Transcript Polite Discussion Michael Round USA Director: Theory of

Joy in Shakespeare
understanding, applying, and enjoying the works of
Shakespeare
Michael Round
Theory of Constraints for Education
8th International Conference
August 11 – August 14, 2005
T H E T R A G E D IE S
A n tony an d
C l e opatr a
R om e o an d
J u li e t
O the l l o
C or i olan u s
Ham l e t
M ac be th
T H E H IS T O R IE S
Kin g He n r y IV
T i m on of A th e ns
P ar t 2
Kin g He n r y V
T i tu s
Kin g He n r y V I
Kin g He n r y V I
A n dr on i c u s
P ar t 2
P ar t 3
Ki n g L e ar
R i c h ar d III
Kin g He n r y IV
P ar t 1
J ul i u s C ae s ar
Ki ng He nr y V I
P ar t 1
Ki ng He nr y V III
Ki n g J oh n
R i c h ar d II
Twe l fth N i g ht
T wo Ge ntl e m e n
T H E C O M E D IE S
of V e r on a
A ll ' s W e l l T h at
M e r r y W i ve s of
Me r c han t of
Tr oi l u s an d
En ds W e l l
W i n ds or
V e ni c e
C r e s s i da
A s You L i k e It
Mi ds um m e r
N ig h t' s D r e am
C om e dy of
Er r or s
C ym be l i n e
M uc h A do A bou t P e r i c l e s , P r i n c e
N othi n g
of T yr e
W i n te r 's T al e
L ove ' s L abou r 's
Me as u r e for
L os t
M e as u r e
T am i n g of th e
S hr ew
T e m pe s t
Ode on a Grecian Urn … John Keats
THOU still unravish'd bride of quietness,
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea-shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul, to tell
Why thou art desolate, can e'er return.
O Attic shape! fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
'Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know.'
A Shakespeare System
HAM LET
P rince of D en m a rk
S ha kesp e are, W illiam
D ram atis P ersonae
C L A U D IU S kin g of D enm ark.
H A M L E T son to th e late, an d n eph ew to th e present
kin g.
PO L O N IU S lord ch am berlain.
H O R A T IO friend to H am let.
L A E R T E S son to Polon ius.
L U C IA N U S n eph ew to th e king.
V O L T IM A N D , C O R N E L IU S, R O SE N C R A N T Z ,
G U IL D E N ST E R N , O SR IC } courtiers.
A G entlem an ,
A Priest.
M A R C E L L U S, B E R N A R D O } officers.
FR A N C ISC O a soldier.
R E Y N A L D O servan t to Polon ius.
Players.
T w o C low n s, grave-diggers.
FO R T IN B R A S prin ce of N orw a y.
A C aptain.
E n glish A m bassadors.
G E R T R U D E queen of D en m ark, an d m oth er to H am let.
O PH E L IA daugh ter to Polon ius.
L ords, L adies, O fficers, Soldiers, Sailors, M essen gers,
an d oth er A tten dan ts.
G h ost of H am let's Fath er.
[Scene: D enm ark.]
A ct 1
Scene 1
[E lsinore. A platform before the castle.]
[F R A N C ISC O at his post. E nter to him B E R N A R D O ]
BERN ARD O
W h o's th ere?
F R A N C ISC O
G ive you good nigh t.
F R A N C ISC O
N ay, an sw er m e: stand, and un fold yourself.
M A R C E LLU S
O , farew ell, h on est soldier:
W h o h ath relieved you?
BERN ARD O
L on g live th e kin g!
F R A N C ISC O
B ernardo?
F R A N C ISC O
B ernardo h as m y place.
G ive you good nigh t.
[E xit]
BERN ARD O
H e.
M A R C E LLU S
H olla! B ernardo!
F R A N C ISC O
Y ou com e m ost carefully upon your h our.
BERN ARD O
Say,
W h at, is H oratio th ere?
BERN ARD O
'T is n ow struck tw elve; get th ee to bed, Fran cisco.
H O R A TIO
A piece of h im .
F R A N C ISC O
For this relief m uch than ks: 'tis bitter cold,
A n d I am sick at h eart.
BERN ARD O
W elcom e, H oratio: w elcom e, good M arcellus.
BERN ARD O
H ave you h ad quiet guard?
M A R C E LLU S
W h at, has this th ing appear'd again to-n ight?
F R A N C ISC O
N ot a m ouse stirring.
BERN ARD O
I h ave seen n othin g.
BERN ARD O
W ell, good n ight.
If you do m eet H oratio and M arcellus,
T h e rivals of m y w atch , bid th em m ake h aste.
M A R C E LLU S
H oratio says 'tis but our fantasy,
A n d w ill n ot let belief take h old of him
T ouch in g this dreaded sight, tw ice seen of us:
T h erefore I have en treated him alon g
W ith us to w atch th e m in utes of th is n igh t;
F R A N C ISC O
I thin k I h ear th em . Stan d, h o! W h o's th ere?
[E nter H O R A TIO and M A R C E LLU S ]
H O R A TIO
Frien ds to this groun d.
M A R C E LLU S
A n d liegem en to th e D an e.
THOUGHTS …
Shall we read together …
Let’s role-play, with characters …
Let’s have a discussion …
Mike … what do you think?
A System Problem
No matter how much and how hard I try … I do not understand Shakespeare.
“Understand” does not even encompass my meaning, because I really “do not get it”.
How can I get it? How can I gain a foothold in the play, allowing me to continue
further?
Obstacle
IO
Action
I do not understand
how to read
Shakespeare.
I have a means to
“get into”
Shakespeare
material.
I use “any means
necessary” to get a
foothold in
Shakespeare.
The “Action Item” Goal
What constitutes “any means necessary”? Just that! An internet summary, a movie, a
conversation, a great quote, etc.
This may be a “necessary condition” to get me “into Shakespeare”, but is this
“sufficient”?
How can we leverage this foothold, and not lose ground?
I logically understand my
foothold by way of the
logic branch.
Iterate with clarity and
causality reservations
checked …
Employing the action item,
I gain and maintain a good
foothold in a work of
Shakespeare.
Thinking Process Language
T h in kin g P rocess L an gu age
H am let w an ts to
aven g e h is fath er's
m u rd er.
H am let, th e K in g 's
son , learn s of h is
fath er's m u rd er.
T h e K in g of
D en m ark h as
u n ex p ected ly d ied .
In itially believin g
th e d eath w as
accid en tal, H am let
n ow seek s ju stice.
T h e K in g 's G h ost
ap p ears, an d tells
H am let th e d eath
w as m u rd er.
S h akespeare L an gu
Shakespeare Language
S h a k esp ea re L a n g u a g e
G h o st:
I a m th y fa th er 's sp ir it,
D oom 'd for a cer ta in ter m to w a lk th e n ig h t,
A n d for th e d a y con fin ed to fa st in fir es,
T ill th e fou l cr im es d on e in m y d a ys of n a tu r e
A r e bu r n t a n d p u r g ed a w a y. B u t th a t I a m for bid
T o tell th e secr ets of m y p r ison -h ou se,
G h o st:
R even g e h is fou l a n d m ost u n n a tu r a l m u r d er .
H a m le t:
M u r d er !
G h o st:
M u r d er m ost fou l, a s in th e best it is;
B u t th is m ost fou l, str a n g e a n d u n n a tu r a l.
H a m le t:
H a ste m e to k n ow 't, th a t I, w ith w in g s a s sw ift
A s m ed ita tion or th e th ou g h ts of love,
M a y sw eep to m y r even g e.
G h o st:
W ou ld st th ou n ot stir in th is. N ow , H a m let, h ea r :
'T is g iven ou t th a t, sleep in g in m y or ch a r d ,
A ser p en t stu n g m e; so th e w h ole ea r of D en m a r k
Is by a for g ed p r ocess of m y d ea th
R a n k ly a bu sed : bu t k n ow , th ou n oble you th ,
T h e ser p en t th a t d id stin g th y fa th er 's life
N ow w ea r s h is cr ow n .
H a m le t:
O m y p r op h etic sou l! M y u n cle!
Narrative Language
T h e guards at th e palace gates are con fron ted by th e G h ost of th e
K in g of D en m ark. T h e K in g h as died, an d th e K in g's broth er,
C laudius, h as ascen ded to th e th ron e. T h e K in g's death w as
believed acciden tal, but n ow th e gh ost tells h is son , H am let, th e
death w as m urder, an d C laudius th e m urderer!
W ith th is
in form ation , th e justice-seekin g H am let seeks to aven ge h is
fath er's m urder.
N arrative L an gu age
T h e C on text of th e P lay
T h in kin g P rocess L an gu age
S h akespeare L an gu age
G host:
H am let w an ts to
I am th y fath er's spirit,
D oom 'd for a certain term to w alk th e n igh t,
A n d for th e day con fin ed to fast in fires,
T ill th e foul crim es don e in m y days of n ature
A re burn t an d purged aw ay. B ut th at I am forbid
T o tell th e secrets of m y prison -h ouse,
aven ge h is fath er's
m urder.
H am let, th e K in g's
son , learn s of h is
fath er's m urder.
In itially believin g
th e death w as
acciden tal, H am let
n ow seeks justice.
G host:
R even ge h is foul an d m ost un n atural m urder.
H am let:
M urder!
G host:
T h e K in g's G h ost
T h e K in g of
M urder m ost foul, as in th e best it is;
B ut th is m ost foul, stran ge an d un n atural.
appears, an d tells
D en m ark h as
un expectedly died.
H am let th e death
w as m urder.
H am let:
H aste m e to kn ow 't, th at I, w ith w in gs as sw ift
T h e guards at th e palace gates are con fron ted by th e G h ost of th e
A s m editation or th e th ough ts of love,
M ay sw eep to m y reven ge.
K in g of D en m ark. T h e K in g h as died, an d th e K in g's broth er,
C laudius, h as ascen ded to th e th ron e. T h e K in g's death w as
believed acciden tal, but n ow th e gh ost tells h is son , H am let, th e
death w as m urder, an d C laudius th e m urderer!
W ith th is
in form ation , th e justice-seekin g H am let seeks to aven ge h is
fath er's m urder.
G host:
W ouldst th ou n ot stir in th is. N ow , H am let, h ear:
'T is given out th at, sleepin g in m y orch ard,
A serpen t stun g m e; so th e w h ole ear of D en m ark
Is by a forged process of m y death
R an kly abused: but kn ow , th ou n oble youth ,
T h e serpen t th at did stin g th y fath er's life
N ow w ears h is crow n .
H am let:
O m y proph etic soul! M y un cle!
N arrative L an gu age
Structure Achieved
With a simple structure in place, can I integrate another aspect of the story … again,
drawn from ANYWHERE? What does “integrate” mean? By way of the thinking
process reservations and logic as the non-contradictory identification of reality, can I
complete additional “logic chains” of “TP / Shakespeare / Narrative”?
T h e C on text of th e P lay
T h in kin g P rocess L an gu age
S h akespeare L an gu age
G host:
H am let w an ts to
I am th y fath er's spirit,
D oom 'd for a certain term to w alk th e n igh t,
A n d for th e day con fin ed to fast in fires,
T ill th e foul crim es don e in m y days of n ature
A re burn t an d purged aw ay. B ut th at I am forbid
T o tell th e secrets of m y prison -h ouse,
aven ge h is fath er's
m urder.
H am let, th e K in g's
son , learn s of h is
fath er's m urder.
In itially believin g
th e death w as
acciden tal, H am let
n ow seeks justice.
G host:
R even ge h is foul an d m ost un n atural m urder.
H am let:
H am let's P rob lem
M urder!
G host:
T h e K in g's G h ost
T h e K in g of
M urder m ost foul, as in th e best it is;
B ut th is m ost foul, stran ge an d un n atural.
appears, an d tells
D en m ark h as
un expectedly died.
