joy in shakespeare understanding, applying, and enjoying the works of shakespeare

Joy in Shakespeare

understanding, applying, and enjoying the works of

Shakespeare

Michael RoundTheory of Constraints for Education

8th International ConferenceAugust 11 – August 14, 2005

ShakespeareBlack Belt Certificate Program

THE TRAGEDIES THE HISTORIESAntony and Cleopatra

Coriolanus King Henry VI Part 1

King Henry IV Part 2

King Henry V

Julius Caesar

King LearMacbethOthello

Romeo and Juliet

Timon of Athens

Titus Andronicus

Hamlet King Henry VI Part 2

King Henry VI Part 3

King Henry VIII

Merry Wives of Windsor


THE COMEDIES

King John

Richard II

As You Like It Comedy of Errors

Cymbeline

Tempest

Love's Labour's Lost

Midsummer Night's Dream

Much Ado About Nothing

Measure for Measure

Pericles, Prince of Tyre

Taming of the Shrew

All's Well That Ends Well

Richard III

Twelfth Night Two Gentlemen of Verona

Winter's TaleMerchant of Venice

Troilus and Cressida

THOU still unravish'd bride of quietness,Thou foster-child of Silence and slow Time,Sylvan historian, who canst thus expressA flowery tale more sweetly than our rhyme:What leaf-fringed legend haunts about thy shapeOf 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 unheardAre 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 leaveThy 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 shedYour 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 evermoreWill silent be; and not a soul, to tellWhy thou art desolate, can e'er return.

O Attic shape! fair attitude! with bredeOf marble men and maidens overwrought,With forest branches and the trodden weed;Thou, silent form! dost tease us out of thoughtAs doth eternity: Cold Pastoral!When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whom thou say'st,'Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.'

Ode on a Grecian Urn … John Keats

A Shakespeare System

HHAAMMLLEETT Prince of Denmark

Shakespeare, William

Dramatis Personae CLAUDIUS king of Denmark.

HAMLET son to the late, and nephew to the present king. POLONIUS lord chamberlain. HORATIO friend to Hamlet. LAERTES son to Polonius. LUCIANUS nephew to the king. VOLTIMAND, CORNELIUS, ROSENCRANTZ, GUILDENSTERN, OSRIC } courtiers. A Gentleman, A Priest. MARCELLUS, BERNARDO } officers. FRANCISCO a soldier. REYNALDO servant to Polonius. Players. Two Clowns, grave-diggers. FORTINBRAS prince of Norway. A Captain. English Ambassadors. GERTRUDE queen of Denmark, and mother to Hamlet. OPHELIA daughter to Polonius. Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and other Attendants. Ghost of Hamlet's Father. [Scene: Denmark.]

Act 1 Scene 1

[Elsinore. A platform before the castle.] [FRANCISCO at his post. Enter to him BERNARDO]

BERNARDO Who's there? FRANCISCO Nay, answer me: stand, and unfold yourself. BERNARDO Long live the king! FRANCISCO Bernardo? BERNARDO He. FRANCISCO You come most carefully upon your hour. BERNARDO 'Tis now struck twelve; get thee to bed, Francisco. FRANCISCO For this relief much thanks: 'tis bitter cold, And I am sick at heart. BERNARDO Have you had quiet guard? FRANCISCO Not a mouse stirring. BERNARDO Well, good night. If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. FRANCISCO I think I hear them. Stand, ho! Who's there? [Enter HORATIO and MARCELLUS] HORATIO Friends to this ground. MARCELLUS And liegemen to the Dane.

FRANCISCO Give you good night. MARCELLUS O, farewell, honest soldier: Who hath relieved you? FRANCISCO Bernardo has my place. Give you good night. [Exit] MARCELLUS Holla! Bernardo! BERNARDO Say, What, is Horatio there? HORATIO A piece of him. BERNARDO Welcome, Horatio: welcome, good Marcellus. MARCELLUS What, has this thing appear'd again to-night? BERNARDO I have seen nothing. MARCELLUS Horatio says 'tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight, twice seen of us: Therefore I have entreated him along With us to watch the minutes of this night;

THOUGHTS …Shall we read together …

Let’s role-play, with characters …

Let’s have a discussion …

Mike … what do you think?

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?

A System Problem

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” GoalWhat 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.

Employing the action item, I gain and maintain a good

foothold in a work of Shakespeare.

Iterate with clarity and causality reservations

checked …

Thinking Process Language Shakespeare Language

The King of Denmark has

unexpectedly died.

The King's Ghost appears, and tells Hamlet the death

was murder.

Hamlet, the King's son, learns of his father's murder.

Initially believing the death was

accidental, Hamlet now seeks justice.

Hamlet wants to avenge his father's

murder.

Thinking Process Language

Shakespeare Language

Ghost:I am thy father's spirit,Doom'd for a certain term to walk the night,And for the day confined to fast in fires,Till the foul crimes done in my days of natureAre burnt and purged away. But that I am forbidTo tell the secrets of my prison-house,

Ghost:Revenge his foul and most unnatural murder.

Hamlet:Murder!

Ghost:Murder most foul, as in the best it is;But this most foul, strange and unnatural.

Hamlet:Haste me to know't, that I, with wings as swiftAs meditation or the thoughts of love,May sweep to my revenge.

Ghost:Wouldst thou not stir in this. Now, Hamlet, hear:'Tis given out that, sleeping in my orchard,A serpent stung me; so the whole ear of DenmarkIs by a forged process of my deathRankly abused: but know, thou noble youth,The serpent that did sting thy father's lifeNow wears his crown.

Hamlet:O my prophetic soul! My uncle!

Shakespeare Language

Narrative Language

The guards at the palace gates are confronted by the Ghost of theKing of Denmark. The King has died, and the King's brother,Claudius, has ascended to the throne. The King's death wasbelieved accidental, but now the ghost tells his son, Hamlet, thedeath was murder, and Claudius the murderer! With thisinformation, the justice-seeking Hamlet seeks to avenge hisfather's murder.

Narrative Language

The Context of the PlayThinking Process Language Shakespeare Language



Hamlet:Murder!





Narrative Language



unexpectedly died.


was murder.





murder.

Structure Achieved




Hamlet:Murder!





Narrative Language



unexpectedly died.


was murder.





murder.

Hamlet's ProblemThinking Process Language Shakespeare Language

Hamlet:Follow him, friends: we'll hear a play to-morrow.[Exit POLONIUS with all the Players but the First]Dost thou hear me, old friend; can you play theMurder of Gonzago?

