Showing posts with label Much Ado About Nothing. Show all posts
Showing posts with label Much Ado About Nothing. Show all posts

Sunday, May 20, 2012

Saluting Shakespeare: A Study Guide

Shakespeare is believed to be the most read author in the Western Hemisphere other than the Bible.  Whether this is true or not, his work is integral to our cultural past, present, and future.

Why is his work so popular and integral to our culture?
  • Shakespeare's work uncannily captures the good and bad in human nature in such a way that even today we can easily relate to the issues and emotions faced by his characters;
  • He took (familiar) older stories/poems/myths and reworked plot and /or language in such a way that audiences easily related and understood the passions, challenges, loves, hates,and motives of all his characters - and yet there is nice depth to them;
  • Shakespeare was the master of the art of language.  He fabricated meaningful and nonsensical words making sure audiences were involved in the performance (and not just those down by the stage), he toyed with puns, curses and saucy slams, and he spoke of the people and to the people with wit, passion, humor, insight and sensitivity.
And yet, given all this, his work is often hard for younger audiences and today's students to understand. 

Why Shakespeare may be challenging and helpful hints and tools to tackle his great works:
  •  Inconsistent writing format:  Shakespeare's plays are part verse, part prose. While verse follows a regular, rhythmic pattern (usually iambic pentameter), prose has no rhyme or metric scheme as it is the language of everyday common conversation.  This can often make reading Shakespeare more challenging for beginners. 
    • Helpful hint #1:  In modern published editions of his work, each line in a multi-line verse passage begins with a capital letter; while each line in a multi-line prose passage is in lower-case letters, except for the first line or beginning of that passage. 
    • Helpful hint #2: Shakespeare typically used verse to express deep emotion, share deep insights, inject irony, or simply share a lyrical poem.  He typically used prose to relate commonplace discussions, make quick one-line replies, poke fun at characters who lack wit or to suggest madness (in King Lear,  Lear speaks almost exclusively in verse for the for half of the play but wavers between verse and prose as the story and his madness progress).
  • Artistic liberty: In Shakespeare's time, there were no official English dictionaries. As a result, Shakespeare 'penned' words as he chose to spell and use them, often taking words from Italy, France and other countries.  Furthermore, when words did not exist, or could not fitinto the meter of his works, he would make them up (see the next bullet). These 'creative' spellings and word usages make reading his works fun for some, challenging for others.
  • New words: William Shakespeare used approximately 17,000 words in his plays, and almost 2,000 of those, were words he 'tweaked' or made up. He did this by changing nouns into verbs, verbs into adjectives, adding prefixes and suffixes, and coining a few all on his own. Consider the following list of fifty plus words that, as far as can be told, were first found in Shakespeare's writing:
accommodation             aerial                   amazement            apostrophe       assassination                 auspicious              baseless               bedroom            bump                             castigate                 clangor                countless           courtship                        critic                     critical                  dexterously             dishearten                     dislocate                dwindle                 eventful       exposure                        fitful                       frugal                   generous                 gloomy                          gnarled                    hurry                  impartial          indistinguishable         invulnerable             lapse                   laughable          lonely                           majestic                 misplaced              monumental          multitudinous               obscene                  pendant                 perusal       premeditated                pious                      radiance                reliance                    road                             sanctimonious         seamy                   sneak                sportive                      submerge                  trippingly              useless

