Topic: Twelfth Night (part 2)

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1


Tobin







Your
Nam
e:
____________________________

British Literature, Spring 2012



Cohort
:

_
______________________________

Unit 7







Class Period
____________________________

May

10

2012






Date (D/M/Y)

___________________________


Topic:
Twelfth Night (part 2
)


FOCUS QUESTION
:
What is Shakespeare’s message about love in
Twelfth Night
?


AIMS


Scholars will be able
to

adjust their use of spoken, written, and visual language
(e.g.,
conventions, style, vocabulary) to communicate effectively with a variety of audiences and for
different purposes.


_________________________________________________________________________________

EXPECTATIONS







ON YOUR DESK



1. Place proper materials on your desk



1. Your English binder

2. Fill in MLA heading





2. Two sharpened writing utensils

3. Sit at SLANT






3. This Packet



4. Silently and immediately begin the “Do Now”




__________________________________________
_______________________________________

Do Now


ECA Review

Today, try

skimming

the
first
question and answer choices
first,

underlining key words, and
searching for those words in the passage.

Then repeat for each following question.


Passage

The average computer user has between 5 and 15 username/password combinations to

log in to email accounts, social networking sites, discussion boards, news and entertainment

sites, online stores, online banking accounts, or other websites. For people who

use email or

other internet applications at work, the number of required username/password combinations

may surpass 30. Some of these accounts demand that you use a specific number of symbols

and digits, while others require you to change your password

every 60 days. When you add to

this list the codes needed to access things like ATMs, home alarm systems, padlocks, or

voicemail, the number of passwords becomes staggering. The feeling of frustration that results

from maintaining a memorized list of l
ogin credentials has grown so prevalent that it actually has

a name: password fatigue.

Having to remember so many different passwords is irritating, but it can also be

dangerous. Because it is virtually impossible to remember a unique password for each
of these

accounts, many people leave handwritten lists of usernames and passwords on or next to their

computers. Others solve this problem by using the same password for every account or using

extremely simple passwords. While these practices make it easier to remember login

information, they also make it exponentially easier for thieves to hack into accounts.

Single sign
-
on (SSO) authentication and password management software can help

page

2

mitig
ate this problem, but there are drawbacks to both approaches. SSO authentication can be

used for related, but independent software systems. With SSO, users log in once to access a

variety of different applications. Users only need to remember one passwor
d to log in to the

main system; the SSO software then automatically logs the user in to other accounts within the

system. SSO software is typically used by large companies, schools, or libraries. Password

management software, such as KeePass and Passwor
d Safe, is most often used on personal

computers. These software programs

which have been built into many major web browsers


store passwords in a remote database and automatically “remember” users’ passwords for a

variety of sites.

The problem with both

SSO authentication and password management software is that

the feature that makes them useful is also what makes them vulnerable. If a user loses or

forgets the password required to log in to SSO software, the user will then lose access to all of

the
applications linked to the SSO account. Furthermore, if a hacker can crack the SSO

password, he or she will then have access to all of the linked accounts. Users who rely on

password management software are susceptible to the same problems, but they also

incur the

added threat of passwords being compromised because of computer theft.

Although most websites or network systems allow users to recover or change lost

passwords by providing email addresses or answering a prompt, this process can waste time

and cause further frustration. What is more, recovering a forgotten password is only a temporary

solution; it does not address the larger problem of password fatigue.

Some computer scientists have suggested that instead of passwords, computers rely on

bi
ometrics. This is a method of recognizing human users based on unique traits, such as

fingerprints, voice, or DNA. Biometric identification is currently used by some government

agencies and private companies, including the Department of Defense and Disney World. While

biometrics would certainly eliminate the need for people to remember passwords, the use of

biometrics raises ethical questions concerning privacy and can also be
expensive to implement.

The problems associated with SSO, password management software, and biometrics
continue to stimulate software engineers and computer security experts to search for the cure to

password fatigue. Until they find the perfect solution
, however, everyone will simply have to rely

on the flawed password system currently in place.


