Shakespeare's Sonnets

Brief Shakespeare Biography

The Structure and Language of a Shakespearean Sonnet

Sonnet 29






Sonnet 73

Sonnet 116

Sonnet 130

Shakespeare's Sonnets with annotations Use this information with citations.

Summary & Analysis of "The Prologue" from The Canterbury Tales

 

General Prologue

from The Canterbury Tales Study Guide, GradeSaver

"When April comes with his sweet, fragrant showers, which pierce the dry ground of March, and bathe every root of every plant in sweet liquid, then people desire to go on pilgrimages."

Thus begins the famous opening to The Canterbury Tales. The narrator (a constructed version of Chaucer himself) is first discovered staying at the Tabard Inn in Southwark (in London), when a company of twenty-nine people descend on the inn, preparing to go on a pilgrimage to Canterbury. After talking to them, he agrees to join them on their pilgrimage.

Yet before the narrator goes any further in the tale, he describes the circumstances and the social rank of each pilgrim. He describes each one in turn, starting with the highest status individuals.

The Knight is described first, as befits a 'worthy man' of high status. The Knight has fought in the Crusades in numerous countries, and always been honored for his worthiness and courtesy. Everywhere he went, the narrator tells us, he had a 'sovereyn prys' (which could mean either an 'outstanding reputation', or a price on his head for the fighting he has done). The Knight is dressed in a 'fustian' tunic, made of coarse cloth, which is stained by the rust from his coat of chainmail.

The Knight brings with him his son, The Squire, a lover and a lusty bachelor, only twenty years old. The Squire cuts a rather effeminate figure, his clothes embroidered with red and white flowers, and he is constantly singing or playing the flute. He is the only pilgrim (other than, of course, Chaucer himself) who explicitly has literary ambitions: he 'koude songes make and wel endite' (line 95).

The Yeoman (a freeborn servant) also travels along with the Knight's entourage, and is clad in coat and hood of green. The Yeoman is excellent at caring for arrows, and travels armed with a huge amount of weaponry: arrows, a bracer (arm guard), a sword, a buckler, and a dagger as sharp as a spear. He wears an image of St. Christopher on his breast.

Having now introduced the Knight (the highest ranking pilgrim socially), the narrator now moves on to the clergy, beginning with The Prioress, called 'Madame Eglantine' (or, in modern parlance, Mrs. Sweetbriar). She could sweetly sing religious services, speaks fluent French and has excellent table manners. She is so charitable and piteous, that she would weep if she saw a mouse caught in a trap, and she has two small dogs with her. She wears a brooch with the inscription 'Amor vincit omnia' ('Love conquers all'). The Prioress brings with her her 'chapeleyne' (secretary), the Second Nun.

The Monk is next, an extremely fine and handsome man who loves to hunt, and who follows modern customs rather than old traditions. This is no bookish monk, studying in a cloister, but a man who keeps greyhounds to hunt the hare. The Monk is well-fed, fat, and his eyes are bright, gleaming like a furnace in his head.

The Friar who follows him is also wanton and merry, and he is a 'lymytour' by trade (a friar licensed to beg in certain districts). He is extremely well beloved of franklins (landowners) and worthy woman all over the town. He hears confession and gives absolution, and is an excellent beggar, able to earn himself a farthing wherever he went. His name is Huberd.

The Merchant wears a forked beard, motley clothes and sat high upon his horse. He gives his opinion very solemnly, and does excellent business as a merchant, never being in any debt. But, the narrator ominously remarks, 'I noot how men hym calle' (I don't know how men call him, or think of him).
 
The Clerk follows the Merchant. A student of Oxford university, he would rather have twenty books by Aristotle than rich clothes or musical instruments, and thus is dressed in a threadbare short coat. He only has a little gold, which he tends to spend on books and learning, and takes huge care and attention of his studies. He never speaks a word more than is needed, and that is short, quick and full of sentence (the Middle-English word for 'meaningfulness' is a close relation of 'sententiousness').

The Man of Law (referred to here as 'A Sergeant of the Lawe') is a judicious and dignified man, or, at least, he seems so because of his wise words. He is a judge in the court of assizes, by letter of appointment from the king, and because of his high standing receives many grants. He can draw up a legal document, the narrator tells us, and no-one can find a flaw in his legal writings. Yet, despite all this money and social worth, the Man of Law rides only in a homely, multi-coloured coat.

