FOR SALE! Complete handbook for this blog and its resources

I have recently compiled an Adobe pdf version of this entire Blog site plus some additional materials. The book is 580 pages in length and approx 7.5 Mb in file transfer size. The book spans 2008 - 2012 and covers various aspects of teaching ESL and EFL classes as well as mainstream English. It includes lesson plans, resource links, work sheets, student examples, Exam links (IGSE / IB etc).  I a presently taking pre-orders at € 10 each. The book is printable therefore the resources and examples can be used in your classes. It covers age groups Key Stage 3 -5 / US Grades 8 - 12 as well as college and University under graduate levels. This is a valuable resource for teachers and student teachers.

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APPLIED COMMUNICATION: Influence of Social Media

Popularity vs. Influence in Blogging and Social Media: What’s the Difference?

By Jennifer Mattern on April 13, 2010

Credit: Advanced Human Technologies (www.ahtgroup.com)

You’ve heard about “influencers” right? That’s a big buzz word especially in the blogosphere these days (and it has been for a couple of years). What exactly is an influential blogger though? Do those lists of the most influential blogs or biggest influencers really mean much?

Honestly, they don’t. Why? Because sadly too many people confuse “influence” with basic popularity. Is there anything wrong with having a popular blog or being a popular personality in your niche or industry? No. Of course not. But being popular doesn’t mean you necessarily have a comparable amount of influence within that niche. Let’s explore both popularity and influence, and talk about why you really need to understand the difference. While we’ll look specifically at bloggers, the same can be true of those on Twitter, social networks, or who are active in any other area of social media.

Defining Popularity and Influence

What does it mean to be a “popular” blogger? It means that people like you (or they like your blog). Specifically related to blogging, it generally means a lot of people like you. You get a lot of traffic and / or a lot of unique visitors. You get a lot of comments. You get the idea….

If you have a lot of traffic, you naturally have a lot of influence, right? Wrong. Influence involves more than numbers. It involves your ability to influence outcomes, actions, and opinions.

The Biggest Difference Between Popularity and Influence

Being treated like a rock star doesn't always equal influence - Credit: BigStockPhoto.com

Let’s look at two hypothetical blogs to show why popularity doesn’t necessarily equate to influence. They’re both Internet marketing blogs. Blog A is a relatively high traffic blog — let’s say just under one million page views per month. Blog B gets around 75,000 page views per month instead (still not terrible, but clearly Blog A has them beat).

You could easily argue that Blog A is the more popular blog of the two. Assuming in this case that the larger number of page views comes from a larger number of unique visitors, Blog A has more readers / visitors.

That said, Blog B could still be the more influential blog. Numbers alone don’t cut it. The relationship between the blogger and their audience determines influence much more than traffic stats (or follower stats, or friend counts, etc.).

For example, maybe most of Blog A’s traffic comes from search engines. The visitors are one-time passers-by who only visit the page they land on. They read the content and then they move on. Blog B’s fewer readers are much more invested in the blog. They read regularly. They genuinely care about what the blogger has to say.

If Blogger A told their audience to do something, they might have less influence over their actual actions than Blogger B. The second blogger’s audience might be more likely to do what’s asked of them — think a certain way about a niche issue, try a new tool, take part in a survey, or even buy a product. That’s influence.

Popularity in blogging can leave a lot to chance (or basic search engine optimization). A blogger has to be able to take things a step further if they want to turn that popularity into influence. By all means, a popular blog can be influential. Many are. The mistake is in thinking that one necessarily equals or leads to the other.

Measuring Influence: Can it be Done?

Why do people often rank blogs by “influence” when they’re really only evaluating popularity metrics? Well, “influence” sounds better for starters. Who doesn’t want to feel like they have influence? It’s a power thing, whereas popularity is nice but it’s something tweens and teens are supposed to worry about — not professionals blogging within a given industry.

How do you measure success in social media? - Credit: BigStockPhoto.com

Influence sounds better, but popularity is easier to measure. So they get packaged together whether or not it’s completely fair, “right,” or accurate. Is it even possible to measure influence? Personally, I consider it more of a qualitative than quantitative element of blogging and social media, and as such I would have to say it’s difficult, if not impossible, to accurately measure.

A blogger with a relatively small audience might have major pull in the industry because of their network. If they report a problem to a company, it might be fixed in hours or days instead of buried in a mountain of support tickets. If they request a new feature from someone, they might actually get it whereas others would be ignored. They might be able to change the minds of their audience members about an issue that’s important to them. I don’t see how those things can be accurately or fairly measured. Would action #1 get more weight than action #2? How many minds do you have to change to be “influential?”

Sure, we can measure some elements of influence — how many readers were converted into customers, the number of survey respondents, donations received when a blogger gets behind a cause, etc. But we can’t measure enough of the factors that determine influence to really say Blogger A is more influential than Blogger B, because the results of influence aren’t always visible. To outsiders, it’s all subjective.

If you really must rank the most “influential” blogs in some way, do what you must. But why not call it what it really is — the “most popular” blogs — instead? The two can coincide. We don’t need to belittle the influence of some bloggers by calling them less influential than others simply because they’re better at targeting a narrow audience that cares about what they have to say. You don’t see what goes on behind the scenes. That “little” blogger you left off your list might be the one making a real difference. Let’s go back to calling a spade a spade, shall we?

Blogs,Social Media Measurement,Social Media Relations

influence, influencers, popularity, social media

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Teacher Effectiveness Enhancement Programme (TEEP)

The TEEP Model

The TEEP model is constructed to incorporate the behaviours that effective teachers have been shown to display. These can be grouped under four categories;
classroom climate, classroom management, interactive teaching and utilising a variety of teaching and learning styles.

