COURSE PLAN MERCHANT OF VENICE

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1 COURSE PLAN MERCHANT OF VENICE COURSE PLAN METHODOLOGY: by William Shakespeare, a Signet Classic, is represented by the abbreviation. The specific daily assignments are outlined in the following lines indicated by the 1, 2, 3, 4 and 5 abbreviations. Discuss this book in light of being both literature and theatre with the student. Each week s introduction includes the chapters that will be read that week, instructions for literary devices and elements of fiction that the student will encounter during the week, and a written assignment. The chapter study questions, chapter vocabulary and glossary are located in the Junior High Literature Study Question booklets available for purchase from Kolbe Academy. Discuss the literary devices and elements of fiction with the student using the worksheets included with these junior high literature course plans. We suggest reading the weekly written assignment to the student at the beginning of the week. The student should write the assignment down on a note card (to be used as a bookmark) so that he can think about the assignment as he reads. The written assignments are suggested to be completed by the following Monday. As the teacher, be sure to review the final exam now to ensure all concepts are covered with your student as he reads the book. The as literature and as theatre The course plan for differs from most course plans in the fact that the text is not simply literature. There is more emphasis on the theatrical aspect, the fact that this text is a play, and that it was written not by an author, but a playwright. Therefore special care should be taken by the parent to not only aid the student in the literary interpretation but also interpretation in the theatrical sense. Sam Smiley, a foremost playwriting expert, says about plays: Although theatre most often begins with someone writing a play script, it never reaches its fruition until actors perform the play. A written play, by itself, isn t a completed work of art, but an important ingredient for the creation of drama. Theatre doesn t come into being unless performed live onstage. In script form, a play remains merely a potential work of art. 1 Plays, especially Shakespearean works, do not include extensive narrative action. In most cases, there is little or no stage direction. This fact can be overwhelming for a student who may not be able to visualize the characters behavior, how they move or what their gestures are as they speak. Without proper visual aids, the student can become bored with the bulk of the play and perhaps miss many of the subtle meanings in Shakespeare s writing. Therefore, special attention has been made to incorporate the literary aspect with the theatrical. Catholicism and the Jewish Religion It is important to note that the Catholic Church does not condone anti-semitism or the blaming of all Jews for the death of Christ on the Cross, a death he chose freely to bring about salvation. Parents may wish to review the following from Nostra Aetate (Declaration on the Relation of the Church to Non-Christian Religions) with the student before reading this play: Thus the Church of Christ acknowledges that, according to God's saving design, the beginnings of her faith and her election are found already among the Patriarchs, Moses and the prophets. She professes that all who believe in Christ Abraham's sons according to faith are included in the same Patriarch's call, and 1 Sam Smiley, Playwriting: the structure of action Copyright 2011 All Rights Reserved J1

2 COURSE PLAN likewise that the salvation of the Church is mysteriously foreshadowed by the chosen people's exodus from the land of bondage. The Church, therefore, cannot forget that she received the revelation of the Old Testament through the people with whom God in His inexpressible mercy concluded the Ancient Covenant. Nor can she forget that she draws sustenance from the root of that well-cultivated olive tree onto which have been grafted the wild shoots, the Gentiles. Indeed, the Church believes that by His cross Christ, Our Peace, reconciled Jews and Gentiles, making both one in Himself. The Church keeps ever in mind the words of the Apostle about his kinsmen: "theirs is the sonship and the glory and the covenants and the law and the worship and the promises; theirs are the fathers and from them is the Christ according to the flesh" (Rom. 9:4-5), the Son of the Virgin Mary. She also recalls that the Apostles, the Church's main-stay and pillars, as well as most of the early disciples who proclaimed Christ's Gospel to the world, sprang from the Jewish people. As Holy Scripture testifies, Jerusalem did not recognize the time of her visitation, nor did the Jews in large number, accept the Gospel; indeed not a few opposed its spreading. Nevertheless, God holds the Jews most dear for the sake of their Fathers; He does not repent of the gifts He makes or of the calls He issues such is the witness of the Apostle. In company with the Prophets and the same Apostle, the Church awaits that day, known to God alone, on which all peoples will address the Lord in a single voice and "serve him shoulder to shoulder" (Soph. 3:9) True, the Jewish authorities and those who followed their lead pressed for the death of Christ; still, what happened in His passion cannot be charged against all the Jews, without distinction, then alive, nor against the Jews of today. Although the Church is the new people of God, the Jews should not be presented as rejected or accursed by God, as if this followed from the Holy Scriptures. All should see to it, then, that in catechetical work or in the preaching of the word of God they do not teach anything that does not conform to the truth of the Gospel and the spirit of Christ. Furthermore, in her rejection of every persecution against any man, the Church, mindful of the patrimony she shares with the Jews and moved not by political reasons but by the Gospel's spiritual love, decries hatred, persecutions, displays of anti-semitism, directed against Jews at any time and by anyone. Besides, as the Church has always held and holds now, Christ underwent His passion and death freely, because of the sins of men and out of infinite love, in order that all may reach salvation. It is, therefore, the burden of the Church's preaching to proclaim the cross of Christ as the sign of God's all-embracing love and as the fountain from which every grace flows. Shakespeare s Place in Theatre History At the time of Shakespeare s prolific career, the theater was undergoing quite a change. Before the Reformation, theater was always rooted in religion. There are several historians who believe that theater was born through Greek religious practices. The Catholic Church saved the performing arts during the medieval period with Stations of the Cross; feast days such as Corpus Christi and the Feast of Fools, and the popular Guilds who presented plays about the bible and lives of the saints. Unfortunately, there was a shift in the content of plays with the onslaught of the Black Death and the following Protestant Revolution which believed theater to be sinful through falsehood. This suffocating new society was the atmosphere within which Shakespeare created some of his most famous plays in theater history. Shakespeare took the morality plays which he had seen as a boy and buried them in the context of his work; many of his plays can be interpreted in several ways. However, with a firm foundation in theology, a Catholic student can discover these plays to be true morality plays. Copyright 2011 All Rights Reserved J2

