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"SCENE II. Venice. A street. Enter LAUNCELOT LAUNCELOT Certainly my conscience will serve me to run from this Jew my master. The fiend is at mine elbow and tempts me saying to me 'Gobbo, Launcelot Gobbo, good Launcelot,' or 'good Gobbo,' or good Launcelot Gobbo, use your legs, take the start, run away. My conscience says 'No; take heed,' honest Launcelot; take heed, honest Gobbo, or, as aforesaid, 'honest Launcelot Gobbo; do not run; scorn running with thy heels.' Well, the most courageous fiend bids me pack: 'Via!' says the fiend; 'away!' says the fiend; 'for the heavens, rouse up a brave mind,' says the fiend, 'and run.' Well, my conscience, hanging about the neck of my heart, says very wisely to me 'My honest friend Launcelot, being an honest man's son,' or rather an honest woman's son; for, indeed, my father did something smack, something grow to, he had a kind of taste; well, my conscience says 'Launcelot, budge not.' 'Budge,' says the fiend. 'Budge not,' says my conscience. 'Conscience,' say I, 'you counsel well;' ' Fiend,' say I, 'you counsel well:' to be ruled by my conscience, I should stay with the Jew my master, who, God bless the mark, is a kind of devil; and, to run away from the Jew, I should be ruled by the fiend, who, saving your reverence, is the devil himself. Certainly the Jew is the very devil incarnal; and, in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel: I will run, fiend; my heels are at your command; I will run. Enter Old GOBBO, with a basket GOBBO Master young man, you, I pray you, which is the way to master Jew's? LAUNCELOT [Aside] O heavens, this is my true-begotten father! who, being more than sand-blind, high-gravel blind, knows me not: I will try confusions with him. GOBBO Master young gentleman, I pray you, which is the way to master Jew's? LAUNCELOT Turn up on your right hand at the next turning, but, at the next turning of all,

"The Epic of Gilgamesh. The Kojiki and Nihon Shoki. The Kumulipo. These are just some of the timeless creation stories from around the world that students of literature can explore. These tales help us unravel the cultural practices, art forms, values and ideas of various societies throughout history. Literature majors delve into historical and contemporary works, learning about major eras of creative thought and civilization development. Literature students have the freedom to explore texts and gain familiarity with various cultures, time periods and groups in society. Graduates can be extremely versatile employees; these skill sets make graduates well-rounded and multifaceted individuals, with strong communication and analysis skills. These abilities can be applied to roles within business, technology, education and marketing."

Light-hearted video of plot summary of The Merchant of Venice

Romeo and Juliet by William Shakespeare, e-Text in English. From Project Gutenberg as part of the collection of The 43 Most Frequently Taught Books in at Least 5% of Public Schools, Grades 7-12.

"She's always been "color blind," he tells her, "… you've never been prodded to look at people as a race, and now that race is the issue of the day, you're still unable to think racially. You only see people." It would be hard to find a starker contrast to the broad-minded optimism of Mockingbird than that message, which leaves a reader wondering about just where this unearthed novel really stands in Harper Lee's career. Would such a clear-eyed author have been ready to so radically sanitize her own insight to please a publisher? Maybe Watchman really was a sequel-a follow-up by an author who learned more about the prospects of post-racial progress than she'd hoped to. If readers several decades ago weren't ready for such honesty, perhaps they are now."

 Joseph Weidenboerner warns us in Hangers-on Heroes' Armour: Defining the Divide between Homeric and Celtic Clan Epics "never to allow the past to become as amalgamated as human memory often allows" (52) complicating our present understanding and classification of Homeric and Celtic Clan epics, cautiously urging literary critics to take note of the "essential differences between classical and clan epics," which are too often grouped together (62). 

oneword™ is a simple writing exercise. It's not about learning new words. It's not about defining words. The purpose of this exercise is to learn to flow. It's like shooting a film. The camera just rolls and captures everything-good and bad. When the filming is complete, the raw film is then edited into a cohesive piece. The camera operator doesn't keep stopping the camera and rewinding and editing on the fly-the camera just rolls. If it were to stop, some of the best performances and spontaneous moments might be missed.

Now that we are using the Internet in the classroom to support instruction, it is important the area of assessment be addressed. One usable method for teachers is to provide a rubric for student use and for both formative and summative assessment purposes