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Starter – Imagine you are living in the time period of Ancien Regime

Starter – Imagine you are living in the time period of Ancien Regime. A time for love affairs at court (where the people associated with the King met). . France in the 18 th Century. A time for privilege for the aristocrats. . You are a beautiful lady and you have a very handsome husband.

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Starter – Imagine you are living in the time period of Ancien Regime

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  1. Starter – Imagine you are living in the time period of Ancien Regime A time for love affairs at court (where the people associated with the King met). France in the 18th Century. A time for privilege for the aristocrats. You are a beautiful lady and you have a very handsome husband. You are very happy when …

  2. Suddenly … you find out your husband is having an affair … How would you react? (Think about: the time period) You decide your only option is to … Murder the woman he is having an affair with … How would you carry out this deed?

  3. You go and visit an alchemist. What is an alchemist? Where would you find one? Where do they work?

  4. The Laboratory How effective is this title?

  5. What is happening? Let’s read through the poem … The poem is a dramatic monologue. We only hear the voice of the lady – never the alchemist. The lady has asked the alchemist to make a poison that can be given to her rival in love. She is with the alchemist in the laboratory as he prepares it. http://www.bbc.co.uk/learningzone/clips/robert-browning-the-laboratory-poem-only/9586.html

  6. Task: In groups you are going to be given either the first six stanzas or the last six stanzas to annotate. You will ALL have to come and present a stanza to the class. Use the prompt questions below and the MITSL sheets I have given you. Remember – I am really looking for: themes, language and structural techniques.

  7. Stanzas 1 – 6: -) What do we learn about the speaker? -) How do we know the speaker is speaking to someone else? -) Can you find any examples of juxtaposition in stanza 4? What effect is created? -) Why does the speaker name so many body parts in stanza 6? What effect is being created? Stanzas 7 – 12: -) What is the tone or mood in your stanzas? Does it change? How/why? -) What do we learn about the speaker’s rival in stanza 8? How do we (the reader) respond? -) Does the speaker want the victim to suffer? How do you know this?

  8. Now that I, tying thy glass mask tightly, May gaze thro' these faint smokes curling  whitely, As thou pliest thy trade in this devil's-smithy— Which is the poison to poison her, prithee?

  9. He is with her, and they know that I know Where they are, what they do: they believe my tears flow While they laugh, laugh at me, at me fled to the drear Empty church, to pray God in, for them!—I am here.

  10. Grind away, moisten and mash up thy paste, Pound at thy powder,—I am not in haste! Better sit thus, and observe thy strange things, Than go where men wait me and dance at the King's.

  11. That in the mortar—you call it a gum? Ah, the brave tree whence such  goldoozings come! And yonder soft phial, the exquisite blue, Sure to taste sweetly,—is that poison too?

  12. Had I but all of them, thee and thy treasures, What a wild crowd of invisible pleasures! To carry pure death in an earring, a casket, A signet, a fan-mount, a filigree basket!

  13. Soon, at the King's, a mere lozenge to give, And Pauline should have just thirty minutes to live! But to light a pastile, and Elise, with her head And her breast and her arms and her hands, should drop dead!

  14. Quick—is it finished? The colour's too grim! Why not soft like the phial's, enticing and dim? Let it brighten her drink, let her turn it and stir, And try it and taste, ere she fix and prefer!

  15. What a drop! She's not little, no minion like me! That's why she ensnared him: this never will free The soul from those masculine eyes,—Say, “no!'' To that pulse's magnificent come-and-go.

  16. For only last night, as they whispered, I brought My own eyes to bear on her so, that I thought Could I keep them one half minute fixed, she would fall Shrivelled; she fell not; yet this does it all!

  17. Not that I bid you spare her the pain; Let death be felt and the proof remain: Brand, burn up, bite into its grace— He is sure to remember her dying face!

  18. Is it done? Take my mask off! Nay, be not morose; It kills her, and this prevents seeing it close; The delicate droplet, my whole fortune's fee! If it hurts her, beside, can it ever hurt me?

  19. Now, take all my jewels, gorge gold to your fill, You may kiss me, old man, on my mouth if you will! But brush this dust off me, lest horror it brings Ere I know it—next moment I dance at the King's!

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