3 COURSE PLAN Characters Shylock The Jewish moneylender who stands for justice untempered by mercy. Antonio The merchant whose money lending policies contrast with those of Shylock. His agreement to become surety for a loan from Shylock for the benefit of his friend, Bassanio, may cost him his life. Bassanio One of Portia s suitors. He accepts a loan from Shylock in order to pay suit to the fair Portia, but must pass a test of his worthiness in order to win her. Gratiano A friend of Bassanio s whose reasonable talk steadies his friend. He is in love with Nerissa. Lorenzo A friend of Bassanio and Antonio s. He falls in love with Jessica. Lancelot Gobbo Shylock s servant who later serves Bassanio. He is a comic character. Portia A wealthy heiress of marriageable age. Both beautiful and intelligent, she can only be won by a man who discovers her true worth. It is her wisdom, mercy and daring that save Antonio. Nerissa Portia s lady-in-waiting. She guides Portia through the use of reason. She is in love with Gratiano. Jessica Shylock s daughter who falls in love with Lorenzo. The Prince of Morocco One of Portia s suitors. The Prince of Aragon One of Portia s suitors. The Duke of Venice The character in the play that stands for law and justice. Copyright 2011 All Rights Reserved J3

4 COURSE PLAN WEEK 1 Book Weekly Breakdown Goals and Notes for the Week Notes Act I Scenes I-III, Act II Scenes I-IV Have the student look up all the vocabulary words for Act I Scenes I-III and Act II Scenes I-IV in the glossary prior to reading. Study questions may be completed as the student reads or at the end of the week when reading has been completed. Literary Devices used this week: discuss definitions of metaphor and character, with the student (use literary device worksheet included in the syllabus). Students will encounter questions on these devices in the study question booklet. Student Daily Assignments Parent Daily Guidelines 1 Act I Scene I Have the student read Act I Scene I and do Study Questions. Act I Scene I: Place: Venice, at street. In Act I scene I, Shakespeare is concentrating on developing the characters and the bonds of friendship and camaraderie between them. Shakespeare utilizes the character of Antonio as a Christ figure, an image that is used throughout the play. In the beginning, Antonio finds himself saddened, but has no real reason for his sadness. As his friend Solanio tries to cheer him, it is revealed that Antonio is a merchant who has several ships abroad. Gratiano points out that it is unhealthy and even sinful for Antonio to mope about, as stated in lines Gratiano also shows that Antonio is very fortunate because he is alive and loved by friends such as himself. The main exposition of the scene is that Bassanio needs a great sum of money so as to be eligible as a suitor to Portia. Antonio says that he will help him find the money in any way he can. In lines , Shakespeare uses the characters of Antonio and Bassanio to represent the roles of Christ and a sinner. Copyright 2011 All Rights Reserved J4

5 COURSE PLAN 2 Act I Scenes II & III Have the student read Act I Scenes II & III and do Study Questions. Act I Scene II: Place: Belmont, Portia s house. Portia is talking with Nerissa. The scene mimics the first scene by Portia complaining of melancholy. This time, instead of Gratiano being the voice of reason, Nerissa puts Portia in her place. Portia explains that her sadness comes from the fact that she cannot choose her own suitor. Her father has posthumously set up a system of choosing her future husband using three coffers or boxes. Pay special attention to the way that Portia describes each suitor and where they come from. Act I Scene III: Place: Venice, a public place. Bassanio is literally haggling with Shylock for the money needed to win Portia. This scene is very important to the rest of the play because this is where Shylock creates his famous bond with Bassanio and Antonio. What is more important is that Shakespeare is contrasting two cultures, Judaism and Christianity. Metaphorically, Shakespeare is contrasting the Old Testament to the New Testament, or an old covenant with the new. The best example of this contrast is when Shylock speaks of Jacob s bond from the Old Testament. Shylock interprets Jacobs years of servitude as a bond of interest that must be fulfilled (line 74-75). However, his interpretation is questioned by Bassanio who is representative of Christianity (lines 88-89). This biblical discussion was a tool utilized by Shakespeare to express the difference between the two cultures, not only in theology, but also to further the social contrast of Shylock, who lends money at high interest, versus Antonio, who lends money without interest. Another metaphor that Antonio uses is the fact that Shylock compares his gold to sheep and rams (line 93). The value of money to Shylock is not in use but solely in amount. This conflict between the Old Covenant and the New Covenant shall continue to be a theme throughout the play. Copyright 2011 All Rights Reserved J5

