characters and relationships. Have
students used symbols and words that identify the characters’ behavior? Is the diagram aethetically
pleasing? Is there challenge involved in picking out the characters?
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Lesson 10
Who is to Blame? Elements of Reasoning Strategy
OBJECTIVE/CONTENT:
Class Discussion as a Prewriting Activity for a Persuasive Essay on Who or what is to blame
for the tragic deaths of Romeo and Juliet?
Students will use logical reasoning to establish and defend a point of view; identify sufficient
evidence to support a point of view; address concerns of opposition; use persuasive language to
defend a position; participate in a prewriting activity that will stimulate thought and provide
motivation for writing; and create an outline for a persuasive essay, including a point of view,
reasons to defend the point of view, and evidence to support each reason
PROCESS:
Students will have finished reading the play Romeo and Juliet. The class discussion will address a
central issue/problem of the novel: Who or What is to blame for the tragic deaths of Roemo and Juliet?
Using the Elements of Reasoning strategy, students will deepen their understanding of concepts -including different types of love, prejudice, racism, courage, cowardice, tolerance, injustice, and truth
-- and analyze instances of the concepts in the novel. The discussion will help students formulate
their points of view in response to the central issue/problem. Students will then break into small
groups based on their shared points of view and collaborate on developing outlines for their
persuasive essays.
Guiding Questions for the Discussion based on Elements of Reasoning
1. Issue/Problem: Who or what is to blame for the tragic deaths of Romeo and Juliet?
2. Purpose/Goal: Why address this issue? How can addressing this central issue/problem
help the reader to develop a deeper understanding of significant concepts in the novel?
How can logical reasoning lead to a credible point of view?
3. Points of View: Are Romeo and Juliet innocent victims of fate (fortune or chance)? Or of
a fatal feud? How does their extreme infatuation and impulsive behavior result in their
demise? Although the friar tries to help the lovers, how do his actions lead to their deaths?
Is he reckless? How can Tybalt be perceived as the real villain? What about the Nurse?
What is her role in the tragic deaths? How is the innocence, virtue, and beauty of Romeo
and Juliet’s love destroyed by the disorderly and violent world they live in?
4. Experience, Data, Evidence: Explain the feud and its repercussions in Verona. What
evidence exists that young people feel emotions more deeply than older people? How might
they act? Discuss Mercutio, Tybalt, Romeo and Juliet. How do people react when wrongs
are committed against their family members? Why do people conspire against one another?
How did people in the 16th century feel about Fate? Why does Romeo make so many
references to the stars? Provide some evidence of the ambiguous nature of Friar Lawrence’s
actions. In the end, Prince Escalus says that “All will be punished.” Can he find evidence to
blame everyone? Why is he so personally outraged?
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5. Concepts and Ideas: Friar says that “Virtue itself turns vice being misapplied/ And vice
sometimes by action dignified.” What does this mean? Is anything purely good or evil?
Does everything contain elements of both? Explain. How can the sins of one generation
affect the next? How do children learn the prejudice of their parents? How many different
types of love are there? How does Shakespeare portray these different types of love?
What is true love? How can love confer integrity upon two very young people? How
can we believe in free will and Fate at the same time?
6. Assumptions: Why should we assume that Romeo and Juliet’s love is true love? Could
Romeo and Juliet be a plea for peace? After all, Shakespeare lived in a tumultuous time.
Is there any reason to assume the Friar had any bad intentions? How can the reader be
tolerant of the views of the Montagues and the Capulets? How can people see
themselves for who they really are? Are we to assume that the Montagues and Capulets
considered themselves good parents? Why should we assume that Prince Escalus was a
just and fair ruler? How can we
7. Inferences: Based on the data and evidence, what conclusions can be drawn? What
aspects of Romeo’s behavior make him culpable? How about the Friar? Mercutio? Based
on the “dignity” of the Montagues and Capulets, how could money and status be the cause
of Romeo and Juliet’s ruination? How can innocence, virtue, and beauty be destroyed?
How can a disorderly and chaotic world bring disaster? How can humans be powerless to
bring into being the kind of world they would like to live in?
8. Implications and Consequences: Have you carefully examined all of the
information surrounding the responsibility for Romeo and Juliets’ deaths? Assuming you
decide on your point of view, are you aware of the consequences of that decision? (If you
blame Romeo and Juliet themselves, what exactly are the implications? Regarding the friar, even Prince
Escalus claimed that he was still considered a holy man. How does a society change? What are the
consequences of the end of the feud? How can individuals be change agents?