H am let th e death
w as m urder.
T h in kin g P rocess L an gu age
H am let:
H aste m e to kn ow 't, th at I, w ith w in gs as sw ift
T h e guards at th e palace gates are con fron ted by th e G h ost of th e
S h akespeare L an gu age
H am let:
H am let m ust
Follow h im , frien ds: w e'll h ear a play to-m orrow .
[E xit PO L O N IU S w ith all th e Players but th e First]
D ost th ou h ear m e, old frien d; can you play th e
M urder of G on zago?
devise a w ay to
A s m editation or th e th ough ts of love,
M ay sw eep to m y reven ge.
reveal th e death as
m urder.
K in g of D en m ark. T h e K in g h as died, an d th e K in g's broth er,
C laudius, h as ascen ded to th e th ron e. T h e K in g's death w as
believed acciden tal, but n ow th e gh ost tells h is son , H am let, th e
death w as m urder, an d C laudius th e m urderer!
W ith th is
in form ation , th e justice-seekin g H am let seeks to aven ge h is
fath er's m urder.
G host:
W ouldst th ou n ot stir in th is. N ow , H am let, h ear:
'T is given out th at, sleepin g in m y orch ard,
A serpen t stun g m e; so th e w h ole ear of D en m ark
Is by a forged process of m y death
R an kly abused: but kn ow , th ou n oble youth ,
T h e serpen t th at did stin g th y fath er's life
N ow w ears h is crow n .
H am let:
O m y proph etic soul! M y un cle!
N arrative L an gu age
F irst P layer
H am let w an ts to be
view ed favorably
view ed favorably
by D en m arkian s in
by h is coun trym en .
killin g h is U n cle.
H am let w an ts to
aven ge h is fath er's
m urder
A y, m y lord.
H am let w ill n ot be
H am let:
W e'll h a't to-m orrow n igh t. Y ou could, for a n eed,
study a speech of som e dozen or sixteen lin es, w h ich
I w ould set dow n an d in sert in 't, could you n ot?
C on seq u en ces of th e P lay
F irst P layer
D en m arkian s
T h in kin g P rocess L an gu age
A y, m y lord.
believe th e K in g's
S h akespeare L an gu age
death w as an
acciden t.
K ing C laudius:
W h at do you call th e play?
H am let w ill w ait
un til th e greatest
h arm can be don e
h is fath er's m urder … w h at son w ould n ot?
H am let:
T h e M ouse-trap. M arry, h ow ? T ropically. T h is play
is th e im age of a m urder don e in V ien n a: G on zago is
th e duke's n am e; h is w ife, B aptista: you sh all see
an on ; 'tis a kn avish piece of w ork: but w h at o'
th at? your m ajesty an d w e th at h ave free souls, it
touch es us n ot: let th e galled jade w in ce, our
w ith ers are un w run g.
to th e U n cle's soul.
L earn in g of h is fath er's fate, th e furious H am let w an ts to aven ge
Y et, h ow h as
H am let learn ed of h is fath er's fate? B y a gh ost?
H is fellow
D en m arkian s, on th e oth er h an d, still believe th e K in g's death
w as an acciden t. Sh ould H am let aven ge h is fath er's death , h e
H am let kn ow s h is
realizes h e h im self w ill n ot be view ed favorably by h is fellow
U n cle m urdered
D en m arkian s. H ow ever, H am let - as a D en m arkian - w an ts to be
h is fath er.
A quick death is
in appropriate to
th e evil don e h is
H am let's In jection / S olu tion
fath er.
view ed favorably by h is fellow coun trym en ! T h erefore, H am let
H am let:
H e poison s h im i' th e garden for's estate. H isT h in kin g
n am e's G on zago: th e story is extan t, an d w rit in
ch oice Italian : you sh all see an on h ow th e m urderer
gets th e love of G on zago's w ife.
m ust devise a w ay to reveal th e death of h is fath er as m urder for
all to see. O n ly th en can justice prevail - in all eyes.
"T h e M urder of
T h e K in g displays
G on zago" is
N arrative L an gu age
discom fort at th e
altered, due to
H am let.
perform an ces, an d w on ders if th ey can m odify th e play, "T h e
M urder of G on zago", w h ich th ey do.
sh ow s great discom fort at th e revised plan , an d H am let n ow
kn ow s th e G h ost h as spoken th e truth ! H is un cle is a m urderer.
reason s,
because
a
th e m urderer of
th e K in g.
H am let:
W h at, frigh ted w ith false fire!
E xpectedly, th e K in g
m urderer,
a
quick
death
is
in appropriate an d n on -equivalen t to th e evil don e h is fath er.
H am let th erefore decides h e w ill w ait un til th e greatest h arm can
be don e th e kin g.
T h e U n cle w ill see
T h e play w ill
K ing C laudius:
G ive m e som e ligh t: aw ay!
th e death un fold,
depict h ow th e
an d becom e
K in g w as killed.
un com fortable.
H am let:
O good H oratio, I'll take th e gh ost's w ord for a
th ousan d poun d. D idst perceive?
H oratio:
V ery w ell, m y lord.
H am let w ill speak
to th e actors prior
to th e play.
T h e script w ill be
m odified to m im ic
th e actual m urder
of th e K in g.
N arrative L an gu age
"T h in k, H am let, th in k", H am let says to h im self. "H ow can I fin d
out if th is apparition tells th e truth ?" I've got it! Suppose I
som eh ow devise a plan th at m akes m y un cle reveal h im self as a
m urderer for all to see? T h at w ould do it. B ut h ow can I do
th is? W h at m urderer reveals h im self? T h ere is a play com in g to
tow n . I sh all speak to th e actors, an d ch an ge th e play "T h e
M urder of G on zago" so th e plot is con sisten t w ith m y fath er's
m urder - as told m e by th e gh ost. Seein g th e plot un fold, surely
m y un cle w ill display discom fort - deja vu if you w ill - an d h e
w ill th erefore reveal h im self as th e m urderer.
N arrative L an gu age
S h akespeare L an gu age
H am let:
T h e U n cle w ill
O phelia:
T h e kin g rises.
H am let h as a talk w ith th e actors regardin g th eir past great
H am let
P rocess L an gu age
reveal h im self as
n ew play.
Fie upon 't! foh ! A bout, m y brain ! I h ave h eard
T h at guilty creatures sittin g at a play
H ave by th e very cun n in g of th e scen e
B een struck so to th e soul th at presen tly
T h ey h ave proclaim 'd th eir m alefaction s;
For m urder, th ough it h ave n o ton gue, w ill speak
W ith m ost m iraculous organ . I'll h ave th ese players
Play som eth in g like th e m urder of m y fath er
B efore m in e un cle: I'll observe h is looks;
I'll ten t h im to th e quick: if h e but blen ch ,
I kn ow m y course. T h e spirit th at I h ave seen
M ay be th e devil: an d th e devil h ath pow er
T o assum e a pleasin g sh ape; yea, an d perh aps
O ut of m y w eakn ess an d m y m elan ch oly,
A s h e is very poten t w ith such spirits,
A buses m e to dam n m e: I'll h ave groun ds
M ore relative th an th is: th e play 's th e th in g
W h erein I'll catch th e con scien ce of th e kin g.
[E xit]
H am let's P rob lem
T h in kin g P rocess L an gu age
S h akespeare L an gu age
H am let:
H am let m ust
Follow h im , frien ds: w e'll h ear a play to-m orrow .
[E xit PO L O N IU S w ith all th e Players but th e First]
D ost th ou h ear m e, old frien d; can you play th e
M urder of G on zago?
devise a w ay to
reveal th e death as
m urder.
F irst P layer
A y, m y lord.
H am let w ill n ot be
H am let w an ts to be
view ed favorably
view ed favorably
by D en m arkian s in
by h is coun trym en .
killin g h is U n cle.
H am let w an ts to
aven ge h is fath er's
m urder
A y, m y lord.
believe th e K in g's
death w as an
acciden t.
L earn in g of h is fath er's fate, th e furious H am let w an ts to aven ge
Y et, h ow h as
H am let learn ed of h is fath er's fate? B y a gh ost?
H is fellow
D en m arkian s, on th e oth er h an d, still believe th e K in g's death
w as an acciden t. Sh ould H am let aven ge h is fath er's death , h e
realizes h e h im self w ill n ot be view ed favorably by h is fellow
D en m arkian s. H ow ever, H am let - as a D en m arkian - w an ts to be
view ed favorably by h is fellow coun trym en ! T h erefore, H am let
m ust devise a w ay to reveal th e death of h is fath er as m urder for
all to see. O n ly th en can justice prevail - in all eyes.
N arrative L an gu age
W e'll h a't to-m orrow n igh t. Y ou could, for a n eed,
study a speech of som e dozen or sixteen lin es, w h ich
I w ould set dow n an d in sert in 't, could you n ot?
F irst P layer
D en m arkian s
h is fath er's m urder … w h at son w ould n ot?
H am let:
A F u rth er L ook at H am let's P rob lem
T h in k in g P ro cess L a n g u a g e
GOAL
NEED
S h a k esp ea re L a n g u a g e
D E S IR E D A C T IO N
H a m let a cts in
H a m let a ven ges
a ccorda n ce w ith
h is fa th er's
th e in form a tion
m urder.
from th e gh ost.
H a m let w a n ts to
lea d a virtuous
life.
H a m let does n ot
G h osts do n ot
ta ke a ction
exist, a n d H a m let
rega rdin g th e
a cts ra tion a lly.
gh ost's a dvice.
W h a t sh ould H a m let do? O n ly h e kn ow s of th e w ords of th e gh ost.
B ut a re th ese w ords to be believed?
W h o w ould con sider th e
testim on y of a n a ppa rition rea son a ble? S h ould I ta ke th e a dvice, or
n ot ta ke th e a dvice of th e a ppa rition ? W h a t to do, w h a t to do, w h a t
to do?
L et's th in k deeper: w h y w ould I n ot follow th e a dvice?
C lea rly, beca use gh osts do n ot exist, a n d H a m let w a n ts to a ct
ra tion a lly.
O n th e oth er h a n d, w h y w ould I follow th e a dvice?
A ga in , th e obvious rea son : if a m urder h a s been com m itted, th e
m urderer n eed be brough t to justice. Is th ere a com m on goa l h ere,
betw een th ese tw o legitim a te n eeds ... justice a n d ra tion a lity? L et's
ch oose a gen era l goa l: I w a n t to lea d a virtuous life. W h ere does th is
lea d us? A good goa l, im plyin g legitim a te n eeds, yet lea din g to a
dilem m a . W h a t sh ould I do?
N a rra tive L a n g u a g e
H am le t:
N ow I a m a lon e.
O , w h a t a rogue a n d pea sa n t sla ve a m I!
Is it n ot m on strous th a t th is pla yer h ere,
B ut in a fiction , in a drea m of pa ssion ,
C ould force h is soul so to h is ow n con ceit
T h a t from h er w orkin g a ll h is visa ge w a n n 'd,
T ea rs in h is eyes, distra ction in 's a spect,
A broken voice, a n d h is w h ole fun ction suitin g
W ith form s to h is con ceit? a n d a ll for n oth in g!
F or H ecuba !
W h a t's H ecuba to h im , or h e to H ecuba ,
T h a t h e sh ould w eep for h er? W h a t w ould h e do,
H a d h e th e m otive a n d th e cue for pa ssion
T h a t I h a ve? H e w ould drow n th e sta ge w ith tea rs
A n d clea ve th e gen era l ea r w ith h orrid speech ,
M a ke m a d th e guilty a n d a ppa l th e free,
C on foun d th e ign ora n t, a n d a m a z e in deed
T h e very fa culties of eyes a n d ea rs. Y et I,
A dull a n d m uddy-m ettled ra sca l, pea k,
L ike Joh n -a -drea m s, un pregn a n t of m y ca use,
A n d ca n sa y n oth in g; n o, n ot for a kin g,
U pon w h ose property a n d m ost dea r life
A da m n 'd defea t w a s m a de. A m I a cow a rd?