6 COURSE PLAN 3 4 Act II Scenes I & II Act II Scenes III & IV Have the student read Act II Scenes I & II and do Study Questions. Act II Scene I: Place: Belmont, Portia s house. Scene I of Act II introduces the audience to the Prince of Morocco and begins to show how Portia s suitor is chosen. A new rule of the process is also revealed to the reader and the Prince. If he fails in the test and chooses the wrong casket, then he is not allowed to marry anyone after the test (line 39-43). Therefore, this venture is a dangerous choice for the prince, whose duty is to carry on his royal bloodline through marriage and lineage. Act II Scene II: Place: Venice, a street. In Scene II, the reader is introduced to Lancelot Gobbo, a Christian servant to Shylock. Generally, Shakespeare breaks up the dramatic action of his plays by inserting smaller side plots that are humorous and that also reflect the larger theme of the play. Like the nurse, Lancelot can be seen as a Raisonneur, a messenger or voice of reason for the audience. While there is comical action in this scene, Lancelot is also a figure of mankind, who is torn between his conscience and temptation. He has two options before him: to be an obedient servant and to stay in Shylock s service or to run away and to sin in disobedience. Truly this is the Old Testament teaching of servitude and obedience. When Lancelot s father enters, Shakespeare again utilizes comic action to cloak more theological truths. Old Gobbo does not recognize his son he literally cannot see him, nor does he recognize his voice. Metaphorically, Old Gobbo represents the forefathers of the Christian Church such as Abraham; Judaism, however, follows only these forefathers and cannot see beyond the Old Testament; they cannot see the Son or the new Covenant that is before them. In this interpretation, Lancelot is a Christ figure based on the fact that he is a Jew s man or servant to a Jewish man, just as Christ served his fellow Jews in the New Testament through examples like the washing of the Apostles feet. Ultimately, Lancelot is offered a new choice, to serve Bassanio. This new choice is likened to the choice to humanity, to choose between the old way of serving a harsh master or to serve a merciful but poor master (lines ). In this way, Bassanio now becomes the Christ figure, offering a new life to Lancelot. Have the student read Act II Scenes III & IV. (No study questions or vocab). Act II Scene III: Place: Venice, Shylock s house. Jessica is a figure of mankind in this scene as Lancelot was in the last. She is torn between the old way that she was raised and her love for a Christian, Lorenzo. However, by the end of the scene, just as Lancelot chose to follow Bassanio, she chooses to follow Lorenzo and become a Christian. Act II Scene IV: Place: Venice, a street. Scene IV serves as an exposition to the audience of Jessica s and Lorenzo s flight from her father. Stress to the student the importance of their plans. Jessica s fortune, which she is to bring, is a foreshadowing of future storyline. Copyright 2011 All Rights Reserved J6

7 COURSE PLAN 5 Written Assignment Have the student work on the Written Assignment (due Monday). Written Assignment: In playwriting there is a word used to label a certain character type called a Raisonneur or voice of reason. Find the raisonneurs in Act 1, Scenes I & II and compare them. Week 1 Grade Book Assignments Include (A) Points Earned (B) Possible Points A/B x100 =% (C) Study Questions Vocabulary Literary Device Written Assignment Other: Week 1 Average Add up column C & divide by number of included assignments = % Copyright 2011 All Rights Reserved J7

8 COURSE PLAN WEEK 2 Book Weekly Breakdown Goals and Notes for the Week Notes Act II Scenes V-IX, Act III Scenes I-II Have the student look up all the vocabulary words for Act II Scenes V-IX and Act III Scenes I & II in the glossary prior to reading. Study questions may be completed as the student reads or at the end of the week when reading has been completed. Literary Devices used this week: discuss definitions of hyperbole, symbolism (symbol), irony, metaphor, and allusion with the student (use literary device worksheet included in the syllabus). Students will encounter questions on these devices in the study question booklet. Student Daily Assignments Parent Daily Guidelines 1 Act II Scenes V & VI Have the student read Act II Scenes V and VI and do Study Questions. Act II Scene V: Place: Venice, before Shylock s house. Again Shakespeare uses Lancelot Gobbo to lighten the general mood of the play in this scene. Shylock has now found out that Young Gobbo will no longer serve him and is being taunted by his former servant (line 6-10). Shylock also instructs Jessica to keep his house shut up and locked in the midst of the masquerading revelers. Act II Scene VI: Place: Venice, before Shylock s house. Lorenzo s plot of elopement with Jessica is revealed. His friends wear masques to act as if there is a party passing through the street. Jessica joins the group dressed as a young torchbearer. At this point, Gratiano points out that Jessica is gentle and unlike other Jews. However, Lorenzo points out that because he loves her and because she is wise and true, her religion does not dictate how she treats others nor how she should be treated (lines 52-57). Copyright 2011 All Rights Reserved J8

