Lesson 2.

Unit 2

Finding Poetry in Prose HANDOUT

2.1.A

Directions: Draw a line through every word from the prose that the poet omitted.

She suddenly became very interested in animals and found herself leafing
through encyclopedias, looking at the pictures—the hedgehog’s pale, soft,
tender underbelly; the swift hare, of uncertain hue, leaping; she pored over the
bodies of birds, fascinated, pondering the softness of the flesh behind their
feathers; and a single word kept bobbing insistently about in her mind: predator.

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 Lesson 2.1

Unit 2

Constructing a Found Poem HANDOUT

2.1.B

Follow the directions to create your own found poem:

ƒ Reread: Reread “What Happened During the Ice Storm,” underlining or annotating the (as
Woolf calls it) “delicious” language that shows instead of tells.
ƒ Focus: Decide to focus on one aspect of the narrative for your found poem. Maybe you will
want to focus on the plight of the pheasants, the severity of the ice storm, the beauty or
suspense behind the boys’ gesture, etc.

ƒ Copy: Copy the language (words, phrases, and lines) that you may potentially use in your
found poem on a fresh sheet of paper, leaving plenty of room in-between lines so you can
study the language easily. Alternatively, you may cut apart the words and phrases to form
individual slips that you can physically manipulate.
ƒ Cut: Eliminate any words that seem unnecessary, do not sound quite right, or are
distracting from your poem’s focus.
ƒ Don’t: You are not allowed to add your own language; you have to work with the language
you found.

ƒ Do: You have the freedom to repeat language, change punctuation, change capitalization,
change line breaks, and experiment with spacing of words.

ƒ Read aloud: Read aloud your found poem, pausing briefly at the line ends, line breaks, and
punctuation (e.g., commas, semicolons, periods). If something sounds wrong, tweak the
line breaks, punctuation, and/or spacing.
ƒ Title: Give your found poem a title. “What Happened During the Ice Storm” is already
taken!

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 Lesson 2.2

Unit 2

Establishing the Premise of the Essay HANDOUT

2.2.A

Directions: After carefully reading paragraphs 1–5, answer the following text-dependent
questions:

Paragraph 2

ƒ According to Haidri, what is her purpose in writing this essay?

Paragraph 3

ƒ What spurred or inspired Haidri to write the poem “Lottery”?

ƒ In her opinion, what is the difference between a retelling and a poem?

Paragraph 4

ƒ What does Haidri see as the problem with trying to describe feelings?

ƒ What does Haidri suggest as a way to “recollect the emotion itself”?

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 Lesson 2.2

Unit 2

HANDOUT Paragraph 5
2.2.A
ƒ According to Haidri, how do some beginning writers feel about revising poetry?

ƒ How does Haidri see the revision of poetry?

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 Lesson 2.2

Unit 2

The Evolution of “Lottery” HANDOUT

2.2.B

Journal Entry Draft 2 of Poem: “Lottery” Final Draft of Poem: “Lottery”