CLASSROOM CLIMATE refers to the physical and emotional environment in the classroom. Effective teachers create a learning environment which is inviting and cheerful, and in which pupils feel safe. Pupils feel able to take risks and make mistakes without fear of ridicule. They feel valued, and they are encouraged to develop positive relationships with each other. The teacher conveys high expectations of learning and of behaviour, and is enthusiastic about teaching.

CLASSROOM MANAGEMENT refers to the teacher's ability to exercise authority clearly and fairly, maintaining order, and correcting inappropriate behaviour promptly and consistently. The teacher is an effective manager of pupils, time and resources, and transitions from one activity to another are managed calmly and effectively.

INTERACTIVE TEACHING - the teacher's inputs are clear and engaging, and the teacher has effective questioning techniques, using a mixture of higher order and lower order questions. Wait-time ensures that all pupils have the opportunity to answer, and through skilful questions the teacher encourages deeper thinking and elaboration of answers. The teacher has strategies to ensure that all pupils are actively engaged in the lesson, ego pair share, group huddles, thinking time. Pupils are encouraged to formulate questions of their own.

VARIETY OF TEACHING/LEARNING STYLES - the teacher has a wide repertoire of approaches and activities to ensure that all pupils can learn. Lessons are planned to include visual, auditory and kinaesthetic activities, and lessons proceed at a brisk pace.

Pupils are grouped appropriately for activities, i.e. individual, pairs, small groups, larger groups, and whole class. The teacher's focus is on the pupils' learning and he/she actively monitors, checks for understanding, prompts, re-visits, presents the materials in different ways to ensure understanding.

The framework has been developed from research in teacher effectiveness and the conditions in which effective learning takes place. The framework is underpinned by the following:

• Effective teaching and learning; for example Accelerated
• Learning Thinking skills (creating a classroom culture of thinking)
• Assessment for Learning (see research Black + Williams)
• Effective use of ICT to enhance learning
• Collaborative problem-solving

Multiple Intelligences in Communication

Faculty of Teacher Training - English Department

Course Title: Applied Communication Skills (Elective)

Instructor: Dr. Rod

Multiple Intelligences in Communication

Preparation: Go to the following web site and complete the assignment there. Print out YOUR individual Multiple Intelligence chart and bring to class: http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks3/ict/multiple_int/questions/questions.cfm

Above is the chart for Dr. Rod. What does it tell you about how he learns?

Note: This is an interactive worksheet which produces a Multiple Intelligences wheel based upon Gardner's eight multiple intelligences. With thanks to Jean Maund from whom this idea originated and colleagues in the University of the First Age who helped develop the questionnaire.

To start the activity, sign in and fill in a little bit of information about yourself. You can then begin to answer the questions. When you have finished, click on the submit button. If you have not filled in all the questions you will get a warning sign telling you what questions need answering. You can print the intelligences wheel and the unique number printed on the sheet will allow you to re-visit your wheel at any time.

Now try this one:

http://literacyworks.org/mi/assessment/findyourstrengths.html

Again, here are the results from Dr Rod.

Dr Rod’s top three intelligences:

Intelligence	Score (5.0 is highest)	Description
	4.86	Social: You like to develop ideas and learn from other people. You like to talk. You have good social skills. Effective techniques of enhancing your learning using your social intelligence include taking part in group discussions or discussing a topic one-to-one with another person. Find ways to build reading and writing exercises into your group activities, such as: Reading a dialogue or a play with other people Doing team learning/investigating projects Setting up interview questions and interviewing your family, and writing down the interview Writing notes to another instead of talking.
	4	Self: You have a very good sense of self. You like to spend time by yourself and think things over. You will often take in information from another person, mull it over by yourself, and come back to that person later to discuss it. You like working on projects on your own. You often prefer to learn by trial and error. Effective techniques to enhance your learning include keeping a journal and giving yourself time to reflect on new ideas and information. More ideas: Go on "guided imagery" tours. Set aside time to reflect on new ideas and information. Encourage journal writing. Work on the computer. Practice breathing for relaxation. Use brainstorming methods before reading. Listen to and read "how to" tapes and books. Read cookbooks.
	3.43	Language: You enjoy enjoy saying, hearing, and seeing words. You like telling stories. You are motivated by books, records, dramas, opportunities for writing. Effective techniques of enhancing your learning using your language intelligence include reading aloud, especially plays and poetry. Another idea is to write down reflections on what you've read. You may also enjoy exploring and developing your love of words, i.e., meanings of words, origin of words and idioms, names. Use different kinds of dictionaries. Other ideas: Keep a journal Use a tape recorder to tape stories and write them down Read together, i.e., choral reading Read a section, then explain what you've read Read a piece with different emotional tones or viewpoints — one angry, one happy, etc. Trade tall tales, attend story-telling events and workshops Research your name

---

The scores for your other five intelligences:

3.29	3.14	3.14	2.86	1.57

Just because these five are not in your top three doesn’t mean you’re not strong in them. If your average score for any intelligence is above three, you’re probably using that intelligence quite often to help you learn.

OK, So now you know how I learn from two different online assessments. What are your strengths and weaknesses. For the next session you need to have completed the above two tests and print for me the results.

Look at the results and see if you have the same strengths on both charts, if not how would you explain the differences? (DO NOT retake the tests to manipulate your scores.)

