Handout for The Comedy of Errors, Acts 3-5

Below is the handout I wanted to give out in class to facilitate our discussion of the final three acts. Look over this and we'll discuss these ideas next week. Might help you with the upcoming Second Paper assignment! 

 I. COMEDY AS SOCIAL CONFUSION

From Susan Wills, The BBC Shakespeare Plays

1.) “You can do anything in the right place at the right time. If you do the right thing at the wrong time you look silly and the audience is pleased...Cellan-Jones [the director of the 1983 BBC Comedy of Errors] emphasized the public nature of the private actions: the beating of servants, the fetching of husbands home to lunch or to be exorcised of demons, the arrests happen in the street, for comedy depends on the public setting.”

From Arthur F. Kinney, “The Comedy of Errors: A Modern Perspective” (pp.179-195)

2.) “If it were not so funny, Shakespeare’s first comedy would read like a schizophrenic nightmare: identities are lost, split, engulfed, halucinated, imploded. Apparently solid citizens (solid at least to themselves) suffer ‘ontological uncertainty’ in acute forms. wandering about unrecognized by all they encounter” (182). 

II. COMEDY AS A MIRROR OF SOCIETY

1.) “...the gold chain that is disputed in The Comedy of Errors was just the sort of acquisition that Londoners themselves focused on; both identity and status depended increasingly on one’s material goods. Because the society was more and more cognizant that what one was was largely determined by what one owned, the chief emphasis in The Comedy of Errors on possessions, on being possessed (by marriage, witchcraft, or grace) and on being dispossessed unites the play’s Ephesus with Shakespeare’s London” (184-185).

From Act 3, Scene 2: Dromio discusses his “wife” to his master, Antipholus of Syracuse, pages 77-81

2.) DROMIO: Marry, sir, she’s the kitchen wench, and all grease, and I know not what use to put her to but to make a lamp of her and run from her by her own light. I warrant her rags and the tallow in them will burn a Poland winter. If she lies till doomsday, she’ll burn a week longer than the whole world” (77).

* QUESTION TO CONSIDER: In a modern production, these can still be very funny lines, as he’s horrified by his fat, dirty, oily, horrific wife (really, the other Dromio’s wife). But isn’t this also a bit misogynistic? He’s making of a woman by equating her to “the globe,” and relating different parts of her body to the stereotypes of different countries/people. What does this say about the attitudes of Shakespeare’s time, and their view of women as possessions which were either valued or devalued?

Blog Response #2 for The Comedy of Errors, Acts 3-5

Watch the video below after (or before) you finish reading The Comedy of Errors, and respond with a comment below. We might not be able to discuss the play next week, since snow might have other ideas; if so, I'll post something for you to do or think about on the blog (not another video--don't worry!). 

Recap of Tuesday's class: The Comedy of Errors, Acts 1-2

 

COMEDY BEGINS WITH TRAGEDY...

• Bevis, Page 50: The essence of humor is surprise: how does scene 1 set up this sense of surprise?
• Page 15: Also tension: Egeon has a day to raise the money, and his son is also out there looking…
• Page 19: Pathos—Antipholus' speech: to find them, I lose myself (the theme of identity!)

AND THEN TRAGEDY BECOMES FUNNY...

• One of the oldest comic plots: mistaken identities! Two pairs of twins (Antipholus and Dromio of Syracuse and Ephesus); imagine how many comic misunderstandings can ensue from the 'wrong' twin being in the 'right' place
• Page 19: The play takes an abrupt turn from tragedy to comedy the second the 'wrong' Dromio appears; that's the surprise that shocks the audience--and Shakespear never looks back
• Page 21-23: Dromios puns--most of the verbal humor of the servants are based in puns, since these were roles by the comedians in his theater; the audience loved to hear quick wit and verbal shenanigans (even though it's a little tiresome to us)
• Page 33: A funny moment using PROSE: note how Dromio tells the story of his encounter with Antipholus. It's not at all accurate and he makes his master sound foolish and insane. Is this how servants view their masters?