That’s 6 and a half million a year after Everything you would need Everything my mother needs
taxes you tell me, of the man who won the week of my vacation can be found at Woodman’s:
$111 million. That’s more than Trump! could be found at Woodman’s: two cartons of ciggarettes
I have our lottery tickets in here you two cartons of ciggarettes a gallon of milk,
pt to your black billfold with the brown three gallons of milk unsalted rice cakes and
ribbing. Rummage further into your unsalted rice cakes and six black bottles of diet cola.
hangbag. Kleenex, bent envelopes, a six black bottles of diet cola. I want to buy a lottery ticket.
crumpled single dollar rising over your I want to she adds and weaves stiff-kneed,
wrist as you dig. The lottery tickets are buy a lottery ticket, half-blind, to the far end of the
two weeks old. Bought on the eve of you added and weaved worn-out, store
my departure for California when I took stiff-kneed, half-blind, near the videos and packaged
her to Woodman’s to buy everything to the far end of the store liquor.
she needed while I was gone. Two near the videos, ice cream,
cartons of ciggarettes, 3 gal. of milk, She has already chosen the
and packaged liquor numbers,
rice cakes and black bellied bottles of
diet rite—I want to buy a lottery ticket Neither of us knew how to go about it. written them in large cursive
you said, and weaved your way, half You had already chosen your on a scrap of yellow cardboard.
blind, exhausted, sore knees from side numbers, Neither of us knows how to go
to side pushed the weight of your body written in large cursive about it.
to the far end of the store, by videos on a tear of yellow cardboard. I fumble, rubbing in the dots,
and ice cream and packaged liquor.
I fumbled, rubbing in the dots for you, lingering slightly over her
You had your numbers picked out, lingered slightly over your numbers numbers
written large and clear on a tear of to register their significance, but but find no significance.
scrap cardboard, bright yellow. found none. That’s six and a half million a
Neither of us knew how to go about You did not check the ticket while I year for life!
it. Mother could not teach daughter. was gone, she says of the man who won
Daughter could not get it done. I rubbed and look for it now in the depths of last winter
in the dots for you. Bought a computer your purse, and I do not ask how one
generated one for me—only lingering kleenex, envelopes, a dollar bill figures
slightly over your numbers. Trying to rising over your wrists as you dig. the number of years left in his
register their significance—and not life.
That’s six and a half million a year for life!
seeing any immediately didn’t dare Nor do I ask if she will buy back
you think of the man who won last
intrude into their origin—ask on what you her teeth, eyes, strong bones
winter,
are basing your luck. Just as now I don’t and lean flesh.
and I do not ask how they figured
ask you if you know how they decided Buy back the summers
the number of years in his life, nor do
how many years to divide $111 million she played squirt guns with us
I ask
by to make this man rich for the rest of and caught fireflies I could sell
what you would do with the money
his life, or what (I don’t want to ask) you to science
Buy back your teeth? Your eyesight,
would do with the money—could it buy for thirty cents a hundred.
light bones and lean flesh?
back your teeth, your eyesight, your light
Buy back the Tennessee summers No one has claimed it!
strong bones and lean flesh.
you played squirt guns with us she whispers, as if everything
You didn’t check our numbers that and caught fireflies we could sell to is still possible.
night I was on vacation But no one else science
has claimed it you tell me as if that’s all for thirty cents a hundred?
it takes to mean everything, all of it, is
No one else has claimed it!
out there waiting for us to win, to call
you say, as if that alone
claim, start celebrating.
makes everything possible,
and all of it is out there waiting for you
to start up this celebration.

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 Lesson 2.2

Unit 2

Observations on Revision HANDOUT

2.2.C

Directions: After rereading all three versions of “Lottery” independently, use this handout to
guide your group discussion and note-taking about how all of the listed elements progress
through each revision.

Revision Categories Journal → Draft 2 → Final Version of “Lottery”

Point of view

Verb tense

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 Lesson 2.2

Unit 2

HANDOUT
Revision Categories Journal → Draft 2 → Final Version of “Lottery”
2.2.C

What was cut?

What was
preserved?

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 Lesson 2.2

Unit 2

HANDOUT
Revision Categories Journal → Draft 2 → Final Version of “Lottery”
2.2.C

What was added?

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 Lesson 2.2

Unit 2

Crafting the Analytical Paragraph About Revision HANDOUT

2.2.D

Directions: Answer the following questions to prepare for writing the analytical paragraph:

ƒ What revision of “Lottery” most interests you?

ƒ Was it a revision that involved cutting words or phrases, or was it a revision that preserved
or somehow highlighted some of the original language?

ƒ Why did Haidri make the revision? What quote from her essay best supports your point or
provides added insight about the revision?

ƒ How do you think the revision contributes to the poem’s overall effect? How does the
revision make the poem more powerful or clear?

You may use one of the following sentence frames to compose your topic sentences:

In Rasma Haidri’s final version of her poem “Lottery,” her decision to cut
leaves the reader with a sense of .

In Rasma Haidri’s final version of her poem “Lottery,” her decision to preserve
gives the reader a sense of .

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 Lesson 2.3

Unit 2

Sample Word Associations HANDOUT

2.3

Directions: Record your associations with any of the words used to describe the eggs. Which
words stand out to you and why? How does word choice contribute to your feelings about the
swallow’s eggs?

Language Describing the Eggs Sample Associations with Words and Phrases

First stanza:
... the nude fragility
Of the shells, lightly freckled
With colour, in their cradle
Of feathers, twigs, earth.

Second stanza:
It was still breast warm
Where I curved in my hand
To count them, one by one
Into his cold palm, a kind
Of trophy or offering.

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 Lesson 2.3

Unit 2

HANDOUT
2.3
Language Describing the Eggs Sample Associations with Words and Phrases

Second stanza:
... when I saw him take
And break them, one by one
Against a sunlit stone.