A Franklin travels with the Man of Law. He has a beard as white as a daisy, and of the sanguine humour (dominated by his blood). The Franklin is a big eater, loving a piece of bread dipped in wine, and is described (though not literally!) as Epicurus' son: the Franklin lives for culinary delight. His house is always full of meat pie, fish and meat, so much so that it 'snewed in his hous of mete and drynke'. He changes his meats and drinks according to what foods are in season.

A Haberdasher and a Carpenter, a Weaver, a Dyer and a Tapycer (weaver of tapestries) are next described, all of them clothed in the same distinctive guildsman's dress. Note that none of these pilgrims, in the end, actually tell a tale.

A Cook had been brought along to boil the chicken up with marrow bones and spices, but this particular Cook knows a draught of ale very well indeed, according to the narrator. The Cook could roast and simmer and boil and fry, make stews and hashes and bake a pie well, but it was a great pity that, on his shin, he has an ulcer.

A Shipman from Dartmouth is next - tanned brown from the hot summer sun, riding upon a carthorse, and wearing a gown of coarse woolen cloth which reaches to his knees. The Shipman had, many times, drawn a secret draught of wine on board ship, while the merchant was asleep. The Shipman has weathered many storms, and knows his trade: he knows the locations of all the harbors from Gotland to Cape Finistere. His shape is called 'the Maudelayne'.

A Doctor of Medicine is the next pilgrim described, clad in red and blue, and no-one in the world can match him in speaking about medicine and surgery. He knows the cause of every illness, what humor engenders them, and how to cure them. He is a perfect practitioner of medicine, and he has apothecaries ready to send him drugs and mixtures. He is well-read in the standard medical authorities, from the Greeks right through to Chaucer's contemporary Gilbertus Anglicus. The Doctor, however, has not studied the Bible.

The Wife of Bath was 'somdel deef' (a little deaf, as her tale will later expand upon) and that was a shame. The Wife of Bath is so adept at making cloth that she surpasses even the cloth-making capitals of Chaucer's world, Ypres and Ghent, and she wears coverchiefs (linen coverings for the head) which must (the narrator assumes) have 'weyeden ten pound'. She had had five husbands through the church door, and had been at Jerusalem, Rome and Boulogne on pilgrimage. She is also described as 'Gat-tothed' (traditionally denoting lasciviousness), and as keeping good company, she knows all the answers about love: 'for she koude of that art the olde daunce' (she knew the whole dance as far as love is concerned!).

A good religious man, A Parson of a Town, is next described, who, although poor in goods, is rich in holy thought and work. He's a learned man, who truly preaches Christ's gospel, and devoutly teaches his parishioners. He travels across his big parish to visit all of his parishioners, on his feet, carrying a staff in his hand. He is a noble example to his parishioners ('his sheep', as they are described) because he acts first, and preaches second (or, in Chaucer's phrase, 'first he wroghte, and afterward he taughte'). The narrator believes that there is no better priest to be found anywhere.

With the Parson travels a Plowman (who does not tell a tale), who has hauled many cartloads of dung in his time. He is a good, hard-working man, who lives in peace and charity, and treats his neighbor as he would be treated. He rides on a mare, and wears a tabard (a workman's loose garment).

A Miller comes next, in this final group of pilgrims (now at the bottom of the class scale!). He is big-boned and has big muscles, and always wins the prize in wrestling matches. There's not a door that he couldn't lift off its hinges, or break it by running at it head-first. He has black, wide nostrils, carries a sword and a buckler (shield) by his side, and has a mouth like a great furnace. He's good at stealing corn and taking payment for it three times. But then, Chaucer implies, there are no honest millers.

A noble Manciple (a business agent, purchaser of religious provisions) is the next pilgrim to be described, and a savvy financial operator. Though a common man, the Manciple can run rings round even a 'heep of lerned men'. The Manciple, his description ominously ends, 'sette hir aller cappe': deceived them all.

The Reeve, a slender, choleric man, long-legged and lean ("ylyk a staf"). He knows exactly how much grain he has, and is excellent at keeping his granary and his grain bin. There is no bailiff, herdsman or servant about whom the Reeve does not know something secret or treacherous; as a result, they are afraid of him 'as of the deeth'.

The Summoner is next, his face fire-red and pimpled, with narrow eyes. He has a skin disease across his black brows, and his beard (which has hair falling out of it) and he is extremely lecherous. There is, the narrator tells us, no ointment or cure, or help him to remove his pimples. He loves drinking wine which is as 'reed as blood', and eating leeks, onions and garlic. He knows how to trick someone.