9 COURSE PLAN 2 3 Act II Scenes VII & VIII Act II Scene IX Have the student read Act II Scenes VII & VIII and do Study Questions. Act II Scene VII: Place: Belmont, Portia s house. In this scene, Shakespeare shows the reader how Portia is to gain a husband. The Prince is given a choice between three caskets. The correct casket contains a portrait of Portia. Metaphorically, each casket represents a different choice for the suitors. Each man must choose Portia in a reasonable way, however, the Prince chooses her for her beauty and desirability. He does not speak of her value as a woman or a human; therefore she is degraded to that of a piece of gold. The scroll in the gold casket represents greed in man s life, the worms that are mentioned (line 69, page 40) are man s means of physical decay as greed is the means of his spiritual decay. Ultimately, because of his greed, the Prince s married life has died he can no longer marry, and therefore his bloodline and kingdom shall end. Act II Scene VIII: Place: Venice, a street. Shakespeare again uses comedy to break up the tension from the last scene. Salerio and Solanio are talking about all of the events in Venice, most importantly the elopement of Jessica and Lorenzo. While Solanio s description of Lorenzo is comical and quite silly, there is more to his joke. Shylock has become so obsessed with his stolen ducats that he makes no mention of whether he is worried about his daughter s well being. He has replaced the value of his daughter, which is priceless, with his ducats. Have the student read Act II Scene IX and do Study Questions. Act II Scene IX: Place: Belmont, Portia s house. In this scene, the next suitor, the Prince of Aragon, is to try his luck at winning Portia. Take special notice of what Portia says of herself in lines The Prince of Aragon chooses the silver casket, because he believes that he is deserving of Portia s hand. The prince s flaw is that he is self-centered; he believes he is better than other men. Because of his self-centeredness, he finds a portrait of a blinking idiot in the silver casket. The portrait is really a reflection of the prince and his inability to be humble; he has become the blinking idiot who is blinded by his ego. Since he is self-absorbed, he is unfit to wed Portia. He would be unable to make sacrifices. Copyright 2011 All Rights Reserved J9

10 COURSE PLAN 4 Act III Scenes I & II Have the student read Act III Scenes I & II and do Study Questions. Act III Scene I: Place: Venice, a street. Salerio and Solanio are discussing Antonio s losses at sea. The money that would have been earned from the wrecked ship was to pay off Shylock s bond. Now, as Shylock points out, Antonio will have to fulfill the ultimate bond and give a pound of flesh. Shylock believes he has been disgraced, and his famous speech continues to point out that he is as human as all Christians. He has been persecuted and offended and his answer is revenge. Shylock is continuing to follow in the Old Testament example of an eye for an eye. After Salerio and Solanio leave, Shylock s friend, Tubal, arrives with news of his daughter. Again, pay close attention to the fact that Shylock does not appear relieved over the news that his daughter was found; rather first he bemoans his diamonds. In fact, his anger and vengeful nature have so overcome him that he wishes Jessica dead. Ultimately, he is disappointed that he cannot have revenge (lines 89-91). Note how the information Tubal gives is overlapped between Jessica s behavior and Antonio s misfortune. Tubal seems to feed Shylock s need for revenge and he only fuels it further by telling him of her wasteful spending on a monkey. Ultimately, now that Shylock knows that Antonio s losses are true, he will have his pound of flesh, and he believes his anger shall be quelled. Act III Scene II: Place: Belmont, Portia s house. Bassanio has arrived at Belmont to win Portia s hand. She greets him by entreating him to stay longer before choosing, perhaps even hinting that she will teach him how to choose correctly. Portia knows which casket contains her portrait, and is willing to go against her father s will in order to marry Bassanio. However, he refuses to go against the rules because he is confident that he will choose correctly. Before continuing with his choice, he professes his love for Portia. Notice the exchanges between these characters and how they differ from past suitors. The ultimate value that Shakespeare has placed on the leaden casket is that Portia s virtues and humanity are far more valuable than the riches that covered the other caskets (lines ). Also notice the pointer that Shakespeare leaves at lines , referring to the ring which Portia gives Bassanio. This ring will be important later in the play. Gratiano also confesses his love for Portia s maid, Nerissa, and proposes marriage. However, the happy news is soon hampered by news of Antonio s misfortune. Copyright 2011 All Rights Reserved J10

11 COURSE PLAN 5 Written Assignment Have the student work on the Written Assignment (due Monday). Written Assignment: (Optional) If you are able to see a production of this play, whether video or live, take special care to see how the actor portraying Shylock performs his famous speech. There are several ways that this speech can be interpreted by actors and therefore produce various results for the audience. Name the production that you saw, who the actor was, who played Shylock, and what you thought of his performance. Did you find that you were moved to pity by his speech? Did you agree with him? If you disagreed with the performance, for what reasons did you find it disagreeable? Week 2 Grade Book Assignments Include (A) Points Earned (B) Possible Points A/B x100 =% (C) Study Questions Vocabulary Literary Device Written Assignment Other: Week 2 Average Add up column C & divide by number of included assignments = % Copyright 2011 All Rights Reserved J11

12 COURSE PLAN WEEK 2 Book Weekly Breakdown Goals and Notes for the Week Notes Act II Scenes V-IX, Act III Scenes I-II Have the student look up all the vocabulary words for Act II Scenes V-IX and Act III Scenes I & II in the glossary prior to reading. Study questions may be completed as the student reads or at the end of the week when reading has been completed. Literary Devices used this week: discuss definitions of hyperbole, symbolism (symbol), irony, metaphor, and allusion with the student (use literary device worksheet included in the syllabus). Students will encounter questions on these devices in the study question booklet. Student Daily Assignments Parent Daily Guidelines 1 Act II Scenes V & VI Have the student read Act II Scenes V and VI and do Study Questions. Act II Scene V: Place: Venice, before Shylock s house. Again Shakespeare uses Lancelot Gobbo to lighten the general mood of the play in this scene. Shylock has now found out that Young Gobbo will no longer serve him and is being taunted by his former servant (line 6-10). Shylock also instructs Jessica to keep his house shut up and locked in the midst of the masquerading revelers. Act II Scene VI: Place: Venice, before Shylock s house. Lorenzo s plot of elopement with Jessica is revealed. His friends wear masques to act as if there is a party passing through the street. Jessica joins the group dressed as a young torchbearer. At this point, Gratiano points out that Jessica is gentle and unlike other Jews. However, Lorenzo points out that because he loves her and because she is wise and true, her religion does not dictate how she treats others nor how she should be treated (lines 52-57). Copyright 2011 All Rights Reserved J12