Example 2: Alex (15 yrs Old)

Alex top three intelligences:

Intelligence	Score (5.0 is highest)	Description
	4.71	Body Movement: You like to move, dance, wiggle, walk, and swim. You are likely good at sports, and you have good fine motor skills. You may enjoy taking things apart and putting them back together. Incorporating body movement into your learning will help you process and retain information better. Here are some ideas. Trace letters and words on each other's back. Use magnetic letters, letter blocks, or letters on index cards to spell words. Take a walk while discussing a story or gathering ideas for a story. Make pipe cleaner letters. Form letters out of bread dough. After you shape your letters, bake them and eat them! Use your whole arm (extend without bending your elbow) to write letters and words in the air. Change the place where you write and use different kinds of tools to write, ie., typewriter, computer, blackboard, or large pieces of paper. Write on a mirror with lipstick or soap. Take a walk and read all the words you find during the walk. Handle a Koosh ball or a worry stone during a study session. Take a break and do a cross-lateral walk.
	4.43	Spatial: You remember things visually, including exact sizes and shapes of objects. You like posters, charts, and graphics. You like any kind of visual clues. You enjoy drawing. Effective techniques of enhancing your learning using your spatial intelligence include creating and/or using pictures, maps, diagrams, and graphs as you learn things. Other suggestions: Write a language experience story and then illustrate it. Color code words so each syllable is a different color. Write a word on the blackboard with a wet finger. Visualize the word as it disappears. See if you can spell it afterwards. Take a survey. Put the information in a chart. Write words vertically. Cut out words from a magazine and use them in a letter. Visualize spelling words. Use colorful newspapers like USA Today. Use crossword puzzles.
	4.29	Social: You like to develop ideas and learn from other people. You like to talk. You have good social skills. Effective techniques of enhancing your learning using your social intelligence include taking part in group discussions or discussing a topic one-to-one with another person. Find ways to build reading and writing exercises into your group activities, such as: Reading a dialogue or a play with other people Doing team learning/investigating projects Setting up interview questions and interviewing your family, and writing down the interview Writing notes to another instead of talking.

---

The scores for your other five intelligences:

4	3.57	3.43	3.29	3.14

Question:

How would you describe the differences between Alex and Dr Rod?

What would be the best learning environment for Alex?

How would you express that in a language arts situation?

­­­­­­­­­­­­­­­­­­­­­­­­­­__________________________________________________

Introduction to the multiple intelligences

According to multiple intelligence theory, there are seven basic types of intelligence.

• Visual-spatial
• Verbal-linguistic
• Logical-mathematical
• Bodily-kinesthetic
• Musical-rhythmic
• Interpersonal
• Intrapersonal

Visual-spatial

This area deals with the ability to visualize with the mind's eye, so to speak and spatial judgement. Careers which is suit those with this intelligence include, architects.

Verbal-linguistic

This area has to do with words, spoken or written. People with high verbal-linguistic intelligence display a facility with words and languages. They are typically good at reading, writing, telling stories and memorizing words along with dates. They tend to learn best by reading, taking notes, listening to lectures, and discussion and debate. They are also frequently skilled at explaining, teaching and oration or persuasive speaking. Those with verbal-linguistic intelligence learn foreign languages very easily as they have high verbal memory and recall, and an ability to understand and manipulate syntax and structure.

Careers that suit those with this intelligence include writers, lawyers, philosophers, journalists, politicians, poets, and teachers.

Logical-mathematical

This area has to do with logic, abstractions, reasoning, and numbers. While it is often assumed that those with this intelligence naturally excel in mathematics, chess, computer programming and other logical or numerical activities, a more accurate definition places less emphasis on traditional mathematical ability and more reasoning capabilities, abstract patterns of recognition, scientific thinking and investigation, and the ability to perform complex calculations. It correlates strongly with traditional concepts of "intelligence" or IQ.

Careers which suit those with this intelligence include scientists, mathematicians, engineers, doctors and economists.

Bodily-kinesthetic

In theory, people who have bodily-kinesthetic intelligence should learn better by involving muscular movement (e.g. getting up and moving around into the learning experience), and are generally good at physical activities such as sports or dance. They may enjoy acting or performing, and in general they are good at building and making things. They often learn best by doing something physically, rather than [by] reading or hearing about it. Those with strong bodily-kinesthetic intelligence seem to use what might be termed muscle memory - they remember things through their body such as verbal memory or images.

Careers that suit those with this intelligence include: athletes, dancers, musicians, actors, surgeons, doctors, builders, police officers, and soldiers. Although these careers can be duplicated through virtual simulation, they will not produce the actual physical learning that is needed in this intelligence

Musical-rhythmic

This area has to do with rhythm, music, and hearing. Those who have a high level of musical-rhythmic intelligence display greater sensitivity to sounds, rhythms, tones, and music. They normally have good pitch and may even have absolute pitch, and are able to sing, play musical instruments, and compose music. Since there is a strong auditory component to this intelligence, those who are strongest in it may learn best via lecture. Language skills are typically highly developed in those whose base intelligence is musical. In addition, they will sometimes use songs or rhythms to learn and memorize information.

Careers that suit those with this intelligence include instrumentalists, singers, conductors, disc-jockeys, orators, writers and composers.

Interpersonal

This area has to do with interaction with others. In theory, people who have a high interpersonal intelligence tend to be extroverts, characterized by their sensitivity to others' moods, feelings, temperaments and motivations, and their ability to cooperate in order to work as part of a group. They communicate effectively and empathize easily with others, and may be either leaders or followers. They typically learn best by working with others and often enjoy discussion and debate.

Careers that suit those with this intelligence include sales, politicians, managers, teachers and social workers.