W h o ca lls m e villa in ? brea ks m y pa te a cross?
P lucks off m y bea rd, a n d blow s it in m y fa ce?
T w ea ks m e by th e n ose? gives m e th e lie i' th e th roa t,
A s deep a s to th e lun gs? w h o does m e th is?
Ha! …
W h y, w h a t a n a ss a m I! T h is is m ost bra ve,
T h a t I, th e son of a dea r fa th er m urder'd,
P rom pted to m y reven ge by h ea ven a n d h ell,
M ust, like a w h ore, un pa ck m y h ea rt w ith w ords,
A n d fa ll a -cursin g, like a very dra b,
A scullion !
H am let's In jection / S olu tion
T h in kin g P rocess L an gu age
H am let:
T h e U n cle w ill
reveal h im self as
th e m urderer of
th e K in g.
T h e U n cle w ill see
T h e play w ill
th e death un fold,
depict h ow th e
an d becom e
K in g w as killed.
H am let w ill speak
to th e actors prior
to th e play.
un com fortable.
T h e script w ill be
m odified to m im ic
th e actual m urder
of th e K in g.
"T h in k, H am let, th in k", H am let says to h im self. "H ow can I fin d
out if th is apparition tells th e truth ?" I've got it! Suppose I
som eh ow devise a plan th at m akes m y un cle reveal h im self as a
m urderer for all to see? T h at w ould do it. B ut h ow can I do
th is? W h at m urderer reveals h im self? T h ere is a play com in g to
tow n . I sh all speak to th e actors, an d ch an ge th e play "T h e
M urder of G on zago" so th e plot is con sisten t w ith m y fath er's
m urder - as told m e by th e gh ost. Seein g th e plot un fold, surely
m y un cle w ill display discom fort - deja vu if you w ill - an d h e
w ill th erefore reveal h im self as th e m urderer.
N arrative L an gu age
S h akespeare L an gu age
Fie upon 't! foh ! A bout, m y brain ! I h ave h eard
T h at guilty creatures sittin g at a play
H ave by th e very cun n in g of th e scen e
B een struck so to th e soul th at presen tly
T h ey h ave proclaim 'd th eir m alefaction s;
For m urder, th ough it h ave n o ton gue, w ill speak
W ith m ost m iraculous organ . I'll h ave th ese players
Play som eth in g like th e m urder of m y fath er
B efore m in e un cle: I'll observe h is looks;
I'll ten t h im to th e quick: if h e but blen ch ,
I kn ow m y course. T h e spirit th at I h ave seen
M ay be th e devil: an d th e devil h ath pow er
T o assum e a pleasin g sh ape; yea, an d perh aps
O ut of m y w eakn ess an d m y m elan ch oly,
A s h e is very poten t w ith such spirits,
A buses m e to dam n m e: I'll h ave groun ds
M ore relative th an th is: th e play 's th e th in g
W h erein I'll catch th e con scien ce of th e kin g.
[E xit]
C on seq u en ces of th e P lay
T h in kin g P rocess L an gu age
S h akespeare L an gu age
K ing C laudius:
W h at do you call th e play?
H am let w ill w ait
un til th e greatest
h arm can be don e
H am let:
T h e M ouse-trap. M arry, h ow ? T ropically. T h is play
is th e im age of a m urder don e in V ien n a: G on zago is
th e duke's n am e; h is w ife, B aptista: you sh all see
an on ; 'tis a kn avish piece of w ork: but w h at o'
th at? your m ajesty an d w e th at h ave free souls, it
touch es us n ot: let th e galled jade w in ce, our
w ith ers are un w run g.
to th e U n cle's soul.
A quick death is
H am let kn ow s h is
in appropriate to
U n cle m urdered
th e evil don e h is
h is fath er.
"T h e M urder of
fath er.
H am let:
H e poison s h im i' th e garden for's estate. H is
n am e's G on zago: th e story is extan t, an d w rit in
ch oice Italian : you sh all see an on h ow th e m urderer
gets th e love of G on zago's w ife.
T h e K in g displays
G on zago" is
discom fort at th e
altered, due to
n ew play.
H am let.
O phelia:
T h e kin g rises.
H am let h as a talk w ith th e actors regardin g th eir past great
perform an ces, an d w on ders if th ey can m odify th e play, "T h e
M urder of G on zago", w h ich th ey do.
E xpectedly, th e K in g
sh ow s great discom fort at th e revised plan , an d H am let n ow
kn ow s th e G h ost h as spoken th e truth ! H is un cle is a m urderer.
H am let
reason s,
because
a
H am let:
W h at, frigh ted w ith false fire!
m urderer,
a
quick
death
is
in appropriate an d n on -equivalen t to th e evil don e h is fath er.
H am let th erefore decides h e w ill w ait un til th e greatest h arm can
be don e th e kin g.
K ing C laudius:
G ive m e som e ligh t: aw ay!
H am let:
O good H oratio, I'll take th e gh ost's w ord for a
th ousan d poun d. D idst perceive?
H oratio:
V ery w ell, m y lord.
N arrative L an gu age
T h e T ragic C on seq u en ces
T h in kin g P rocess L an gu age
S h akespeare L an gu age
Q ueen G ertrude:
H am let kills
H ave you forgot m e?
Polon ius, believin g
H am let:
h e h is un cle.
N o, by th e rood, n ot so:
Y ou are th e queen , your h usban d's broth er's w ife;
A n d -- w ould it w ere n ot so! -- you are m y m oth er.
T h e m oth er sees
Polon ius is h idin g
th e h orror in
in th e room , an d
H am let, an d cries
h e too cries for
for h elp.
h elp.
Q ueen G ertrude:
N ay, th en , I'll set th ose to you th at can speak.
H am let:
C om e, com e, an d sit you dow n ; you sh all n ot budge;
Y ou go n ot till I set you up a glass
W h ere you m ay see th e in m ost part of you.
H am let too w an ts
T h e m oth er does
to con dem n h is
n ot kn ow about th e
m oth er.
m urder.
Q ueen G ertrude:
W h at w ilt th ou do? th ou w ilt n ot m urder m e?
H elp, h elp, h o!
L ord P olonius:
H am let also does n ot w an t to let h is m oth er off easy … after all,
sh e h as taken up m arriage w ith th e m urderer of h is fath er!
[B eh in d]
W h at, h o! h elp, h elp, h elp!
Surely, h is m oth er kn ow s n oth in g about th e m urder, an d H am let
decides to con fron t h er w ith th e w ickedn ess of th e situation .
Seein g h is rage, sh e cries for h elp, an d Polon ius (h idin g in th e
room beh in d curtain s), too cries for h elp! H am let, believin g th e
secon d cry is from h is un cle, stabs th rough th e curtain s on ly to
see it is Polon ius h e h as killed - an d n ot h is un cle!
H am let:
[D raw in g]
H ow n ow ! a rat? D ead, for a ducat, dead!
[M akes a pass th rough th e arras]
L ord P olonius:
[B eh in d]
O , I am slain !
[Falls an d dies]
N arrative L an gu age
T h e K in g's A m b itiou s T arget
T h in kin g P rocess L an gu age
S h akespeare L an gu age
K ing C laudius:
H am let w ill be
killed by
E n glan ders.
T w o couriers carry
H am let is on h is
letters to E n glan d,
w ay to E n glan d.
tellin g th em to kill
H am let.
H am let, th is deed, for th in e especial safety, -W h ich w e do ten der, as w e dearly grieve
For th at w h ich th ou h ast don e, -- m ust sen d th ee h en ce
W ith fiery quickn ess: th erefore prepare th yself;
T h e bark is ready, an d th e w in d at h elp,
T h e associates ten d, an d every th in g is ben t
For E n glan d.
H am let:
For E n glan d!
K ing C laudius:
Follow h im at foot; tem pt h im w ith speed aboard;
D elay it n ot; I'll h ave h im h en ce to-n igh t:
A w ay! for every th in g is seal'd an d don e
T h at else lean s on th e affair: pray you, m ake h aste.
[E xeun t R O SE N C R A N T Z an d G U IL D E N ST E R N ]
A n d, E n glan d, if m y love th ou h old'st at augh t -A s m y great pow er th ereof m ay give th ee sen se,
T h e K in g
T h e K in g learn s of
con vin ces H am let
Polon ius' death .
to escape to
E n glan d for safety.
T h e K in g learn s of th e acciden tal death , an d sees a w ay out of
h is problem . I w ill sen d H am let aw ay, an d h ave h im killed by
oth ers! H ow can I m ake th is h appen , reason s th e kin g? I w ill
sen d
tw o
couriers
-
h is
trusted
frien ds
R osen cran tz
an d
G uilden stern - w ith H am let w ith letters to deliver to th e K in g of
E n glan d. T h ese letters w ill detail th e m urder of Polon ius, an d
request E n glan d take H am let's life! A ll m y problem s are solved!
N arrative L an gu age
Sin ce yet th y cicatrice looks raw an d red
A fter th e D an ish sw ord, an d th y free aw e
Pays h om age to us -- th ou m ayst n ot coldly set
O ur sovereign process; w h ich im ports at full,
B y letters con gruin g to th at effect,
T h e presen t death of H am let. D o it, E n glan d;
For like th e h ectic in m y blood h e rages,
A n d th ou m ust cure m e: till I kn ow 'tis don e,
H ow e'er m y h aps, m y joys w ere n e'er begun .
[E xit]
H am let's R esp on se
T h in kin g P rocess L an gu age
S h akespeare L an gu age
H am let (changed letter to the king of E ngland):
T h e U n cle m ust
m ake plan s to h ave
H am let killed
an oth er w ay.
H am let decides to
T h e couriers are
return to D en m ark
killed in E n glan d.
to aven ge h is
fath er's death .
A n earn est con juration from th e kin g,
A s E n glan d w as h is faith ful tributary,
A s love betw een th em like th e palm m igh t flourish ,
A s peace sh ould stiff h er w h eaten garlan d w ear
A n d stan d a com m a 'tw een th eir am ities,
A n d m an y such -like 'A s'es of great ch arge,
T h at, on th e view an d kn ow in g of th ese con ten ts,
W ith out debatem en t furth er, m ore or less,
H e sh ould th e bearers put to sudden death ,
N ot sh rivin g-tim e allow 'd.
M essenger:
H am let open s th e
letters, an d kn ow s
of h is fate.
H am let ch an ges
th e letters to say,
"K ill th e carriers
of th ese letters".
L etters, m y lord, from H am let:
T h is to your m ajesty; th is to th e queen .
K ing C laudius:
From H am let! w h o brough t th em ?
M essenger:
H am let, realizin g som eth in g sin ister is goin g on , in stead takes
ch arge of th e letters, an d realizes h is fate. N ot w an tin g th e
Sailors, m y lord, th ey say; I saw th em n ot:
T h ey w ere given m e by C laudio; h e received th em
O f h im th at brough t th em .
couriers to realize h e kn ow s all, H am let sim ply ch an ges th e
w ordin g to say "K ill th e couriers", rath er th an "K ill H am let". O f
course, on ce reach in g E n glan d, th e couriers are im m ediately
killed, an d H am let decides to return to D en m ark to aven ge h is
fath er's death . T h e K in g, h earin g of h is failed plan an d H am let's
goal, m ust th in k of an oth er w ay of h avin g H am let taken care of.
N arrative L an gu age
K ing C laudius:
L aertes, you sh all h ear th em . L eave us.