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 Lesson 2.4

Unit 2

Multiple-Paragraph Outline HANDOUT

2.4

Thesis statement:

Main Idea Details

Introduction
Paragraph 1
Paragraph 2
Paragraph 3

Conclusion
Paragraph 4

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 Lesson 2.5

Unit 2

Multiple-Paragraph Outline HANDOUT

2.5

Thesis statement:

Main Idea Details

Introduction
Paragraph 1
Paragraph 2
Paragraph 3

Conclusion
Paragraph 4

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 Lesson 2.6

Unit 2

Analyzing Miranda’s Claim and Language HANDOUT

2.6

Paragraph frame 1

Miranda claims that Alexander Hamilton . One particular

word/phrase/line from “The Hamilton Mixtape” that supports this claim is
. By using/In this word/phrase/line, Miranda expresses
.

Paragraph frame 2

Miranda also shows off his own mastery of language in telling Hamilton’s story.
For example, Miranda’s use of affects the audience by
. For example, the line(s)
express(es) to the audience the idea that .

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 Lesson 2.5

Unit 2

Multiple-Paragraph Outline HANDOUT

2.5

Thesis statement:

Main Idea Details

Introduction
Paragraph 1
Paragraph 2
Paragraph 3

Conclusion
Paragraph 4

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 Lesson 2.9

Unit 2

Unscrambling Dialogue from Hamlet HANDOUT

2.9.A
Directions: The following 23 lines from Hamlet are divided into eight scrambled speaking
parts. Cut along the horizontal lines to separate the eight speaking parts and then work with
your fellow group members to try to sequence them in the order that makes the most sense.
Remember, individual words will provide you with the clues you need to unscramble this scene.
Bonus: The first speaking part is already numbered “1” for you.

KING CLAUDIUS
1
... But now, my cousin Hamlet, and my son,–

HAMLET
Seems, madam! Nay it is; I know not ‘seems.’
‘Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly: these indeed seem,
For they are actions that a man might play:
But I have that within which passeth show—
These but the trappings and the suits of woe.

QUEEN GERTRUDE
If it be,
Why seems it so particular with thee?

HAMLET
Not so, my lord; I am too much in the sun.

QUEEN GERTRUDE
Good Hamlet, cast thy nighted colour off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailèd lids
Seek for thy noble father in the dust:
Thou know’st ‘tis common; all that lives must die,
Passing through nature to eternity.

KING CLAUDIUS
How is it that the clouds still hang on you?

HAMLET
[Aside] A little more than kin, and less than kind.

HAMLET
Ay, madam, it is common.

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 Lesson 2.9

Unit 2

Hamlet: Scene Notes HANDOUT

2.9.B

Directions: Reread the scene along with the notes. What do you think the characters are
thinking about as they say the bolded words?

Act 1, Scene 2, Lines 64–86

Lines from Hamlet Background and Word Notes

KING CLAUDIUS
... But now, my cousin* Hamlet, and my son,— *When King Claudius refers to Hamlet
as his cousin, he really means nephew
(since Hamlet’s late father was Claudius’s
brother).
Background: Claudius has just become
King of Denmark by marrying his late
brother’s wife Gertrude, Hamlet’s mother.
Prince Hamlet has just learned of his
mother’s hasty marriage.

HAMLET
[Aside*] A little more than kin,* and less than *An aside is something not heard by the
kind. other characters on stage, but it clues
the audience in on what the speaker is
thinking.
*It seems that Hamlet is thinking about
how he feels too related to Claudius since
now he is his nephew and son (kin means
“family”).

KING CLAUDIUS
How is it that the clouds still hang on you?

HAMLET
Not so, my lord; I am too much in the sun.* *Sun sounds like son.

QUEEN GERTRUDE
Good Hamlet, cast thy nighted* colour off, *nighted: dark, like the night
And let thine* eye look like a friend on Denmark.* *thine: your
Do not for ever with thy* vailèd lids *Denmark: king of Denmark (Claudius)
Seek for thy* noble father in the dust: *thy: your
Thou* know’st ‘tis common; all that lives must die, *thou: you
Passing through nature to eternity. (Note the pattern here! When you see th-
pronouns in Shakespeare, they are forms
of you)

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 Lesson 2.9

Unit 2

HANDOUT Lines from Hamlet Background and Word Notes

2.9.B
HAMLET
Ay,* madam, it is common. *Ay: yes

QUEEN GERTRUDE
If it be,
Why seems it so particular with thee?