  •  New compound words: Aside from coining or 're-minting' individual words, Shakespeare combined and connected words never before used together, creating new compound words such as:
barefaced      civil-tongue      cold-comfort      eyesore      fancy-free      foul-play     play-fair      green-eyed      heartsick     high-time      hot-blooded      lackluster      leap-frog      laughing-stock     itching-palm     lie-low     long-haired     love-affair     ministering-angel     sea-change     short-shift     pinch-battle     primrose-path     snow-white     tongue-tied     towering passion 
  • Weird sentence structure: Shakespeare frequently shifted his sentences away from "normal" English arrangements in order to:
    • create the rhythm or rhyme he sought;
    • use a line's poetic rhythm to emphasize a particular word; or
    • give a character his or her own speech pattern and /or to identify his or her social status (i.e. in Romeo and Juliet, the servants and nurse have very different speech patterns from Romeo, Juliet, and their social peers).
How did he do this?
      1. Look for the placement of subject and verb.  Shakespeare often puts the verb BEFORE the subject.  For example, in Act 1, Scene 1 in Romeo and Juliet, line 140, Montague says, "Away from light steals home my heavy son." (Instead of "...my son steals home.")
      2. Sometimes Shakespeare placed the object or adjective before the subject and verb. For example in Act 1 Scene 2 line 4 of Romeo and Juliet, Paris says "Of honorable reckoning are you both."
  • Imagery and figurative speech. Shakespeare frequently used literary devices such as:
    • Hyperbole (exaggerations);
    • Simile (comparing one thing to another using "like" or "as");
    • Metaphor ( comparing one thing to another without "like" or "as");
    • Oxymorons (combining words opposite in meaning, such as 'freezing fire', usually to startle the audience and make them think);
  • Archaic speech. some words used in Shakespeare's plays have fallen into disuse or their meanings have changed.  Here are a few:
    • anon = straightway
    • buckles = small shields
    • marry  = indeed
    • heavy = sorrowful
    • o'er = over again
    • morrow = morning
Given all these challenges, reading, studying and acting out Shakespeare's plays is just loads of fun.
Shakespeare Starter Suggestions:
  • Find and share his insults.  Here is a link to begin: Shakespeare's Saucy Slams
  • Start them with the stories, with the magic in the stories, great characters.  Some of the easier plays are the ones with a lot of dialogue (and not necessarily the famous soliloquies) such as Much Ado About Nothing, Twelfth Night,  and The Tempest.  Macbeth can be fun for the more morbid kids, kids into witches and high drama.
  • Watch classic video clips.  Here are a few of my favorites:
    •  Great slams:  Beatrice and Benedick arguing in "Much Ado About Nothing"
    • The games people play in (and accepting) love: David Tenant and Catherine Tate in Much Ado About Nothing
    • Great motivating speech:  Henry V St. Crispin's Day Speech to the troops from Henry V
    • On bigotry, antisemitism and revenge; Shylock's monologue from The Merchant of Venice
    • On life, living, the seven ages of man, and the 'stage' - from As You Like It

Some additional Shakespeare resources:
I hope you find these resources helpful.  Please share some of your favorite teaching/viewing/reading Shakespeare moments of your own in the comics.  Thanks for you visit and have a great week.

    Tuesday, November 22, 2011

    Saucy Slams

    From: resources-teachers.info
    When in need of a sharp jab and putting in one's place, how can you go wrong with a Shakespearean spar and jab? I really do try to be considerate and (relatively) well-mannered, but there are moments when a good insult just eases the stress.  Besides, it's a great way to exercise the mind and tongue while introducing wonderfully creative wordplay. There certainly are fewer 'teachers' more capable than Shakespeare. What better way to insult someone than to use such sophisticated, newly fabricated, or defunct words - that it takes so long for them to process - you're long gone and score on the cool, creative intellectual side!

    So I thought we could all do this together, take a break, and have some fun:
    • Please create your an insult following the chart directions below and leave the insult in the comments.  Feel free to add an optional note why you constructed this particular jab.
    • Read the deposited insults aloud with gusto and verve (and spittle out those "s's" and "p's" when appropriate)!!!!! 
    • But most of all, sling some silly slights and smears so we can smirk and smile the rest of the day.
    • Optional:  Leave some creative teaching ideas for all my homeschooling, teaching, parenting followers to share and savor.