[E xit M essen ger]
[R eads]
'H igh an d m igh ty, Y ou sh all kn ow I am set n aked on
your kin gdom . T o-m orrow sh all I beg leave to see
your kin gly eyes: w h en I sh all, first askin g your
pardon th ereun to, recoun t th e occasion of m y sudden
an d m ore stran ge return . 'H A M L E T .'
P oor O p h elia
T h in kin g P rocess L an gu age
S h akespeare L an gu age
Q ueen G ertrude:
O n e w oe doth tread upon an oth er's h eel,
So fast th ey follow ; your sister's drow n 'd, L aertes.
O ph elia dies.
L aertus:
D row n 'd! O , w h ere?
O ph elia falls from
O ph elia is
a tree in to a brook,
despon den t.
but tries n ot to
save h erself.
H am let kills
O ph elia is
Polon ius, believin g
sadden ed by h er
h e h is un cle.
fath er's death .
In th e m ean tim e, let us recall H am let h as acciden tally killed
Polon ius, believin g Polon ius' cry for h elp w as th at of th e K in g.
O ph elia, un derstan dably, is sadden ed by h er fath er's death , an d
becom es despon den t. C lim bin g a tree on e day, sh e acciden tally
falls in to a brook, but tries n ot to save h erself. O ph elia h as
killed h erself.
N arrative L an gu age
Q ueen G ertrude:
T h ere is a w illow grow s aslan t a brook,
T h at sh ow s h is h oar leaves in th e glassy stream ;
T h ere w ith fan tastic garlan ds did sh e com e
O f crow -flow ers, n ettles, daisies, an d lon g purples
T h at liberal sh eph erds give a grosser n am e,
B ut our cold m aids do dead m en 's fin gers call th em :
T h ere, on th e pen den t bough s h er coron et w eeds
C lam berin g to h an g, an en vious sliver broke;
W h en dow n h er w eedy troph ies an d h erself
Fell in th e w eepin g brook. H er cloth es spread w ide;
A n d, m erm aid-like, aw h ile th ey bore h er up:
W h ich tim e sh e ch an ted sn atch es of old tun es;
A s on e in capable of h er ow n distress,
O r like a creature n ative an d in dued
U n to th at elem en t: but lon g it could n ot be
T ill th at h er garm en ts, h eavy w ith th eir drin k,
Pull'd th e poor w retch from h er m elodious lay
T o m uddy death .
T h e A n gry L aertu s
T h in kin g P rocess L an gu age
S h akespeare L an gu age
L aertus:
L aertus R E A L L Y
w an ts ven gean ce
on H am let!
L aertus w an ts
L aertus learn s of
ven gean ce on
h is sister O ph elia's
H am let.
death .
H am let kills
L aertus learn s
Polon ius, believin g
H am let is th e
h e h is un cle.
m urderer.
W h at of O ph elia's broth er an d Polon ius' son , L aertus? H e too
learn s of th e m urder of H IS fath er, an d, rath er th an th e
despon den cy of O ph elia feels extrem e rage, an d dem an ds
ven gean ce on th e K in g. T h e K in g explain s it w as H am let, an d
n ot th e K in g, w h o h as killed Polon ius. H am let! L earn in g of
O ph elia's death , h e blam es H am let all th e m ore, an d dem an ds
H am let be dealt w ith appropriately.
N arrative L an gu age
T oo m uch of w ater h ast th ou, poor O ph elia,
A n d th erefore I forbid m y tears: but yet
It is our trick; n ature h er custom h olds,
L et sh am e say w h at it w ill: w h en th ese are gon e,
T h e w om an w ill be out. A dieu, m y lord:
I h ave a speech of fire, th at fain w ould blaze,
B ut th at th is folly douts it.
[E xit]
K ing C laudius:
L et's follow , G ertrude:
H ow m uch I h ad to do to calm h is rage!
N ow fear I th is w ill give it start again ;
T h erefore let's follow .
[E xeun t]
T h e K in g's A m b itiou s T arget
T h in kin g P rocess L an gu age
K ing C laudius:
H am let w ill be
dead, eith er by th e
h an d of L aertus or
th e glass of w in e.
H am let's w in e w ill
H am let w ill be
be poison ed, in
pierced by th e
case th e n apier
poison ous n apier.
H am let believes
th e fen cin g duel
w ill be a frien dly
m atch .
S h akespeare L an gu age
m isses th e m ark.
L aertus' n apier
w ill be dipped in
poison .
M ost gen erous an d free from all con trivin g,
W ill n ot peruse th e foils; so th at, w ith ease,
O r w ith a little sh ufflin g, you m ay ch oose
A sw ord un bated, an d in a pass of practise
R equite h im for your fath er.
L aertus:
I w ill do't:
A n d, for th at purpose, I'll an oin t m y sw ord.
I bough t an un ction of a m oun teban k,
So m ortal th at, but dip a kn ife in it,
W h ere it draw s blood n o cataplasm so rare,
C ollected from all sim ples th at h ave virtue
U n der th e m oon , can save th e th in g from death
T h at is but scratch 'd w ith al: I'll touch m y poin t
W ith th is con tagion , th at, if I gall h im sligh tly,
It m ay be death .
K ing C laudius:
T h e K in g, seein g a secon d ch an ce to fix h is problem , reason s as
such w ith L aertus: let us prepare a fen cin g m atch w ith H am let,
w ith th e prelude it bein g a frien dly m atch . Surely, in such a
m atch , h is expectation can be used to your advan tage. T o en sure
w e w in an d H am let is killed, w e sh all poison your rapier.
Fin ally, let's assum e H am let is n ot killed by your rapier. W h at
can w e do to en sure h e en ds up dead n on eth eless? L et's poison
h is w in e, for in th e celebration of possible victory, h e sh all surely
drin k h is w in e. Surely, th is w ill en sure h is death !
N arrative L an gu age
L et's furth er th in k of th is;
W eigh w h at con ven ien ce both of tim e an d m ean s
M ay fit us to our sh ape: if th is sh ould fail,
A n d th at our drift look th rough our bad perform an ce,
'T w ere better n ot assay'd: th erefore th is project
Sh ould h ave a back or secon d, th at m igh t h old,
If th is sh ould blast in proof. Soft! let m e see:
W e'll m ake a solem n w ager on your cun n in gs: I h a't.
W h en in your m otion you are h ot an d dry -A s m ake your bouts m ore violen t to th at en d -A n d th at h e calls for drin k, I'll h ave prepared h im
A ch alice for th e n on ce, w h ereon but sippin g,
If h e by ch an ce escape your ven om 'd stuck,
O ur purpose m ay h old th ere.
T h e T ragic O u tcom e of th e D u el
T h in kin g P rocess L an gu age
K ing C laudius:
Stay; give m e drin k. H am let, th is pearl is th in e;
H ere's to th y h ealth .
G ive h im th e cup.
Q ueen G ertrude's
fate is sealed.
Q ueen G ertrude
drin ks th e
T h e w in e rem ain s.
S h akespeare L an gu age
poison ed w in e
acciden tally.
H am let:
I'll play th is bout first; set it by aw h ile. C om e.
A n oth er h it; w h at say you?
L aertus:
A touch , a touch , I do con fess.
K ing C laudius:
O ur son sh all w in .
T h e K in g tries to
get H am let to
H am let is busy
drin k th e poison ed
w ith th e duel.
w in e.
T h e fen cin g com m en ces, an d H am let realizes th e m atch is m ore
com petitive th an h e w as led to believe.
Q ueen G ertrude:
H e's fat, an d scan t of breath .
H ere, H am let, take m y n apkin , rub th y brow s;
T h e queen carouses to th y fortun e, H am let.
H am let:
G ood m adam !
T h e kin g seizes th e
opportun ity, durin g a break in th e action , to offer H am let a drin k
from th e poison ed w in e. H am let refuses, an d th e duel con tin ues.
K ing C laudius:
G ertrude, do n ot drin k.
Q ueen G ertrude, h ow ever, sees th e w in e, an d takes a drin k. H er
fate is sealed, an d sh e slow ly starts to die.
Q ueen G ertrude:
I w ill, m y lord; I pray you, pardon m e.
K ing C laudius:
[A side]
It is th e poison 'd cup: it is too late.
N arrative L an gu age
T h e T ragic O u tcom e of th e D u el
T h in kin g P rocess L an gu age
S h akespeare L an gu age
L aertus:
B oth L aertus an d
H ave at you n ow !
H am let's m oth er
[L A E R T E S w oun ds H A M L E T ; th en in scufflin g, th ey ch an ge
are in th e process
rapiers, an d H A M L E T w oun ds L A E R T E S]
of dyin g.
K ing C laudius:
Part th em ; th ey are in cen sed.
L aertus is stabbed
H am let's m oth er
w ith th e poison ous
drin ks H am let's
rapier.
w in e.
H am let:
N ay, com e, again .
[Q U E E N G E R T R U D E falls]
O sric:
L ook to th e queen th ere, h o!
T h e rapiers fall to
th e groun d an d
H am let is a good
dueler.
ch an ge h an ds.
H oratio:
T h ey bleed on both sides. H ow is it, m y lord?
O sric:
H ow is't, L aertes?
A s th e m atch con tin ues, th e rapiers fall to th e groun d an d, in th e
struggle an d con fusion , ch an ge h an ds.
H am let, un kn ow n to
h im , is in ch arge of th e poison ous rapier! B ein g a good dueler,
h e even tually strikes L aertus. B oth L aertus an d Q ueen G ertrude
n ow are in th e dyin g process.
N arrative L an gu age
W h y, as a w oodcock to m in e ow n sprin ge, O sric;
I am justly kill'd w ith m in e ow n treach ery.
T h e T ragic O u tcom e of th e D u el
T h in kin g P rocess L an gu age
S h akespeare L an gu age
L aertus:
H am let an d h is
U n cle both die as
w ell.
H am let stabs h is
H am let h as been
un cle, an d m akes
n icked by th e
h im too drin k th e
poison ous n apier.
poison ous w in e.
L aertus' last w ords
reveal th e plot to
poison H am let.
H am let:
T h e poin t! -- en ven om 'd too!
T h en , ven om , to th y w ork.
[Stabs K IN G C L A U D IU S]
H am let seeks
ven gean ce.
L aertus' last w ords reveal th e plot to poison H am let, an d H am let
n ow really seeks ven gean ce on th e K in g. H e stabs h is un cle, an d
m akes h im also drin k th e poison ous w in e. T ragically, H am let
h as been n icked by th e poison ous n apier, an d h e too is on h is
death bed.
It is h ere, H am let: H am let, th ou art slain ;
N o m edicin e in th e w orld can do th ee good;
In th ee th ere is n ot h alf an h our of life;
T h e treach erous in strum en t is in th y h an d,
U n bated an d en ven om 'd: th e foul practise
H ath turn 'd itself on m e lo, h ere I lie,
N ever to rise again : th y m oth er's poison 'd:
I can n o m ore: th e kin g, th e kin g's to blam e.
T h e play en ds, w ith th e U n cle, H am let, Q ueen
G ertrude, an d L aertus all killed in th is tragic duel gon e aw ry.
N arrative L an gu age
H am let:
H ere, th ou in cestuous, m urderous, dam n ed D an e,
D rin k off th is potion . Is th y un ion h ere?
Follow m y m oth er.
[K IN G C L A U D IU S dies]
H am let:
H eaven m ake th ee free of it! I follow th ee.
I am dead, H oratio. W retch ed queen , adieu!
Y ou th at look pale an d trem ble at th is ch an ce,
T h at are but m utes or audien ce to th is act,
H ad I but tim e -- as th is fell sergean t, death ,
Is strict in h is arrest -- O , I could tell you -B ut let it be. H oratio, I am dead;
T h ou livest; report m e an d m y cause arigh t
T o th e un satisfied.
R esolu tion
T h in kin g P rocess L an gu age
S h akespeare L an gu age
H am let:
H oratio tells fellow
T h e poin t! -- en ven om 'd too!
