ENG 4140 DMWA Berggren
Scene Study Schedule
GROUP 1 — Dogberry and the watch – Much Ado About Nothing, 3.5, 4.2.
Neil Cooperman
Urszula Glowacka
Erica Lin
Elizabeth Steele
DUE: Wednesday, 21 September
In the very center of Much Ado, Dogberry and the Watch are introduced. What is their social function? How well do they accomplish it? Describe the peculiarities of their speech and speculate on the ways in which Dogberry and the Watch mirror some of the more serious elements in the play.
GROUP 2 – Harry le Roy and friends — Henry V, 4.1.91-229
Amanda Martinsquillace
Natalee Ortiz
RIckki SaNoguiera
DUE: Monday, 17 October
What is the king’s purpose in this scene? How does he handle himself in his discussion with the common soldiers he encounters? In what ways does this scene complicate the presentation of Henry as hero? How do you evaluate the differing philosophical and moral arguments that the men pursue?
GROUP 3 –The importance of language in the proposal scene – Henry V, 5.2.98-260 Antoinette Davis
Natalie Martinez
Raquel Ortega
DUE: Wednesday, 19 October
Language is one of the central themes of the tetralogy that culminates in Henry V. How does the scene between Harry and Kate emphasize the geopolitical and the personal importance of linguistic skills? What does their conversation show us about the qualities that made Henry V so legendary and successful? What view of marriage emerges here? How well does Kate handle her difficulties?
GROUP 4 – Helen and Paris at home – Troilus and Cressida, 3.1
Lyndsey Anderson
Tessa Coneys
Christopher Lopez
Ronie Sharma
DUE: Wednesday, 2 November
Why does Pandarus say to the servant, “I am too courtly, and thou too cunning” (3.1.28-29)? How do their misunderstandings contribute to the view of human interaction in this play? Discuss the use of music in this scene and consider how it sets the tone for the characterization of Helen and Paris.
GROUP 5 – Then ‘tis wars – Troilus and Cressida, 5.3
Eric Favolaro
Lorey Giblin
Nelson Martinez
Ilya Mavashev
DUE: Wednesday, 9 November
Troilus is inserted here into one of the most famous scenes in Homer’s Iliad (Book 22). How does the conversation among the members of Priam’s family crystallize their attitudes toward war and underscore the tensions that the siege of Troy has exacerbated? How has Pandarus been diminished in the aftermath of Cressida’s departure?
GROUP 6 — – Macbeth and the murderers – Macbeth, 3.1.48-142
Chenda Hong
Raquel Rodriguez
Teshia Sooklal
DUE: Monday, 21 November
What arguments does Macbeth use to convince the murderers of the necessity of eliminating Banquo and Fleance? Why should he feel that he has to convince them at all, given his power? Examine Macbeth’s language closely to see if you can find echoes of earlier speeches in the play. Look ahead to 3.3 and comment on its relationship to 3.1.
GROUP 7 – – The physician in Shakespeare’s world – Macbeth, 5.1, 5.3
Mariam Elba
Val Epure
Mary Iannone
DUE: Monday, 28 November
“Doctors of Physic” have short but important roles in many of Shakespeare’s late plays. What kind of position does this physician have in Macbeth’s castle? What does he help the audience understand? How does his presence in the play underscore some of its deepest themes and motifs?
GROUP 8 – The seacoast of Bohemia – The Winter’s Tale 3.3
Andy Chu
Jenny Desrosiers
Sharon Han
Alan Smit
DUE: Wednesday, 7 December
Two of the most famous stage directions in Shakespeare’s plays occur in this scene. The first, above, is implicit in the scene; the second is present in the Folio edition. What is so “notorious” about this scene setting (see the footnote)? Do you think this resulted from Shakespeare’s ignorance of geography? What other explanations may be possible? The second occurs after l. 56. What kind of stagecraft does it presume? What kind of audience reaction do you think it would arouse? What purposes do you think this whole scene, and this particular moment, serve in the play?