 THE COMEDY OF LANGUAGE 

• Note the THREE types of language: Blank Verse (non-rhyming verse); Rhyming Verse; and Prose. Characters switch from one to another without warning. Always ask yourself "why did they change?" The answer will help you understand the characters and/or how Shakespeare wants them played by the actors. 
• Page 29: The sisters almost always speak to each other in rhymes, but not at first...when do they switch and why?
• They start rhyming when they start bickering: it's a verbal tennis match, back and forth, each one trying to outdo the other. 
• Page 39: Note that Dromio speaks prose to Antipholus, and he soon answers in prose. He said before that Dromio is taking advantage of their friendly relationship. Maybe this shows their true intimacy, that he'll let his guard down and speak 'normally' to him? 
• Page 45-47: When Adriana addresses Antipholus for the first time, it's in Blank Verse! Why? Note her echoes of Antipholus, page 19 (similar metaphors
• BLANK VERSE is serious or formal--usually means we're being told something important, or the characters are being eloquent (as in Adriana's speeches). RHYMING VERSE is more playful and musical--not as important, but more about the sound and the way the characters 'sing' together. PROSE is never important, meaning it's almost never part of the plot...just jokes, puns, and nonsense.

For Next Week: The Comedy of Errors, Acts 1-2

REMEMBER: Take your time reading and break down large speeches into sentences, and look for the linguistic elements that make a character/speech come alive: rhyme, metaphor, puns, etc. What would this speech sound like read out loud (you can ever try it!). Why are people as much how they speak as what they say? 

Also, remember that much of the humor in this play comes from elaborate puns on a single word, and mistaken identities. See Q3 below, which ties this into Bevis' book (it goes VERY well with this play). You might not find it hilarious when reading, but imagine how this would look...and why is it funny when someone is mistaken for someone else? You might consider how often this happens in modern comedy.

Answer TWO of the following:

Q1: The Comedy of Errors opens more like a tragedy than a comedy: Egeon is given a death sentence, and tells a long and tragic story about how he lost his family. Why would Shakespeare open a play like this? How does this 'introduce' the comedy and silliness to follow? Why might it be an effective or even necessary opening for this play?

Q2: Usually, Shakespeare's characters speak blank verse, which is unrhymed iambic pentameter. But note that the women in the play, Adriana and Luciana, often rhyme with each other (see Act 2.1 especially). Why is this? How might this contrast with the language of the men in the play? 

Q3: In Chapter 3 of Bevis' Comedy: A Very Short Introduction, he writes, "we are most alive when indulging in a fantasy of ourselves" (43). How does this relate to the comic business of Act 2, where Antipholus is literally mistaken for a twin he's never met? Also, why does he so quickly decide to go along with it, merely because his wife insists that he is him? What might this say about the nature of our identity and other people's ability to choose it?

Q4: In Act 2, Scene 2, Shakespeare does something very subtle with the characters' language which underlines the comedy of the scene. It begins on the bottom of page 49 (Act 2, scene 2, around line 180) and continues all the way to the end of the scene. How do the character begin using language differently in a way that even the audience could hear? Why does Shakespeare do this? Why might how the characters speak underline who they are--or how they feel? 

Handout on Shakespeare's Language from Tuesday's class

NOTE: This is the handout we discussed in class, which might be useful for your first foray into reading Shakespeare this week. Be sure to read Acts 1-2 of The Comedy of Errors, with questions to follow (above). 

From Act One, Scene One of The Comedy of Errors

 

DUKE

Merchant of Syracusa, plead no more.

I am not partial to infringe our laws.

 

The enmity and discord which of late

Sprung from the rancorous outrage of your duke

To merchants, our well-dealing countrymen,

Who, wanting guilders to redeem their lives,

Have sealed his rigorous statutes with their bloods,

Excludes all pity from our threat’ning looks.

 

For since the mortal and intestine jars

‘Twixt thy seditious countrymen and us,

It hath in solemn synods been decreed,

Both by the Syracusians and ourselves,

To admit no traffic to our adverse towns.