Travelling with the Summoner is a noble Pardoner, his friend and his companion (in what sense Chaucer intends the word 'compeer', meaning companion, nobody knows) and the last pilgrim-teller to be described. He sings loudly 'Come hither, love to me', and has hair as yellow as wax, which hangs like flaxen from his head. He carries a wallet full of pardons in his lap, brimful of pardons come from Rome. The Pardoner is sexually ambiguous - he has a thin, boyish voice, and the narrator wonders whether he is a 'geldyng or a mare' (a eunuch or a homosexual).

The narrator writes that he has told us now of the estate (the class), the array (the clothing), and the number of pilgrims assembled in this company. He then makes an important statement of intent for what is to come: he who repeats a tale told by another man, the narrator says, must repeat it as closely as he possibly can to the original teller - and thus, if the tellers use obscene language, it is not our narrator's fault.

The Host is the last member of the company described, a large man with bright, large eyes - and an extremely fair man. The Host welcomes everyone to the inn, and announces the pilgrimage to Canterbury, and decides that, on the way there, the company shall 'talen and pleye' (to tell stories and amuse themselves). Everyone consents to the Host's plan for the game, and he then goes on to set it out.

What the Host describes is a tale-telling game, in which each pilgrim shall tell two tales on the way to Canterbury, and two more on the way home; whoever tells the tale 'of best sentence and moost solas' shall have supper at the cost of all of the other pilgrims, back at the Inn, once the pilgrimage returns from Canterbury. The pilgrims agree to the Host's suggestion, and agree to accord to the Host's judgment as master of the tale-telling game. Everyone then goes to bed.

The next morning, the Host awakes, raises everyone up, and 'in a flok' the pilgrimage rides towards 'the Wateryng of Seint Thomas', a brook about two miles from London. The Host asks the pilgrims to draw lots to see who shall tell the first tale, the Knight being asked to 'draw cut' first and, whether by 'aventure, or sort, or cas', the Knight draws the straw to tell the first tale. The pilgrims ride forward, and the Knight begins to tell his tale.

Analysis

The General Prologue was probably written early in the composition of the Canterbury Tales, and offers an interesting comparison point to many of the individual tales itself. Of course, it does not match up to the tales as we have them in a number of ways: the Nun's Priest and the Second Nun are not described, and, most significantly, the work as we have it does not reflect the Host's plan. For starters, the pilgrimage only seems to go as far as Canterbury (for the Parson's Tale) and only the narrator tells two tales on the way there, with all the other pilgrims telling only a single tale (and some who are described in the General Prologue not telling a tale at all).

We must, therefore, view the General Prologue with some hesitation as a comparison point to the tales themselves: it offers useful or enlightening suggestions, but they are no means a complete, reliable guide to the tales and what they mean. What the General Prologue offers is a brief, often very visual description of each pilgrim, focusing on details of their background, as well as key details of their clothing, their food likes and dislikes, and their physical features. These descriptions fall within a common medieval tradition of portraits in words (which can be considered under the technical term ekphrasis), Chaucer's influence in this case most likely coming from The Romaunt de la Rose.

Immediately, our narrator insists that his pilgrims are to be described by 'degree'. By the fact that the Knight, the highest-ranking of the pilgrims, is selected as the first teller, we see the obvious social considerations of the tale. Still, all human life is here: characters of both sexes, and from walks of life from lordly knight, or godly parson down to oft-divorced wife or grimy cook.

Each pilgrim portrait within the prologue might be considered as an archetypal description. Many of the 'types' of characters featured would have been familiar stock characters to a medieval audience: the hypocritical friar, the rotund, food-loving monk, the rapacious miller are all familiar types from medieval estates satire (see Jill Mann's excellent book for more information). Larry D. Benson has pointed out the way in which the characters are paragons of their respective crafts or types - noting the number of times the words 'wel koude' and 'verray parfit' occur in describing characters.

Yet what is key about the information provided in the General Prologue about these characters, many of whom do appear to be archetypes, is that it is among the few pieces of objective information - that is, information spoken by our narrator that we are given throughout the Tales. The tales themselves (except for large passages of the prologues and epilogues) are largely told in the words of the tellers: as our narrator himself insists in the passage. The words stand for themselves: and we interpret them as if they come from the pilgrims' mouths. What this does - and this is a key thought for interpreting the tales as a whole - is to apparently strip them of writerly license, blurring the line between Chaucer and his characters.