Intrapersonal

This area has to do with introspective and self-reflective capacities. People with intrapersonal intelligence are intuitive and typically introverted. They are skillful at deciphering their own feelings and motivations. This refers to having a deep understanding of the self; what are your strengths/ weaknesses, what makes you unique, can you predict your own reactions/ emotions.

Careers which suit those with this intelligence include philosophers, psychologists, theologians, lawyers, and writers. People with intrapersonal intelligence also prefer to work alone.

Naturalistic

This area has to do with nature, nurturing and relating information to one’s natural surroundings. They learn best by collecting and analyzing.

Careers which suit those with this intelligence include naturalists, farmers, and gardeners.

Existential

This area has do to with philosophical issues of life. The learn best by thinking analytical questions.

Careers which suit those with this intelligence include readers, religious speakers.

Use in education

Traditionally, schools have emphasized the development of logical intelligence and linguistic intelligence (mainly reading and writing). In fact, IQ tests (given to about 1,000,000 students each year) focus mostly on logical and linguistic intelligence. While many students function well in this environment, there are those who do not. Gardner's theory argues that students will be better served by a broader vision of education, wherein teachers use different methodologies, exercises and activities to reach all students, not just those who excel at linguistic and logical intelligence.

Many teachers see the theory as simple common sense. Some say that it validates what they already know: that students learn in different ways. On the other hand, James Traub’s article in The New Republic notes that Gardner's system has not been accepted by most academics in intelligence or teaching.

George Miller, the esteemed psychologist credited with discovering the mechanisms by which short term memory operates, wrote in The New York Times Book Review that Gardner's argument boiled down to "hunch and opinion" (p. 20). Gardner's subsequent work has done very little to shift the balance of opinion. A recent issue of Psychology, Public Policy, and Law devoted to the study of intelligence contained virtually no reference to Gardner's work. Most people who study intelligence view M.I. theory as rhetoric rather than science, and they're divided on the virtues of the rhetoric.

The application of the theory of multiple intelligences varies widely. It runs the gamut from a teacher who, when confronted with a student having difficulties, uses a different approach to teach the material, to an entire school using MI as a framework. In general, those who subscribe to the theory strive to provide opportunities for their students to use and develop all the different intelligences, not just the few at which they naturally excel.

A Harvard-led study of 41 schools using the theory came to the conclusion that in these schools there was "a culture of hard work, respect, and caring; a faculty that collaborated and learned from each other; classrooms that engaged students through constrained but meaningful choices, and a sharp focus on enabling students to produce high-quality work.”

Of the schools implementing Gardner's theory, the most well-known is “New City School”, in St. Louis, Missouri, which has been using the theory since 1988. The school's teachers have produced two books for teachers, Celebrating Multiple Intelligences and Succeeding With Multiple Intelligences and the principal, Thomas Hoerr, has written Becoming a Multiple Intelligences School as well as many articles on the practical applications of the theory. The school has also hosted four conferences, each attracting over 200 educators from around the world and remains a valuable resource for teachers interested in implementing the theory in their own classrooms.

See also http://www.miinstitute.info/ Multiple Intelligence Institute. - The Multiple Intelligences (MI) Institute is committed to the understanding and application of Multiple Intelligences Theory in educational settings, from pre-school through adult education. Through our online course and support channels, face to face professional development, consulting services, and curriculum and resource development offerings, we support programs and educators seeking to tap into Multiple Intelligences and pedagogical framework to create and provide learner-centered, goal-driven applications of Multiple Intelligences Theory in any learning context.

Sources: http://www.miinstitute.info/ Multiple Intelligence Institute

http://en.wikipedia.org/wiki/Theory_of_multiple_intelligences Wikipedia - Theory of Multiple Intelligence

http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks3/ict/multiple_int/questions/questions.cfm Birmingham Grid for Learning.

http://literacyworks.org/mi/assessment/findyourstrengths.html - Literacy Works

Advanced Skills IV: POETRY – Listening, Reading and Interpretation Skills.

 

The Charge of the Light Brigade

Half a league, half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred.
'Forward, the Light Brigade!
Charge for the guns' he said:
Into the valley of Death
Rode the six hundred.

'Forward, the Light Brigade!'
Was there a man dismay'd?
Not tho' the soldiers knew
Some one had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
Rode the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.
Flash'd all their sabres bare,
Flash'd as they turned in air
Sabring the gunners there,
Charging an army while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre-stroke
Shatter'd and sunder'd.
Then they rode back, but not
Not the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.
When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!

—Alfred, Lord Tennyson

Notes: Tennyson's poem, published December 9, 1854 in The Examiner, praises the Brigade, "When can their glory fade? O the wild charge they made!", while mourning the appalling futility of the charge: "Not tho' the soldier knew, someone had blunder'd… Charging an army, while all the world wonder'd." According to his grandson Sir Charles Tennyson, Tennyson wrote the poem in only a few minutes after reading an account of the battle in The Times. It immediately became hugely popular, even reaching the troops in the Crimea, where it was distributed in pamphlet form at the behest of Jane, Lady Franklin. Each stanza tells a different part of the story, and there is a delicate balance between nobility and brutality throughout. Although Tennyson's subject is the nobleness of supporting one's country, and the poem's tone and hoofbeat cadences are rousing, it pulls no punches about the horror of war: "cannon to right of them, cannon to left of them, cannon in front of them, volley'd and thunder'd". With "into the valley of Death" Tennyson works in resonance with "the valley of the shadow of Death" from Psalm 23; then and now, it is often read at funerals. Tennyson's Crimea does not offer the abstract tranquil death of the psalm but is instead predatory and menacing: "into the jaws of Death" and "into the mouth of Hell". The alliterative "Storm'd at with shot and shell" echoes the whistling of ball as the cavalry charge through it. After the fury of the charge, the final notes are gentle, reflective and laden with sorrow: "Then they rode back, but not the six hundred"