Questions

1) Which of the following best describes the organization of the passage?

A. The passage organizes ideas in order of increasing importance.

B. The au
thor presents an argument and then uses evidence to dismiss opposing views.

C. The author explains a problem, explores solutions, and then dismisses these solutions

as inadequate.

D. The author explains a problem and then persuades readers to agree with h
is or her

solution to the problem.

E. The author explains a problem, contextualizes the problem, and ultimately dismisses it

as an unnecessary concern.

page

3

2) The passage discusses all of the following solutions to password fatigue except

A. writing the pass
words down on a piece of paper

B. voice
-
recognition software

C. KeePass

D. using very simple passwords

E. intelligent encryption


3) As used in paragraph 3, which is the best synonym for mitigate?

A. predict

B. postpone

C. investigate

D. lessen

E.
complicate


4) Which of the following statements from the passage represents an opinion, as opposed to a

fact?

A. “For people who use email or other internet applications at work, the number of required

username/password combinations may surpass 30.”

B.

“The feeling of frustration that results from maintaining a memorized list of login

credentials has grown so prevalent that it actually has a name: password fatigue.”

C. “Having to remember so many different passwords is irritating, but it can also be

dangerous.”

D. “Additionally, recovering a forgotten password is only a temporary solution; it does not

address the larger problem of password fatigue.”

E. “The problems associated with SOS, password management software, and biometrics

continue to stimu
late software engineers and computer security experts to search for the

cure to password fatigue.”


Recap of Act 1
-

Scenes 1
-
3


Write down two of you best, most insightful annotations or questions below.

1)


2)


Notes:






page

4

Tobin







Your
Nam
e:
____________________________

British Literature, Spring 2012



Cohort
:

_
______________________________

Unit 7







Class Period
____________________________

May
10

2012






Date (D/M/Y)

___________________________


HW:
Reading and Annotating
Twelfth
Night

(part 2)

http://archive.org/details/twelfth_night_0906_librivox


As we
read and act aloud the play
, you will be annotating.
Good actors all mark their scripts so that
they know the characters and the meaning of the lines more personally. Good readers

always mark
their texts for much the same reason. Mark the following types of annotations:


Motivation


Make a note when you notice what drives character’s actions or words


Connection


Make a note when you connect something happening in the script to s
omething
happening in America or your life today.


Question


Make a note when you wonder something that you want to clarify with your director
(or teacher)


Reaction


Make a note when you have a personal reaction to something a character is doing or
sayi
ng, like agreement, outrage, or sympathy.


Exit

Maria.

(SCENE

3

CONTINUES)

SIR

TOBY:

O

knight,

thou

lackest

a

cup

of

canary
:

when

did
(75)

I

see

thee

so

put

down?

SIR

ANDREW:

Never

in

your

life,

I

think;

unless

you

see

canary

put

me

down.

Methinks

sometimes

I

have

no

more

wit

than

a

Christian

or

an

ordinary

man

has;

but

I

am

great

eater

of

beef,

and

I

believe

that

does

harm

to

my

wit
.
(80)

SIR

TOBY:

No

question.

SIR

ANDREW:

An

I

thought

that,

I'd

forsw
ear

it.

I'll

ride

home

tomorrow,

Sir

Toby.

SIR

TOBY:

Pourquoi
,

my

dear

knight?

SIR

ANDREW:

page

5

What

is

‘Pourquoi’?

Do

or

not

do?

I

would

I

had
(85)

bestowed

that

time

in

the

tongues

that

I

have

in

fenc
-

ing,

dancing,

and

bear
-
baiting
.

Oh,

had

I

but

followed

the

arts!

SIR

TOBY:

Then

hadst

thou

had

an

excellent

head

of

hair.

SIR

ANDREW:

Why,

would

that

have

mended

my

hair?
(90)

SIR

TOBY:

Past

question;

for

thou

seest

it

will

not

curl

by

nature.