 

Nay, more, if any born at Ephesus

Be seen at Syracusan marts and fairs;

Again, if any Syracusan born

Come to the bay of Ephesus, he dies,

His good confiscated to the Duke’s dispose,

Unless a thousand marks be levied

To quit the penalty and to ransom him.

 

Thy substance, valued at the highest rate,

Cannot amount unto a hundred marks;

Therefore by law thou art condemned to die.

 

 TRICKS TO READING LONG SPEECHES:

• Break into individual sentences
• Examine strange syntax (and translate) ; look up any obsolete or strange words
• Look for rhymes, alliteration, assonance, etc.
• Examine the metaphors in each passage; how do the metaphors help characterize the speaker or their speech?

EX: “I am not partial to infringe our laws.” = “I’m not the kind of man to go against the law.” Why would a Duke speak one way and not the other? What’s his point? Why would Shakespeare have a Duke speak so imposingly, without rhymes, to someone convicted of a crime?

Remember, the actors in Shakespeare's time were on a relatively small stage, without elaborate props or costumes. Only their language 'clothed' them or made other people see them as more than the were--a low-class actor. So Shakespeare uses language to create rank and class, varying the style (prose vs. verse), the syntax (straightforward speech vs. poetic syntax) and linguistic devices (puns, metaphors, rhymes, alliteration, etc). He characterizes the Duke by how he speaks and what he says. He wants to frighten and intimidate Egeon; therefore, he speaks in imposing, convoluted speech which sounds legalistic, archaic, and powerful. Read it out loud--the Duke sounds great, even though he's only basically saying this: "since your duke imprisoned and murdered some of our merchants, we've vowed war against him, and this war has become a law between us. So if someone from your country lands here, we kill them, unless they can pay a thousand mark fine. Since you obviously can't, we're just going to kill you outright." 

From Act 1, Scene 2

 

ANTIPHOLUS OF SYRACUSE

Now, as I am a Christian, answer me

In what safe place you have bestowed my money,

Or I shall break that merry sconce of yours

That stands on tricks when I am undisposed.

Where is the thousand marks thou hadst of me?

 

DROMIO OF EPHESUS

I have some marks of yours upon my pate,

Some of my mistress’ marks upon my shoulders,

But not a thousand marks between you both.

If I should pay your Worship those again,

Perchance you will not bear them patiently.

 

PUNS: The different meanings of “marks”: money and scars. Also, the different meanings of “paying out”—to give money, to get revenge. Much of the comedy of Shakespeare's early plays comes from elaborate verbal puns that twists the meaning of a word as far as it can go. He particularly loves to take a word and give it a sexual connotation. 

 

 

From Act 2, Scene 2

 

ANTIPHOLUS OF SYRACUSE

If you will jest with me, know my aspect,

And fashion your demeanor to my looks,

Or I will beat this method in your sconce.

 

DROMIO OF SYRACUSE “Sconce” call you it? SO you would leave battering, I had rather have it a “head.” An you use these blows long, I must get a sconce for my head and ensconce it too, or else I shall seek my wit in my shoulders. But I pray, sir, why am I beaten?

 

ANTIPHOLUS OF SYRACUSE Dost thou not know?

 

DROMIO OF SYRACUSE Nothing, sir, but I am

Beaten.

 

ANTIPHOLUS OF SYRACUSE Shall I tell you why?

 

DROMIO OF SYRACUSE Ay, sir, and wherefore, for they say ever why hath a wherefore…Was there ever any man thus beaten out of season, when in the “why” and the “wherefore” is neither rhyme nor reason?

 

NOTE: When does poetry become prose? When do they stop talking in iambic pentameter? Clues? And how do you read prose differently? Should the audience know?

VERSE takes up less space on the page since it's following a specific rhythm/structure. Shakespeare uses iambic pentameter, which is a ten-syllable line without rhymes. Typically, educated people, the upper-classes, kings, etc. speak in verse. Antipholus does, and the 'other' Dromio does, but in this scene, his servant, Dromio of Syracuse, speaks in PROSE. Prose is just normal speech, without rhythm or structure. It sounds different when spoken and has the effect of capturing 'real' speech, especially of the lower classes. Much of his plays constrasts the two languages, and he can create character and drama (and comedy!) by doing so.