13 COURSE PLAN 2 3 Act II Scenes VII & VIII Act II Scene IX Have the student read Act II Scenes VII & VIII and do Study Questions. Act II Scene VII: Place: Belmont, Portia s house. In this scene, Shakespeare shows the reader how Portia is to gain a husband. The Prince is given a choice between three caskets. The correct casket contains a portrait of Portia. Metaphorically, each casket represents a different choice for the suitors. Each man must choose Portia in a reasonable way, however, the Prince chooses her for her beauty and desirability. He does not speak of her value as a woman or a human; therefore she is degraded to that of a piece of gold. The scroll in the gold casket represents greed in man s life, the worms that are mentioned (line 69, page 40) are man s means of physical decay as greed is the means of his spiritual decay. Ultimately, because of his greed, the Prince s married life has died he can no longer marry, and therefore his bloodline and kingdom shall end. Act II Scene VIII: Place: Venice, a street. Shakespeare again uses comedy to break up the tension from the last scene. Salerio and Solanio are talking about all of the events in Venice, most importantly the elopement of Jessica and Lorenzo. While Solanio s description of Lorenzo is comical and quite silly, there is more to his joke. Shylock has become so obsessed with his stolen ducats that he makes no mention of whether he is worried about his daughter s well being. He has replaced the value of his daughter, which is priceless, with his ducats. Have the student read Act II Scene IX and do Study Questions. Act II Scene IX: Place: Belmont, Portia s house. In this scene, the next suitor, the Prince of Aragon, is to try his luck at winning Portia. Take special notice of what Portia says of herself in lines The Prince of Aragon chooses the silver casket, because he believes that he is deserving of Portia s hand. The prince s flaw is that he is self-centered; he believes he is better than other men. Because of his self-centeredness, he finds a portrait of a blinking idiot in the silver casket. The portrait is really a reflection of the prince and his inability to be humble; he has become the blinking idiot who is blinded by his ego. Since he is self-absorbed, he is unfit to wed Portia. He would be unable to make sacrifices. Copyright 2011 All Rights Reserved J13

14 COURSE PLAN 4 Act III Scenes I & II Have the student read Act III Scenes I & II and do Study Questions. Act III Scene I: Place: Venice, a street. Salerio and Solanio are discussing Antonio s losses at sea. The money that would have been earned from the wrecked ship was to pay off Shylock s bond. Now, as Shylock points out, Antonio will have to fulfill the ultimate bond and give a pound of flesh. Shylock believes he has been disgraced, and his famous speech continues to point out that he is as human as all Christians. He has been persecuted and offended and his answer is revenge. Shylock is continuing to follow in the Old Testament example of an eye for an eye. After Salerio and Solanio leave, Shylock s friend, Tubal, arrives with news of his daughter. Again, pay close attention to the fact that Shylock does not appear relieved over the news that his daughter was found; rather first he bemoans his diamonds. In fact, his anger and vengeful nature have so overcome him that he wishes Jessica dead. Ultimately, he is disappointed that he cannot have revenge (lines 89-91). Note how the information Tubal gives is overlapped between Jessica s behavior and Antonio s misfortune. Tubal seems to feed Shylock s need for revenge and he only fuels it further by telling him of her wasteful spending on a monkey. Ultimately, now that Shylock knows that Antonio s losses are true, he will have his pound of flesh, and he believes his anger shall be quelled. Act III Scene II: Place: Belmont, Portia s house. Bassanio has arrived at Belmont to win Portia s hand. She greets him by entreating him to stay longer before choosing, perhaps even hinting that she will teach him how to choose correctly. Portia knows which casket contains her portrait, and is willing to go against her father s will in order to marry Bassanio. However, he refuses to go against the rules because he is confident that he will choose correctly. Before continuing with his choice, he professes his love for Portia. Notice the exchanges between these characters and how they differ from past suitors. The ultimate value that Shakespeare has placed on the leaden casket is that Portia s virtues and humanity are far more valuable than the riches that covered the other caskets (lines ). Also notice the pointer that Shakespeare leaves at lines , referring to the ring which Portia gives Bassanio. This ring will be important later in the play. Gratiano also confesses his love for Portia s maid, Nerissa, and proposes marriage. However, the happy news is soon hampered by news of Antonio s misfortune. Copyright 2011 All Rights Reserved J14

15 COURSE PLAN 5 Written Assignment Have the student work on the Written Assignment (due Monday). Written Assignment: (Optional) If you are able to see a production of this play, whether video or live, take special care to see how the actor portraying Shylock performs his famous speech. There are several ways that this speech can be interpreted by actors and therefore produce various results for the audience. Name the production that you saw, who the actor was, who played Shylock, and what you thought of his performance. Did you find that you were moved to pity by his speech? Did you agree with him? If you disagreed with the performance, for what reasons did you find it disagreeable? Week 2 Grade Book Assignments Include (A) Points Earned (B) Possible Points A/B x100 =% (C) Study Questions Vocabulary Literary Device Written Assignment Other: Week 2 Average Add up column C & divide by number of included assignments = % Copyright 2011 All Rights Reserved J15

