Hamlet Final Assessment
At the end of the Hamlet unit, you will have two choices to earn 100 points. These choices replace the final essay test that was in the course originally. You can choose only ONE of the following options, and the due date remains the same. These activities will be graded just like the test would have been, meaning there is no chance to redo or revise the assignment. However, this will be taken into consideration when I grade them.
No matter what option you choose, it must be completed in a Word document and labeled or titled so that it is clear to your teacher which option you chose. On your document, write it as a heading, like this:
Your first and last name
Name of the option you chose
Models of each assignment can be found in class announcements.
Option #1: RAFT
A RAFT is a writing assignment that encourages you to uncover your own voice and formats for presenting your ideas about the content you are studying. In this design, you have a lot of freedom to choose what interests you.
· R = Role of the writer: Who are you as the writer?
· A = Audience: To whom are you writing?
· F = Format: In what format are you writing?
· T = Topic: What are you writing about?
1. Use the chart below to choose two characters from the ROLE column. Your goal is to write in the voice (Role) of YOUR CHARACTER.
2. Using the knowledge and understanding that you have gained throughout the reading and viewing of Hamlet, choose a related Audience, Format, and Topic from the chart below.
3. As you craft your creative writing assignment, be sure the character’s personality and motivations are evident. For instance, you could choose Ophelia (role), Hamlet (audience), blog entry (format) and betrayal (theme). Then you will write a blog entry from Ophelia’s point of view with Hamlet as the intended audience focused on the theme of betrayal.
4. Next, repeat this process for a different role, audience, format and theme.
5. Please see the model below (pg. 8) to understand what to do.
6. If you are unsure of what a particular format is, the best thing to do is look up examples online.
· YOU MUST CHOOSE TWO CHARACTERS FROM THE ROLE LIST AND COMPLETE TWO DIFFERENT RAFTS. THEY WILL BE WORTH 50 POINTS EACH AND MUST BE AT LEAST 200 WORDS EACH.
· To clarify, this means two different roles, two different audiences, two different formats and two different themes.
· You may use some words from the play, but if you do they MUST be exact and put in quotation marks. The goal, however, is to use your own words. No outside sources are to be used for this assignment.
· You can choose to write about a particular scene or event, or the play as a whole.
· You are in the voice of the character, so if you choose the role of Ophelia, then you will become her (first person POV) and reflect her personality and motivations in your writing.
|Choose the role that you will take on.||Choose a character to receive your ideas.||Choose the format by which you will deliver message.||Choose a theme as the topic for your writing.|
· Prince Hamlet
· King Hamlet
· Prince Hamlet
· King Hamlet
· Prince Fortinbras
· Your teacher is NOT your audience
· Journal entry
· Newspaper article
· Letter to the editor
· Closing Argument in Courtroom
· Blog entry
Option #2: Personal Soliloquy
This option will give you the chance to write your own soliloquy based on Hamlet’s famous “To be or not to be” soliloquy.
Fear sometimes makes people crazy! Hamlet is attempting to confront his underlying fear in his soliloquy. He means to figure out exactly what he is afraid of. In other words, what is underneath the fear he feels?
One of the cool things about Shakespeare is that his characters seem to understand how complex it is to be human. We all feel fear, but we are not all brave enough to reflect on ourselves in order to try to understand our fears.
We are not in Hamlet’s situation. We are, however, very much like Hamlet. We are young and hopeful, and very saddened by loss and angered by the injustice of loss. Like Hamlet, we want to do what’s “right,” we feel compelled to honor those we love by doing what is “right,” but we don’t always know what that is or what “right” means. For Hamlet, consequences of doing what is “best” create some ethical/moral and emotional consequences. He attempts to weigh the consequences of each decision, as well as his fears, as he tries to figure out “What exactly am I afraid of? What is underneath my fears?”
In your own personal soliloquy, imitate Hamlet’s sense of conundrum using your own personal situation of indecision and underlying fear. We all have them. Most of us mask them very, very well. I am asking you to risk (by exposing a situation and fear) or to utilize this as a way to write about your own fear. You can write about this from your own perspective or from the opposing viewpoint. For example, in “To Swim or Not to Swim,” the author writes about her fear of drowning in the sea and about her fear of facing people who might tease her for being afraid of swimming. She could just as easily have written from the point of view of the ocean, about using its power to drown her or launch her onto an island paradise somewhere, and the ethical/moral issues of each of those choices.
1. Decide on the following key points for your soliloquy:
a. What is the situation?
b. What is the fear you have?
c. What is at stake if you ______ and confront this fear?
d. What may be gained by confronting your fear and doing ____?
e. What may be lost by confronting your fear and doing _____?
f. What does it symbolically mean that you do or do not do _____?
g. What is “the rub” (the complicated situation of the decision) for the situation in your soliloquy?
h. What point of view/perspective are you going to write from?
2. Read the model soliloquy.
3. Write your own soliloquy using the questions above to guide you.
a. Your soliloquy must “match” the lines of Hamlet’s soliloquy (worksheet below).
b. Your writing must “read” like a soliloquy – it is not prose, it is verse.
c. The content, as always, must be your own. Yes, you will use the same structure as the original, and perhaps a few of the same words, but no other outside sources may be used.
d. The written work you turn in can EITHER be the worksheet OR a new document with the soliloquy and appropriate heading.
e. You can write from your own point of view (I, me, my – first person) or from another perspective, such as the thing you fear.