SIR

ANDREW:

But

it

becomes

me

well

enough,

does't

not?

SIR

TOBY:

Excellent;

it

hangs

like

flax

on

a

distaff
;

and

I

hope

to

see

a

housewife

t
ake

thee

between

her

legs

and

spin
(95)

it

off
.

SIR

ANDREW:

Faith
,

I'll

home

tomorrow,

Sir

Toby:

your

niece

will

not

be

seen;

or,

if

she

be,

it's

four

to

one

she'll

none

of

me.

The

Count

himself

here

hard

by

woos

her.

SIR

TOBY:

She'll

none

o'

the

Count:

she'll

not

match

above

her
(100)

degree
,

neither

in

estate
,

years,

nor

wit;

I

have

heard

her

swear't.

Tut,

there's

life

in't,

man.

SIR

ANDREW:

I'll

stay

a

month

longer.

I

am

a

fellow

o'

the

strangest

mind

i'

the

world;

I

delight

in

masques

and

revels

sometimes

altogether.
(105)

SIR

TOBY:

Art

thou

good

at

these

kickshawses
,

knight?

SIR

ANDREW:

page

6

As

any

man

in

Illyria,

whatsoever

he

be,

under

the

degree

of

my

betters;

and

yet

I

will

not

compare

with

an

old

man.

SIR

TOB
Y:

What

is

thy

excellence

in

a

galliard
,

knight?
(110)

SIR

ANDREW:

Faith,

I

can

cut

a

caper
.

SIR

TOBY:

And

I

can

cut

the

mutton

to't
.

SIR

ANDREW:

And,

I

think

I

have

the

back
-
trick

simply

as

strong

as

any

man

in

Illyria.

SIR

TOBY:

Wherefore

are

these

things

hid?

wherefore

have

these
(115)

gifts

a

curtain

before

'em?

are

they

like

to

take

dust,

like

Mistre
ss

Mall
's

picture?

why

dost

thou

not

go

to

church

in

a

galliard

and

come

home

in

a

coranto
?

My

very

walk

should

be

a

jig;

I

would

not

so

much

as

make

water

but

in

a

sink
-
a
-
pace
.

What

dost

thou

mean?

Is

it

a

world

to

hide
(120)

virtues

in?

I

did

think,

by

the

excellent

constitution

of

thy

leg,

it

was

formed

under

the

star

of

a

galliard.

SIR

ANDREW:

Ay,

'tis

strong,

and

it

does

indifferent

well

in

flame
-

colour'd

stock
.

Shall

we

set

about

some

revels?

SIR

TOBY
:

What

shall

we

do

else?

were

we

not

born

under
(125)

Taurus?

SIR

ANDREW:

Taurus?

that's

sides

and

heart
.

SIR

TOBY:

No,

sir;

it

is

legs

and

thighs.

Let

me

see

thee

caper;

ha!

higher!

ha,

ha!

excellent!

[Exeunt.]



page

7

Scene IV

Duke

Orsino'

Palace

[Enter

Valentine,

and

viola

in

man's

attire.]

VALENTINE:

If

the

Duke

continue

these

favours

towards

you,

Cesario,

you

are

like

to

be

much

advanced:

he

hath

known

you

but

three

days,

and

already

you

are

no

stranger.

VIOLA:

You

either

fear

his

humour

or

my

negligence,

that

you

call

in

question

the

continuance

of

his

love:

is

he

inconstant
,
(5)

sir,

in

his

favours?

VALENTINE:

No,

believe

me.

VIOLA:

I

thank

you.

Here

comes

the

Count.

[Enter

Duke,

Curio,

and

Attendants.]

DUKE

ORSINO:

Who

saw

Cesario,

ho?

VIOLA:

On

your

attendance,

my

lord;

here.
(10)

DUKE

ORSINO:

Stand

you

awhile

aloof
.