Tuesday's Class Recap and Reminders for Next Week

 REMEMBER, no reading or work for next week! Instead, we're going to discuss how to read Shakespeare (his language, that is) in Tuesday's class. I'll give you a handout in class which will help you tackle The Comedy of Errors the following week, as well as give you some insight into Shakespeare's unique brand of poetry and syntax. If you want to get a jump on the play, you certainly can, but it's not required. You should think about writing your Paper #1 though! 

Below are some of the highlights of Chapters 3-4 and some of what we did in class:

We watched the scene above from Groundhog Day which was also referenced in Chapter 4 of Bevis' Comedy: A Very Short Introduction.

• Caricature becomes character: when does the joke stop being funny to us—and to her?
• SURPRISE: Page 50...The essence of humor is surprise—how is this scene surprising?
• ROUTINE: Page 49...makes surprise possible; everything is so ordinary, but what makes it extraordinary? Isn’t it normal because WE see it over and over?
• METAPHOR: As Bevis writes, You live and learn and then you die…but what if you don’t? This is certainly true of the movie! So why is it funny to replay the same day over and over and think you're trapped, as we all do? Isn't the joke on us? 
• THE JOKE: Repeating every day is what we ALL do; if we paid more attention, we would also know everyone’s stories (and maybe, our own!)
• Page 60: “Yeah, that about sums it up for me”

 ROMANTIC COMEDY

• Page 52: FALLING IN LOVE: To fall in love is to have lost the plot: even though he knows everything (the plot), he still wants to know her better; he forgets that he’s stuck when he’s around her—she is still unknowable
• WHY ROMANTIC COMEDY IS SUCH A GENRE: LOVE MAKES THE MUNDANE INTERESTING AND THE ORDINARY EXTRAORDINARY. IT MAKES US FORGET THE ‘PLOT’—OUR NORMAL LIVES, OUR JOBS, OUR RESPONSIBILITIES.

CHARACTER AND IDENTITY

• The idea of “character”: not something you are, but something you play (38): Your moral character, you’re such a character, etc.
• The disparity between what a person is and what he affects to be (39)
• CARICATURE: Page 40: you can reveal the truth by stretching it! Over the top, hyperbole, caricature, satire
• PEOPLE ARE FICTIONS: we fall into the scripts that other people write for us (45)
• 47: Important point—there’s nobody, it seems, that we resemble less than ourselves, yet we are never more ourselves than when we are reminded of the fact. How does comedy help us appreciate this 'fact'?

Paper #1: Funny Business, due Friday, Feb. 5

 

NOTE: Blog Response #1 is in the post BELOW this one...

“Comedy is frequently born from the disparity between what a person is and what he affects to be” (Bevis 39).

THE SET-UP: For your first paper assignment, I want you to discuss a SINGLE SCENE from one of your favorite comedies. This could be a movie, a show, a stand-up comedy routine, a song, etc., but it must focus on only one short scene, no more than 5-6 minutes or so. If you’re doing a TV show, it should focus on a short scene in a single episode (not several scenes from several episodes); if a movie, it should be a short “bit” from the movie, and if a comedy routine, it should be one of the stories or longer jokes. You can do an entire song, however, since they’re relatively short.

THE PUNCH LINE: Once you’ve selected your scene, and watched it a few times (the more you watch it, the more you’ll catch), I want you to write a short paper that examines the scene by considering some or all of the questions below. But be sure to set it up: explain what’s going on in the scene so we can get the joke, and give us any back story from the show/movie necessary to understand it (don’t assume we’ve watched every episode of Schitt’s Creek, in other words).