16 COURSE PLAN WEEK 3 Book Weekly Breakdown Goals and Notes for the Week Notes Act III Scenes III-V, Act IV Scenes I-II Have the student look up all the vocabulary words for Act III Scenes III-V, Act IV Scenes I-II, and Act V Scene I in the glossary prior to reading. Study questions may be completed as the student reads or at the end of the week when reading has been completed. Literary Devices used this week: discuss definitions of moral, character, allusion, symbolism (symbol), extended metaphor, with the student (use literary device worksheet included in the syllabus). Students will encounter questions on these devices in the study question booklet. Student Daily Assignments 1 2 Act III Scenes III-IV Act III Scenes V Copyright 2011 All Rights Reserved J16 Parent Daily Guidelines Have the student read Act III Scenes III-IV and do Study Questions. Act III Scene III: Place: Venice, a street. Shylock has Antonio arrested. He tells the jailer tell me not of mercy (line 1). This line describes Shylock s entire character; he is an unmerciful person. The fact that he lacks mercy is his true flaw, not the fact that he is Jewish, like so many scholars misinterpret. This characterization also continues Shakespeare s idea of contrasting the Old Testament with the New Testament, that the Old Testament lacks in mercy. To further this idea, Antonio represents the New Testament in line 20 where he has shown mercy to Shylock through bootless prayers. Solanio points out that the law shall change the outcome of their bond, however, the law cannot be changed as Antonio points out in line 26. The Duke and the law are bound by justice to carry out the true judgment, and in this case they are simply doing their job. Act III Scene IV: Place: Belmont, Portia s house. In Scene IV, Portia begins to reveal a plan to Nerissa and Balthazar, her messenger. In viewing this scene in a performance, it may be interesting to the student to see how Portia behaves. Is she nervous or frantic? What do you think she is planning? This scene mainly serves for exposition but is very important in the resolution of the play. Have the student read Act III Scene V and do Study Questions. Act III Scene V: Place: Belmont, a garden. Scene V is another example of Shakespeare relieving the tension of the play. Lancelot and Jessica are debating her salvation. Lancelot believes that nothing can save Jessica because she was born to a Jew. Lancelot fails to realize that Jessica s salvation is not based on birth, but on choice and grace. Jessica defends her salvation by showing that marriage is a door to salvation: I shall be saved by my husband. He hath made me a Christian (lines 28-29).

17 COURSE PLAN 3 Act IV Scenes I & II Have the student read Act IV Scenes I & II and do Study Questions. Act IV Scene I: Place: Venice, a court of Justice. Act V begins at Antonio s trial. The Duke begins the trial by pointing out the true character of Shylock. His speech ends with the most important point of the play the fact that Shylock is void of mercy. It is important to point out that the Duke makes no mention of Shylock s religion, rather his character and the negative choices he has made. Antonio supports this speech with his speech, again not speaking of Shylock s religion but of his rage that fuels his life. The Duke makes one last attempt to convince Shylock to change his mind; he appeals to virtues. The Duke s role now has become one likened to Pontius Pilate, as he is only to judge the case based on justice and the letter of the law. This plea contrasts the earlier description that the Duke gave of Shylock, which is full of vices. However, it is not only ignored by Shylock, but only feeds his anger as he curses the city of Venice and wishes ill upon it. This final cursing shows the progression of hate that has been growing inside his soul. He began the play by simply disliking Antonio for business related reasons, then his anger turned on his own daughter, Jessica, to the point of wishing her dead, and the final act of hatred is that he wishes an entire city to crumble. When asked why he dislikes Antonio, Shylock appeals to animal instinct. Shylock believes that there is no reason to hate Antonio, only that it is in his nature to dislike him as it is in some people s nature to dislike certain foods or animals. However, Bassanio points out that Every offense is a hate at first, meaning that being annoyed with someone does not warrant a wish for their death. Now, Shylock appeals to justice, and his bond is likened to the ownership of a slave or animal. Portia now enters dressed as a young lawyer. Her speech on mercy is one of Shakespeare s most famous speeches. She appeals to Shylock s cry of justice by pointing out that there is no salvation through pure justice. This speech exemplifies the New Testament, where Christ s teachings on justice are tempered by constant mercy, while the Old Testament demands justice and yet is void of mercy, and therefore void of salvation for all of humanity. However, this last plea is useless, and Shylock holds to the Old Testament ideals, and he demands his bond. As Antonio prepares for his fate, he becomes the ultimate Christ figure as he states at the end of his speech, For if the Jew do cut but deep enough, I ll pay it instantly with all my heart. At this point, the scene reaches its denouement. Portia reveals that Shylock may indeed take his bond of a pound of flesh, but not a drop of blood, and that if Shylock takes more than a pound of flesh, then he shall lose all that he owns. This final sentence represents the outcome of the Old Testament teaching. By refusing mercy to Antonio and killing him, Shylock loses both spiritually and materially. Also, Portia points out that by Venice law, Shylock is the true offender by seeking the life of another. To make amends, Shylock must give up his bond, receive the punishment necessary, and become a Christian. Antonio proposes that Shylock s punishment shall be to give his estate and all he owns to Jessica and accept her once more as his daughter. The scene ends with Portia and Nerissa demanding payment by means of the rings that they gave Bassanio and Gratiano. Ultimately, this act can be seen as the women testing the faith of their husbands. The rings represent the covenant of marriage and can be interpreted as the New Covenant made between the Church and Christ. Act IV Scene II: Place: Venice, a street. Scene II furthers the last plot development of the exchanged rings. Copyright 2011 All Rights Reserved J17

