Hamlet, midsummers night dream, king lear, or As You Like It

Please do the best you can in the short time. Each answer doesn t have to be very long. If you don t know anything about one of the plays, just skip it. You don t need outside references, but if you use them please site in mla. if you only get 3 pages that is fine. Thanks you.

Part I: Close readings
Instructions: Pick three of the quotes below and answer the following questions about each one:
a. In a sentence, paraphrase what the speaker is saying. (1 pt.)
b. Describe the tone in which these lines are spoken. (1 pt.)
c. Identify and discuss how two different poetic devices from the list below are used in this passage to shape its tone, effect or meaning:
” imagery
” figurative language
” rhyme or blank verse
” meter or rhythm of specific lines, including use of end-stopped or run-on lines
” alliteration or assonance (4 pts.)
1. How stand I then,
That have a father killed, a mother stained,
Excitements of my reason and my blood,
And let all sleep, while to my shame I see
The imminent death of twenty thousand men
That for a fantasy and a trick of fame
Go to their graves like beds, fight for a plot
Whereon the numbers cannot try the cause,
Which is not tomb enough and continent
To hide the slain? O, from this time forth,
My thoughts be bloody, or be nothing worth!
(Hamlet, IV, iv, 56-66)
2. We, Hermia, like two artificial gods,
Hav with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices, and minds
Had been incorporate. So we grew together,
Like to a double cherry, seeming parted,
But yet an union in partition,
Two lovely berries moulded on one stem . . .
(MSND, III, ii, 203-11)
3. Poor naked wretches, wheresoe er you are,
That bide the pelting of this pitiless storm,
How shall your houseless heads and unfed sides,
Your loop d and window d raggedness, defend you
From seasons such as these? O, I have ta en
Too little care of this! Take physic, pomp,
Expose thyself to feel what wretches feel,
That thou mayst shake the superflux to them,
And show the heavens more just.
(King Lear, III, iv, 28-36)
4. Or else she could not have the wit to do this; the wiser, the waywarder. Make the doors upon a womens wit, and it will out at the casement; shut that, and twill out at the keyhole; stop that, twill fly with the smoke out at the chimney.
(As You Like It, IV, i, 160-64)

Part II: Essays (2)
Choose two of the following questions and respond to them in a pair of thoughtful, well-organized essays. Where appropriate, refer to specific details and passages to support your answers, but do not quote at length; up to a line would be OK; otherwise, just refer to Act, Scene, and line numbers. Between your two essays, you must be sure to discuss each of the four plays we ve read at least once. For example, if you discuss Hamlet, A Midsummer Night s Dream, and King Lear in one essay, you must discuss As You Like It in the other essay; if you discuss only Hamlet and A Midsummer Night s Dream in the first essay, you must discuss both King Lear and As You Like It in the other essay. Your answers should demonstrate your knowledge of the plays and your ability to make careful, coherent arguments about them. Neatness, spelling, style and grammar will be less important than originality, critical thinking and organization.

1. Pick three of the following characters, and write an essay in which you compare and contrast their roles in the plays in which they appear: Horatio, the grave diggers in Hamlet, Puck, the Fool in Lear, Touchstone, Jacques.
2. Discuss how three of the plays we ve read either reinforce or challenge patriarchal ideas about women. Discuss A Midsummer Night s Dream, As You Like It, and one of the two tragedies. Compare and contrast how these three plays deal with this issue.
3. A commonly observed difference between tragedy and comedy is that tragedy tends to focus on a single, unique character, the tragic hero, whose individual qualities lead to his or her fall, whereas the conflicts in comedy tend to arise from common kinds of human folly shared by many characters in the play (and most people in the audience). Pick three of the plays we ve read and discuss how well this generalization seems to apply to them.
4. Compare and contrast how theater or  playing are used as metaphors to describe or portray human experience in three of the plays we ve read. You may consider how characters themselves use these metaphors and/or how actions in the plays unfold (e.g., with characters playing roles, directing other characters, watching other characters, etc.)