    Shakespeare Insult Kit

    Combine one word from each of the three columns below, prefaced with "You" or  "Thou": 

    Column 1                     Column 2                Column 3 
    
    artless                   base-court              apple-john
    bawdy                     bat-fowling             baggage (encumberer)
    beslubbering              beef-witted             barnacle (tenacious)
    bootless(useless)            beetle-headed           bladder (filled with air)
    churlish(rude )             boil-brained            boar-pig
    cockered(pampered)            clapper-clawed          bum-bailey
    craven(cowardly)             common-kissing          canker-blossom
    currish(contemptible )         crook-pated              clack-dish
    dankish(damp,soggy)           dismal-dreaming         clotpole(oafish)
    dissembling(hypocrite)        dizzy-eyed              coxcomb(conceited dandy)
    droning(dull,monotone)         doghearted              codpiece(pant's crotch piece)
    errant(deviant)              dread-bolted            death-token
    fawning                    earth-vexing            dewberry(fruit)
    fobbing(deceiving)            elf-skinned             flap-dragon
    froward(contrary)             fat-kidneyed            flax-wench
    frothy(mad)                 fen-sucked              flirt-gill(girl of light behavior)
    gleeking(tricking)            flap-mouthed            foot-licker
    goatish                    fly-bitten               fustilarian(scoundrel)
    gorbellied(tasteless)         folly-fallen              giglet(frivolous)
    impertinent                fool-born                 gudgeon(slimey)
    infectious                 full-gorged              haggard
    jarring                    guts-griping            harpy(fierce-tempered woman from Greek myth)
    loggerheaded               half-faced              hedge-pig
    lumpish(boring)              hasty-witted            horn-beast
    mammering(hesitating)          hedge-born              hugger-mugger
    mangled                    hell-hated              joithead(dunce)
    mewling(whimpering)           idle-headed              lewdster
    paunchy                   ill-breeding             lout
    pribbling(vain chatter)        ill-nurtured             maggot-pie
    puking                     knotty-pated            malt-worm
    puny                       milk-livered             mammet(idiot, puppet)
    qualling(cowering)            motley-minded           measle
    rank                       onion-eyed              minnow
    reeky                      plume-plucked           miscreant
    roguish                    pottle-deep             moldwarp(mole)
    ruttish(lascivious)           pox-marked              mumble-news
    saucy                      reeling-ripe            nut-hook
    spleeny                    rough-hewn              pigeon-egg
    spongy                     rude-growing            pignut
    surly(bad-tempered)            rump-fed                puttock(buzzard)
    tottering                  shard-borne              pumpion
    unmuzzled                  sheep-biting            ratsbane
    vain                       spur-galled             scut
    venomed                    swag-bellied             skainsmate(messmate)
    villainous                 tardy-gaited              strumpet
    warped                     tickle-brained           varlot
    wayward                    toad-spotted             vassal
    weedy                       unchin-snouted          whey-face
    yeasty                      weather-bitten          wagtail



    For some more fun, the Shakespearean Insult Generator will 'technomagically'create one for you.

    Here are some more super Shakespeare sources:

    My insult: You spongy, clapper-clawed, hugger-mugger!

    Why: I like some spittle, I love alliteration, and hugger-mugger just feels good getting out!

    And, if you have time, here is a brief glimpse at some wonderfully saucy slings slung in Shakespeare's Much Ado About Nothing by two of my favorite actors:




    So now it's your turn.  Don't forget to leave a spicy slam in the comments.

    For teachers here is a lesson suggestion for introducing Shakespeare's gifted wordplay:  
    • Divide your classroom into three groups and assign them one of the insult columns to each group.  
    • Have students from each group select their favorite curse word from their assigned column. Ask students to write and define their chosen word neatly on a large sheet of paper.  Illustrating the word is encouraged.
    • Set up the room with chairs rows of three chairs.  Play Shakespeare's musical chairs (I suggest beating a drum as they randomly move up and down their row).  See what whimsical insults fate deals you.
    • Talk about what worked and what did not - what were your students' favorites/ least favorite insults. Talk about how Shakespeare played with language to 'coin' some of these terms.
    • Read a selected snippets from the Bard and discuss his use of insults in the selected scenes.