The Elements of Reasoning strategy provides stimulating thought and
motivation for students to arrive at a verdict as to who or what is to blame for the tragic
deaths of Romeo and Juliet. Students with the same verdicts will work in small cooperative
groups to create an outline for a persuasive essay (See below). Although students
collaborate on developing their outlines for the essays -- including a thesis statement, reasons
to support the thesis and sufficient evidence to support the reasons -- they will each write
their own essay.
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Who or What is to Blame for the Tragic Deaths of Romeo and Juliet?
SMALL GROUP BRAINSTORMING SESSION
We blame _________________________________________________________
(Each group will find a different character or event guilty, for ex., Friar Lawrence, the Nurse, the feud, Fate, Romeo
and/or Juliet, Tybalt, the Capulets and/or the Montagues, Balthazar, the society, Mercutio, etc.)
As a group, compose a convincing thesis statement:
(Compose this AFTER you have come up with your three reasons and supporting evidence.)
List three reasons why your thesis is correct. For each reason, provide at least
two concrete examples, facts, statistics, quotations, etc. to support your
reasons.
1. _____________________________________________________________
A.______________________________________________________
B. ______________________________________________________
2. _____________________________________________________________
A.______________________________________________________
B. ______________________________________________________
3. _____________________________________________________________
A.______________________________________________________
B. ______________________________________________________
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PRODUCT:
Persuasive Essay: Who or what is to Blame for the Tragic Deaths of Romeo and Juliet?
The essay can be assessed using the Teacher Assessment of Student Thinking, adapted from
Paul’s (1992) Standards of Reasoning.
Teacher Assessment of Student Thinking
Directions: Rate each standard according to the following:
3= Strong
2=Adequate
1=Needs Improvement
1. Are there enough reasons to make a convincing argument? One or two reasons might not
be enough to show your point of view so as to be understood fully.
2. Is the evidence correct or right?
3. Are the reasons clear? Is the meaning understandable by anyone who reads or hears the
argument? Are they explained well, or is more information needed?
4. Are specific reasons or examples included, rather than vague generalizations?
5. Are the arguments and reasons strong and important? Or do they seem to be included just
to have something to say?
6. Is the thinking logical? Do the paragraphs follow an understandable path, or is it just a
disconnected group of statements? Do the sentences seem to go together and to be in the
right order?
Note: A rubric for persuasive writing can also be used; however, this assessment focuses on the actual
thinking that went into the writing.
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Lesson 11
Timeless Voices, Timeless Themes / Culminating Collaborative Presentation
OBJECTIVE/CONTENT:
Students identify, analyze, and apply knowledge of theme in literary works from various genres and
provide evidence from the works to support understanding; apply knowledge of the concept that the
theme or meaning of a selection represents a universal view or comment on life or society and
provide support from the text for the identified theme; apply knowledge of the concept that a text
can contain more than one theme; analyze and compare universal themes characteristic of literature
from different cultures across time and genre. (ELA RL2 a,c,g)
PROCESS:
Each student selects a character or author from a literary work read in English 9, immerses
him/herself in that character or author, joins together with four other students to create a cast of
characters that includes an author/moderator, and engages in a meaningful discussion about one of
the themes discussed this year. (Imagine this is an expanded version of Larry King Live, not The Jerry
Springer Show.)

Themes:
o “Teach your children well…” Parent/Child Relationships
o Husband/Wife Relationships
o The Role of Women in Society
o The Effects of Violence – Individual/Family/Society
o Communication between individuals and groups
o Prejudice and Tolerance; Ignorance and Knowledge; Cowardice and Courage
o The Role of Fate in our Lives
o The Power of Love
o Religion/God and the individual/society
o What is a hero?
For example, consider a panel of Heck Tate (To Kill A Mockingbird), Prince Escalus (Romeo and
Juliet), Penelope (Odyssey), and Atticus Finch (To Kill A Mockingbird), moderated by William
Shakespeare (Romeo and Juliet), discussing the effects of violence in society.
Once students have chosen their characters and theme, they immerse themselves in those characters
and analyze the character’s motivation as well as personal, family, societal, and cultural history. Also,
examine what the characters have said and done as well as what others have said about them.
Students may dress for the part; however, this is a test of knowledge of substance, not style. A great
outfit will not help if you are clueless about the character.