First PlayerAy, my lord.

Hamlet:We'll ha't to-morrow night. You could, for a need,study a speech of some dozen or sixteen lines, whichI would set down and insert in't, could you not?


Narrative Language

Learning of his father's fate, the furious Hamlet wants to avengehis father's murder … what son would not? Yet, how hasHamlet learned of his father's fate? By a ghost? His fellowDenmarkians, on the other hand, still believe the King's deathwas an accident. Should Hamlet avenge his father's death, herealizes he himself will not be viewed favorably by his fellowDenmarkians. However, Hamlet - as a Denmarkian - wants to be viewed favorably by his fellow countrymen! Therefore, Hamletmust devise a way to reveal the death of his father as murder forall to see. Only then can justice prevail - in all eyes.


murder

Denmarkians believe the King's

death was an accident.

Hamlet will not be viewed favorably

by Denmarkians in killing his Uncle.

Hamlet wants to be viewed favorably

by his countrymen.

Hamlet must devise a way to

reveal the death as murder.

Hamlet's Injection / SolutionThinking Process Language Shakespeare Language

Hamlet:Fie upon't! foh! About, my brain! I have heardThat guilty creatures sitting at a playHave by the very cunning of the sceneBeen struck so to the soul that presentlyThey have proclaim'd their malefactions;For murder, though it have no tongue, will speakWith most miraculous organ. I'll have these playersPlay something like the murder of my fatherBefore mine uncle: I'll observe his looks;I'll tent him to the quick: if he but blench,I know my course. The spirit that I have seenMay be the devil: and the devil hath powerTo assume a pleasing shape; yea, and perhapsOut of my weakness and my melancholy,As he is very potent with such spirits,Abuses me to damn me: I'll have groundsMore relative than this: the play 's the thingWherein I'll catch the conscience of the king.[Exit]

Narrative Language

"Think, Hamlet, think", Hamlet says to himself. "How can I findout if this apparition tells the truth?" I've got it! Suppose Isomehow devise a plan that makes my uncle reveal himself as amurderer for all to see? That would do it. But how can I dothis? What murderer reveals himself? There is a play coming totown. I shall speak to the actors, and change the play "TheMurder of Gonzago" so the plot is consistent with my father'smurder - as told me by the ghost. Seeing the plot unfold, surelymy uncle will display discomfort - deja vu if you will - and hewill therefore reveal himself as the murderer.

Hamlet will speak to the actors prior

to the play.

The script will be modified to mimic the actual murder

of the King.

The play will depict how the

King was killed.

The Uncle will see the death unfold,

and become uncomfortable.

The Uncle will reveal himself as the murderer of

the King.

Consequences of the PlayThinking Process Language Shakespeare Language

King Claudius:What do you call the play?

Hamlet:The Mouse-trap. Marry, how? Tropically. This playis the image of a murder done in Vienna: Gonzago isthe duke's name; his wife, Baptista: you shall seeanon; 'tis a knavish piece of work: but what o'that? your majesty and we that have free souls, ittouches us not: let the galled jade wince, ourwithers are unwrung.

Hamlet:He poisons him i' the garden for's estate. Hisname's Gonzago: the story is extant, and writ inchoice Italian: you shall see anon how the murderergets the love of Gonzago's wife.

Ophelia:The king rises.

Hamlet:What, frighted with false fire!

King Claudius:Give me some light: away!

Hamlet:O good Horatio, I'll take the ghost's word for athousand pound. Didst perceive?

Horatio:Very well, my lord.

Narrative Language

Hamlet has a talk with the actors regarding their past greatperformances, and wonders if they can modify the play, "TheMurder of Gonzago", which they do. Expectedly, the Kingshows great discomfort at the revised plan, and Hamlet nowknows the Ghost has spoken the truth! His uncle is a murderer.Hamlet reasons, because a murderer, a quick death isinappropriate and non-equivalent to the evil done his father.Hamlet therefore decides he will wait until the greatest harm canbe done the king.

"The Murder of Gonzago" is

altered, due to Hamlet.

The King displays discomfort at the

new play.

Hamlet knows his Uncle murdered

his father.

A quick death is inappropriate to the evil done his

father.

Hamlet will wait until the greatest harm can be done

to the Uncle's soul.

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”?

Hamlet's ProblemThinking Process Language Shakespeare Language

Hamlet:Follow him, friends: we'll hear a play to-morrow.[Exit POLONIUS with all the Players but the First]Dost thou hear me, old friend; can you play theMurder of Gonzago?


Hamlet:We'll ha't to-morrow night. You could, for a need,study a speech of some dozen or sixteen lines, whichI would set down and insert in't, could you not?


Narrative Language

Learning of his father's fate, the furious Hamlet wants to avengehis father's murder … what son would not? Yet, how hasHamlet learned of his father's fate? By a ghost? His fellowDenmarkians, on the other hand, still believe the King's deathwas an accident. Should Hamlet avenge his father's death, herealizes he himself will not be viewed favorably by his fellowDenmarkians. However, Hamlet - as a Denmarkian - wants to be viewed favorably by his fellow countrymen! Therefore, Hamletmust devise a way to reveal the death of his father as murder forall to see. Only then can justice prevail - in all eyes.


murder

Denmarkians believe the King's

death was an accident.

Hamlet will not be viewed favorably

by Denmarkians in killing his Uncle.

Hamlet wants to be viewed favorably

by his countrymen.

Hamlet must devise a way to

reveal the death as murder.

A Further Look at Hamlet's ProblemThinking Process Language Shakespeare Language

GOAL NEED DESIRED ACTION Hamlet:Now I am alone.O, what a rogue and peasant slave am I!Is it not monstrous that this player here,But in a fiction, in a dream of passion,Could force his soul so to his own conceitThat from her working all his visage wann'd,Tears in his eyes, distraction in's aspect,A broken voice, and his whole function suitingWith forms to his conceit? and all for nothing!For Hecuba!What's Hecuba to him, or he to Hecuba,That he should weep for her? What would he do,Had he the motive and the cue for passionThat I have? He would drown the stage with tearsAnd cleave the general ear with horrid speech,Make mad the guilty and appal the free,Confound the ignorant, and amaze indeedThe very faculties of eyes and ears. Yet I,A dull and muddy-mettled rascal, peak,Like John-a-dreams, unpregnant of my cause,And can say nothing; no, not for a king,Upon whose property and most dear lifeA damn'd defeat was made. Am I a coward?Who calls me villain? breaks my pate across?Plucks off my beard, and blows it in my face?Tweaks me by the nose? gives me the lie i' the throat,As deep as to the lungs? who does me this?Ha! …Why, what an ass am I! This is most brave,That I, the son of a dear father murder'd,Prompted to my revenge by heaven and hell,Must, like a whore, unpack my heart with words,And fall a-cursing, like a very drab,A scullion!