T h en , ven om , to th y w ork.
D en m arkian s th e
en tire story.
A ll:
T reason ! treason !
H am let:
H am let w ill be
view ed a traitor for
H am let leaves it to
killin g K in g
H oratio to tell th e
truth .
C laudius.
H am let stabs h is
R ecall, fellow
un cle, an d m akes
citizen s believe th e
h im too drin k th e
K in g's death w as
poison ous w in e.
an acciden t.
H am let gain s th e ven gean ce sough t th e en tire story, but h as
H eaven m ake th ee free of it! I follow th ee.
I am dead, H oratio. W retch ed queen , adieu!
Y ou th at look pale an d trem ble at th is ch an ce,
T h at are but m utes or audien ce to th is act,
H ad I but tim e -- as th is fell sergean t, death ,
Is strict in h is arrest -- O , I could tell you -B ut let it be. H oratio, I am dead;
T h ou livest; report m e an d m y cause arigh t
T o th e un satisfied.
H oratio:
N ever believe it:
I am m ore an an tique R om an th an a D an e:
H ere's yet som e liquor left.
failed to tell fellow D en m arkian s of h is fath er's m urder! T h e
w itn esses to th e act, of course, yell "T reason !", for all th ey h ave
seen is on e m an kill th e K in g. O n ly H am let an d H oratio kn ow
th e truth , an d H am let n ow is on h is death bed. H e con vin ces
H oratio to report to th e crow d th e circum stan ces surroun din g th e
death , an d to tell H am let's story.
N arrative L an gu age
H am let:
A s th ou'rt a m an ,
G ive m e th e cup: let go; by h eaven , I'll h ave't.
O good H oratio, w h at a w oun ded n am e,
T h in gs stan din g th us un kn ow n , sh all live beh in d m e!
If th ou didst ever h old m e in th y h eart
A bsen t th ee from felicity aw h ile,
A n d in th is h arsh w orld draw th y breath in pain ,
T o tell m y story.
[M arch afar off, an d sh ot w ith in ]
W h at w arlike n oise is th is?
Famous Quotes
“Brevity is the soul of wit”? “To be or not to be?” We’ve heard these all our lives …
now we have a structural understanding of the work by which to really understand
these quotes!
But, what constitutes “Real understanding”? The quote itself? The context from
which the quote arises? The meaning of the actor in the context?
play passage
play passage
Som ething is rotten in the
state of D enm ark .
T h e K in g of D en m ark h as
M arcellus, a guard, describes
m ysteriously died, an d n ow
th e ch aos an d disorder of th e
h is gh ost h as appeared.
situation .
play context
general m essage
play context
H am let: F am ou s L in es
play passage
play passage
Som ething is rotten in the
state of D enm ark .
eternity.
T h e K in g of D en m ark h as
M arcellus, a guard, describes
m ysteriously died, an d n ow
th e ch aos an d disorder of th e
h is gh ost h as appeared.
situation .
play context
A ll that lives m ust die,
passing through nature to
general m essage
Q ueen G ertrude an d K in g
C laudius are talkin g w ith
H am let about th e
com m on ality of death .
G ertrude w an ts to kn ow w h y
som eth in g n atural both ers n o
on e except H am let.
play context
play passage
general m essage
play passage
F railty, thy nam e is
w om an!
B revity is the soul of w it.
H am let is speakin g on h is
A good person does th e righ t
Polon ius is tellin g K in g
In telligen t speech an d
m oth er rem arryin g w ith in a
th in g, an d m arryin g w ith in a
C laudius an d Q ueen
w ritin g sh ould aim at few
m on th of h is fath er's death .
m on th of death is n ot righ t.
G ertrude H am let is m ad.
w ords. Just cut to th e ch ase.
play context
general m essage
play context
general m essage
OUR Famous Quotes
“Brevity is the soul of wit”? “To be or not to be?” Great quotes … yes. However,
now that we have a great understanding of this piece of literature, why leave the great
quotes to Shakespeare, when we can create our own?
What would constitute a great quote? Validity in the Shakespearean environment? Of
course … this gives rise to the quote itself. Valid in another environment? Certainly
… this is the meaning of generalization.
What about application to other environments? Is it valid in other applications? Is it
not valid in other areas?
P erson al Q u otes / G en eralization s
further exam ples confirm ing m y generalization …
K in g C laudius kills h is
broth er to becom e kin g.
counterexam ples suggesting m y generalization is not entirely valid
S car, in th e L ion K in g, kills
T h ere is n o eviden ce of
T h e coun try of M on oco h as
h is broth er M ufasa, in order
scan dal in curren t E n glish
h ad n o in figh tin g regardin g
to becom e kin g.
h ierarch y.
th e position of K in g.
generalizations
" A scen sion to th e th ron e"
m ak es k illers of us all.
H am let's un cle kills th e K in g
to becom e K in g.
play action
In "T h e L ion K in g", S car
kills h is broth er M ufasa, to
ascen d to th e th ron e.
action from another context
W h en I see a th ron e, I see som eth in g deservin g of bein g deth ron ed.
W h en gen etics is th e n ecessary an d sufficien t path to pow er, w h o can blam e th e gen etic "m isfit" from takin g action ?
A th ron e im plies "aristocracy".
Other Endings?
Must we accept “tragedy” as inevitable in Hamlet? That was Shakespeare’s story, but
does it have to be ours? What might Hamlet have done to “rewrite history”? What
injection might have Hamlet employed to arrive at a favorable reality?
H am let's D ilem m a R evisited
T he D ilem m a and Injection
T he L ogical F uture of H am let's Injection
I kill P olon ius
I kill L aertus in a
I h ave reason able
acciden tally, an d
duel, an d Q ueen
groun ds to aven ge
O ph elia com m its
G ertrude
m y fath er's
suicide.
acciden tally dies.
I kill m y U n cle,
an d am m yself
killed in th e duel!
m urder.
L ots of un expected
th in gs are boun d
to h appen .
D o n ot take action
I w an t to aven ge
regardin g th e
m y fath er's
gh ost's advice.
m urder!
T rick th e n ew
K in g in to
revealin g h e w as
th e m urderer.
T h e effects of
I w ill alon e take
"ven gean ce
action s based on
un leash ed" are
m y ven gean ce an d
difficult to predict.
an ger
H am let acts in
G h osts do n ot
accordan ce w ith
exist, an d H am let
th e in form ation
acts ration ally.
from th e gh ost.
I alon e rem ain
judge an d jury.
I still w an t to
aven ge m y fath er's
m urder.
I h ave reason able
I don ’t effectively
H am let w an ts to
groun ds to aven ge
com m un icate th is
act virtuously.
m y fath er's
n ew in form ation to
m urder.
D en m arkian s.
A Process of Ongoing
Improvement
When am I “done” learning Hamlet / Shakespeare? It, of course, depends … however,
with structure in place, many additional questions come to mind!
F u rth er Q u estion s on th e P lay
C laud ius k ills h is b roth er to b ecom e K in g. D id h e h ave to m arry th e w id ow of h is b roth er to b ecom e K in g? W h y d id n 't
H am let b ecom e th e k in g?
I still d on ’t un d erstan d th e role of th e oth er coun tries (N orw ay, E n glan d , etc.) in th e p lay.
H am let acts od d after th e visit of th e gh ost. Is th is in ten tion al, to n ot let K in g C laud ius k n ow H am let is on to th e m urd er
p lot, or is H am let literally " out of h is m in d " ?
M arc A n ton y gives an im p assion ed sp eech , an d th e crow d seizes B rutus. T h is w as h is w ay of con vin cin g th e crow d C aesar
w as n o d ictator, an d th e k illers w ere in d eed m urd erers. S h ould H am let h ave d on e th e sam e?
Q ueen G ertrud e w itn esses H am let w ron gly k ill L ord P olon ius. W h at sh ould a p aren t d o in such a case? E uth yp h ro, in
th e S ocratic D ialogue, took h is ow n fath er to court for just th is reason .
H A M L E T
H A M L E T
N a rra tive S u m m a ry: A B rief O u tlin e
T he K ing of D e nm ark has die d, and his ghost has appe are d to te ll the surv iv ing son H am le t the de ath was no ac c ide nt!
D e ath by m urde r, is the c harge , with the K ing's own brothe r the m urde re r! H am le t de v ise s a plan to re v e al the
m urde re r for all to se e . In the following pursuit of justic e , H am le t e nds up k illing a m an (P olonius), anothe r m an
SH AK ESPEAREAN TRAG EDY
(L ae rtus), and the K ing, while his girlfrie nd (O phe lia) k ills he rse lf, and his m othe r (Q ue e n G e rtrude ) ac c ide ntally die s
drink ing a glass of poisone d wine m e ant for H am le t.
and the
T hinking P rocesses of the T heory of C onstraints for E d ucation
N a rra tive S u m m a ry: A D eta iled O u tlin e
* T he guards at the palac e gate s are c onfronte d by the G host of the K ing of D e nm ark . T he K ing has die d, and the K ing's
brothe r, C laudius, has asc e nde d to the throne . T he K ing's de ath was be lie v e d ac c ide ntal, but now the ghost te lls his
son, H am le t, the de ath was m urde r, and C laudius the m urde re r! W ith this inform ation, the justic e -se e k ing H am le t
se e k s to av e nge his fathe r's m urde r.
* L e arning of his fathe r's fate , the furious H am le t wants to av e nge his fathe r's m urde r … what son would not? Y e t, how
has H am le t le arne d of his fathe r's fate ? B y a ghost? H is fe llow D e nm ark ians, on the othe r hand, still be lie v e the
K ing's de ath was an ac c ide nt. Should H am le t av e nge his fathe r's de ath, he re alize s he him se lf will not be v ie we d
fav orably by his fe llow D e nm ark ians. H owe v e r, H am le t - as a D e nm ark ian - wants to be v ie we d fav orably by his
fe llow c ountry m e n! T he re fore , H am le t m ust de v ise a way to re v e al the de ath of his fathe r as m urde r for all to se e .
O nly the n c an justic e pre v ail - in all e y e s.
* W hat should H am le t do? O nly he k nows of the words of the ghost. B ut are the se words to be be lie v e d? W ho would
c onside r the te stim ony of an apparition re asonable ? Should I tak e the adv ic e , or not tak e the adv ic e of the apparition?
W hat to do, what to do, what to do? L e t's think de e pe r: why would I not follow the adv ic e ? C le arly , be c ause ghosts
do not e x ist, and H am le t wants to ac t rationally . O n the othe r hand, why would I follow the adv ic e ? A gain, the
obv ious re ason: if a m urde r has be e n c om m itte d, the m urde re r ne e d be brought to justic e . Is the re a c om m on goal
he re , be twe e n the se two le gitim ate ne e ds ... justic e and rationality ? L e t's c hoose a ge ne ral goal: I want to le ad a
v irtuous life . W he re doe s this le ad us? A good goal, im ply ing le gitim ate ne e ds, y e t le ading to a dile m m a. W hat
should I do?
* "T hink , H am le t, think ", H am le t say s to him se lf. "H ow c an I find out if this apparition te lls the truth?" I'v e got it!
Suppose I som e how de v ise a plan that m ak e s m y unc le re v e al him se lf as a m urde re r for all to se e ? T hat would do it.
B ut how c an I do this? W hat m urde re r re v e als him se lf? T he re is a play c om ing to town. I shall spe ak to the ac tors,
and c hange the play "T he M urde r of G onzago" so the plot is c onsiste nt with m y fathe r's m urde r - as told m e by the
ghost. Se e ing the plot unfold, sure ly m y unc le will display disc om fort - de ja v u if y ou will - and he will the re fore
re v e al him se lf as the m urde re r.
