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Teaching Romeo and Juliet to ESL Students in ... - learningdomain

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<strong>Students</strong> should be prepared <strong>and</strong> be aware of the alternation of verse <strong>and</strong> prose <strong>to</strong>underst<strong>and</strong> the real mean<strong>in</strong>g beh<strong>in</strong>d the l<strong>in</strong>es.Shakespeare’s plays are ma<strong>in</strong>ly written <strong>in</strong> blank verse, that is, unrhymed l<strong>in</strong>es withten syllables long alternat<strong>in</strong>g an unstressed <strong>and</strong> a stressed syllable. These l<strong>in</strong>es aredivided <strong>in</strong><strong>to</strong> five feet, each foot consist<strong>in</strong>g of two syllables. This pattern is called iambicpentameter. (McEvoy, 40) The rhythm of this pattern is de-DUM de-DUM de-DUMde-DUM de-DUM as <strong>in</strong> Benvolio’s speech <strong>in</strong> 1.1.59-60:Benvolio: I DO but KEEP the PEACE. Put UP thy SWORDOr MAnage IT <strong>to</strong> PART these MEN with ME.<strong>Students</strong> will learn that those words with stressed syllables are the most mean<strong>in</strong>gfulwords <strong>in</strong> the l<strong>in</strong>e. As students are read<strong>in</strong>g some exchanges, they will notice thatShakespeare deviates from the regular pattern by vary<strong>in</strong>g the stress or by writ<strong>in</strong>g l<strong>in</strong>eslonger or shorter than ten syllables. Some of these variations are called short l<strong>in</strong>es,shared l<strong>in</strong>es, long l<strong>in</strong>es, alex<strong>and</strong>r<strong>in</strong>e, femen<strong>in</strong>e end<strong>in</strong>g, trochee, spondee amongothers. These patterns have a purpose <strong>in</strong> Shakespeare. (McEvoy, 45) These variationswill be expla<strong>in</strong>ed <strong>to</strong> students as they appear <strong>in</strong> the l<strong>in</strong>es. For example, let’s analyze oneof these variations <strong>and</strong> the way we will deal with it with students: the shared l<strong>in</strong>e.A shared l<strong>in</strong>e is a pattern used <strong>in</strong> the play. It is a metric l<strong>in</strong>e which is shared by twoac<strong>to</strong>rs <strong>and</strong> they can not breath or pause till it is completed. In all their speech <strong>in</strong> 1.2,<strong>Romeo</strong> <strong>and</strong> <strong>Juliet</strong> are almost shar<strong>in</strong>g l<strong>in</strong>es s<strong>in</strong>ce they share their thoughts of love. This isthe purpose <strong>in</strong> here: they are so close <strong>in</strong> love that they can even share the l<strong>in</strong>es <strong>to</strong>gether.<strong>Romeo</strong> is at the Capulet’s orchard watch<strong>in</strong>g a light at <strong>Juliet</strong>’s w<strong>in</strong>dow:<strong>Romeo</strong>: He jests at scars that never felt a woundBut soft, what light through yonder w<strong>in</strong>dow breaks?It is the east <strong>and</strong> <strong>Juliet</strong> is the sun . . .That I might <strong>to</strong>uch that cheek.<strong>Juliet</strong>:Ay me.<strong>Romeo</strong>: She speaks. (2.2.1-25)In this speech <strong>Romeo</strong> is talk<strong>in</strong>g <strong>to</strong> the audience by means of regular iambicpentameter l<strong>in</strong>es because he is out of control <strong>and</strong> crazy about what he is feel<strong>in</strong>g. He is<strong>to</strong>o immature for love <strong>and</strong> does not know how <strong>to</strong> deal with it, so he speaks <strong>in</strong> a rhe<strong>to</strong>rical<strong>and</strong> sophisticated way.RhymeApart from the unrhymed poetry, <strong>in</strong> Shakespeare there is also an extensive use of rhyme.Rhyme is used <strong>to</strong> <strong>in</strong>dicate the end of a scene or <strong>to</strong> stress some emphatic l<strong>in</strong>es that58

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