Narrative Language

What should Hamlet do? Only he knows of the words of the ghost.But are these words to be believed? Who would consider thetestimony of an apparition reasonable? Should I take the advice, ornot take the advice of the apparition? What to do, what to do, whatto do? Let's think deeper: why would I not follow the advice?Clearly, because ghosts do not exist, and Hamlet wants to actrationally. On the other hand, why would I follow the advice?Again, the obvious reason: if a murder has been committed, themurderer need be brought to justice. Is there a common goal here,between these two legitimate needs ... justice and rationality? Let'schoose a general goal: I want to lead a virtuous life. Where does this lead us? A good goal, implying legitimate needs, yet leading to adilemma. What should I do?

Ghosts do not exist, and Hamlet

acts rationally.

Hamlet acts in accordance with the information from the ghost.

Hamlet avenges his father's

murder.

Hamlet does not take action

regarding the ghost's advice.

Hamlet wants to lead a virtuous

life.

Hamlet's Injection / SolutionThinking Process Language Shakespeare Language

Hamlet:Fie upon't! foh! About, my brain! I have heardThat guilty creatures sitting at a playHave by the very cunning of the sceneBeen struck so to the soul that presentlyThey have proclaim'd their malefactions;For murder, though it have no tongue, will speakWith most miraculous organ. I'll have these playersPlay something like the murder of my fatherBefore mine uncle: I'll observe his looks;I'll tent him to the quick: if he but blench,I know my course. The spirit that I have seenMay be the devil: and the devil hath powerTo assume a pleasing shape; yea, and perhapsOut of my weakness and my melancholy,As he is very potent with such spirits,Abuses me to damn me: I'll have groundsMore relative than this: the play 's the thingWherein I'll catch the conscience of the king.[Exit]

Narrative Language

"Think, Hamlet, think", Hamlet says to himself. "How can I findout if this apparition tells the truth?" I've got it! Suppose Isomehow devise a plan that makes my uncle reveal himself as amurderer for all to see? That would do it. But how can I dothis? What murderer reveals himself? There is a play coming totown. I shall speak to the actors, and change the play "TheMurder of Gonzago" so the plot is consistent with my father'smurder - as told me by the ghost. Seeing the plot unfold, surelymy uncle will display discomfort - deja vu if you will - and hewill therefore reveal himself as the murderer.

Hamlet will speak to the actors prior

to the play.

The script will be modified to mimic the actual murder

of the King.

The play will depict how the

King was killed.

The Uncle will see the death unfold,

and become uncomfortable.

The Uncle will reveal himself as the murderer of

the King.

Consequences of the PlayThinking Process Language Shakespeare Language

King Claudius:What do you call the play?

Hamlet:The Mouse-trap. Marry, how? Tropically. This playis the image of a murder done in Vienna: Gonzago isthe duke's name; his wife, Baptista: you shall seeanon; 'tis a knavish piece of work: but what o'that? your majesty and we that have free souls, ittouches us not: let the galled jade wince, ourwithers are unwrung.

Hamlet:He poisons him i' the garden for's estate. Hisname's Gonzago: the story is extant, and writ inchoice Italian: you shall see anon how the murderergets the love of Gonzago's wife.

Ophelia:The king rises.

Hamlet:What, frighted with false fire!

King Claudius:Give me some light: away!

Hamlet:O good Horatio, I'll take the ghost's word for athousand pound. Didst perceive?

Horatio:Very well, my lord.

Narrative Language

Hamlet has a talk with the actors regarding their past greatperformances, and wonders if they can modify the play, "TheMurder of Gonzago", which they do. Expectedly, the Kingshows great discomfort at the revised plan, and Hamlet nowknows the Ghost has spoken the truth! His uncle is a murderer.Hamlet reasons, because a murderer, a quick death isinappropriate and non-equivalent to the evil done his father.Hamlet therefore decides he will wait until the greatest harm canbe done the king.

"The Murder of Gonzago" is

altered, due to Hamlet.

The King displays discomfort at the

new play.

Hamlet knows his Uncle murdered

his father.

A quick death is inappropriate to the evil done his

father.

Hamlet will wait until the greatest harm can be done to the Uncle's soul.

The Tragic ConsequencesThinking Process Language Shakespeare Language

Queen Gertrude:Have you forgot me?

Hamlet:No, by the rood, not so:You are the queen, your husband's brother's wife;And -- would it were not so! -- you are my mother.

Queen Gertrude:Nay, then, I'll set those to you that can speak.

Hamlet:Come, come, and sit you down; you shall not budge;You go not till I set you up a glassWhere you may see the inmost part of you.

Queen Gertrude:What wilt thou do? thou wilt not murder me?Help, help, ho!

Lord Polonius:[Behind]What, ho! help, help, help!

Hamlet:[Drawing]How now! a rat? Dead, for a ducat, dead![Makes a pass through the arras]

Lord Polonius:[Behind]O, I am slain![Falls and dies]

Narrative Language

Hamlet also does not want to let his mother off easy … after all,she has taken up marriage with the murderer of his father!Surely, his mother knows nothing about the murder, and Hamletdecides to confront her with the wickedness of the situation.Seeing his rage, she cries for help, and Polonius (hiding in theroom behind curtains), too cries for help! Hamlet, believing thesecond cry is from his uncle, stabs through the curtains only tosee it is Polonius he has killed - and not his uncle!

Hamlet too wants to condemn his

mother.

The mother does not know about the

murder.

The mother sees the horror in

Hamlet, and cries for help.

Polonius is hiding in the room, and he too cries for

help.

Hamlet kills Polonius, believing

he his uncle.

The King's Ambitious TargetThinking Process Language Shakespeare Language

King Claudius:Hamlet, this deed, for thine especial safety, -- Which we do tender, as we dearly grieveFor that which thou hast done, -- must send thee henceWith fiery quickness: therefore prepare thyself;The bark is ready, and the wind at help,The associates tend, and every thing is bentFor England.