* H am le t has a talk with the ac tors re garding the ir past gre at pe rform anc e s, and wonde rs if the y c an m odify the play ,
"T he M urde r of G onzago", whic h the y do. E x pe c te dly , the K ing shows gre at disc om fort at the re v ise d plan, and
H am le t now k nows the G host has spok e n the truth! H is unc le is a m urde re r. H am le t re asons, be c ause a m urde re r, a
quic k de ath is inappropriate and non-e quiv ale nt to the e v il done his fathe r. H am le t the re fore de c ide s he will wait until
the gre ate st harm c an be done the k ing.
an au to S O C R A T IC P R E S S p u b lication
* H am le t also doe s not want to le t his m othe r off e asy … afte r all, she has tak e n up m arriage with the m urde re r of his
M ichael L ee R ound
fathe r! Sure ly , his m othe r k nows nothing about the m urde r, and H am le t de c ide s to c onfront he r with the wic k e dne ss of
the situation. Se e ing his rage , she c rie s for he lp, and P olonius (hiding in the room be hind c urtains), too c rie s for he lp!
H am le t, be lie v ing the se c ond c ry is from his unc le , stabs through the c urtains only to se e it is P olonius he has k ille d and not his unc le !
T h e C on text of th e P lay
T h in kin g P rocess L an gu age
A F u rth er L ook at H am let's P rob lem
S h akespeare L an gu age
T h in k in g P ro cess L a n g u a g e
G host:
H am let w an ts to
m urder.
son , learn s of h is
In itially believin g
th e death w as
acciden tal, H am let
fath er's m urder.
NEED
I am th y fath er's spirit,
D oom 'd for a certain term to w alk th e n igh t,
A n d for th e day con fin ed to fast in fires,
T ill th e foul crim es don e in m y days of n ature
A re burn t an d purged aw ay. B ut th at I am forbid
T o tell th e secrets of m y prison -h ouse,
aven ge h is fath er's
H am let, th e K in g's
GOAL
n ow seeks justice.
H a m let a cts in
H a m let a ven ges
a ccorda n ce w ith
h is fa th er's
th e in form a tion
m urder.
from th e gh ost.
G host:
R even ge h is foul an d m ost un n atural m urder.
H a m let w a n ts to
lea d a virtuous
H am let:
life.
M urder!
G host:
T h e K in g's G h ost
T h e K in g of
H am let th e death
H a m let does n ot
G h osts do n ot
M urder m ost foul, as in th e best it is;
B ut th is m ost foul, stran ge an d un n atural.
appears, an d tells
D en m ark h as
un expectedly died.
ta ke a ction
exist, a n d H a m let
rega rdin g th e
a cts ra tion a lly.
w as m urder.
gh ost's a dvice.
H am let:
H aste m e to kn ow 't, th at I, w ith w in gs as sw ift
T h e guards at th e palace gates are con fron ted by th e G h ost of th e
A s m editation or th e th ough ts of love,
M ay sw eep to m y reven ge.
W h a t sh ould H a m let do? O n ly h e kn ow s of th e w ords of th e gh ost.
K in g of D en m ark. T h e K in g h as died, an d th e K in g's broth er,
C laudius, h as ascen ded to th e th ron e. T h e K in g's death w as
believed acciden tal, but n ow th e gh ost tells h is son , H am let, th e
death w as m urder, an d C laudius th e m urderer!
W ith th is
in form ation , th e justice-seekin g H am let seeks to aven ge h is
fath er's m urder.
B ut a re th ese w ords to be believed?
G host:
W h o w ould con sider th e
testim on y of a n a ppa rition rea son a ble? S h ould I ta ke th e a dvice, or
W ouldst th ou n ot stir in th is. N ow , H am let, h ear:
'T is given out th at, sleepin g in m y orch ard,
A serpen t stun g m e; so th e w h ole ear of D en m ark
Is by a forged process of m y death
R an kly abused: but kn ow , th ou n oble youth ,
T h e serpen t th at did stin g th y fath er's life
N ow w ears h is crow n .
n ot ta ke th e a dvice of th e a ppa rition ? W h a t to do, w h a t to do, w h a t
to do?
L et's th in k deeper: w h y w ould I n ot follow th e a dvice?
C lea rly, beca use gh osts do n ot exist, a n d H a m let w a n ts to a ct
ra tion a lly.
O n th e oth er h a n d, w h y w ould I follow th e a dvice?
A ga in , th e obvious rea son : if a m urder h a s been com m itted, th e
m urderer n eed be brough t to justice. Is th ere a com m on goa l h ere,
betw een th ese tw o legitim a te n eeds ... justice a n d ra tion a lity? L et's
ch oose a gen era l goa l: I w a n t to lea d a virtuous life. W h ere does th is
H am let:
O m y proph etic soul! M y un cle!
lea d us? A good goa l, im plyin g legitim a te n eeds, yet lea din g to a
dilem m a . W h a t sh ould I do?
N arrative L an gu age
P ersonal Q uotes / G eneralizations
S h a k esp ea re L a n g u a g e
D E S IR E D A C T IO N
fu rth e r e x a m p le s c o n firm in g m y g e n e ra liza tio n …
H am le t:
N ow I a m a lon e.
O , w h a t a rogue a n d pea sa n t sla ve a m I!
Is it n ot m on strous th a t th is pla yer h ere,
B ut in a fiction , in a drea m of pa ssion ,
C ould force h is soul so to h is ow n con ceit
T h a t from h er w orkin g a ll h is visa ge w a n n 'd,
T ea rs in h is eyes, distra ction in 's a spect,
A broken voice, a n d h is w h ole fun ction suitin g
W ith form s to h is con ceit? a n d a ll for n oth in g!
F or H ecuba !
W h a t's H ecuba to h im , or h e to H ecuba ,
T h a t h e sh ould w eep for h er? W h a t w ould h e do,
H a d h e th e m otive a n d th e cue for pa ssion
T h a t I h a ve? H e w ould drow n th e sta ge w ith tea rs
A n d clea ve th e gen era l ea r w ith h orrid speech ,
M a ke m a d th e guilty a n d a ppa l th e free,
C on foun d th e ign ora n t, a n d a m a z e in deed
T h e very fa culties of eyes a n d ea rs. Y et I,
A dull a n d m uddy-m ettled ra sca l, pea k,
L ike Joh n -a -drea m s, un pregn a n t of m y ca use,
A n d ca n sa y n oth in g; n o, n ot for a kin g,
U pon w h ose property a n d m ost dea r life
A da m n 'd defea t w a s m a de. A m I a cow a rd?
W h o ca lls m e villa in ? brea ks m y pa te a cross?
P lucks off m y bea rd, a n d blow s it in m y fa ce?
T w ea ks m e by th e n ose? gives m e th e lie i' th e th roa t,
A s deep a s to th e lun gs? w h o does m e th is?
Ha! …
W h y, w h a t a n a ss a m I! T h is is m ost bra ve,
T h a t I, th e son of a dea r fa th er m urder'd,
P rom pted to m y reven ge by h ea ven a n d h ell,
M ust, like a w h ore, un pa ck m y h ea rt w ith w ords,
A n d fa ll a -cursin g, like a very dra b,
A scullion !
K in g Cla u d iu s kills h is
b ro th e r to b e c o me kin g .
c o u n te re x a m p le s su g g e stin g m y g e n e ra liza tio n is n o t e n tire ly v a lid
Sc a r, in th e Lio n K in g , kills
T h e re is n o e v id e n c e o f
T h e c o u n try o f M o n o c o h a s
h is b ro th e r M u fa s a , in o rd e r
s c a n d a l in c u rre n t En g lis h
h a d n o in fig h tin g re g a rd in g
to b e c o me kin g .
h ie ra rc h y .
th e p o s itio n o f K in g .
g e n e ra liza tio n s
"A s c e ns ion to the thr one "
mak e s k ille r s of us all.
H a mle t's u n c le kills th e K in g
to b e c o me K in g .
p la y a c tio n
In " T h e Lio n K in g " , Sc a r
kills h is b ro th e r M u fa s a , to
a s c e n d to th e th ro n e .
a c tio n fro m a n o th e r c o n te x t
W h e n I s e e a th ro n e , I s e e s o me th in g d e s e rv in g o f b e in g d e th ro n e d .
W h e n g e n e tic s is th e n e c e s s a ry a n d s u ffic ie n t p a th to p o w e r, w h o c a n b la me th e g e n e tic " mis fit" fro m ta kin g a c tio n ?
A th ro n e imp lie s " a ris to c ra c y " .
N a rra tive L a n g u a g e
H am let: F am ou s L in es
H am let's D ilem m a R evisited
T he D ilem m a and Injection
T he L ogical F uture of H am let's Injection
I kill P olon ius
I kill L aertus in a
I h ave reason able
acciden tally, an d
duel, an d Q ueen
groun ds to aven ge
O ph elia com m its
G ertrude
m y fath er's
suicide.
acciden tally dies.
play passage
F u rth er Q u estion s on th e P lay
play passage
I kill m y U n cle,
Som ething is rotten in the
an d am m yself
state of D enm ark .
A ll that lives m ust die,
passing through nature to
eternity.
killed in th e duel!
H am let becom e the k ing?
I still don’t understand the role of the other countries (N orw ay, E ngland, etc.) in the play.
m urder.
H am let acts odd after the visit of the ghost. Is this intentional, to not let K ing C laudius k now H am let is on to the m urder
L ots of un expected
th in gs are boun d
to h appen .
D o n ot take action
I w an t to aven ge
regardin g th e
m y fath er's
gh ost's advice.
C laudius k ills his brother to becom e K ing. D id he have to m arry the w idow of his brother to becom e K ing? W hy didn't
T h e K in g of D en m ark h as
M arcellus, a guard, describes
m ysteriously died, an d n ow
th e ch aos an d disorder of th e
h is gh ost h as appeared.
situation .
Q ueen G ertrude an d K in g
C laudius are talkin g w ith
H am let about th e
com m on ality of death .
G ertrude w an ts to kn ow w h y
som eth in g n atural both ers n o
on e except H am let.
K in g in to
revealin g h e w as
th e m urderer.
T h e effects of
I w ill alon e take
"ven gean ce
action s based on
un leash ed" are
m y ven gean ce an d
difficult to predict.
an ger
play context
general m essage
play context
general m essage
Q ueen G ertrude w itnesses H am let w rongly k ill L ord P olonius. W hat should a parent do in such a case? E uthyphro, in
play passage
the Socratic D ialogue, took his ow n father to court for just this reason.
play passage
H am let acts in
G h osts do n ot
accordan ce w ith
exist, an d H am let
th e in form ation
acts ration ally.
from th e gh ost.
F railty, thy nam e is
I alon e rem ain
judge an d jury.
I h ave reason able
M arc A ntony gives an im passioned speech, and the crow d seizes B rutus. T his w as his w ay of convincing the crow d C aesar
w as no dictator, and the k illers w ere indeed m urderers. Should H am let have done the sam e?
m urder!
T rick th e n ew
plot, or is H am let literally " out of his m ind" ?
w om an!
I still w an t to
B revity is the soul of w it.
aven ge m y fath er's
m urder.
I don ’t effectively
H am let is speakin g on h is
A good person does th e righ t
H am let w an ts to
groun ds to aven ge
com m un icate th is
m oth er rem arryin g w ith in a
th in g, an d m arryin g w ith in a
C laudius an d Q ueen
w ritin g sh ould aim at few
act virtuously.
m y fath er's
n ew in form ation to
m on th of h is fath er's death .
m on th of death is n ot righ t.
G ertrude H am let is m ad.
w ords. Just cut to th e ch ase.
m urder.