THE QUESTIONS (answer as many as possible in your paper—but don’t number your paper 1., 2., 3. etc. Write an essay that incorporates these questions/ideas):

• Why is this scene funny? What makes it comedy?
• How is it subversive? Why might someone find it threatening or inappropriate?
• How is the character(s) ‘stretched’ for comic effect? What makes them real but not quite real (caricatures)?
• Which chapter in Bevis’ book (Chs.1-4) does it most connect to? Find a specific passage or idea from one of these chapters that made you go “ah ha!” when you watched it. QUOTE from this chapter in your paper and help us see it, too.

EXAMPLE: Remember how we watched and discussed the song, “Business Time” from The Flight of the Conchords. This is a song that makes fun of something very taboo—a couple’s sex life—but also explores the real-life problems that come with routine. It’s not that having a “sex date” is bad, or that marriage is bad, but that sometimes we need to laugh at the absurdity of love to have a healthy relationship with our significant others. If you felt awkward watching this scene with your spouse or significant other, that might suggest there’s a problem; if you can both laugh at it, that might suggest the health of your relationship! That’s the point of comedy, to make you laugh at other people’s predicament…and then take a long, hard look at yourself.

REQUIREMENTS: (1) at least 3 pages double-spaced; (2) analysis of the scene with specific details (dialogue helps!); (3) a specific quote or two from Comedy: A Very Short Introduction; (4) Cite quotations according to MLA format: see the Purdue OWL website for citation questions.

DUE Friday, February 5^th @ 5pm either via e-mail or in the box on my door (HM 348)

Blog Response #1 for Bevis, Comedy, Chapters 3-4

 For next week, watch the video below which focuses on Chapters 3-4 of Bevis, and respond to the question at the end with a brief comment. This gives you a hint at your first paper assignment, which I'll post later in the week! But don't worry. it's not due until the end of Week 4. 

Summary of Tuesday's Class (Week Two)

To help jog your memory, and to keep track of our class discussions, here's a short summary of some of the ideas we discussed based on Chapters 1-2 of Bevis. Granted, we didn't discuss all of these, but they're good things to keep in mind for future readings and papers. Remember to read Chapters 3-4 for next week, with a video to follow tomorrow. 

ALSO: here's a clip of the comedy duo The Flight of the Conchords performing their comedic song, "Business Time," which I showed you in class (this is a live performance, and not the show itself, but it's just as funny). It's all about making fun of taboo subjects like sex and how absurd our bodies are when it comes to sex, love, and relationships. 

COMEDY IS SEX! AND SEX IS TABOO!

• Page 7: Comedy from “komos”—the village, drunken songs about Dionysis; sexual abandon and flaunting of taboos:
• Page 11: “a joke implies that anything is possible”
• Page 23: Comedy makes fun of the body and its desires: lampoon means “let us drink” and satire means “full dish.”
• Page 24: Animality is objectionable AND funny: we don't like to be reminded of what we 'really' look like to others. It's funny to see other people as they are (to us), but not us (to them). 

 THE BODY ON-STAGE: WATCHING OTHERS ‘DO IT’

• Page 25: Comedy is an oral genre; we need bodies on-stage. Why Shakespeare always had cross-dessing; and why later ages added women (another taboo). Comedy is bodies ACTING, not just people talking. 
• Page 32: The body is the most imaginary of all objects; it’s hard to imagine ourselves as bodies, a collection of parts
• It’s humorous to think about the things we do—fart, burp, get erections, etc. But it’s funny when OTHER people do it! (as always)
• Page 18: ALSO, a mistake is often something you secretly want to make. We don't want bad things to happen to us, but then again, do we ? Sometimes, you want to break a taboo or do the wrong thing. And comedy is about a lot of wrong things happening at once! 

 WIT AND HUMOR

• Page 9: Tragedy is a cushy art...originally, tragedy had to be based on myth. Comedy came from drunken festivals of revelry; it had no set plot. So it had to make its own--by looking at the audience! 
• Breaking the 4^th wall, incorporating real people and situations. “It’s funny because it’s true”
• Page 11: Comedy is a search for the golden age; so much comedy about people trying to be young again, or to find love, or to find something ‘ideal.’
• Page 26: Wit = witan, “to know”; wit is logical comedy, whereas humor is more physical, sensual comedy (ex: page 27 from Byron)
• Page 26: Being in love it itself a comic double act (Elizabeth and Darcy from Austen's Pride and Prejudice); you want to deny the physicality of it, you use wit to deflect it, reason it away

Comedy is about things OUT OF OUR CONTROL. That's why it's funny. We can only laugh--or cry. But comedy chooses to laugh (since it's not happening to us). But note that it's always tragic to them! 