Thus all of the information might be seen to operate on various levels. When, for example, we find out that the Prioress has excellent table manners, never allowing a morsel to fall on her breast, how are we to read it? Is this Geoffrey Chaucer 'the author of The Canterbury Tales' making a conscious literary comparison to The Romaunt de la Rose, which features a similar character description (as it happens, of a courtesan)? Is this 'Chaucer' our narrator, a character within the Tales providing observation entirely without subtext or writerly intention? Or are these observations - supposedly innocent within the Prologue - to be noted down so as to be compared later to the Prioress' Tale?

Chaucer's voice, in re-telling the tales as accurately as he can, entirely disappears into that of his characters, and thus the Tales operates almost like a drama. Where do Chaucer's writerly and narratorial voices end, and his characters' voices begin? This self-vanishing quality is key to the Tales, and perhaps explains why there is one pilgrim who is not described at all so far, but who is certainly on the pilgrimage - and he is the most fascinating, and the most important by far: a poet and statesman by the name of Geoffrey Chaucer.

Geoffrey Chaucer and The Canterbury Tales

Biography of Geoffrey Chaucer

The Canterbury Tales Summary and Analysis

Introduction to the Middle Ages Era

The Middle Ages

Write down what you know about the medieval era of Britain. Watch this video and add to your notes.

Let's see how much you know about this era. History Buff: Middle Ages Quiz

Watch the videos below. Write down two questions (and answers) about important points in the video. (We will pause twice during the video.)

The High Middle Ages

Feudalism: the Medieval Way of Life

Relevant pages in The British Tradition: 70-79.

You will now be writing a short research PowerPoint presentation about the middle ages, using one of the research links below.

Middle Ages

Why Did Lady Godiva Take a Naked Horse Ride? 

How Knights Work

How Castles Work

How King Arthur Worked

How the Black Death Worked

Crusades

Free City

Guild

Miracle Plays

Working Women in the Middle Ages 

Creating citations for research: NoodleTools

Beowulf: Introduction, Discussion, and Analysis

Beowulf: an Epic Poem

Class-Live Lesson Plans

Attention Step: What are the sound rhythms and images associated with this Anglo-Saxon poem? What do modern scholars think of the significance of Beowulf?

"Beowulf and the Anglo-Saxons, Part 1"

Benjamin Bagby: Beowulf prepares for Grendel's coming

Beowulf (2007): the short version in 6 minutes

Beowulf

Seek the Highest First

Wholeness: The hero of an epic represents the highest ideals of its age, reflecting the group consciousness of the society. Beowulf is representative of a society in transition and represents both long-held and newly-adopted values. Ancient and eternal values reflect the most powerful, transcendental level of life, the source and goal of all existence.

Main Points

Beowulf	SCI
1.      Beowulf is a hero who possesses great strength, wisdom, courage, loyalty, generosity, and justice. As a hero, Beowulf naturally uses these praiseworthy qualities for the benefit of his society, overcoming those obstacles which block its fulfillment.	1.  All life-supporting qualities are contained within the self-referral field of pure consciousness, the home of all the Laws of Nature. 2.   By contacting the field of pure consciousness one’s actions spontaneously display life-supporting qualities and are naturally in accordance with the Laws of Nature. One spontaneously fulfills the need of the time.

The Battle with Grendel: "Julian Glover Reads Beowulf"

Beowulf and Grendel's Mother

The Anglo-Saxons: an overview

Anglo-Saxon Times

Write down what you know about the Anglo-Saxons. Watch this video and add to your notes.

"A Window on Anglo-Saxon Life": Watch this video and add to your notes.
 

One difficulty for archeologists in studying Anglo-Saxon times was that much of their building was done with wood.





Fact Sheet on the Anglo-Saxon: Listed are important facts about the Anglo-Saxon era. Using your textbook (page 1), fill in the required information. Study this information for an upcoming quiz.

1. Anglo-Saxon Village, Stow, Norfolk : Reconstruction of an Anglo-Saxon village.
   
2. Anglo-Saxon Dwelling: Here is a reconstruction that shows what an Anglo-Saxon home might have looked like.
3. Why are there differences in the reconstructions? How do these videos give insight into the times?
4. Writing and sharing: in what ways would your life in these times be easier or more difficult? The same or different.