D en m arkian s.
play context
general m essage
Polon ius is tellin g K in g
play context
In telligen t speech an d
general m essage
The Future …
T H E O R Y of C O N S T R A IN T S for E D U C A T IO N
S h akespeare
B lack B elt C ertificate P rogram
T H E T R A G E D IE S
A ntony and
C leopatra
R om eo and
Juliet
O thello
C oriolanus
H am let
M acbeth
Shakespeare “Textbooks”
T H E H IS T O R IE S
T im on of
K ing H enry IV
A thens
P art 2
T itus
K ing H enry V I
A ndronicus
P art 2
K ing L ear
R ichard III
K ing H enry V
K ing H enry V I
P art 1
K ing H enry V I
K ing H enry
P art 3
V III
K ing H enry IV
P art 1
Julius C aesar
A ll's W ell T hat M erry W ives of
E nds W ell
A s Y ou L ik e It
T w o G entlem en
T H E C O M E D IE S
W indsor
C om edy of
E rrors
of V erona
M erchant of
T roilus and
V enice
C ressida
C ym beline
W inter's T ale
L ove's L abour's
M easure for
L ost
M easure
M idsum m er
M uch A do
P ericles, P rince
T am ing of the
N ight's D ream
A bout N othing
of T yre
Shrew
T em pest
www.kcshakes.org
K ing John
R ichard II
T w elfth N ight
Preliminary discussions have been
held with the “Heart of America
Shakespeare Festival” organization
about co-authoring / overseeing the
writing of the 37 books to the left …
They have the “Shakespearean”
expertise … by way of the Thinking
Processes of TOC, we have the
structure to make “Shakespeare
Enjoyable for All!”
H A M L E T
SH A K ESPEA R EA N TR A G ED Y
and the
T hinking P rocesses of the T heory of C onstraints for E d ucation
Feel free to comment on the layout
of the book, the structure, the
categories, the initiatives, etc.
As I said, this truly is a “process of
ongoing improvement”, and an
exciting process indeed!
an au to S O C R A T IC P R E S S p u b lication
M ichael L ee R ound
Education as a System
The Left / Right “Dilemma”
This theory of the structure and functions of the mind
suggests that the two different sides of the brain control two
different "modes" of thinking. It also suggests that each of
us prefers one mode over the other.
Most individuals have a distinct preference for one of these
styles of thinking. Some, however, are more whole-brained
and equally adept at both modes. In general, schools tend to
favor left-brain modes of thinking, while downplaying the
right-brain ones. Left-brain scholastic subjects focus on
logical thinking, analysis, and accuracy. Right-brained
subjects, on the other hand, focus on aesthetics, feeling, and
creativity.
L eft B rain
R ig h t B rain
L ogical
R and om
S eq uential
Intuitive
R ational
A nalytical
O b jective
L ooks at p arts
H olistic
S ynthesizing
How Right-Brain vs. Left-Brain Thinking Impacts
Learning
Curriculum--In order to be more "whole-brained" in
their orientation, schools need to give equal weight to
the arts, creativity, and the skills of imagination and
synthesis.
Instruction--To foster a more whole-brained scholastic
experience, teachers should use instruction techniques
that connect with both sides of the brain. They can
increase their classroom's right-brain learning activities
by incorporating more patterning, metaphors, analogies,
role playing, visuals, and movement into their reading,
calculation, and analytical activities.
Assessment--For a more accurate whole-brained
evaluation of student learning, educators must develop
new forms of assessment that honor right-brained
talents and skills.
S ub jective
L ooks at w holes
Reading
Bernice McCarthy, The 4-MAT System: Teaching to
Learning Styles with Right/Left Mode Techniques.
B L O O M 'S
K n ow le d ge
C om p r e h e n sion
T A X O N O M Y
A p p lic ation
A pply rules to a problem ,
A n alysis
R eca ll con ten t in th e exa ct
R esta te m a teria l in th eir
form th a t it w a s presen ted.
ow n w ords, or ca n recogn iz e w ith out bein g given th e rule situa tion s dow n in to th eir
B rea k com plex con cepts or
M em oriz a tion of defin ition s, previously un seen exa m ples or form ula for solvin g th e
com pon en t pa rts, a n d
form ula s, or procedures a re
a n a lyz e h ow th e pa rts a re
of a con cept.
problem .
exa m ples of kn ow ledge-
S yn th e sis
E valuation
R ea rra n ge com pon en t pa rts
E va lua te or m a ke judgm en ts
to form a n ew w h ole.
on th e w orth of a con cept,
object, etc. for a purpose.
rela ted to on e a n oth er.
level fun ction in g.
L ist, defin e, la bel, iden tify,
D escribe, a ssocia te,
A pply, ca lcula te, illustra te,
A n a lyz e, com pa re, sepa ra te, C om bin e, m odify,
A ssess, decide, gra de,
n a m e.
ca tegoriz e, sum m a riz e
solve.
order, expla in
recom m en d, expla in , judge
a rra n ge, defin e, duplica te,
cla ssify, describe, discuss,
rea rra n ge, "w h a t-if"
a pply, ch oose, dem on stra te,
a n a lyz e, a ppra ise, ca lcula te, a rra n ge, a ssem ble, collect,
a ppra ise, a rgue, a ssess,
la bel, list, m em oriz e, n a m e, expla in , express, iden tify,
dra m a tiz e, em ploy,
ca tegoriz e, com pa re,
com pose, con struct, crea te,
a tta ch , ch oose com pa re,
order, recogn iz e, rela te,
in dica te, loca te, recogn iz e,
illustra te, in terpret, opera te, con tra st, criticiz e,
design , develop, form ula te,
defen d estim a te, judge,
reca ll, repea t, reproduce
report, resta te, review ,
pra ctice, sch edule, sketch ,
differen tia te, discrim in a te,
m a n a ge, orga n iz e, pla n ,
predict, ra te, core, select,
sta te
select, tra n sla te
solve, use, w rite.
distin guish , exa m in e,
prepa re, propose, set up,
support, va lue, eva lua te
experim en t, question , test
w rite
D efin e com poun d in terest.
G iven a list of exa m ples,
If in terest on $100 is
U sin g th e previous exa m ple, W h a t in terest ra te is
ca tegoriz e th e ca ses of
com poun ded da ily for 14
if in terest w ere com poun ded required for $100 to grow to poten tia l in vestm en ts,
com poun d in terest versus
m on th s a t 10% , ca lcula te
m on th ly in stea d of da ily,
sim ple in terest.
th e tota l a m oun t of in terest
w h a t w ould th e differen ce in com poun ded da ily?
ra tes, len gth s of in vestm en t,
ea rn ed?
in terest be?
a n d com poun din g sch edule,
$125 in six m on th s,
G iven a list of th ree
in cludin g th eir in terest
select th e best option , a n d
defen d your decision
T H E
T H E O R Y
B O D IL Y -
L O G IC A L -
K IN E S T H E T IC
M A T H E M A T IC A L
O F
M U L T IP L E
IN T E R P E R S O N A L
… th e ability to use fin e … th e ability to explore … th e ability to
IN T R A P E R S O N A L
L IN G U IS T IC
S P A T IA L
M U S IC A L
… th e ability to use
… th e ability to perceive … th e ability to en joy,
an d gross m otor skills in pattern s, categories an d
un derstan d oth er people, access to un derstan d
lan guage to excite,
an d m en tally
perform or com pose a
sports, th e perform in g
relation sh ips by
to n otice th eir goals,
please, con vin ce,
m an ipulate a form or
m usical piece.
arts, or arts an d crafts
m an ipulatin g objects or
m otivation s, in ten tion s, dream s an d ideas.
stim ulate or con vey
object, an d to perceive
production .
sym bols, an d to
an d to w ork effectively
In traperson al
in form ation .
an d create ten sion ,
experim en t in a
w ith th em .
In telligen ce is person al
balan ce an d
kn ow ledge turn ed
com position in a visual
in w ard to th e self.
or spatial display.
con trolled, orderly w ay.
… th e ability to gain
IN T E L L IG E N C E S
on e's in n er feelin gs,
B ody-S m art
P h ysical E xperien ce
N um ber-S m art
N um bers
P eople-S m art
S ocial E xperien ce
S elf-S m art
S elf-R eflection
W ord-S m art
W ords
S pace-S m art
P ictures
M usic-S m art
M usic
P rofession al ath lete
W atch m aker/jew eller
G ym n ast
C h oreograph er
W ood-turn er
C alligraph er
A rtist
C ircus perform er
D an cer
S ign w riter
S urgeon
S culptor
C arpen ter
M ath em atician
A ccoun tan t
D octor
S cien tist
E con om ist
C om puter program m er
In ven tor
A stron om er
L aw yer
D etective
A teach er
R eception ist
E n trepren eur
P olitician
C oun sellor
P riest/m in ister/rabbi
T our guide
S ocial w orker
S alesperson
O m budsm an
N urse
M an ager
A n th ropologist
P oet
W riter
C oun sellor
S piritualist
D iarist
A utobiograph er
A rtist
P sych ologist
P h ilosoph er
N ovelist
B arrister
A ctor
O rator
C om edian
P oet
P olitician
S tory-teller
Journ alist
S peech w riter
A n artist
U rban plan n er
S urveyor
M ech an ic
C artoon ist
In terior design er
P h otograph er
F lorist
W eb design er
A rch itect
E xplorer
N avigator
S h ip's captain
C urator
C h ess player
F ash ion design er
G raph ic design er
S oun d recordist
M orse C ode operator
M usician
In strum en t m aker
E n tertain er
C om poser
B an d m em ber
C on ductor
C ritic
S y stem A
An Exciting Possibility …
Moving from a very complex system …
I as the teacher need to
create lesson plans for each
aspect of this “complex
system” to ensure “no child
is left behind”.
T H E
B L O O M 'S
T A X O N O M Y
T H E O R Y
B O D IL Y -
L O G IC A L -
K IN E S T H E T IC
M A T H E M A T IC A L
O F
M U L T IP L E
IN T E R P E R S O N A L
… th e ability to use fin e … th e ability to explore … th e ability to
K n ow le d ge
C om p r e h e n sion
A p p lic ation
A pply rules to a problem ,
A n alysis
R eca ll con ten t in th e exa ct
R esta te m a teria l in th eir
form th a t it w a s presen ted.
ow n w ords, or ca n recogn iz e w ith out bein g given th e rule situa tion s dow n in to th eir
B rea k com plex con cepts or
M em oriz a tion of defin ition s, previously un seen exa m ples or form ula for solvin g th e
com pon en t pa rts, a n d
form ula s, or procedures a re
a n a lyz e h ow th e pa rts a re
of a con cept.
problem .
exa m ples of kn ow ledge-
S yn th e sis
R ea rra n ge com pon en t pa rts
to form a n ew w h ole.
E valuation
L IN G U IS T IC
S P A T IA L
M U S IC A L
… th e ability to use
… th e ability to perceive … th e ability to en joy,
an d gross m otor skills in pattern s, categories an d
un derstan d oth er people, access to un derstan d
lan guage to excite,
an d m en tally
perform or com pose a
sports, th e perform in g
relation sh ips by
to n otice th eir goals,
please, con vin ce,
m an ipulate a form or
m usical piece.
arts, or arts an d crafts
m an ipulatin g objects or
m otivation s, in ten tion s, dream s an d ideas.
stim ulate or con vey
object, an d to perceive
production .
sym bols, an d to
an d to w ork effectively
In traperson al
in form ation .
an d create ten sion ,
experim en t in a
w ith th em .
In telligen ce is person al
E va lua te or m a ke judgm en ts
con trolled, orderly w ay.
on th e w orth of a con cept,
on e's in n er feelin gs,
balan ce an d
kn ow ledge turn ed
object, etc. for a purpose.
com position in a visual
in w ard to th e self.
or spatial display.
rela ted to on e a n oth er.
level fun ction in g.