HAMLET
Seems, madam! Nay* it is; I know not ‘seems.’ *Nay: no
‘Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration* of forced breath, *windy suspiration: sighs
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,* *havior of the visage: behavior of the face/
Together with all forms, moods, shapes of grief, facial expression

That can denote me truly*: these indeed seem, *denote me truly: express me truly
For they are actions that a man might play:
But I have that within which passeth show—
These but the trappings* and the suits of woe. *trappings: outward signs

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 Lesson 2.10

Unit 2

Role-Huddle Sheets HANDOUT

2.10.A

Directions: (1) Read your character description and your affiliation. (2) Read the scene and the
notes on the next handout. (3) Answer the questions below.

Romeo

Who are you and what are you all about?

Well, Romeo Montague, you can assume that you are a big deal. After all, this play is called
Romeo and Juliet. And in the future, in our culture, your name—“Romeo”— will forever be
connected with being a lady’s man. Bottom line: You are a romantic and rash guy. You love
easily, and you anger easily, but even the head of the Capulet family considers you honest
and well-behaved.

Sometimes we judge people not just by who they are and the way they behave but by their
friends. You have two buddies: Benvolio and Mercutio. Benvolio is gentle and loyal, and
Mercutio is a lot of fun, but he is also a little wacky and unstable.

Where do you stand on Verona’s war between the households?

It is complicated! As a Montague, your family is one of the two powerful, warring
“households” mentioned in the prologue, BUT you secretly ran off and got married to a
(gulp) Capulet.

Long story short: Benvolio dragged you to a party and you fell hard for Juliet. You even left
the party to sneak into her family’s garden. Luckily, she did not think you were a stalker;
instead, she asked you to marry her. Now that you are secretly married to a Capulet, you
just wish the households would make up.

Questions to answer in the huddle:

Question 1: Tybalt calls you a villain. How do you try to convince him that you are not?

Question 2: Obviously, you cannot be direct with Tybalt and tell him about your marriage to
Juliet, so what words do you use to hint at it?

Question 3: When you tell Mercutio “put thy rapier up,” what do you mean? Did he follow
your advice? How do you know?

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 Lesson 2.10

Unit 2

HANDOUT Directions: (1) Read your character description and your affiliation. (2) Read the scene and the
2.10.A notes on the next handout. (3) Answer the questions below.

Mercutio

Who are you and what are you all about?

Your name, Mercutio, is a big clue to your character and style. Like Mercury (a very
unstable element that can explode or burst into flames very easily), you are easily
provoked and hot-headed.

But you are also very funny, and you are quick to laugh, and quick to joke. You love playing
with words, and when you talk with people, you use your language like you use your
sword—to attack, to defend, and to be playful. In other words, you are fun, but you can be
a danger to others, and yourself, and sometimes things get out of hand.

Where do you stand on Verona’s war between the households?

Your two best friends are Romeo and Benvolio. Although you are not a member of the
Montague family, you consider yourself a close ally and friend of the family.

Questions to answer in the huddle:

Question 1: When Tybalt asks to have “a word” with you, how did you respond and why?

Question 2: What are you calling your “fiddlestick”? How do you plan on using it to make
Tybalt “dance”? What did Tybalt say that prompted you to start making all the musical
references?

Question 3: Why do you say “a plague a’both houses”? What houses? Why both?

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 Lesson 2.10

Unit 2

Directions: (1) Read your character description and your affiliation. (2) Read the scene and the HANDOUT
notes on the next handout. (3) Answer the questions below. 2.10.A

Tybalt

Who are you and what are you all about?

You, Tybalt, are proud, tough, aggressive, and have a reputation about town as one of the
best sword fighters around.

Like Mercutio, you get angry very quickly, but you have none of the fun-loving mischief
that he has. You cannot seem to forgive and forget. Once you have made an enemy, they
stay your enemy; you never stop trying to get even.

Where do you stand on Verona’s war between the households?

Since you are a nephew to the head of the Capulet family, you are very protective of
your clan. For example, at a party that Romeo and his friends crashed, you immediately
suspected that Romeo and his friends were trying to make fun of your family and you.
Touchy, touchy!