Kensington Runestone Story: an interesting sidebar



Here are some more interesting websites:

Talbot's Fine Accessories: jewelry and clothing of the era

Anglo-Saxon Women: something besides swords and battle

The Life of an Anglo-Saxon Princess: about the opening of a tomb

 Here is a link about Anglo-Saxon times: Ravensgard Anglo-Saxon Culture. Find information to support ideas in your writing.

Beowulf Summary for ELL Students

ELL Assignment: For each section of the story (as indicated by white spacing and numbers), write a summary of what happens in that section. Depending on the length of the section, write 1-3 sentences of summary. Do your best to write with complete sentences, to spell correctly, and to use punctuation and grammar correctly.

Beowulf Summary

(1) The poem begins with a brief genealogy of the Danes. Scyld Shefing was the first great king of the Danes, known for his ability to conquer enemies. Scyld becomes the great-grandfather of Hrothgar, the king of the Danes during the events of Beowulf. Hrothgar, like his ancestors before him, is a good king, and he wishes to celebrate his reign by building a grand hall called Heorot. Once the hall is finished, Hrothgar holds a large feast. The revelry attracts the attentions of the monster Grendel, who decides to attack during the night. In the morning, Hrothgar and his thanes discover the bloodshed and mourn the lost warriors. This begins Grendel's assault upon the Danes.

(2) Twelve years pass. Eventually the news of Grendel's aggression on the Danes reaches the Geats, another tribe. A Geat thane, Beowulf, decides to help the Danes; he sails to the land of the Danes with his best warriors. Upon their arrival, Hrothgar's thane Wulfgar judges the Geats worthy enough to speak with Hrothgar. Hrothgar remembers when he helped Beowulf's father Ecgtheow settle a feud; thus, he welcomes Beowulf's help gladly.

(3) Heorot is filled once again for a large feast in honor of Beowulf. During the feast, a thane named Unferth tries to get into a boasting match with Beowulf by accusing him of losing a swimming contest. Beowulf tells the story of his heroic victory in the contest, and the company celebrates his courage. During the height of the celebration, the Danish queen Wealhtheow comes forth, bearing the mead-cup. She presents it first to Hrothgar, then to the rest of the hall, and finally to Beowulf. As he receives the cup, Beowulf tells Wealhtheow that he will kill Grendel or be killed in Heorot. This simple declaration moves Wealhtheow and the Danes, and the revelry continues. Finally, everyone retires. Before he leaves, Hrothgar promises to give Beowulf everything if he can defeat Grendel. Beowulf says that he will leave God to judge the outcome. He and his thanes sleep in the hall as they wait for Grendel.

(4) Eventually Grendel arrives at Heorot as usual, hungry for flesh. Beowulf watches carefully as Grendel eats one of his men. When Grendel reaches for Beowulf, Beowulf grabs Grendel's arm and doesn't let go. Grendel writhes about in pain as Beowulf grips him. He thrashes about, causing the hall to nearly collapse. Soon Grendel tears away, leaving his arm in Beowulf's grasp. He slinks back to his lair in the moors and dies.

(5) The Danes, meanwhile, consider Beowulf as the greatest hero in Danish history. Hrothgar's minstrel sings songs of Beowulf and other great characters of the past, including Sigemund (who slew a dragon) and Heremod (who ruled his kingdom unwisely and was punished). In Heorot, Grendel's arm is nailed to the wall as a trophy. Hrothgar says that Beowulf will never lack for riches, and Beowulf graciously thanks him. The horses and men of the Geats are all richly adorned, in keeping with Hrothgar's wishes.

(6) Another party is held to celebrate Beowulf's victory. Hrothgar's minstrel tells another story at the feast, the story of the Frisian slaughter. An ancient Danish king had a daughter named Hildeburh; he married her to a king of the Frisians. While Hnaef, Hildeburh's brother, visited his sister, the Frisians attacked the Danes, killing Hnaef and Hildeburh's son in the process. Hengest, the next leader of the Danes, desired vengeance, and in the spring, the Danes attacked the Frisians, killing their leader and taking Hildeburh back to Denmark.

(7) After this story is told, Wealhtheow presents a necklace to Hrothgar while pleading with her brother-in-law Hrothulf to help her two young sons if they should ever need it. Next she presents many golden treasures to Beowulf, such as necklaces, cups, and rings. Soon the feast ends, and everyone sleeps peacefully.