Grading criteria: Below is a general grading rubric. You MUST follow the details of the guidelines above. You must also revise and edit – consider what you turn in to be “final draft” status.
|Criteria||points possible||Points earned|
|Meets the criteria of the assignment as outlined in the assignment directions. For the RAFT, this means two different rafts of at least 200 words each, etc.||90|
|Revised and edited for surface features such as spelling, punctuation, capitalization, spacing, clarity, word choice and sentence structure.||10|
DUE DATE: WEDNESDAY, 12/20, 11:30 PM
Hamlet’s soliloquy worksheet: You can fill this in with your own writing as a final draft, then copy paste it into a new separate document, add your heading and hand it in. OR, you can use this as a rough draft and create a new document to hand in.
|To be, or not to be, that is the question:
|Whether ’tis nobler in the mind to suffer
|The slings and arrows of outrageous fortune,
|Or to take arms against a sea of troubles
|And by opposing end them. To die—to sleep,
|No more; and by a sleep to say we end
|The heart-ache and the thousand natural shocks
|That flesh is heir to: ’tis a consummation
|Devoutly to be wish’d. To die, to sleep;
|To sleep, perchance to dream—ay, there’s the rub:
|For in that sleep of death what dreams may come|
|When we have shuffled off this mortal coil,
|Must give us pause—there’s the respect
|That makes calamity of so long life.
|For who would bear the whips and scorns of time,
|Th’oppressor’s wrong, the proud man’s contumely,
|The pangs of dispriz’d love, the law’s delay,
|The insolence of office, and the spurns
That patient merit of th’unworthy takes,
|When he himself might his quietus make
|With a bare bodkin? Who would fardels bear,
|To grunt and sweat under a weary life,
|But that the dread of something after death,
|The undiscovere’d country, from whose bourn
|No traveller returns, puzzles the will,
|And makes us rather bear those ills we have
|Than fly to others that we know not of?
|Thus conscience does make cowards of us all,
|And thus the native hue of resolution
|Is sicklied o’er with the pale cast of thought,
|And enterprises of great pitch and moment
|With this regard their currents turn awry
|And lose the name of action.
Model: Ms. Monson’s Personal Soliloquy, Imitation of Hamlet’s “To Be, or Not To Be”
To Swim, or Not to Swim
To Swim, or Not to Swim, that is the question –
Whether it be safer in the mind to suffer the teeth and jeers
Of my grinning friends standing on the shore,
Protecting my body from the cold ocean depths of darkness
By not jumping in, learning the monstrous lengths of jokes,
At lengths I will never outlive or overcome from their memory,
Or, to confront the darkness below the water’s slippery surface,
The unknown, where, I am almost assured
To feel the wounds of knashing jaws of shark teeth,
Or stings and bites of a thousand other perils that I do not know,
Yet imagine ripping at my flesh,
When I would, then and at first, choose to protect
My drier pride, face the lashings of my friends’ tongues
By guarding my body’s beauty, as it were. To stand on land,
Laughing a continent of comparative jokes,
Not be the target to be laughed at,
Secure ‘gainst the swells of tides of judgment,
Taunts of childish games
That both make me stuck ashore and drown me outright.
Ah, there’s the rub, to stand, rejecting waves of judgment while inviting it,
To swim, free in water, unbound, protect pride by clawing within,
Rejecting instinct that commands a drowning, at the first,
In perilous dreams of unknowing by the sun and the darkness, together,
And, thereby, rejecting and inviting each choice without end.
To be, to swim, to feel free, floating, commanding myself in all of what I know not,
To be, to swim, and not die,
Not die either from wound or from imaginings that pulse my heart to panic.
To do what a million have done and lived.
Or, by standing adock so long, we all wait in untidy swimwear
In scorching sun beneath sunscreen,
When we could just jump in and float,
Hide the imperfect body housing my soul,
Stopping the mocking and misery of the driest of cowardice humor.
It is a great choice in the moment to jump, or not. But wait!
The lifeguard walks near. In all my hopes,
Remember your training and abilities.
Credit for all ideas: Ms. Monson
Model RAFT Assignment
Option #1: RAFT
(Rosencrantz, Laertes, email, weakness)
Date: 17 May 1550
Subject: Feebleness and frailty
Good afternoon my good Laertes:
I hope this email finds you well. I have struggled of late to express to Guildenstern my feelings of regret regarding my own weaknesses as they pertain to the most unfortunate situation of our mutual friend, Hamlet. I am hoping that you, as both his acquaintance and someone who has also lost a father, might understand what I feel I must explain.
Guildenstern and I have always considered ourselves good and faithful friends to Hamlet, which leads to my current sense of shame over the weakness I have shown in agreeing to spy on Hamlet and go through with the plan leading to his possible death. When a man like King Claudius wields his power, it can be quite difficult to remain strong. I allowed my own fears and feeble sense of true friendship to overtake me, and for this I am ashamed. You, on the other hand, showed great strength in seeking revenge for your own father’s death, even though you, too, fell victim to King Claudius’ devious ways.
(This email would go on for one more short paragraph to meet the length requirement.)