Questions to answer in the huddle:

Question 1: When Mercutio challenges you to “a word and a blow,” how do you respond?
How are you using the word “occasion”?

Question 2: What words do you use to show your feelings toward Romeo?

Question 3: What do you mean when you tell Romeo to “turn and draw”?

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 Lesson 2.10

Unit 2

HANDOUT Directions: (1) Read your character description and your affiliation. (2) Read the scene. and the
2.10.A notes on the next handout (3) Answer the questions below.

Benvolio

Who are you and what are you all about?

Your name, Benvolio, sounds like the word benevolent, and that is no accident. Like all
things “bene,” you are considered good and kind. When your buddy Romeo was pouting,
you took him to the party where he flirted with Juliet (well, maybe that was not such a good
idea).

You are also friends with Mercutio, which is a good thing. When Mercutio gets all wound up,
you try hard to calm him down. In fact, just a few minutes ago, you had to work your magic.
Let’s see how long that lasts ...

Where do you stand on Verona’s war between the households?

You are one of Romeo’s two best friends. And, even though you are not a fighter by nature,
you consider yourself on “Team Montague.” Somehow, even though you are a peacemaker
by nature, you get sucked in to at least two fights, each time trying to stop the fight before
it gets out of hand.

Questions to answer in the huddle:

Question 1: Do you tell Mercutio and Tybalt not to fight? If not, what choice are you
offering them?

Question 2: What do you mean by “all eyes gaze on us”? Why do you care?

Question 3: In this entire scene, you only speak once. What could that tell us about your
character?

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 Lesson 2.10

Unit 2

Romeo and Juliet: Script HANDOUT

2.10.B

Act 3, Scene 1, Lines 34–87

Notes Script Director’s Notes

This is the first BENVOLIO

quatrain of the Two households, both alike in dignity,
prologue. This is an In fair Verona, where we lay our
adaptation of the scene,
original play to give From ancient grudge break to new
Benvolio another mutiny,
opportunity to speak Where civil blood makes civil hands
and set the stage for unclean.
the tension between
the characters.

for: because, since TYBALT

good e’en: good Follow me close, for I will speak to
evening (or here, good them.
day) Gentlemen, good e’en, a word with
one of you.

but one: only one MERCUTIO

couple it: put it And but one word with one of us?
together Couple it
blow: hit with something, make it a word and
a blow.

apt: willing TYBALT

an: if You shall find me apt enough to that,
give me occasion: sir,
give me a reason and you will give me occasion.

MERCUTIO
Could you not take some occasion
without giving?

consort: spend time TYBALT

with, or play music Mercutio, thou consortest with
with Romeo—

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 Lesson 2.10

Unit 2

HANDOUT Notes Script Director’s Notes

2.10.B
minstrel: a musician MERCUTIO
(a low grade person.) Consort! What, dost thou make us
make minstrels of us: minstrels? An thou make minstrels
if you call us minstrels of us, look to hear nothing but
look to: expect to discords: Here’s my fiddlestick,
here’s that shall make you dance.
nothing but: only
’Zounds, consort!
discords: out of tune
music, or the sound of
an argument
fiddlestick: violin bow,
or sword
‘Zounds: an old
exclamation
meaning “God’s
wounds”

haunt: place where BENVOLIO

people gather We talk here in the public haunt of
withdraw: move to men.
another place Either withdraw unto some private
cold: calmly place,
And reason coldly of your
grievances:
grievances,
disagreements
Or else depart; here all eyes gaze
on us.

budge: move MERCUTIO

for no man’s Men’s eyes were made to look, and
pleasure: to please let them gaze;
some other man I will not budge for no man’s
pleasure, I.

Enter Romeo.

my man: the man I am TYBALT

looking for Well, peace be with you, sir, here
comes my man.

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 Lesson 2.10

Unit 2

Notes Script Director’s Notes HANDOUT

2.10.B
I’ll be hanged: I’d be MERCUTIO
amazed But I’ll be hang’d, sir, if he wear your
livery: uniform of a livery.
servant indicating Marry, go before to field, he’ll be your
what family he serves follower;
go before to field: Your worship in that sense may call
a place where they him man.
might have a duel,
away from people’s
view
worship: a title
used for important
people, here used
sarcastically by
Mercutio

bear: to have TYBALT

afford: give Romeo, the love I bear thee can
villain: low born, bad afford
person, No better term than this: thou art a
criminal villain.

appertaining: ROMEO
accompanying Tybalt, the reason that I have to love
such a greeting: the thee
things that Tybalt just Doth much excuse the appertaining
said to Romeo rage
To such a greeting. Villain am I none;
Therefore farewell, I see thou
knowest me not.