The Raven by Edgar Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door -
Only this, and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
"'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"- here I opened wide the door; -
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!" -
Merely this, and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice:
Let me see, then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more."
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient raven wandering from the Nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door -
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not a feather then he fluttered -
Till I scarcely more than muttered, "other friends have flown before -
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his Hope that melancholy burden bore
Of 'Never - nevermore'."
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
Then methought the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee - by these angels he hath sent thee
Respite - respite and nepenthe, from thy memories of Lenore:
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil! - prophet still, if bird or devil! -
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted- tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore -
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."
"Be that word our sign in parting, bird or fiend," I shrieked, upstarting -
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!- quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamplight o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

Poe was born in Massachusetts, the son of travelling actors David and Elizabeth Arnold Poe. His mother died when he was two and his father was an alcoholic, so Poe went to live with a prosperous Scottish tobacco merchant, John Allan, in Richmond. Allan always refused to adopt Poe which led to bad feeling between the two of them.
Poe was educated at Stoke Newington in London from 1815-20. Despite considerable academic success his gambling debts forced him to leave the University of Virginia, where he had gone to study, after one year. By 1827 Poe, with typical restlessness, had moved from Boston to Richmond and then back to Boston again. He gained a good reputation in the army which he joined in 1827, but spent a miserable year at the US Military Academy at West Point in 1830, before being dishonourably discharged.
Poe stayed in Baltimore from 1831-35 and began writing more seriously. In 1836 he married his 13 year old cousin, Virginia. He had been working as a journalist since 1831, earning a bare minimum to survive, and from 1835-37 edited the Southern Literary Messenger.
His short stories reveal a fascination with emotional extremes, particularly fear, though his essays show that he was capable of being objective and critical.
In 1844 Poe moved to New York, but despite popular acclaim his life was still wretched. Virginia died of tuberculosis in 1847 and Poe, still poor and an alcoholic, died in Baltimore two years later.

The Rhyme of the Ancient Mariner by Samuel Taylor Coleridge

PART THE FIRST

It is an ancient mariner,
And he stoppeth one of three.
"By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?

"The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din."

He holds him with his skinny hand,
"There was a ship," quoth he.
"Hold off! unhand me, greybeard loon!"
Eftsoons his hand dropt he.

He holds him with his glittering eye -
The wedding-guest stood still,
And listens like a three years' child:
The Mariner hath his will.

The wedding-guest sat on a stone:
He cannot chose but hear;
And thus spake on that ancient man,
The bright-eyed mariner.

"The ship was cheered, the harbour cleared,
Merrily did we drop
Below the kirk, below the hill,
Below the lighthouse top.

The sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.

Higher and higher every day,
Till over the mast at noon-"
The Wedding-guest here beat his breast,
For he heard the loud bassoon.

The bride hath paced into the hall,
Red as a rose is she;
Nodding their heads before her goes
The merry minstrelsy.

The Wedding-Guest he beat his breast.
Yet he cannot choose but hear:
And thus spake on that ancient man,
The bright-eyed Mariner.

"And now the Storm-blast came, and he
Was tyrannous and strong:
He struck with his o'ertaking wings,
And chased us south along.

With sloping masts and dipping prow,
As who pursued with yell and blow
Still treads the shadow of his foe
And forward bends his head,
The ship drove fast, loud roared the blast,
And southward aye we fled.

And now there came both mist and snow
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.

And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken -
The ice was all between.

The ice was here, the ice was there,
The ice was all around:
It cracked and growled, and roared and howled,
Like noises in a swound!

At length did cross and Albatross,
Thorough the fog it came;
As if it had been a Christian soul,
We hailed it in God's name.

It ate the food it ne'er had eat,
And round and round it flew.
The ice did split with a thunder-fit;
The helmsman steered us through!

And a good south wind sprung up behind;
The albatross did follow,
And every day, for food or play,
Came to the mariner's hollo!

In mist or cloud, on mast or shroud,
It perched for vespers nine;
Whiles all the night, through fog-smoke white,
Glimmered the white moonshine."

"God save thee, ancient Mariner:
From the fiends, that plague thee thus! -
Why look'st thou so?" - "With my cross-bow
I shot the Albatross."

Coleridge's comments

In Biographia Literaria XIV, Coleridge writes:

The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, incidents and agents were to be, in part at least, supernatural, and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second class, subjects were to be chosen from ordinary life...In this idea originated the plan of the 'Lyrical Ballads'; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least Romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. ... With this view I wrote the 'Ancient Mariner'.

WILFRED OWEN

Dulce et Decorum Est  -  best known poem of the First World War

Bent double, like old beggars under sacks, 
Knock-kneed, coughing like hags, we cursed through sludge, 
Till on the haunting flares² we turned our backs 
And towards our distant rest³ began to trudge. 
Men marched asleep. Many had lost their boots 
But limped on, blood-shod. All went lame; all blind; 
Drunk with fatigue; deaf even to the hoots⁴
Of tired, outstripped⁵ Five-Nines⁶ that dropped behind.