18 COURSE PLAN 4 5 Act V Scene I Written Assignment Have the student read Act V and do Study Questions. Act V Scene I: Place: Belmont, a garden by Portia s house. The final scene of the play ends at Belmont with Lorenzo and Jessica waiting for Portia s return. Lorenzo begins with the lines, The moon shines bright, referencing the peace and calm of the night. This is a fitting setting for the ending of the play because things have been set right and are as they were meant to be. There are several more mentions throughout this last scene of nature and the moon. Even after Portia enters, she remarks Peace! how the moon sleeps with Endymion and would not be awaked. The final conflict is resolved between Portia, Nerissa, and their husbands, who unknowingly gave their rings back. The symbolism of the rings can be interpreted as the bond not only between husband and wife, but also between the Church and sinner. By giving the rings away, Bassanio and Gratiano are giving up their faith and their commitment; they have broken the bonds that they made. Their choice is a form of excommunication as stated by Portia, By heaven, I will ne er come in your bed until I see the ring! She explains the importance of the ring, which is a metaphor for the Church. This charge of marital excommunication is quite grievous, but Shakespeare is still able to inject some humor by an inside joke with the audience as Portia exclaims, Now by mine honor which is yet mine own, I ll have that doctor for mine bedfellow. Ultimately, mercy once again prevails as the two husbands honestly confess and beg for forgiveness, which is accepted by Portia and Nerissa. Through mercy, the wives explain their plot and take back their husbands. Have the student work on the Written Assignment (due Monday). Written Assignment: Why does mercy become the thronéd monarch better than his crown? To what is mercy compared when it seasons justice? Review Portia s famous speech in Act IV, Sc. 1, ll and answer the question why it is that mercy is more valuable in a monarch than awe and majesty or dread and fear. You may add your assessment of why this speech is so well-loved. Week 3 Grade Book Assignments Include (A) Points Earned (B) Possible Points A/B x100 =% (C) Study Questions Vocabulary Literary Device Written Assignment Other: Week 3 Average Add up column C & divide by number of included assignments = % Copyright 2011 All Rights Reserved J18

19 COURSE PLAN WEEK 4 Book Weekly Breakdown Goals and Notes for the Week Notes Book Report Review Final Exam Book Report and Final Exam. This week s main focus should be on composition. The student should focus on the writing and perfecting of the book report; more than one draft may be necessary. This assignment can be applied to the composition grade. Please see the syllabus portion of the Literature course for guidance on writing a book report appropriate for 7 th or 8 th grade. Student Daily Assignments Parent Daily Guidelines The student should work on his book report. 1 Book Report Book Report Book Report Review Final Exam Review your student s report to make sure everything he has written supports his thesis statement, and the entire paper has a gentle flow from one supported idea to the next. Check for spelling, grammar, and punctuation errors. The student should rewrite the final draft book report neatly if the he is writing it in long hand. Encourage the student to go over the study questions, vocabulary, character lists, and other notes he has taken while reading the book in order to prepare for the final exam. If you did not do so upon starting this book, be sure to review the exam ahead of time to ensure all concepts are covered with the student. Administer the final exam to the student. Week 4 Grade Book Assignments Include (A) Points Earned (B) Possible Points A/B x100 =% (C) Book Report Final Exam Other: Week 4 Average Add up column C & divide by number of included assignments = % Copyright 2011 All Rights Reserved J19

20 ASSIGNMENT ANSWER KEY WEEK 1: Written Assignment: In playwriting there is a word used to label a certain character type called a Raisonneur or voice of reason. Find the raisonneurs in Act 1, Scenes I & II and compare them. Answers will vary. Gratiano and Nerissa are the raisonneurs. WEEK 2: Written Assignment: (Optional) If you are able to see a production of this play, whether video or live, take special care to see how the actor portraying Shylock performs his famous speech. There are several ways that this speech can be interpreted by actors and therefore produce various results for the audience. Name the production that you saw, who the actor was, who played Shylock, and what you thought of his performance. Did you find that you were moved to pity by his speech? Did you agree with him? If you disagreed with the performance, for what reasons did you find it disagreeable? This essay is meant to be written if the student views the play whether live or on video. It is meant to increase the student s awareness of how the character of Shylock behaves. By seeing this speech performed, the student will see certain nuances of Shylock s character that may have been lacking by reading the text. The answers may vary but ultimately this exercise is a critique of the character and how it is presented in the live form. WEEK 3: Written Assignment: Why does mercy become the thronéd monarch better than his crown? To what is mercy compared when it seasons justice? Review Portia s famous speech in Act IV, Sc. 1, ll and answer the question why it is that mercy is more valuable in a monarch than awe and majesty or dread and fear. You may add your assessment of why this speech is so well-loved. Mercy transforms the merciful one much more than any adornment, even if that adornment is a crown. The crown is a symbol of temporal power, but mercy may bear eternal fruit. A king, who by virtue of his office, has many opportunities to be merciful, may grow in his subjects estimation the more merciful he becomes. Mercy, under such circumstances, is rightly compared to God s practice of mercy. Awe and majesty inspire respect; dread and fear inspire obedience, but mercy inspires love. Many people love this speech because it captures the profound nature of mercy in a dramatic situation. Copyright 2011 All Rights Reserved J20