For Next Week: Bevis, Comedy: A Very Short Introduction, Chapters 1-2 (and questions below)

For next Tuesday/Thursday's class (depending on your in-class day), read Bevis, Chapters 1-2 and answer TWO of the following questions in a few sentences, or a short pararaph, each. Try not to just give me a yes-or-no answer, or a vague, 'nothing' answer. Think about the implications of each question and try to give a thoughtful, honest response, even if you're not entirely sure what the answer is. 

Bring these responses to class with you next week. You'll hand them in after class.

Q1: Why does Antiphanes claim that "tragedy is a cushy art," whereas comedians "have to invent everything" (9)? What makes comedy so much more difficult to create and stage for an audience? 

Q2: I used this quote in your syllabus, and really think it's an important one: what does Bevis mean when he writes "Comedy involves the construction of a creation myth you can live with" (14)? 

Q3: Why is comedy more "dangerous" than tragedy? What is the secret thrill of watching a comedy, and related to this, what can comedy do to an audience that a tragedy, perhaps, cannot? What makes it more socially subversive? 

Q4: Bevis reminds us that "the comic cannot exist without sensousness'; the comic writer 'fastens our mind upon physical detail'" (21). Why is the body such a source of humor for audiences? Why do we need to be reminded of it--as well as the sensations relating to it--to achieve comedy?

Q5: The word wit comes from the root "witan," which means "to know." How does this tie into the purpose of comedy as discussed in Chapter 1? Do you think this is still true today? Does comedy teach us "to know"?

Welcome to the Course!

 Welcome to our Spring 2021 semester Shakespeare class! This year, we're focusing on Shakespeare's Comedies, and in general, the various theories of comedy that Shakespeare largely helped to create. Besides reading 4 of his comedies (even if they're not always as 'funny' as we hope!), we'll also read works about the history of comedic theater, and how Shakespeare's definition of comedy has filtered in to modern movies and shows and changed the way we laugh and think about humor. You'll also have a chance to examine your own idea of comedy and help us find the 'Shakespeares' in contemporary society, since comedy is a genre that thrives on topicality--which is what makes Shakespeare so difficult (at times) to laugh at! 

Be sure to buy the five books for class, especially Bevis' Comedy: A Very Short Introduction, which we'll start reading for next week! Note that there are 5 comedies in the bookstore, though I'll be cutting The Winter's Tale for reasons of time (though feel free to buy it for your own enjoyment!). The syllabus is below, though I will give out hard copies in class this week. E-mail me with any questions at jgrasso@ecok.edu. See you in class!

English 3213: Shakespeare’s Comedies: Spring 2021

Tuesday / Thursday, 2:00-3:15

Dr. Joshua Grasso / jgrasso@ecok.edu (X 430)

Office Hours: MWF 10-11 & 1-2; TR 12-12:30

Class Website: ecushakespeare.blogspot.com

Course Description: In Matthew Bevis’ book, Comedy: A Very Short Introduction, he writes that “Comedy involves the construction of a creation myth you can live with” (14). Not surprisingly, comic plots are some of the oldest and most universal; they are the “creation myths” of our essential humanity—and they still make us laugh. No one understood this more than Shakespeare, whose comedies continue to hold the stage even after 400 years of performance. But why? What did he get right, and what “myths” do we trace back to his iconic plays? This class will answer these questions—and many more—using Shakespeare as a touchstone to understand why comedy is so vital to civilization. We’ll also discuss how to perform plays that seem offensive or even racist to modern audiences, and whether such plays can be redeemed (or are simply misunderstood). By the time we finish, you’ll have greater fluency in Shakespeare’s language and a sharp nose for the “smell” of Shakespeare in everything that passes for comedy in the 21st century.