(8) In the night, Grendel's mother approaches the hall, wanting vengeance for her son. The warriors prepared for battle, leaving enough time for Grendel's mother to grab one of Hrothgar's counselors and run away. When Beowulf is summoned to the hall, he finds Hrothgar in mourning for his friend Aeschere. Hrothgar tells Beowulf where the creatures like Grendel live‹in a shadowy, fearful land within the moors.

(9) Beowulf persuades Hrothgar to ride with him to the moors. When they reach the edge of the moors, Beowulf calls for his armor, takes a sword from Unferth, and dives into the lake. After a long time, Beowulf reaches the bottom of the lake, where Grendel's mother is waiting to attack. Beowulf swings his sword, but discovers that it cannot cut her, so he tosses it away. They then wrestle until Beowulf spies a large sword nearby. He grabs it by the hilt and swings, killing Grendel's mother by slicing off her head. Still in a rage, Beowulf finds the dead Grendel in the lair and cuts off his head as a trophy. (illustrated sequence)

(10) As they wait, the Danes have given up all hope for Beowulf because he has been underwater for such a long time. They are shocked when Beowulf returns with Grendel's head and the hilt of the sword (which melted with the heat of Grendel's blood). They bear the hero and his booty back to Heorot, where another celebration takes place. Beowulf recounts his battle; Hrothgar praises him and gives him advice on being a king. A grand feast follows, and Beowulf is given more priceless treasures. The next morning, the Geats look forward to leaving Denmark. Before they leave, Beowulf promises aid for Hrothgar from the Danes. Hrothgar praises Beowulf and promises that their lands will have an alliance forever. As the Geats leave, Hrothgar finds himself wishing Beowulf would never leave.

(11) The Geats return with much rejoicing to their homeland, where their king Hygelac and his queen Hygd greet them. In an aside, the narrator compares Hygd to the queen of the ancient Offa, who is not tamed until Offa comes to subjugate her. Beowulf tells his lord the events of his trip to Denmark. In the process, he tells another story that had previously been unmentioned. Hrothgar betrothed his daughter Freawaru to a prince of the Heathobards in order to settle an old feud. Beowulf speculates that someone will goad this Heathobard prince to take vengeance upon the Danes for all their past wrongs. Hygelac praises Beowulf for his bravery and gives him half the kingdom. They rule the kingdom together in peace and prosperity. Hygelac is killed in a battle soon after, so Beowulf becomes king of the Geats and rules the kingdom well.

(12) In the fiftieth year of Beowulf's reign, a monster arises to terrorize the Geats. A treasure trove was left by an ancient civilization, which guarded it jealously until only one member of the race was left. After the last person's death, a fire-breathing dragon found the treasure and guarded it for three hundred years. One day, a slave stumbled upon the treasure and stole a cup as an offering to his lord. The dragon awakened to find something missing from his treasure, and began his rampage upon the Geats.

(13) One day, Beowulf learns that this dragon has destroyed his own great hall. This attack sends him into deep thought. Soon he orders a shield to use for battle, but not without a heavy heart at what may happen to him. He recalls Hygelac's death in battle and his own narrow escape from this battle. He recalls a number of battles he has seen as he travels to the dragon's lair with eleven of his thanes. The servant who stole the cup leads them to the lair.

(14) As they wait to attack the dragon, Beowulf recounts the Geat royal family's plight, in which Hygelac's oldest brothers killed each other and left their father to die of a broken heart. Beowulf says he served Hygelac well, and a sword (named Naegling) that he won while serving Hygelac will help him save the kingdom once again. Beowulf leads the charge to the dragon's cave. The shield protects him from the dragon's flames, but his men flee in fear, leaving only one man behind. This man is Wiglaf, Beowulf's kinsman through Ecgtheow. Wiglaf becomes angry, but swears that he will stay by Beowulf's side.

(15) Just then the dragon rushes up to them. Beowulf and the dragon swing at each other three times, finally landing mortal blows upon each other the last time. The dragon is beheaded, but Beowulf is bitten and has a mortal poison from the dragon flowing through his body as a result. Wiglaf bathes his lord's body as Beowulf speaks on the treasure. He says that Wiglaf should inherit it as his kinsman; then he dies.

(16) After his death, the cowards return, to be severely chastised by Wiglaf. He sends a messenger to tell the people of their king's death. The messenger envisions the joy of the Geats' enemies upon hearing of the death of Beowulf. He also says that no man shall ever have the treasure for which Beowulf fought. Wiglaf and Beowulf's thanes toss the dragon's body into the sea. They place the treasure inside a mound with Beowulf's body and mourn for "the ablest of all world-kings."