Hamlet:For England!

King Claudius:Follow him at foot; tempt him with speed aboard;Delay it not; I'll have him hence to-night:Away! for every thing is seal'd and doneThat else leans on the affair: pray you, make haste.[Exeunt ROSENCRANTZ and GUILDENSTERN]And, England, if my love thou hold'st at aught -- As my great power thereof may give thee sense,Since yet thy cicatrice looks raw and redAfter the Danish sword, and thy free awePays homage to us -- thou mayst not coldly setOur sovereign process; which imports at full,By letters congruing to that effect,The present death of Hamlet. Do it, England;For like the hectic in my blood he rages,And thou must cure me: till I know 'tis done,Howe'er my haps, my joys were ne'er begun.[Exit]

Narrative Language

The King learns of the accidental death, and sees a way out ofhis problem. I will send Hamlet away, and have him killed byothers! How can I make this happen, reasons the king? I willsend two couriers - his trusted friends Rosencrantz andGuildenstern - with Hamlet with letters to deliver to the King ofEngland. These letters will detail the murder of Polonius, andrequest England take Hamlet's life! All my problems are solved!

The King learns of Polonius' death.

The King convinces Hamlet

to escape to England for safety.

Hamlet is on his way to England.

Two couriers carry letters to England, telling them to kill

Hamlet.

Hamlet will be killed by

Englanders.

Hamlet's ResponseThinking Process Language Shakespeare Language

Hamlet (changed letter to the king of England):An earnest conjuration from the king,As England was his faithful tributary,As love between them like the palm might flourish,As peace should stiff her wheaten garland wearAnd stand a comma 'tween their amities,And many such-like 'As'es of great charge,That, on the view and knowing of these contents,Without debatement further, more or less,He should the bearers put to sudden death,Not shriving-time allow'd.

Messenger:Letters, my lord, from Hamlet:This to your majesty; this to the queen.

King Claudius:From Hamlet! who brought them?

Messenger:Sailors, my lord, they say; I saw them not:They were given me by Claudio; he received themOf him that brought them.

King Claudius:Laertes, you shall hear them. Leave us.[Exit Messenger][Reads]'High and mighty, You shall know I am set naked onyour kingdom. To-morrow shall I beg leave to seeyour kingly eyes: when I shall, first asking yourpardon thereunto, recount the occasion of my suddenand more strange return. 'HAMLET.'

Narrative Language

Hamlet, realizing something sinister is going on, instead takescharge of the letters, and realizes his fate. Not wanting thecouriers to realize he knows all, Hamlet simply changes thewording to say "Kill the couriers", rather than "Kill Hamlet". Ofcourse, once reaching England, the couriers are immediatelykilled, and Hamlet decides to return to Denmark to avenge hisfather's death. The King, hearing of his failed plan and Hamlet'sgoal, must think of another way of having Hamlet taken care of.

Hamlet opens the letters, and knows

of his fate.

Hamlet changes the letters to say, "Kill the carriers of these letters".

The couriers are killed in England.

Hamlet decides to return to Denmark

to avenge his father's death.

The Uncle must make plans to have

Hamlet killed another way.

Poor OpheliaThinking Process Language Shakespeare Language

Queen Gertrude:One woe doth tread upon another's heel,So fast they follow; your sister's drown'd, Laertes.

Laertus:Drown'd! O, where?

Queen Gertrude:There is a willow grows aslant a brook,That shows his hoar leaves in the glassy stream;There with fantastic garlands did she comeOf crow-flowers, nettles, daisies, and long purplesThat liberal shepherds give a grosser name,But our cold maids do dead men's fingers call them:There, on the pendent boughs her coronet weedsClambering to hang, an envious sliver broke;When down her weedy trophies and herselfFell in the weeping brook. Her clothes spread wide;And, mermaid-like, awhile they bore her up:Which time she chanted snatches of old tunes;As one incapable of her own distress,Or like a creature native and induedUnto that element: but long it could not beTill that her garments, heavy with their drink,Pull'd the poor wretch from her melodious layTo muddy death.

Narrative Language

In the meantime, let us recall Hamlet has accidentally killedPolonius, believing Polonius' cry for help was that of the King.Ophelia, understandably, is saddened by her father's death, andbecomes despondent. Climbing a tree one day, she accidentallyfalls into a brook, but tries not to save herself. Ophelia haskilled herself.


he his uncle.

Ophelia is saddened by her father's death.

Ophelia is despondent.

Ophelia falls from a tree into a brook,

but tries not to save herself.

Ophelia dies.

The Angry LaertusThinking Process Language Shakespeare Language

Laertus:Too much of water hast thou, poor Ophelia,And therefore I forbid my tears: but yetIt is our trick; nature her custom holds,Let shame say what it will: when these are gone,The woman will be out. Adieu, my lord:I have a speech of fire, that fain would blaze,But that this folly douts it.[Exit]

King Claudius:Let's follow, Gertrude:How much I had to do to calm his rage!Now fear I this will give it start again;Therefore let's follow.[Exeunt]

Narrative Language

What of Ophelia's brother and Polonius' son, Laertus? He toolearns of the murder of HIS father, and, rather than thedespondency of Ophelia feels extreme rage, and demandsvengeance on the King. The King explains it was Hamlet, andnot the King, who has killed Polonius. Hamlet! Learning ofOphelia's death, he blames Hamlet all the more, and demandsHamlet be dealt with appropriately.


he his uncle.

Laertus learns Hamlet is the

murderer.

Laertus wants vengeance on

Hamlet.

Laertus learns of his sister Ophelia's

death.

Laertus REALLY wants vengeance

on Hamlet!

The King's Ambitious TargetThinking Process Language Shakespeare Language

King Claudius:Most generous and free from all contriving,Will not peruse the foils; so that, with ease,Or with a little shuffling, you may chooseA sword unbated, and in a pass of practiseRequite him for your father.

Laertus:I will do't:And, for that purpose, I'll anoint my sword.I bought an unction of a mountebank,So mortal that, but dip a knife in it,Where it draws blood no cataplasm so rare,Collected from all simples that have virtueUnder the moon, can save the thing from deathThat is but scratch'd withal: I'll touch my pointWith this contagion, that, if I gall him slightly,It may be death.