Required Texts:

• Bevis, Comedy: A Very Short Introduction
• The Comedy of Errors (Folger ed.)
• A Midsummer Night’s Dream (Folger ed.)
• The Taming of the Shrew (Folger ed.)
• The Merchant of Venice (Folger ed.)

Required Work (out of 100 pts.):

• In-Class Participation: see below
• Reading Responses: 20 pts.
• Blog Responses: 20 pts.
• Papers #1-2: 30 pts. (15 each)
• Paper #3 “Proposal”: 10 pts.
• Dramaturgical Presentation: 20 pts.  

In-Class Participation: Since we only meet once a week, coming to class is very important; this is our one chance to make difficult works ‘speak’ and to have wide-ranging discussions about the material. You are required to come to each class unless you are sick, have a verified case of COVID, or other concern (feel free to contact me). If you miss more than 2 classes for any unexcused reason, you’ll lose -10 pts. from your final grade (a letter grade, basically). So please keep me informed if things come up, and don’t hesitate to miss class if you’re sick or have a similar emergency.

REMEMBER: always bring a mask, your book, and an open mind! Leave your laptop and work for other classes at home…you won’t get participation points if you surf the web or do other work where I can see it. Don’t waste the opportunity to enrich the class with your insights or be enriched by someone else’s.

Reading Responses: You will have a set of response questions each time we begin a play (and when we read Bevis’ book) to help you engage actively with the reading. I typically give you four questions, of which you are expected to respond to two of them in a short paragraph. I will post all questions on the blog at the beginning of the week, and they will be due the following class day.

Blog Responses: As we conclude a play, I will give you a short video lecture to watch that raises questions about some of the ‘problems’ in each play. You will be expected to watch the video and respond with a ‘comment’ to a question I pose at the end. This functions very similarly to the reading responses, except you will only have a single question instead of four.

Papers #1-2: I will hand these out well in advance of their due date, and they will be posted on the blog as well. The first one concerns Chapters 1-4 of Bevis’ Comedy: A Very Short Introduction, while the second one covers our first two comedies (Comedy of Errors and A Midsummer Night’s Dream).

Paper #3 “Proposal”: This is a project which leads into your Final Presentation, and will be due in class on Week Fourteen. On Week Fifteen we will discuss these assignments in class as a way of preparing to write the Final Presentation assignment, which is basically your final exam.

Final Presentation: This is not necessarily a big project, but a thoughtful one: the entire class will be leading up to crafting an original response to producing Shakespeare’s comedies in the 21^st century based on historical context and our own cultural ethos. More on that after Spring Break (Week Ten).

THE FINE PRINT

1.       You must buy all the books for the course. Trying to use on-line summaries will doom you to vague, uninformed responses. If the goal of any class is to become more engaged with the material, reading the books is essential. Read and enjoy the material. :)

2.       If you miss class, check the blog to see if there are any new assignments or material. You can also e-mail me if the blog hasn’t been updated to be sure.

3.       When you e-mail work to me, check the attachments carefully. If I can’t open it (or it’s simply not attached) it doesn’t count. I will contact you if this happens, but the clock is ticking...if you turn in an e-mail without an attachment at 4:59 and the paper is due at 5, it might be late!

4.       If you have any kind of emergency, please contact me as soon as possible. If I know you’re going through something difficult, I can work with you and help you get the work. If you only tell me weeks or months later, it’s too late.

5.       The COVID situation can change our class dynamic at any time. If you’re confused by what’s going on or feel you can’t complete the work, etc., please contact me first. Let’s talk through it to make sure it’s not as bad (or as hard) as you think. I’m always available by e-mail and will respond within an hour or two at most (unless you e-mail me at one o’clock in the morning!).

