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Argument III: Compare/Contrast

Is “Will” in Shakespeare in Love really in love or is it just lust or limerence or infatuation, and to do so you will compare/contrast Will and Viola's "love” with another romantic couple, either fictive (film, theatre, literature) or real-life;

Main source: Madden, John, Shakespeare in Love;

Secondary sources: Fischer, Helen, “Brains Do It: Lust, Attraction, and Attachment”; your own research (required); your own informed experiences (required);

Length: 1500 words;

Style: MLA;

Points: 35:

15 for grammar, usage, syntax and punctuation; especially, but not limited to, using Professor Joseph Williams's 3 axioms

· use characters as grammatical subjects in all your clauses (independent or subordinate);

· closely link those subjects to action verbs in the active voice;

· build paragraphs from clauses strung together with consistent grammatical subjects;

You will also earn points (or fail to earn points) for:

· pronoun use (that your pronouns have clear, unambiguous referents as covered in class and posted on Blackboard);

· punctuation (where punctuation miss-use or omission inhibits the reader's understanding);

· spelling (again, where misspellings inhibit understanding, or indicate overall sloppiness (rather than an occasional and innocent typographical error));

· register (that your word-choice avoids slang or language not befitting an academic setting).

20 for having a well-reasoned, thesis-driven, qualified argument in which any underlying assumptions are supported. You will also earn (or fail to earn) points by ensuring that you fulfill all of the assignment's requests:

· slavishly and meticulously ensure accurate rendition of the events and dialogue of the SIL film and the alternate film/real-life romance you use to buttress your nature-of-love argument to thus lift your argument from the realm of 'hasty generalization' fallacy;

· ensure that you compare and contrast the events of your alternate romance to the events in the SIL romance;

· painstakingly ensure that you provide ample and blatant discourse on why any particular event/line of dialogue in the film or in your alternative buttressing romance supports your contention about the nature of love (in other words, don't just tell me what happens, tell me why what happens matters);

· ensure that you observe the literary convention of using the present tense of verbs when relating events in the fictional/cinematic narrative.