21 FINAL EXAM Grade: /114 Part I: Identify. Give a description and brief character analysis of each of the characters. (3 points each) 1. Antonio 2. Portia 3. Shylock 4. Bassanio 5. Jessica Part II: Answer the multiple choice question. (3 points each) 6. Why must Bassanio borrow money from Antonio? a) to be able to court Portia b) to buy a villa c) to pay his gambling debts d) to buy a new sword 7. What is Portia s relationship with Nerissa? a) friend b) an enemy c) a lady in waiting or maid d) a clown for Portia s entertainment 8. If the amount cannot be paid back, what has Shylock requested as another bond? a) the conversion Bassanio and Antonio b) 3000 ducats c) 6000 ducats d) a pound of Antonio s flesh 9. Who does Lancelot Gobbo work for? a) Antonio b) Bassanio c) Shylock d) Portia 10. What has Jessica bought with the turquoise ring that she took from her father? a) a new gown b) another ring c) a monkey d) a dagger Part II: Short Answer. Answer in complete sentences giving as much detail as possible. Omit one or do all for extra credit. (4 points each) 11. Who is the author of? 12. What is the main theme of the play? 13. Why does Bassanio call gold hard food for Midas? 14. What is the significance of using caskets and what is each casket made of? 15. Shylocks speech in Act III Scene I is one of the most famous monologues in theater. Explain the significance of his speech and whether his argument is convincing. 16. How is Portia to win a husband? 17. In playwriting there is a word used to label a certain character type called a Raisonneur or voice of reason, find the raisonneurs in these two scenes and compare them. 18. After Jessica elopes with Lorenzo, how is her relationship with her father changed? What does shylock say about his daughter and is he right? 19. Can the judgment of Antonio be likened to the judgment of Christ before Pontius Pilot? 20. How is Lancelot Gobbo like Shylock? Use a quote from each character to prove or disprove your argument. 21. What is the significance of the rings that Portia and Nerissa give their husbands? Part III: Essay. This should be a minimum of three paragraphs with examples or quotes from the text to support your answer. (30 points) There is a struggle in between Christianity and Judaism. Compare and contrast this struggle through the themes of the Old Testament and New Testament covenants and the relationships of Mercy and Justice. Copyright 2011 All Rights Reserved J21

22 FINAL EXAM ANSWER KEY Part I: Identify. (3 points each) 1. Antonio is Bassanio s friends, a merchant of Venice, who is disliked by Shylock because he lends money gratis or interest free. He takes a loan from shylock so that Bassanio may travel to Belmont and win Portia s hand in Marriage. He can be considered a Christ figure for his sacrifices that he makes and the debt of near death that he takes on. 2. Portia is a lady of high birth who must marry based on a method of choice developed by her now deceased father. Her character is intelligent as she later saves Antonio with her logic, but she can be also seen as a metaphor for the Blessed Virgin Mary and/or heaven. Portia is also the object of Bassanio s affections. 3. Shylock is the Antagonist of the play who dislikes Antonio for his interest free loans. He is a money lender who gives Antonio a bond of 3000 ducats. When the bond cannot be paid Shylock demands Antonio s life in the form of the second part of the bond in which he shall get a pound of Antonio s flesh. 4. Bassanio is the friend of Antonio and a suitor to Portia. He begins the play by asking for a loan from Antonio in order to win Portia s hand. In fact, the main plot of the play, Antonio s bond, is a result of Bassanio s need for money. 5. Jessica is the daughter of Shylock, who falls in love with the Christian Lorenzo, and eventually elopes to Belmont, converts to Christianity and marries Lorenzo. Part II: Answer the multiple choice question. (3 points each) 6. a 7. c 8. d 9. c 10. c Part II: Short Answer. (4 points each) 11. William Shakespeare 12. Mercy 13. Bassanio is referring to the infamous fable of King Midas who had a golden touch. King Midas was unable to eat because when he touched the food it turned to gold. The fable s moral was that indeed Midas was rich, but also unhappy and rather hungry. In comparison to Bassanio s plight, if he chooses gold, he may be rich but gold is not what he wants nor the riches of the world, rather he desires the love and hand of Portia. (line102, page 55) 14. The caskets can represent two forms of death, either death in vice or death of self. They are made out of lead, silver and gold. 15. Shylock s speech gives the reader an insight into the character of the antagonist of this play. The reader can agree that Shylock is human and deserves to be treated on the same level as anyone else. However, his speech is devoid of true virtues, he is imploring the reader to like him based on being human, not on his behavior, choices or actions. In fact, though most of the speech is touching, Shylock destroys any sympathy that the reader can have for him by seeking vengeance and ending his speech in anger. 16. The suitors must pick from one of three caskets, the correct one contains Portia s picture. If they pick the wrong casket they must leave and never marry. (lines page 49) 17. Nerissa and Gratiano 18. Shylock makes several references of anger towards his daughter. He makes no mention of her safety and does not seem to worry about her but rather his ducats. 19. The Duke represents the Pontius Pilot, one who is bound by the law and unable to save the accused. Shylock represents the Pharisees who called for Christ s death. More examples can be found Copyright 2011 All Rights Reserved J22

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