L ist, defin e, la bel, iden tify,
D escribe, a ssocia te,
A pply, ca lcula te, illustra te,
A n a lyz e, com pa re, sepa ra te, C om bin e, m odify,
A ssess, decide, gra de,
n a m e.
ca tegoriz e, sum m a riz e
solve.
order, expla in
recom m en d, expla in , judge
a rra n ge, defin e, duplica te,
cla ssify, describe, discuss,
rea rra n ge, "w h a t-if"
a pply, ch oose, dem on stra te,
a n a lyz e, a ppra ise, ca lcula te, a rra n ge, a ssem ble, collect,
a ppra ise, a rgue, a ssess,
la bel, list, m em oriz e, n a m e, expla in , express, iden tify,
dra m a tiz e, em ploy,
ca tegoriz e, com pa re,
com pose, con struct, crea te,
a tta ch , ch oose com pa re,
order, recogn iz e, rela te,
in dica te, loca te, recogn iz e,
illustra te, in terpret, opera te, con tra st, criticiz e,
design , develop, form ula te,
defen d estim a te, judge,
reca ll, repea t, reproduce
report, resta te, review ,
pra ctice, sch edule, sketch ,
differen tia te, discrim in a te,
m a n a ge, orga n iz e, pla n ,
predict, ra te, core, select,
sta te
select, tra n sla te
solve, use, w rite.
distin guish , exa m in e,
prepa re, propose, set up,
support, va lue, eva lua te
experim en t, question , test
w rite
D efin e com poun d in terest.
IN T R A P E R S O N A L
… th e ability to gain
IN T E L L IG E N C E S
G iven a list of exa m ples,
If in terest on $100 is
U sin g th e previous exa m ple, W h a t in terest ra te is
ca tegoriz e th e ca ses of
com poun ded da ily for 14
if in terest w ere com poun ded required for $100 to grow to poten tia l in vestm en ts,
$125 in six m on th s,
G iven a list of th ree
com poun d in terest versus
m on th s a t 10% , ca lcula te
m on th ly in stea d of da ily,
sim ple in terest.
th e tota l a m oun t of in terest
w h a t w ould th e differen ce in com poun ded da ily?
ra tes, len gth s of in vestm en t,
ea rn ed?
in terest be?
in cludin g th eir in terest
a n d com poun din g sch edule,
select th e best option , a n d
defen d your decision
B ody-S m art
P h ysical E xperien ce
N um ber-S m art
N um bers
P eople-S m art
S ocial E xperien ce
S elf-S m art
S elf-R eflection
W ord-S m art
W ords
S pace-S m art
P ictures
M usic-S m art
M usic
P rofession al ath lete
W atch m aker/jew eller
G ym n ast
C h oreograph er
W ood-turn er
C alligraph er
A rtist
C ircus perform er
D an cer
S ign w riter
S urgeon
S culptor
C arpen ter
M ath em atician
A ccoun tan t
D octor
S cien tist
E con om ist
C om puter program m er
In ven tor
A stron om er
L aw yer
D etective
A teach er
R eception ist
E n trepren eur
P olitician
C oun sellor
P riest/m in ister/rabbi
T our guide
S ocial w orker
S alesperson
O m budsm an
N urse
M an ager
A n th ropologist
P oet
W riter
C oun sellor
S piritualist
D iarist
A utobiograph er
A rtist
P sych ologist
P h ilosoph er
N ovelist
B arrister
A ctor
O rator
C om edian
P oet
P olitician
S tory-teller
Journ alist
S peech w riter
A n artist
U rban plan n er
S urveyor
M ech an ic
C artoon ist
In terior design er
P h otograph er
F lorist
W eb design er
A rch itect
E xplorer
N avigator
S h ip's captain
C urator
C h ess player
F ash ion design er
G raph ic design er
S oun d recordist
M orse C ode operator
M usician
In strum en t m aker
E n tertain er
C om poser
B an d m em ber
C on ductor
C ritic
S ystem B
An Exciting Possibility …
To a very simple system …
T H E
B L O O M 'S
T A X O N O M Y
T H E O R Y
B O D IL Y -
L O G IC A L -
K IN E S T H E T IC
M A T H E M A T IC A L
O F
M U L T IP L E
IN T E R P E R S O N A L
… th e ability to use fin e … th e ability to explore … th e ability to
K n ow le d ge
C om p r e h e n sion
A p p lic ation
A pply rules to a problem ,
A n alysis
R eca ll con ten t in th e exa ct
R esta te m a teria l in th eir
B rea k com plex con cepts or
form th a t it w a s presen ted.
ow n w ords, or ca n recogn iz e w ith out bein g given th e rule situa tion s dow n in to th eir
M em oriz a tion of defin ition s, previously un seen exa m ples or form ula for solvin g th e
com pon en t pa rts, a n d
form ula s, or procedures a re
a n a lyz e h ow th e pa rts a re
of a con cept.
problem .
exa m ples of kn ow ledge-
S yn th e sis
E valuation
R ea rra n ge com pon en t pa rts
E va lua te or m a ke judgm en ts
to form a n ew w h ole.
on th e w orth of a con cept,
L IN G U IS T IC
S P A T IA L
M U S IC A L
… th e ability to use
… th e ability to perceive … th e ability to en joy,
an d gross m otor skills in pattern s, categories an d
un derstan d oth er people, access to un derstan d
lan guage to excite,
an d m en tally
perform or com pose a
sports, th e perform in g
relation sh ips by
to n otice th eir goals,
please, con vin ce,
m an ipulate a form or
m usical piece.
arts, or arts an d crafts
m an ipulatin g objects or
m otivation s, in ten tion s, dream s an d ideas.
stim ulate or con vey
object, an d to perceive
production .
sym bols, an d to
an d to w ork effectively
In traperson al
in form ation .
an d create ten sion ,
experim en t in a
w ith th em .
In telligen ce is person al
balan ce an d
kn ow ledge turn ed
com position in a visual
con trolled, orderly w ay.
object, etc. for a purpose.
on e's in n er feelin gs,
in w ard to th e self.
or spatial display.
rela ted to on e a n oth er.
level fun ction in g.
L ist, defin e, la bel, iden tify,
D escribe, a ssocia te,
A pply, ca lcula te, illustra te,
A n a lyz e, com pa re, sepa ra te, C om bin e, m odify,
A ssess, decide, gra de,
n a m e.
ca tegoriz e, sum m a riz e
solve.
order, expla in
recom m en d, expla in , judge
a rra n ge, defin e, duplica te,
cla ssify, describe, discuss,
rea rra n ge, "w h a t-if"
a pply, ch oose, dem on stra te,
a n a lyz e, a ppra ise, ca lcula te, a rra n ge, a ssem ble, collect,
a ppra ise, a rgue, a ssess,
la bel, list, m em oriz e, n a m e, expla in , express, iden tify,
dra m a tiz e, em ploy,
ca tegoriz e, com pa re,
com pose, con struct, crea te,
a tta ch , ch oose com pa re,
order, recogn iz e, rela te,
in dica te, loca te, recogn iz e,
illustra te, in terpret, opera te, con tra st, criticiz e,
design , develop, form ula te,
defen d estim a te, judge,
reca ll, repea t, reproduce
report, resta te, review ,
pra ctice, sch edule, sketch ,
m a n a ge, orga n iz e, pla n ,
predict, ra te, core, select,
sta te
select, tra n sla te
solve, use, w rite.
distin guish , exa m in e,
prepa re, propose, set up,
support, va lue, eva lua te
experim en t, question , test
w rite
D efin e com poun d in terest.
IN T R A P E R S O N A L
… th e ability to gain
IN T E L L IG E N C E S
differen tia te, discrim in a te,
G iven a list of exa m ples,
If in terest on $100 is
U sin g th e previous exa m ple, W h a t in terest ra te is
ca tegoriz e th e ca ses of
com poun ded da ily for 14
if in terest w ere com poun ded required for $100 to grow to poten tia l in vestm en ts,
com poun d in terest versus
m on th s a t 10% , ca lcula te
m on th ly in stea d of da ily,
sim ple in terest.
th e tota l a m oun t of in terest
w h a t w ould th e differen ce in com poun ded da ily?
ra tes, len gth s of in vestm en t,
ea rn ed?
in terest be?
a n d com poun din g sch edule,
$125 in six m on th s,
G iven a list of th ree
in cludin g th eir in terest
select th e best option , a n d
defen d your decision
Simple thinking processes
enable me as a teacher to
achieve each aspect of this
“complex system” to ensure
“no child is left behind”.
B ody-S m art
P h ysical E xperien ce
N um ber-S m art
N um bers
P eople-S m art
S ocial E xperien ce
S elf-S m art
S elf-R eflection
W ord-S m art
W ords
S pace-S m art
P ictures
M usic-S m art
M usic
P rofession al ath lete
W atch m aker/jew eller
G ym n ast
C h oreograph er
W ood-turn er
C alligraph er
A rtist
C ircus perform er
D an cer
S ign w riter
S urgeon
S culptor
C arpen ter
M ath em atician
A ccoun tan t
D octor
S cien tist
E con om ist
C om puter program m er
In ven tor
A stron om er
L aw yer
D etective
A teach er
R eception ist
E n trepren eur
P olitician
C oun sellor
P riest/m in ister/rabbi
T our guide
S ocial w orker
S alesperson
O m budsm an
N urse
M an ager
A n th ropologist
P oet
W riter
C oun sellor
S piritualist
D iarist
A utobiograph er
A rtist
P sych ologist
P h ilosoph er
N ovelist
B arrister
A ctor
O rator
C om edian
P oet
P olitician
S tory-teller
Journ alist
S peech w riter
A n artist
U rban plan n er
S urveyor
M ech an ic
C artoon ist
In terior design er
P h otograph er
F lorist
W eb design er
A rch itect
E xplorer
N avigator
S h ip's captain
C urator
C h ess player
F ash ion design er
G raph ic design er
S oun d recordist
M orse C ode operator
M usician
In strum en t m aker
E n tertain er
C om poser
B an d m em ber
C on ductor
C ritic
An Exciting Possibility …
To a joyously simple system!
Knowledge, analysis,
synthesis, etc., are achieved
naturally.
The whole student is
achieved, where maybe I’m a
mathematician, and maybe
an actor, or maybe both!
Simple thinking processes
enable me as a teacher to
teach well with happiness,
and the student to learn with
vigor and joy.
The State of Literature …
“When did it all start, you ask, this job of ours, how did it come about, where, when?
Well, I'd say it really got started around about a thing called the Civil War. Even
though our rule book claims it was founded earlier. The fact is we didn't get along
well until photography came into its own. Then - motion pictures in the early
Twentieth Century. Radio. Television. Things began to have mass.
"And because they had mass, they became simpler," said Beatty. "Once, books
appealed to a few people, here, there, everywhere. They could afford to be different.
The world was roomy. But then the world got full of eyes and elbows and mouths.
Double, triple, quadruple population. Films and radios, magazines, books leveled
down to a sort of paste pudding norm, do you follow me?"
Beatty peered at the smoke pattern he had put out on the air. "Picture it. Nineteenth
century man with his horses, dogs, carts, slow motion. Then, in the Twentieth
Century, speed up your camera. Books cut shorter. Condensations. Digests.
Tabloids. Everything boils down to the gag, the snap ending."
The State of Literature …
"Classics cut to fifteen-minute radio shows, then cut again to fill a two-minute book
column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of
course. The dictionaries were for reference. But many were those whose sole
knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint
rumor of a title to you, Mrs. Montag) whose sole knowledge, as I say, of Hamlet was
a one-page digest in a book that claimed: now at last you can read all the classics;
keep up with your neighbors. Do you see? Out of the nursery into the college and
back to the nursery; there's your intellectual pattern for the past five centuries or
more."
Fahrenheit 451
Ray Bradbury
PUBLISHED IN 1953 …
DO WE SEE OMINOUS PARALLELS?
BUT NOT INEVITABLE!