King Claudius:Let's further think of this;Weigh what convenience both of time and meansMay fit us to our shape: if this should fail,And that our drift look through our bad performance,'Twere better not assay'd: therefore this projectShould have a back or second, that might hold,If this should blast in proof. Soft! let me see:We'll make a solemn wager on your cunnings: I ha't.When in your motion you are hot and dry -- As make your bouts more violent to that end -- And that he calls for drink, I'll have prepared himA chalice for the nonce, whereon but sipping,If he by chance escape your venom'd stuck,Our purpose may hold there.

Narrative Language

The King, seeing a second chance to fix his problem, reasons assuch with Laertus: let us prepare a fencing match with Hamlet,with the prelude it being a friendly match. Surely, in such amatch, his expectation can be used to your advantage. To ensurewe win and Hamlet is killed, we shall poison your rapier.Finally, let's assume Hamlet is not killed by your rapier. Whatcan we do to ensure he ends up dead nonetheless? Let's poisonhis wine, for in the celebration of possible victory, he shall surelydrink his wine. Surely, this will ensure his death!

Hamlet believes the fencing duel will be a friendly

match.

Laertus' napier will be dipped in

poison.

Hamlet will be pierced by the

poisonous napier.

Hamlet's wine will be poisoned, in case the napier

misses the mark.

Hamlet will be dead, either by the hand of Laertus or the glass of wine.

The Tragic Outcome of the DuelThinking Process Language Shakespeare Language

King Claudius:Stay; give me drink. Hamlet, this pearl is thine;Here's to thy health.Give him the cup.

Hamlet:I'll play this bout first; set it by awhile. Come.Another hit; what say you?

Laertus:A touch, a touch, I do confess.

King Claudius:Our son shall win.

Queen Gertrude:He's fat, and scant of breath.Here, Hamlet, take my napkin, rub thy brows;The queen carouses to thy fortune, Hamlet.

Hamlet:Good madam!

King Claudius:Gertrude, do not drink.

Queen Gertrude:I will, my lord; I pray you, pardon me.

King Claudius:[Aside]It is the poison'd cup: it is too late.

Narrative Language

The fencing commences, and Hamlet realizes the match is morecompetitive than he was led to believe. The king seizes theopportunity, during a break in the action, to offer Hamlet a drinkfrom the poisoned wine. Hamlet refuses, and the duel continues.Queen Gertrude, however, sees the wine, and takes a drink. Herfate is sealed, and she slowly starts to die.

The King tries to get Hamlet to

drink the poisoned wine.

Hamlet is busy with the duel.

The wine remains.

Queen Gertrude drinks the

poisoned wine accidentally.

Queen Gertrude's fate is sealed.


Laertus:Have at you now!

King Claudius:Part them; they are incensed.

Hamlet:Nay, come, again.[QUEEN GERTRUDE falls]

Osric:Look to the queen there, ho!

Horatio:They bleed on both sides. How is it, my lord?

Osric:How is't, Laertes?

Why, as a woodcock to mine own springe, Osric;I am justly kill'd with mine own treachery.

Narrative Language

As the match continues, the rapiers fall to the ground and, in thestruggle and confusion, change hands. Hamlet, unknown tohim, is in charge of the poisonous rapier! Being a good dueler,he eventually strikes Laertus. Both Laertus and Queen Gertrudenow are in the dying process.

[LAERTES wounds HAMLET; then in scuffling, they change rapiers, and HAMLET wounds LAERTES]

The rapiers fall to the ground and change hands.

Hamlet is a good dueler.

Laertus is stabbed with the poisonous

rapier.

Hamlet's mother drinks Hamlet's

wine.

Both Laertus and Hamlet's mother are in the process

of dying.


Laertus:It is here, Hamlet: Hamlet, thou art slain;No medicine in the world can do thee good;In thee there is not half an hour of life;The treacherous instrument is in thy hand,Unbated and envenom'd: the foul practiseHath turn'd itself on me lo, here I lie,Never to rise again: thy mother's poison'd:I can no more: the king, the king's to blame.

Hamlet:The point! -- envenom'd too!Then, venom, to thy work.[Stabs KING CLAUDIUS]

Hamlet:Here, thou incestuous, murderous, damned Dane,Drink off this potion. Is thy union here?Follow my mother.[KING CLAUDIUS dies]

Hamlet:Heaven make thee free of it! I follow thee.I am dead, Horatio. Wretched queen, adieu!You that look pale and tremble at this chance,That are but mutes or audience to this act,Had I but time -- as this fell sergeant, death,Is strict in his arrest -- O, I could tell you -- But let it be. Horatio, I am dead;Thou livest; report me and my cause arightTo the unsatisfied.

Narrative Language

Laertus' last words reveal the plot to poison Hamlet, and Hamletnow really seeks vengeance on the King. He stabs his uncle, andmakes him also drink the poisonous wine. Tragically, Hamlethas been nicked by the poisonous napier, and he too is on hisdeathbed. The play ends, with the Uncle, Hamlet, QueenGertrude, and Laertus all killed in this tragic duel gone awry.

Laertus' last words reveal the plot to poison Hamlet.

Hamlet seeks vengeance.

Hamlet stabs his uncle, and makes him too drink the poisonous wine.

Hamlet has been nicked by the

poisonous napier.

Hamlet and his Uncle both die as

well.

ResolutionThinking Process Language Shakespeare Language

Hamlet:The point! -- envenom'd too!Then, venom, to thy work.

All:Treason! treason!

Hamlet:Heaven make thee free of it! I follow thee.I am dead, Horatio. Wretched queen, adieu!You that look pale and tremble at this chance,That are but mutes or audience to this act,Had I but time -- as this fell sergeant, death,Is strict in his arrest -- O, I could tell you -- But let it be. Horatio, I am dead;Thou livest; report me and my cause arightTo the unsatisfied.

Horatio:Never believe it:I am more an antique Roman than a Dane:Here's yet some liquor left.

Hamlet:As thou'rt a man,Give me the cup: let go; by heaven, I'll have't.O good Horatio, what a wounded name,Things standing thus unknown, shall live behind me!If thou didst ever hold me in thy heartAbsent thee from felicity awhile,And in this harsh world draw thy breath in pain,To tell my story.[March afar off, and shot within]What warlike noise is this?

Narrative Language

Hamlet gains the vengeance sought the entire story, but hasfailed to tell fellow Denmarkians of his father's murder! Thewitnesses to the act, of course, yell "Treason!", for all they haveseen is one man kill the King. Only Hamlet and Horatio knowthe truth, and Hamlet now is on his deathbed. He convincesHoratio to report to the crowd the circumstances surrounding thedeath, and to tell Hamlet's story.