Cesario,

Thou

know'st

no

less

but

all;

I

have

unclasp'd

To

thee

the

book

even

of

my

secret

soul:

Therefore,

good

youth,

address

thy

gait

unto

her;

Be

not

denied

access,

stand

at

her

doors,
(15)

And

t
ell

them,

there

thy

fixed

foot

shall

grow

Till

thou

have

audience.

VIOLA:

Sure,

my

noble

lord,

If

she

be

so

abandon'd

to

her

sorrow

As

it

is

spoke,

she

never

will

admit

me.
(20)

DUKE

ORSINO:

Be

clamorous

and

leap

all

civil

bounds,

Rather

than

make

unprofited

return.

VIOLA:

Say

I

do

speak

with

her,

my

lord,

what

then?

page

8

DUKE

ORSINO:

O,

then

unfold

th
e

passion

of

my

love,

Surprise

her

with

discourse

of

my

dear

faith:
(25)

It

shall

become

thee

well

to

act

my

woes;

She

will

attend

it

better

in

thy

youth

Than

in

a

nuncio'
s

of

more

grave

aspect
.

VIOLA:

I

think

not

so,

my

lord.

DUKE

ORSINO:

Dear

lad,

believe

it;
(30)

For

they

shall

yet

belie

thy

happy

years,

That

say

thou

art

a

man:

Diana's

lip

Is

not

more

smooth

and

rubious
;

thy

small

pipe

Is

as

the

maiden's

organ,

shrill

and

sound,

And

all

is

semblative

a

woman's

part.
(35)

I

know

thy

constellation

is

right

apt

For

this

affair.

Some

four

or

five

attend

him:

All,

if

you

will;

for

I

myself

am

best

Wh
en

least

in

company.

Prosper

well

in

this

And

thou

shalt

live

as

freely

as

thy

lord,
(40)

To

call

his

fortunes

thine.

VIOLA:

I'll

do

my

best

To

woo

your

lady.

[Aside]

Yet,

a

barful

strife
!

Whoe'er

I

woo,

myself

would

be

his

wife
.

[Exeunt
.]



NOTES FOR UNDERLINED WORDS IN ORDER OF APPEARANCE



a type of wine from the Canary Islands



By

Christian
, Sir Andrew means simply,

the average man
. During Elizabethan times, many people thought that eating
too much beef was bad for the brain.



to
renounce; to give up



[French] Why



granted, gave



languages



a popular amusement during Elizabethan times in which a bear was chained up and dogs were set loose to attack the
bear



a type of fiber used in making textiles



a rod that holds flax or other fiber du
ring spinning



Sir Toby engages in sexual puns, but Aguecheek does not understand the reference to syphilis (“
spin it off”)

nor to the
negative comments about his appearance (
“hangs like flax on a distaff”
).



truly



nearby



rank in society

page

9



wealth



masquerades



p
arties



trifles



a type of lively dance



a type of dance



Sir Toby is punning on the word

caper
, which has just been spoken by Sir Andrew. While a caper is a type of dance, it
is also a type of salted berry eaten with mutton.



Many critics have tried to find ou
t who

Mistress Mall

was, if indeed it is an actual individual. Unfortunately, there is no
definitive answer regarding the reference; it is possible the name means

any woman
.



a type of running dance



Sir Toby is punning on the word

cinque pace

(
five
-
steps
),
a French dance.



stocking



Astrological signs were thought to correspond to certain parts of the body.



temper,

attitude



changeable



detached, distant



direct

your

steps



noisy, boisterous



talk, discussion



messenger's



appearance



to contradict or disprove



a
reference to the goddess of the hunt from ancient Roman mythology



bright

red



throat



resembles



nature,

character



a

difficult

situation

filled

with

obstacles



With this statement, Viola makes it clear that she has fallen in love with Orsino. The love triangle

which surrounds the plot is
now completely set up. Orsino is in love with Olivia, while Olivia is falling for Cesario, who is Viola in disguise. Viola no
w
confesses that she is in love with Orsino. Making this triangle even more problematic is the fact th
at both Olivia and Orsino
believe that Viola is a man.