From GradeSaver 

Judge a British Book by Its Cover

Judge A Book By Its Cover is the internet's premier website for book reviews and synopses based totally on the book's cover.

Read the "About" page for your "book review" of a British book. Your assignment is to create a book review from the cover of a British book. Later we will learn more about the actual subject matter of the book.

This will give the class a chance to do the following:

1. Review essay writing
2. Gain an overview of the different eras of British literature
3. Gain a brief introduction to some of the British writing

Webpage view

Evaluation:

Content (50%):

• introduction identifies book and captures the interest
• body includes subject matter, characters, setting, and conflicts
• conclusion--call to action/take a point of view

Proofreading (50%)

• sentences, paragraphing, grammar
• punctuation
• neatness

The Tale of Two Cities

A Tale of Two Cities

Charles Dickens

Wholeness: In A Tale of Two Cities, Dickens expands the Victorian issues of reform, evolution, and self-knowledge to include the extremes of individual and society. The means and need to change for both individual and nation are explored. “Smaller and the smallest, larger than the largest.”

Main Points

A Tale of Two Cities

SCI

1. With the rise of education, the novel was very popular during this era and was used to promote the ideas and causes of the time.          2. Dickens combines realism and idealism to create a diversity of characters in the novel. Some characterizations became caricatures, the exaggeration emphasizing a particular trait and perhaps adding humor.         3. The use of “foils” or doubling allows Dickens to emphasize his important themes. The optimism of the age drives the choices of many of his characters.

1. Growth occurs outwardly (visibly) and inwardly (subtly).      2. In all spheres of living, we see that togetherness of differences is the nature of life.      3. Creative intelligene brings together opposite values--un-manifest and manifest, silent and active (colorless sap analogy).

 

A Tale of Two Cities: Vocabulary Development

From Memorize.com

A Tale of Two Cities Vocabulary 

Group 1 guillotine: wooden structure with a metal blade used for executions tumbrels: two-wheeled carts used to transport the condemned to their deaths tremulous: trembling cessation: stoppage, the end of activity piscatory: related to fish or fishermen lethargy: fatigue; state of tiredness provender: food or provisions inexorable: unstoppable, unalterable

Group 2 inscrutable: unreadable, hard to figure out lamentation: weeping, expression of grief pecuniary: financial mused: ponder, think about feigned: pretended incumbent: imposed as an obligation incommodious: inconvenient efficacy: effectiveness

Group 3 aphorism: an adage or short saying demur: a legal objection immolate: to sacrifice, as in burn at the stake asseveration: strong statement carrion: decaying flesh deprecatory: belittling, apologetic convivial: welcoming, friendly indictment: condemnation, accusation

Group 4 infamy: notoriety, disgrace unimpeachable: faultless, irreproachable plaintive: mournful slovenly: sloppy antipathy: hostility, dislike insolent: impudent, rude impediment: obstruction rejoinder: response

Group 5 stealthily: furtively, secretly despondency: dejection, hopelessness staid: sober, conservative imputation: a legal charge or accusation compunction: a mental discomfort, uneasiness emulative: imitative, copying escutcheon: a shield, which displays a coat of arms sumptuous: lavish, luxurious

Group 6 propitiate: to appease or conciliate obsequiousness: groveling behavior, pathetic eagerness to please trenchant: distinct, clear cut adjure: to command or charge under oath traversed: crossed or passed through zealous: passionate, fervent ascertained: determined, discovered spectre: ghost

Group 7 deferentially: respectfully moroseness: sadness, gloominess of mood incorrigible: unredeemable; uncorrectable in behavior ostentatious: showy, pretentious magnanimous: generous remonstrance: objection, protest self-abnegation: self-denial, lack of self-consideration ubiquitous: present everywhere at the same time

Group 8 altercation: loud quarrel sallow: unhealthily yellow assiduously: with great persistence and care transitory: fleeting, temporary irresolute: indecisive, unsure dubious: doubtful, uncertain superciliously: arrogantly, condescendingly amicably: agreeably, good-naturedly

A Tale of Two Cities Audio Book

A Tale of Two Cities (1935)

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7  

Part 8

Part 9  

Part 10
Part 11
Part 12
Part 13
Part 14
Part 15



Teaching A Tale of Two Cities