Boy: a very TYBALT

disrespectful way to Boy, this shall not excuse the injuries
address an adult That thou hast done me, therefore
turn and draw.

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 Lesson 2.10

Unit 2

HANDOUT Notes Script Director’s Notes

2.10.B
devise: imagine ROMEO
tender: hold I do protest I never injured thee,
But love thee better than thou canst
devise,
Till thou shalt know the reason of my
love,
And so, good Capulet—which name
I tender
As dearly as mine own—be satisfied.

vile: disgusting MERCUTIO

submission: O calm, dishonorable, vile
surrender submission!
Alla stoccata: name Alla stoccata carries it away.
for a specific sword Draws.
thrust, but can also Tybalt, you rat-catcher, will you walk?
suggest a cutting
remark.
carries it away: wins
the argument
Draws: pulls out his
sword
walk: fight with me

have with me: want TYBALT

from me What wouldst thou have with me?

King of Cats: A cat MERCUTIO

has nine lives, and Good King of Cats, nothing but one
Mercutio wants to take of your nine lives; that I mean to
one of them make bold withal, and as you shall
make bold withal: use me hereafter, dry-beat the rest
have my way with of the eight. Will you pluck your
dry-beat: very heavily sword out of his pilcher by the ears?
hit Make haste, lest mine be about your
ears ere it be out.
pilcher: scabbard
ears: pommel
make haste: be quick
lest: in case

I am for you: I will fight TYBALT

you I am for you.

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 Lesson 2.10

Unit 2

Notes Script Director’s Notes HANDOUT

2.10.B
Put thy rapier up: put ROMEO
away your Gentle Mercutio, put thy rapier up.
sword

passado: a style of MERCUTIO

sword lunge Come, sir, your passado.

They fight.

draw: pull out your ROMEO

sword (in this case not Draw, Benvolio, beat down their
to fight, but to stop weapons.
the fight) Gentlemen, for shame, forbear this
forbear: stop outrage!
expressly: clearly Tybalt, Mercutio, the Prince
expressly hath
bandying: sword
Forbid this bandying in Verona
fighting
streets.
Hold: stop
Romeo steps between them.
Hold, Tybalt! Good Mercutio!

Tybalt under Romeo’s arm thrusts

Mercutio in.
Away Tybalt with his followers.

A plague: let a plague MERCUTIO

infect both your I am hurt.
families. That is, I A plague a’ both houses!
curse all of you.
sped: finished

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 Lesson 2.12

Unit 2

Interpreting the Lines HANDOUT

2.12.A

By reading, watching, and performing an excerpt of a scene from Romeo and Juliet (lines
34–87), you have now taken words on a page and brought them to life in two different places:
in your head and in the physical space of your classroom. Well done! In the process, you have
likely gained a more detailed understanding of Shakespeare’s language.

Directions: Choose one of the three four-line segments below, and describe two ways you
could (as a director) interpret and perform the lines, keeping in mind their context within the
greater dialogue. For example, you could choose a funny approach, tense approach, loud
approach, or subtle approach. When you explain your two interpretive options, highlight the
key words that you would emphasize to make each performance choice make sense and how
you would choose to convey that emphasis.

Remember, words are significant but flexible, which means you can shape your interpretation
to produce a different effect. If you need some help in developing your thoughts, review your
script annotations.

Passage 1
MERCUTIO:
Consort! What, dost thou make us minstrels? An thou
make minstrels of us, look to hear nothing but discords.
Here’s my fiddlestick, here’s that shall make you dance.
’Zounds, consort! 45

Passage 2
BENVOLIO:
We talk here in the public haunt of men.
Either withdraw unto some private place,
And reason coldly of your grievances,
Or else depart; here all eyes gaze on us. 49

Passage 3
ROMEO:
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting. Villain am I none; 60
Therefore farewell, I see thou knowest me not.

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 Lesson 2.12

Unit 2

Multiple-Paragraph Outline HANDOUT

2.12.B

Thesis statement:

Main Idea Details

Introduction
Paragraph 1
Paragraph 2
Paragraph 3

Conclusion
Paragraph 4

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