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PRODUCT:
Fifteen minute presentations. Appointments will be set up by the moderators; performances may
take place in the media center either during class time or before/after school.
In addition to the performance, each member must submit a written component:
Written Component: Author/Moderator
The author speaking as moderator must prepare a one-page “Proposal” that states the
chosen theme and purpose of the panel. A list of the characters chosen from selected works should
be provided with a rationale on why each was chosen in relation to the theme OR why a particular
theme was chosen based on the selection of characters. Bulleted information may serve as
data/evidence/quotations from the text to support the discussion.
Written Component: Character
Each character must submit a one-page “Press Release” that includes biographical
information, the most important event(s) of the character’s life/life changing event(s), and an
explanation of how the character fits into the context of the panel’s conversation about a particular
theme. Bulleted information may serve as data/evidence/quotations from the text to support the
discussion.
See rubric on next page.
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Rubric for Collaborative Presentation
Criteria
GROUP GOALS
1
Needs Improvement
Works toward group goals
only when prompted.
Contributes to the group
only when prompted.
Needs occasional reminders
to be sensitive to the feelings
of others.
2
Progressing
Works toward group
goals with occasional
prompting.
3
Proficient
Works toward group
goals without
prompting
Contributes to the group
with occasional
prompting.
Accepts and fulfills
individual role within
the group
Shows sensitivity to the
feelings of others.
Shows sensitivity to
the feelings of others.
Contributes
knowledge, opinions,
and skills without
prompting.
.
CRITICAL
THINKING
Offers biased interpretations
of evidence, statements,
questions, information, or
points of view of others.
Fails to identify or hastily
dismisses strong, relevant
counter-arguments; Ignores
or superficially evaluates
obvious alternative points of
view.
ELOCUTION
Misinterprets evidence,
statements, questions,
etc.
Usually interprets
evidence, statements,
questions, etc.
Fails to identify strong,
relevant counterarguments;
Ignores or superficially
evaluates obvious
alternative points of
view.
Identifies relevant
arguments;
Offers analyses and
evaluations of obvious
alternative points of
view.
Argues using fallacious or
irrelevant reasons, and
unwarranted claims; Does
not justify results or
procedures, nor explain
reasons.
Draws unwarranted or
fallacious conclusions.
Draws warranted,
non-fallacious
conclusions.
Justifies few results or
procedures, seldom
explains reasons.
Justifies some results
or procedures,
explains reasons.
Regardless of the evidence or
reasons, maintains or defends
views based on self-interest
or preconceptions.
Regardless of the
evidence or reasons,
maintains or defends
views based on selfinterest or
preconceptions.
Uses a low voice;
incorrectly pronounces
words; audience
members have difficulty
hearing presentation.
Fair-mindedly follows
where evidence and
reasons lead.
Mumbles, incorrectly
pronounces words, and
speaks too quietly for
audience to hear.
Uses a clear voice;
majority of
pronunciation is
correct; most audience
members can hear
presentation.
4
Exemplary
Consistently and actively
works toward group goals
Willingly accepts and
fulfills individual role
within the group
Is sensitive to the feelings
and learning needs of all
group members
Consistently and actively
contributes knowledge,
opinions, and skills
Values the knowledge,
opinion and skills of all
group members and
encourages their
contribution
Consistently and accurately
interprets evidence,
statements, questions, etc.
Identifies the salient
arguments;
Thoughtfully analyzes and
evaluates major alternative
points of view.
Draws warranted,
judicious, non-fallacious
conclusions.
Justifies key results and
procedures, explains
assumptions and reasons.
Fair-mindedly follows
where evidence and
reasons lead.
Uses a clear voice; correct,
precise pronunciation of
words so that all audience
members can hear
presentation.
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Resources
Entire play online at MIT.edu: http://www-tech.mit.edu/Shakespeare/romeo_juliet/full.html
In Search of Shakespeare: http://www.pbs.org/shakespeare/educators/language/lessonplan.html
Inspiration Software, Inc.: http://www.inspiration.com/
O’Brien, P. Shakespeare Set Free. New York, NY: Washington Square Press, 1993.
Romeo and Juliet: Insight into Ourselves:
http://www97.intel.com/en/ProjectDesign/UnitPlanIndex/RomeoAndJuliet
Shakespeare Resource Center at bardweb.net: http://www.bardweb.net/index.html
Traci’s Lists of Ten: http://www.tengrrl.com/tens/041.shtml):
Web English Teacher: http://www.webenglishteacher.com/shakesonnets.html