Gas!⁷ Gas! Quick, boys! –  An ecstasy of fumbling, 
Fitting the clumsy helmets⁸ just in time; 
But someone still was yelling out and stumbling, 
And flound'ring like a man in fire or lime⁹ . . . 
Dim, through the misty panes¹⁰ and thick green light, 
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight, 
He plunges at me, guttering,¹¹ choking, drowning.

If in some smothering dreams you too could pace 
Behind the wagon that we flung him in, 
And watch the white eyes writhing in his face, 
His hanging face, like a devil's sick of sin; 
If you could hear, at every jolt, the blood 
Come gargling from the froth-corrupted lungs, 
Obscene as cancer, bitter as the cud¹²
Of vile, incurable sores on innocent tongues, 
My friend, you would not tell with such high zest¹³
To children ardent¹⁴ for some desperate glory, 
The old Lie; Dulce et Decorum est 
Pro patria mori.¹⁵

8 October 1917 - March, 1918

1 DULCE ET DECORUM EST - the first words of a Latin saying (taken from an ode by Horace). The words were widely understood and often quoted at the start of the First World War. They mean "It is sweet and right." The full saying ends the poem: Dulce et decorum est pro patria mori - it is sweet and right to die for your country. In other words, it is a wonderful and great honour to fight and die for your country 

2 rockets which were sent up to burn with a brilliant glare to light up men and other targets in the area between the front lines (See illustration, page 118 of Out in the Dark.) 

3 a camp away from the front line where exhausted soldiers might rest for a few days, or longer 

4 the noise made by the shells rushing through the air 

5 outpaced, the soldiers have struggled beyond the reach of these shells which are now falling behind them as they struggle away from the scene of battle

6 Five-Nines - 5.9 calibre explosive shells 

7 poison gas. From the symptoms it would appear to be chlorine or phosgene gas. The filling of the lungs with fluid had the same effects as when a person drowned

8 the early name for gas masks 

9 a white chalky substance which can burn live tissue 

10 the glass in the eyepieces of the gas masks 

11 Owen probably meant flickering out like a candle or gurgling like water draining down a gutter, referring to the sounds in the throat of the choking man, or it might be a sound partly like stuttering and partly like gurgling 

12 normally the regurgitated grass that cows chew; here a similar looking material was issuing from the soldier's mouth 

13 high zest - idealistic enthusiasm, keenly believing in the rightness of the idea 

14 keen 

15 see note 1

Notes copyright © David Roberts and Saxon Books 1998 and 1999. Free use by students for personal use only. The poem appears in both Out in the Dark and Minds at War, but the notes are only found in Out in the Dark.

Copyright © 1999 Saxon Books.

Shakespeare Extracts:

Faculty of Teacher Training - English Department

Course Title: Advanced English Language IV

Instructor: Dr. Rod

E-mail: sjrod55@gmail.com

Merchant of Venice – Act IV

ACT IV
SCENE I. Venice. A court of justice.
Enter the DUKE, the Magnificoes, ANTONIO, BASSANIO, GRATIANO, SALERIO, and others 
DUKE 
What, is Antonio here?
ANTONIO 
Ready, so please your grace.
DUKE 
I am sorry for thee: thou art come to answer
A stony adversary, an inhuman wretch
uncapable of pity, void and empty
From any dram of mercy.
ANTONIO 
I have heard
Your grace hath ta'en great pains to qualify
His rigorous course; but since he stands obdurate
And that no lawful means can carry me
Out of his envy's reach, I do oppose
My patience to his fury, and am arm'd
To suffer, with a quietness of spirit,
The very tyranny and rage of his.
DUKE 
Go one, and call the Jew into the court.
SALERIO 
He is ready at the door: he comes, my lord.
Enter SHYLOCK
DUKE 
Make room, and let him stand before our face.
Shylock, the world thinks, and I think so too,
That thou but lead'st this fashion of thy malice
To the last hour of act; and then 'tis thought
Thou'lt show thy mercy and remorse more strange
Than is thy strange apparent cruelty;
And where thou now exact'st the penalty,
Which is a pound of this poor merchant's flesh,
Thou wilt not only loose the forfeiture,
But, touch'd with human gentleness and love,
Forgive a moiety of the principal;
Glancing an eye of pity on his losses,
That have of late so huddled on his back,
Enow to press a royal merchant down
And pluck commiseration of his state
From brassy bosoms and rough hearts of flint,
From stubborn Turks and Tartars, never train'd
To offices of tender courtesy.
We all expect a gentle answer, Jew.
SHYLOCK 
I have possess'd your grace of what I purpose;
And by our holy Sabbath have I sworn
To have the due and forfeit of my bond:
If you deny it, let the danger light
Upon your charter and your city's freedom.
You'll ask me, why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats: I'll not answer that:
But, say, it is my humour: is it answer'd?
What if my house be troubled with a rat
And I be pleased to give ten thousand ducats
To have it baned? What, are you answer'd yet?
Some men there are love not a gaping pig;
Some, that are mad if they behold a cat;
And others, when the bagpipe sings i' the nose,
Cannot contain their urine: for affection,
Mistress of passion, sways it to the mood
Of what it likes or loathes. Now, for your answer:
As there is no firm reason to be render'd,
Why he cannot abide a gaping pig;
Why he, a harmless necessary cat;
Why he, a woollen bagpipe; but of force
Must yield to such inevitable shame
As to offend, himself being offended;
So can I give no reason, nor I will not,
More than a lodged hate and a certain loathing
I bear Antonio, that I follow thus
A losing suit against him. Are you answer'd?
BASSANIO 
This is no answer, thou unfeeling man,
To excuse the current of thy cruelty.
SHYLOCK 
I am not bound to please thee with my answers.
BASSANIO 
Do all men kill the things they do not love?
SHYLOCK 
Hates any man the thing he would not kill?
BASSANIO 
Every offence is not a hate at first.
SHYLOCK 
What, wouldst thou have a serpent sting thee twice?
ANTONIO 
I pray you, think you question with the Jew:
You may as well go stand upon the beach
And bid the main flood bate his usual height;
You may as well use question with the wolf
Why he hath made the ewe bleat for the lamb;
You may as well forbid the mountain pines
To wag their high tops and to make no noise,
When they are fretten with the gusts of heaven;
You may as well do anything most hard,
As seek to soften that--than which what's harder?--
His Jewish heart: therefore, I do beseech you,
Make no more offers, use no farther means,
But with all brief and plain conveniency
Let me have judgment and the Jew his will.
BASSANIO 
For thy three thousand ducats here is six.
SHYLOCK 
What judgment shall I dread, doing
Were in six parts and every part a ducat,
I would not draw them; I would have my bond.
DUKE 
How shalt thou hope for mercy, rendering none?
SHYLOCK 
What judgment shall I dread, doing no wrong?
You have among you many a purchased slave,
Which, like your asses and your dogs and mules,
You use in abject and in slavish parts,
Because you bought them: shall I say to you,
Let them be free, marry them to your heirs?
Why sweat they under burthens? let their beds
Be made as soft as yours and let their palates
Be season'd with such viands? You will answer
'The slaves are ours:' so do I answer you:
The pound of flesh, which I demand of him,
Is dearly bought; 'tis mine and I will have it.
If you deny me, fie upon your law!
There is no force in the decrees of Venice.
I stand for judgment: answer; shall I have it?
BASSANIO 
Why dost thou whet thy knife so earnestly?
SHYLOCK 
To cut the forfeiture from that bankrupt there.
GRATIANO 
Not on thy sole, but on thy soul, harsh Jew,
Thou makest thy knife keen; but no metal can,
No, not the hangman's axe, bear half the keenness
Of thy sharp envy. Can no prayers pierce thee?
SHYLOCK 
No, none that thou hast wit enough to make.
GRATIANO 
O, be thou damn'd, inexecrable dog!
And for thy life let justice be accused.
Thou almost makest me waver in my faith
To hold opinion with Pythagoras,
That souls of animals infuse themselves
Into the trunks of men: thy currish spirit
Govern'd a wolf, who, hang'd for human slaughter,
Even from the gallows did his fell soul fleet,
And, whilst thou lay'st in thy unhallow'd dam,
Infused itself in thee; for thy desires
Are wolvish, bloody, starved and ravenous.
SHYLOCK 
Till thou canst rail the seal from off my bond,
Thou but offend'st thy lungs to speak so loud:
Repair thy wit, good youth, or it will fall
To cureless ruin. I stand here for law.
=====================================================================