6.       Academic Integrity link: https://www.ecok.edu/sites/default/files/siteContent/administration/academic-affairs/documents/AcademicIntegrityPolicy.pdf

ADA Statement: East Central University is committed to providing equal access to University programs and services for all students. Under university policy and federal and state laws, students with documented disabilities are entitled to reasonable accommodations. If any member of the class has a documented disability requiring academic accommodations, he or she should report to the Office of Disability Services.  A student seeking reasonable accommodations originating from a documented disability must register with the Office of Disability Services so that said accommodations may be provided. Contact the Academic Affairs Office if any assistance is needed in this process.

72-Hour Transition Statement: Should on-campus instruction be suspended for any reason, ECU’s face-to-face and blended courses will transition to online/virtual delivery within 72 hours.  Online courses will continue as scheduled.

Tentative Course Schedule:

 

WEEK ONE (Jan.11-15)

Discussion: Introduction to the Course

Reading Homework: Bevis, Chapters 1-2

Writing Homework: Reading Questions for Bevis

 

WEEK TWO (18-22)

Discussion: Bevis, Chapters 1-2

Reading Homework: Bevis, Chapters 3-4

Writing Homework: Blog Response #1

 

WEEK THREE (25-29)

Discussion: Bevis, Chapters 3-4 & Paper #1

Reading Homework: Handouts

Writing Homework: Work on Paper #1!

 

WEEK FOUR (Feb.2-5) Paper #1 due Friday @ 5pm!

Discussion: Reading Shakespeare’s Language

Reading Homework: The Comedy of Errors, Acts 1-2

Writing Homework: Reading Questions for The Comedy of Errors

 

WEEK FIVE (8-12)

Discussion: Acts 1-2 of The Comedy of Errors

Reading Homework: The Comedy of Errors, Acts 3-5

Writing Homework: Blog Response #2

 

WEEK SIX (15-19)

Discussion: Acts 3-5 of The Comedy of Errors

Reading Homework: A Midsummer Night’s Dream, Acts 1-2

Writing Homework: Response Questions for A Midsummer Night’s Dream

 

WEEK SEVEN (22-26)

Discussion: Acts 1-2 of A Midsummer Night’s Dream

Reading Homework: A Midsummer Night’s Dream, Acts 3-5

Writing Homework: Blog Response #3

 

WEEK EIGHT (Mar.2-5)

Discussion: Acts 3-5 of A Midsummer Night’s Dream

Reading Homework: Bevis, Chapters 5-6

Writing Homework: Paper #2 due next week!

 

WEEK NINE (8-12) Paper #2 due by Thursday @ 5pm

Discussion: Bevis, Chapters 5-6

Reading Homework: The Taming of the Shrew, Acts 1-2

Writing Homework: Response Questions for The Taming of the Shrew

 

WEEK TEN (15-19): SPRING BREAK

Discussion: None

Reading Homework: The Taming of the Shrew, Acts 3-5

Writing Homework: Blog Response #4

 

WEEK ELEVEN (22-26)

Discussion: Acts 1-5 of The Taming of the Shrew

Reading Homework: The Merchant of Venice, Acts 1-2

Writing Homework: Response Questions for The Merchant of Venice

 

WEEK TWELVE (29-Apr.2)

Discussion: Acts 1-2 of The Merchant of Venice

Reading Homework: The Merchant of Venice, Acts 3-5

Writing Homework: Blog Response #5

 

WEEK THIRTEEN (5-9)

Discussion: Acts 3-5 of The Merchant of Venice

Reading Homework: Bevis, Chapters 7-8

Writing Homework: Paper #3 “Proposal” due next week!

 

WEEK FOURTEEN (12-16) Paper #3 due IN-CLASS!

Discussion: Bevis, Chs.7-8

Reading Homework: Paper #3 Handouts

Writing Homework: Response Questions for Handouts

 

WEEK FIFTEEN (19-23)

Discussion: Paper #3 Handouts

Reading Homework: Articles (TBA)

Writing Homework: Blog Response #6

 

WEEK SIXTEEN (26-30)

Discussion: Articles

Reading Homework: None!

Writing Homework: Work on Final Presentation!

 

Final Presentation due by Thursday, May 6^th @ 5pm