Hamlet stabs his uncle, and makes him too drink the poisonous wine.

Recall, fellow citizens believe the King's death was

an accident.

Hamlet will be viewed a traitor for

killing King Claudius.

Hamlet leaves it to Horatio to tell the

truth.

Horatio tells fellow Denmarkians the

entire story.

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

play context general message play context

The King of Denmark has mysteriously died, and now

his ghost has appeared.

Something is rotten in the state of Denmark.

Marcellus, a guard, describes the chaos and disorder of the

situation.

Hamlet: Famous Linesplay passage play passage

play context general message play context general message







situation.

Queen Gertrude and King Claudius are talking with

Hamlet about the commonality of death.

All that lives must die, passing through nature to

eternity.

Gertrude wants to know why something natural bothers no

one except Hamlet.

Hamlet is speaking on his mother remarrying within a month of his father's death.

Frailty, thy name is woman!

A good person does the right thing, and marrying within a month of death is not right.

Polonius is telling King Claudius and Queen

Gertrude Hamlet is mad.

Brevity is the soul of wit.

Intelligent speech and writing should aim at few

words. Just cut to the chase.

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?

Personal Quotes / Generalizationsfurther examples confirming my generalization … counterexamples suggesting my generalization is not entirely valid

play action action from another context

When I see a throne, I see something deserving of being dethroned.When genetics is the necessary and sufficient path to power, who can blame the genetic "misfit" from taking action?A throne implies "aristocracy".

Hamlet's uncle kills the King to become King.

"Ascension to the throne" makes killers of us all.

In "The Lion King", Scar kills his brother Mufasa, to

ascend to the throne.

Scar, in the Lion King, kills his brother Mufasa, in order

to become king.

King Claudius kills his brother to become king.

There is no evidence of scandal in current English

hierarchy.

The country of Monoco has had no infighting regarding

the position of King.

generalizations

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?

Hamlet's Dilemma RevisitedThe Dilemma and Injection The Logical Future of Hamlet's Injection


acts rationally.

I want to avenge my father's

murder!


Do not take action regarding the ghost's advice.

Hamlet wants to act virtuously.

Trick the new King into

revealing he was the murderer.

I have reasonable grounds to avenge

my father's murder.


my father's murder.

I don’t effectively communicate this

new information to Denmarkians.

I alone remain judge and jury.

I still want to avenge my father's

murder.

I will alone take actions based on

my vengeance and anger

The effects of "vengeance

unleashed" are difficult to predict.

Lots of unexpected things are bound

to happen.

I kill Polonius accidentally, and Ophelia commits

suicide.

I kill Laertus in a duel, and Queen

Gertrude accidentally dies.

I kill my Uncle, and am myself

killed in the duel!

Further Questions on the PlayClaudius kills his brother to become King. Did he have to marry the widow of his brother to become King? Why didn't Hamlet become the king?

I still don’t understand the role of the other countries (Norway, England, etc.) in the play.

Hamlet acts odd after the visit of the ghost. Is this intentional, to not let King Claudius know Hamlet is on to the murder plot, or is Hamlet literally "out of his mind"?

Marc Antony gives an impassioned speech, and the crowd seizes Brutus. This was his way of convincing the crowd Caesar was no dictator, and the killers were indeed murderers. Should Hamlet have done the same?

Queen Gertrude witnesses Hamlet wrongly kill Lord Polonius. What should a parent do in such a case? Euthyphro, in the Socratic Dialogue, took his own father to court for just this reason.

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!

H A M L E T

Michael Lee Round

SHAKESPEAREAN TRAGEDYand the

Thinking Processes of the Theory of Constraints for Education

an auto SOCRATIC PRESS publication

Narrative Summary: A Brief Outline

Narrative Summary: A Detailed Outline*

*

*

*

*

*

The King of Denmark has died, and his ghost has appeared to tell the surviving son Hamlet the death was no accident!Death by murder, is the charge, with the King's own brother the murderer! Hamlet devises a plan to reveal themurderer for all to see. In the following pursuit of justice, Hamlet ends up killing a man (Polonius), another man(Laertus), and the King, while his girlfriend (Ophelia) kills herself, and his mother (Queen Gertrude) accidentally diesdrinking a glass of poisoned wine meant for Hamlet.

Hamlet also does not want to let his mother off easy … after all, she has taken up marriage with the murderer of hisfather! Surely, his mother knows nothing about the murder, and Hamlet decides to confront her with the wickedness ofthe situation. Seeing his rage, she cries for help, and Polonius (hiding in the room behind curtains), too cries for help!Hamlet, believing the second cry is from his uncle, stabs through the curtains only to see it is Polonius he has killed -and not his uncle!

H A M L E T

The guards at the palace gates are confronted by the Ghost of the King of Denmark. The King has died, and the King's brother, Claudius, has ascended to the throne. The King's death was believed accidental, but now the ghost tells hisson, Hamlet, the death was murder, and Claudius the murderer! With this information, the justice-seeking Hamletseeks to avenge his father's murder.

Learning of his father's fate, the furious Hamlet wants to avenge his father's murder … what son would not? Yet, howhas Hamlet learned of his father's fate? By a ghost? His fellow Denmarkians, on the other hand, still believe theKing's death was an accident. Should Hamlet avenge his father's death, he realizes he himself will not be viewedfavorably by his fellow Denmarkians. However, Hamlet - as a Denmarkian - wants to be viewed favorably by hisfellow countrymen! Therefore, Hamlet must devise a way to reveal the death of his father as murder for all to see.Only then can justice prevail - in all eyes.

What should Hamlet do? Only he knows of the words of the ghost. But are these words to be believed? Who wouldconsider the testimony of an apparition reasonable? Should I take the advice, or not take the advice of the apparition?What to do, what to do, what to do? Let's think deeper: why would I not follow the advice? Clearly, because ghostsdo not exist, and Hamlet wants to act rationally. On the other hand, why would I follow the advice? Again, theobvious reason: if a murder has been committed, the murderer need be brought to justice. Is there a common goalhere, between these two legitimate needs ... justice and rationality? Let's choose a general goal: I want to lead avirtuous life. Where does this lead us? A good goal, implying legitimate needs, yet leading to a dilemma. Whatshould I do?"Think, Hamlet, think", Hamlet says to himself. "How can I find out if this apparition tells the truth?" I've got it!Suppose I somehow devise a plan that makes my uncle reveal himself as a murderer for all to see? That would do it.But how can I do this? What murderer reveals himself? There is a play coming to town. I shall speak to the actors,and change the play "The Murder of Gonzago" so the plot is consistent with my father's murder - as told me by theghost. Seeing the plot unfold, surely my uncle will display discomfort - deja vu if you will - and he will thereforereveal himself as the murderer.

Hamlet has a talk with the actors regarding their past great performances, and wonders if they can modify the play,"The Murder of Gonzago", which they do. Expectedly, the King shows great discomfort at the revised plan, andHamlet now knows the Ghost has spoken the truth! His uncle is a murderer. Hamlet reasons, because a murderer, aquick death is inappropriate and non-equivalent to the evil done his father. Hamlet therefore decides he will wait untilthe greatest harm can be done the king.




Hamlet:Murder!





Narrative Language



unexpectedly died.


was murder.





murder.

A Further Look at Hamlet's ProblemThinking Process Language Shakespeare Language

GOAL NEED DESIRED ACTION Hamlet:Now I am alone.O, what a rogue and peasant slave am I!Is it not monstrous that this player here,But in a fiction, in a dream of passion,Could force his soul so to his own conceitThat from her working all his visage wann'd,Tears in his eyes, distraction in's aspect,A broken voice, and his whole function suitingWith forms to his conceit? and all for nothing!For Hecuba!What's Hecuba to him, or he to Hecuba,That he should weep for her? What would he do,Had he the motive and the cue for passionThat I have? He would drown the stage with tearsAnd cleave the general ear with horrid speech,Make mad the guilty and appal the free,Confound the ignorant, and amaze indeedThe very faculties of eyes and ears. Yet I,A dull and muddy-mettled rascal, peak,Like John-a-dreams, unpregnant of my cause,And can say nothing; no, not for a king,Upon whose property and most dear lifeA damn'd defeat was made. Am I a coward?Who calls me villain? breaks my pate across?Plucks off my beard, and blows it in my face?Tweaks me by the nose? gives me the lie i' the throat,As deep as to the lungs? who does me this?Ha! …Why, what an ass am I! This is most brave,That I, the son of a dear father murder'd,Prompted to my revenge by heaven and hell,Must, like a whore, unpack my heart with words,And fall a-cursing, like a very drab,A scullion!

Narrative Language

What should Hamlet do? Only he knows of the words of the ghost.But are these words to be believed? Who would consider thetestimony of an apparition reasonable? Should I take the advice, ornot take the advice of the apparition? What to do, what to do, whatto do? Let's think deeper: why would I not follow the advice?Clearly, because ghosts do not exist, and Hamlet wants to actrationally. On the other hand, why would I follow the advice?Again, the obvious reason: if a murder has been committed, themurderer need be brought to justice. Is there a common goal here,between these two legitimate needs ... justice and rationality? Let'schoose a general goal: I want to lead a virtuous life. Where does this lead us? A good goal, implying legitimate needs, yet leading to adilemma. What should I do?


acts rationally.


Hamlet avenges his father's

murder.

Hamlet does not take action

regarding the ghost's advice.

Hamlet wants to lead a virtuous

life.

Hamlet: Famous Linesplay passage play passage








situation.

Queen Gertrude and King Claudius are talking with

Hamlet about the commonality of death.

All that lives must die, passing through nature to

eternity.

Gertrude wants to know why something natural bothers no

one except Hamlet.

Hamlet is speaking on his mother remarrying within a month of his father's death.

Frailty, thy name is woman!

A good person does the right thing, and marrying within a month of death is not right.

Polonius is telling King Claudius and Queen

Gertrude Hamlet is mad.

Brevity is the soul of wit.

Intelligent speech and writing should aim at few

words. Just cut to the chase.

Personal Quotes / Generalizationsfurther examples confirming my generalization … counterexamples suggesting my generalization is not entirely valid

play action action from another context

When I see a throne, I see something deserving of being dethroned.When genetics is the necessary and sufficient path to power, who can blame the genetic "misfit" from taking action?A throne implies "aris tocracy".

Hamlet's uncle kills the King to become King.

"Ascens ion to the throne" makes killers of us all.

In "The Lion King", Scar kills his brother Mufasa, to

ascend to the throne.

Scar, in the Lion King, kills his brother Mufasa, in order

to become king.

King Claudius kills his brother to become king.

There is no evidence of scandal in current English

hierarchy.

The country of Monoco has had no infighting regarding

the pos ition of King.

generalizations

Hamlet's Dilemma RevisitedThe Dilemma and Injection The Logical Future of Hamlet's Injection


acts rationally.

I want to avenge my father's

murder!


Do not take action regarding the ghost's advice.

Hamlet wants to act virtuously.

Trick the new King into

revealing he was the murderer.


my father's murder.


my father's murder.

I don’t effectively communicate this

new information to Denmarkians.

I alone remain judge and jury.

I still want to avenge my father's

murder.

I will alone take actions based on

my vengeance and anger

The effects of "vengeance

unleashed" are difficult to predict.

Lots of unexpected things are bound

to happen.

I kill Polonius accidentally, and Ophelia commits

suicide.

I kill Laertus in a duel, and Queen

Gertrude accidentally dies.

I kill my Uncle, and am myself

killed in the duel!

Further Questions on the PlayClaudius kills his brother to become King. Did he have to marry the widow of his brother to become King? Why didn't Hamlet become the king?

I still don’t understand the role of the other countries (Norway, England, etc.) in the play.

Hamlet acts odd after the visit of the ghost. Is this intentional, to not let King Claudius know Hamlet is on to the murder plot, or is Hamlet literally "out of his mind"?

Marc Antony gives an impassioned speech, and the crowd seizes Brutus. This was his way of convincing the crowd Caesar was no dictator, and the killers were indeed murderers. Should Hamlet have done the same?

Queen Gertrude witnesses Hamlet wrongly kill Lord Polonius. What should a parent do in such a case? Euthyphro, in the Socratic Dialogue, took his own father to court for just this reason.

THEORY of CONSTRAINTS for EDUCATION

ShakespeareBlack Belt Certificate Program

THE TRAGEDIES THE HISTORIESAntony and Cleopatra Coriolanus King Henry VI

Part 1King Henry IV

Part 2 King Henry V

Julius Caesar

King LearMacbethOthello

Romeo and Juliet

Timon of Athens

Titus AndronicusHamlet King Henry VI

Part 2King Henry VI

Part 3King Henry

VIII

Merry Wives of Windsor


THE COMEDIES

King John

Richard II

As You Like It Comedy of Errors Cymbeline

Tempest

Love's Labour's Lost

Midsummer Night's Dream

Much Ado About Nothing

Measure for Measure

Pericles, Prince of Tyre

Taming of the Shrew

All's Well That Ends Well

Richard III

Twelfth Night Two Gentlemen of Verona

Winter's TaleMerchant of Venice

Troilus and Cressida

The Future …

Preliminary discussions have been held with the “Heart of America

Shakespeare Festival” organization

www.kcshakes.org

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!”

Shakespeare “Textbooks”

http://www.kcshakes.org/

H A M L E T

Michael Lee Round

SHAKESPEAREAN TRAGEDYand the

Thinking Processes of the Theory of Constraints for Education

an auto SOCRATIC PRESS publication

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!

Education as a System

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.

The Left / Right “Dilemma”How Right-Brain vs. Left-Brain Thinking Impacts LearningCurriculum--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.

ReadingBernice McCarthy, The 4-MAT System: Teaching to Learning Styles with Right/Left Mode Techniques.

Left Brain Right Brain Logical Random

Sequential IntuitiveRational Holistic

Analytical SynthesizingObjective Subjective

Looks at parts Looks at wholes

B L O O M ' S T A X O N O M Y

Knowledge Comprehension Application Analysis Synthesis Evaluation

Recall content in the exact form that it was presented. Memorization of definitions, formulas, or procedures are examples of knowledge-level functioning.

Restate material in their own words, or can recognize previously unseen examples of a concept.

Apply rules to a problem, without being given the rule or formula for solving the problem.

Break complex concepts or situations down into their component parts, and analyze how the parts are related to one another.

Rearrange component parts to form a new whole.

Evaluate or make judgments on the worth of a concept, object, etc. for a purpose.

List, define, label, identify, name.

Describe, associate, categorize, summarize

Apply, calculate, illustrate, solve.

Analyze, compare, separate, order, explain

Combine, modify, rearrange, "what-if"

Assess, decide, grade, recommend, explain, judge

arrange, define, duplicate, label, list, memorize, name, order, recognize, relate, recall, repeat, reproduce state

classify, describe, discuss, explain, express, identify, indicate, locate, recognize, report, restate, review, select, translate

apply, choose, demonstrate, dramatize, employ, illustrate, interpret, operate, practice, schedule, sketch, solve, use, write.

analyze, appraise, calculate, categorize, compare, contrast, criticize, differentiate, discriminate, distinguish, examine, experiment, question, test

arrange, assemble, collect, compose, construct, create, design, develop, formulate, manage, organize, plan, prepare, propose, set up, write

appraise, argue, assess, attach, choose compare, defend estimate, judge, predict, rate, core, select, support, value, evaluate

Define compound interest. Given a list of examples, categorize the cases of compound interest versus simple interest.

If interest on $100 is compounded daily for 14 months at 10%, calculate the total amount of interest earned?

Using the previous example, if interest were compounded monthly instead of daily, what would the difference in interest be?

What interest rate is required for $100 to grow to $125 in six months, compounded daily?

Given a list of three potential investments, including their interest rates, lengths of investment, and compounding schedule, select the best option, and defend your decision

T H E T H E O R Y O F M U L T I P L E I N T E L L I G E N C E S

BODILY-KINESTHETIC

LOGICAL-MATHEMATICAL INTERPERSONAL INTRAPERSONAL LINGUISTIC SPATIAL MUSICAL

… the ability to use fine and gross motor skills in sports, the performing arts, or arts and crafts production.

… the ability to explore patterns, categories and relationships by manipulating objects or symbols, and to experiment in a controlled, orderly way.

… the ability to understand other people, to notice their goals, motivations, intentions, and to work effectively with them.

… the ability to gain access to understand one's inner feelings, dreams and ideas. Intrapersonal Intelligence is personal knowledge turned inward to the self.

… the ability to use language to excite, please, convince, stimulate or convey information.

… the ability to perceive and mentally manipulate a form or object, and to perceive and create tension, balance and composition in a visual or spatial display.

… the ability to enjoy, perform or compose a musical piece.

Body-Smart Number-Smart People-Smart Self-Smart Word-Smart Space-Smart Music-SmartPhysical Experience Numbers Social Experience Self-Reflection Words Pictures Music

Professional athlete Mathematician A teacher Poet Novelist An artist Sound recordistWatchmaker/jeweller Accountant Receptionist Writer Barrister Urban planner Morse Code operator

Gymnast Doctor Entrepreneur Counsellor Actor Surveyor MusicianChoreographer Scientist Politician Spiritualist Orator Mechanic Instrument makerWood-turner Economist Counsellor Diarist Comedian Cartoonist EntertainerCalligrapher Computer programmer Priest/minister/rabbi Autobiographer Poet Interior designer Composer

Artist Inventor Tour guide Artist Politician Photographer Band memberCircus performer Astronomer Social worker Psychologist Story-teller Florist Conductor

Dancer Lawyer Salesperson Philosopher Journalist Web designer CriticSignwriter Detective Ombudsman Speech writer ArchitectSurgeon Nurse ExplorerSculptor Manager Navigator

Carpenter Anthropologist Ship's captainCurator

Chess playerFashion designerGraphic designer


BODILY-KINESTHETIC

LOGICAL-MATHEMATICAL INTERPERSONAL INTRAPERSONAL LINGUISTIC SPATIAL MUSICAL








































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”.

System A System B


BODILY-KINESTHETIC

LOGICAL-MATHEMATICAL

INTERPERSONAL INTRAPERSONAL LINGUISTIC SPATIAL MUSICAL








































An Exciting Possibility …To a very simple system …

Simple thinking processes enable me as a teacher to

achieve each aspect of this “complex system” to ensure

“no child is left behind”.

System B

An Exciting Possibility …To a joyously simple system!

Simple thinking processes enable me as a teacher to

teach well with happiness, and the student to learn with

vigor and joy.

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!

“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."

The State of Literature …

Fahrenheit 451

Ray Bradbury

PUBLISHED IN 1953 …

DO WE SEE OMINOUS PARALLELS?

BUT NOT INEVITABLE!

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