Soft!
The Jew shall have all justice; soft! no haste:
He shall have nothing but the penalty.
GRATIANO 
O Jew! an upright judge, a learned judge!
PORTIA 
Therefore prepare thee to cut off the flesh.
Shed thou no blood, nor cut thou less nor more
But just a pound of flesh: if thou cut'st more
Or less than a just pound, be it but so much
As makes it light or heavy in the substance,
Or the division of the twentieth part
Of one poor scruple, nay, if the scale do turn
But in the estimation of a hair,
Thou diest and all thy goods are confiscate.
GRATIANO 
A second Daniel, a Daniel, Jew!
Now, infidel, I have you on the hip.
PORTIA 
Why doth the Jew pause? take thy forfeiture.
SHYLOCK 
Give me my principal, and let me go.
BASSANIO 
I have it ready for thee; here it is.
PORTIA 
He hath refused it in the open court:
He shall have merely justice and his bond.
GRATIANO 
A Daniel, still say I, a second Daniel!
I thank thee, Jew, for teaching me that word.
SHYLOCK 
Shall I not have barely my principal?
PORTIA 
Thou shalt have nothing but the forfeiture,
To be so taken at thy peril, Jew.
SHYLOCK 
Why, then the devil give him good of it!
I'll stay no longer question.

Romeo and Juliet Act II

SCENE II. Capulet's orchard.
Enter ROMEO 
ROMEO 
He jests at scars that never felt a wound.
JULIET appears above at a window
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET 
Ay me!
ROMEO 
She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o'er my head
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air.
JULIET 
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO 
[Aside] Shall I hear more, or shall I speak at this?
JULIET 
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO 
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
JULIET 
What man art thou that thus bescreen'd in night
So stumblest on my counsel?
ROMEO 
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET 
My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO 
Neither, fair saint, if either thee dislike.
JULIET 
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO 
With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET 
If they do see thee, they will murder thee.
ROMEO 
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET 
I would not for the world they saw thee here.
ROMEO 
I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET 
By whose direction found'st thou out this place?
ROMEO 
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.
JULIET 
Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO 
Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops--
JULIET 
O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO 
What shall I swear by?
JULIET 
Do not swear at all;
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee.
ROMEO 
If my heart's dear love--
JULIET 
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
ROMEO 
O, wilt thou leave me so unsatisfied?
JULIET 
What satisfaction canst thou have to-night?
ROMEO 
The exchange of thy love's faithful vow for mine.
JULIET 
I gave thee mine before thou didst request it:
And yet I would it were to give again.
ROMEO 
Wouldst thou withdraw it? for what purpose, love?
JULIET 
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
Nurse calls within
I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above

Macbeth Act I

ACT I
SCENE I. A desert place.
Thunder and lightning. Enter three Witches 
First Witch 
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch 
When the hurlyburly's done,
When the battle's lost and won.
Third Witch 
That will be ere the set of sun.
First Witch 
Where the place?
Second Witch 
Upon the heath.
Third Witch 
There to meet with Macbeth.
First Witch 
I come, Graymalkin!
Second Witch 
Paddock calls.
Third Witch 
Anon.
ALL 
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt
SCENE II. A camp near Forres.
Alarum within. Enter DUNCAN, MALCOLM, DONALBAIN, LENNOX, with Attendants, meeting a bleeding Sergeant 
DUNCAN 
What bloody man is that? He can report,
As seemeth by his plight, of the revolt
The newest state.
MALCOLM 
This is the sergeant
Who like a good and hardy soldier fought
'Gainst my captivity. Hail, brave friend!
Say to the king the knowledge of the broil
As thou didst leave it.
Sergeant 
Doubtful it stood;
As two spent swimmers, that do cling together
And choke their art. The merciless Macdonwald--
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him--from the western isles
Of kerns and gallowglasses is supplied;
And fortune, on his damned quarrel smiling,
Show'd like a rebel's whore: but all's too weak:
For brave Macbeth--well he deserves that name--
Disdaining fortune, with his brandish'd steel,
Which smoked with bloody execution,
Like valour's minion carved out his passage
Till he faced the slave;
Which ne'er shook hands, nor bade farewell to him,
Till he unseam'd him from the nave to the chaps,
And fix'd his head upon our battlements.
DUNCAN 
O valiant cousin! worthy gentleman!
Sergeant 
As whence the sun 'gins his reflection
Shipwrecking storms and direful thunders break,
So from that spring whence comfort seem'd to come
Discomfort swells. Mark, king of Scotland, mark:
No sooner justice had with valour arm'd
Compell'd these skipping kerns to trust their heels,
But the Norweyan lord surveying vantage,
With furbish'd arms and new supplies of men
Began a fresh assault.
DUNCAN 
Dismay'd not this
Our captains, Macbeth and Banquo?
Sergeant 
Yes;
As sparrows eagles, or the hare the lion.
If I say sooth, I must report they were
As cannons overcharged with double cracks, so they
Doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorise another Golgotha,
I cannot tell.
But I am faint, my gashes cry for help.
DUNCAN 
So well thy words become thee as thy wounds;
They smack of honour both. Go get him surgeons.
Exit Sergeant, attended
Who comes here?
Enter ROSS
MALCOLM 
The worthy thane of Ross.
LENNOX 
What a haste looks through his eyes! So should he look
That seems to speak things strange.
ROSS 
God save the king!
DUNCAN 
Whence camest thou, worthy thane?
ROSS 
From Fife, great king;
Where the Norweyan banners flout the sky
And fan our people cold. Norway himself,
With terrible numbers,
Assisted by that most disloyal traitor
The thane of Cawdor, began a dismal conflict;
Till that Bellona's bridegroom, lapp'd in proof,
Confronted him with self-comparisons,
Point against point rebellious, arm 'gainst arm.
Curbing his lavish spirit: and, to conclude,
The victory fell on us.
DUNCAN 
Great happiness!
ROSS 
That now
Sweno, the Norways' king, craves composition:
Nor would we deign him burial of his men
Till he disbursed at Saint Colme's inch
Ten thousand dollars to our general use.
DUNCAN 
No more that thane of Cawdor shall deceive
Our bosom interest: go pronounce his present death,
And with his former title greet Macbeth.
ROSS 
I'll see it done.
DUNCAN 
What he hath lost noble Macbeth hath won.
Exeunt
SCENE III. A heath near Forres.
Thunder. Enter the three Witches 
First Witch 
Where hast thou been, sister?
Second Witch 
Killing swine.
Third Witch 
Sister, where thou?
First Witch 
A sailor's wife had chestnuts in her lap,
And munch'd, and munch'd, and munch'd:--
'Give me,' quoth I:
'Aroint thee, witch!' the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o' the Tiger:
But in a sieve I'll thither sail,
And, like a rat without a tail,
I'll do, I'll do, and I'll do.
Second Witch 
I'll give thee a wind.
First Witch 
Thou'rt kind.
Third Witch 
And I another.
First Witch 
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I' the shipman's card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se'nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch 
Show me, show me.
First Witch 
Here I have a pilot's thumb,
Wreck'd as homeward he did come.
Drum within
Third Witch 
A drum, a drum!
Macbeth doth come.
ALL 
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm's wound up.
Enter MACBETH and BANQUO
MACBETH 
So foul and fair a day I have not seen.
BANQUO 
How far is't call'd to Forres? What are these
So wither'd and so wild in their attire,
That look not like the inhabitants o' the earth,
And yet are on't? Live you? or are you aught
That man may question? You seem to understand me,
By each at once her chappy finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH 
Speak, if you can: what are you?
First Witch 
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch 
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch 
All hail, Macbeth, thou shalt be king hereafter!
BANQUO 
Good sir, why do you start; and seem to fear
Things that do sound so fair? I' the name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal: to me you speak not.
If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
First Witch 
Hail!
Second Witch 
Hail!
Third Witch 
Hail!
First Witch 
Lesser than Macbeth, and greater.
Second Witch 
Not so happy, yet much happier.
Third Witch 
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
First Witch 
Banquo and Macbeth, all hail!
MACBETH 
Stay, you imperfect speakers, tell me more:
By Sinel's death I know I am thane of Glamis;
But how of Cawdor? the thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish