I’m working on several educational projects at the moment and I’m proud to share this one with you. It’s what I call a virtual tour of Shakespeare’s London. The teacher I’m working with said she wanted to teach the kids about the culture of Elizabethan London as he was writing Romeo and Juliet. Naturally with the pandemic a field trip was out of the question, (for multiple reasons), but I wanted to create a visually interesting tour of the places Shakespeare knew and worked and try to imagine his perspective and how that might have informed the characters and themes of Romeo and Juliet.
So I created this: a website written as if Shakespeare himself is taking you on a tour of his London in the year 1593, the year where, as far as we know, he had just completed writing Romeo and Juliet. 1593 was also the middle of another outbreak of Bubonic Plague. It has virtual tours of Shakespeare’s Globe Theater, Hampton Court Palace, Shakespeare’s Grammar School, and a quiz where you can pretend you’re in the Elizabethan doctor’s office.
For the class I’m helping, the students will fill out a worksheet as they navigate the website so they learn from the material at their own pace. If you’re interested, leave a comment and I’ll post the worksheet so you can use it in your classroom.
My hope is that this website can be a resource for anyone trying to connect with Romeo and Juliet and trying to learn from the culture of Elizabethan London. Shakespeare was a product of his time and his experiences must have had an influence on what he wrote. Even if they didn’t, they certainly influenced the people who saw the play and he knew that it would. So I hope it can help you understand a little bit more about the world of this famous play, and the context of the world that created it.
I’m stuck at home with the kids for Shakespeare’s Birthday, so I thought I’d come up with some fun activities for my kids to do today:
I hid the quote from “Hamlet” in the bathtub 🛁 and had my kids find the bath letters “2” and “B.”
At home I have a card game called “The Bard Game, which has several famous Shakespeare quotes printed on little cards. I hid the cards around the house and when they found them, I had them recite a short quote. Sometimes I hid them in funny locations like the bath tub or the fridge.
2. Romeo and Juliet For Kids. There’s a bunch of animated Shakespeare videos on YouTube and my daughter really likes this one: https://youtu.be/mMFE0IIHR6I
3. William Shakespeare and the Globe by Aliki. A fantastic book that introduces Shakespeare’s life and plays.
Romeo and juliet cookies
What’s a birthday party without treats? I had my kids decorate these Romeo and Juliet cookies. My daughter is only 5, so it was good practice writing ✍ the letters R and J.
If you like my ideas or want to suggest something, please leave a comment below!
For Shakespeare’s Birthday, I thought I would discuss his most famous speech what is arguably his greatest play. Hamlet, Prince of Denmark was written in 1600, the pinnacle/ middle of Shakespeare’s career, after Julius Caesar but before Macbeth.
David Tennent as Hamlet. Royal Shakespeare Company, 2010.
To Be Or Not To Be has intrigued and mystified people for centuries. It is full of ambiguous imagery, haunting images, and solemn contemplative ideas. I’m going to try and break the speech down first like an intellectual argument, but I will also give you some of my interpretation of Hamlet’s thoughts and feelings. Shakespeare’s genius is creating a speech that gives plenty for the reader to interpret,, but it’s up to the reader to decide what’s happening in the speech.
Just a refresher of the plot:
1. The king has died and been seen as a ghost
2. He tells his son Hamlet that he was murdered by his brother Claudius, who killed him to become king and marry Hamlets mother, Gertrude.
Hamlet is trying to determine if the ghost is telling the truth and if so, how can Hamlet revenge the death of his father?
The speech occurs right in the middle of the play. Hamlet has been acting strange and the king is worried. He hides behind a tapestry right before Hamlet enters. He then delivers this famous and highly cryptic speech:
Ham. To be, or not to be, that is the Question: Whether 'tis Nobler in the minde to suffer The Slings and Arrowes of outragious Fortune, Or to take Armes against a Sea of troubles, And by opposing end them: to dye, to sleepe No more; and by a sleepe, to say we end The Heart-ake, and the thousand Naturall shockes That Flesh is heyre too? 'Tis a consummation Deuoutly to be wish'd. To dye to sleepe, To sleepe, perchance to Dreame; I, there's the rub, For in that sleepe of death, what dreames may come, When we haue shufflel'd off this mortall coile, Must giue vs pawse. There's the respect That makes Calamity of so long life: For who would beare the Whips and Scornes of time, The Oppressors wrong, the poore mans Contumely, The pangs of dispriz'd Loue, the Lawes delay, The insolence of Office, and the Spurnes That patient merit of the vnworthy takes, When he himselfe might his Quietus make With a bare Bodkin? Who would these Fardles beare To grunt and sweat vnder a weary life, But that the dread of something after death, The vndiscouered Countrey, from whose Borne No Traueller returnes, Puzels the will, And makes vs rather beare those illes we haue, Then flye to others that we know not of. Thus Conscience does make Cowards of vs all, And thus the Natiue hew of Resolution Is sicklied o're, with the pale cast of Thought, And enterprizes of great pith and moment, With this regard their Currants turne away, And loose the name of Action. Soft you now,
Now before I talk about the context of the speech, I want to deconstruct it as an intellectual argument. Hamlet is grappling with something huge, and he is weighing the consequences of his potential actions. Remember, Hamlet is a prince, but he is also a college student, so he turns his choice into an intellectual argument.
If you look at the speech as an argument, it hinges on two points- to be or not to be.
One is passive and one is active
Both actions are potentially lethal, as evidenced by the two metaphors Hamlet describes later.
Contrary to popular belief, I believe that this speech is not just about suicide. It’s about the choice between suicide and murder, (in this case killing Claudius).
Three Speeches- Macbeth, and Hamlet
Lets discuss the two central images at the start of this speech. One is active- fighting (“taking arms”), and one is passive (“to suffer…”). Both choices have a similar outcome- death. No one can fight the sea, and arrows are just as lethal.
Let’s look at the speech again, and turn it into a series of beats using the conjunctions “and, but, and or,” The speech has 6 beats. What he’s thinking about or feeling is open to interpretation, but the argument definitely changes at these points. First the thesis:
This beat sets up the two options (murder and suicide). Why do I think this? Because it’s similar to two other speeches: https://youtu.be/nq3hcs1yFKw
It’s worth noting that about the same time, Shakespeare wrote three great soliloquis; Hamlet’s “To Be Or Not To Be,” Macbeth’s “If It Were Done,” and Brutus’ “It must be by his death.” All three speeches have some notable commonalities:
All three speeches are in passive voice; the would be murderer wishes he didn’t have to kill someone, but wants the victim dead nonetheless.
Refuse to mention the name of the man who will die.
Refuse to say ‘murder’
Personify death in abstract terms.
When I noticed the commonalities between the speeches, I came to realize that all of them are about murder, not just suicide. I think Hamlet alone contemplates suicide as well as murder, possibly because unlike Brutus and Macbeth, Hamlet is not at all sure he’s doing the right thing.
Beat 1 The Nerve: Hamlet is working himself up for something; either murder or suicide. It’s ambiguous which one he starts with, and largely depends upon the actor’s interpretation.
Beat 2The Consequences Whether Hamlet kills the king or himself, either way he could die and when he does, his soul will have to answer for his actions. This is similar to Macbeth, who worries that his foul murder will be exposed and judged by “Heaven’s cherubim, horses upon the sightless couriers of the air.”
“PITY,” by William Blake, alongside the text of Macbeth’s soliloquy from Act I, Scene 7.
“There’s the rub”- there’s the catch.
“Coil” refers to a snake skin. The line characterizes death as shedding an earthly body, something that seems all too easy to do. It’s an uncomfortable image because it makes death look all too easy. It also calls to mind the story of Gilgamesh, who had a flower that would grant him immortality, but a snake stole it, which is why snakes cam shed their skin, seemingly growing young again forever.
This beat is where Hamlet seems smothered in his frustrations with life.. Rather than making a decision, he’s sidetracked with a laundry list of universal problems. His energy seems up, but it’s unclear why.
When I performed this portion of the speech, I realized that everything Hamlet refers to, Claudius has done: he has oppressed and wronged the kingdom, he has delayed the law, and he has hindered Hamlet’s love for Ophelia by letting Polonius deny Hamlet’s access to her. Perhaps the laundry list is designed to psych him up- listing all the reasons Claudius deserves to die, (without tipping him off).
Beat 4: The Downward Spiral
Once again Hamlet is thwarted by the concept of Death and divine judgment. He seems to imply that everyone is scared into compliance with the threat of death.
The Conclusion:
Hamlet’s conclusion is that he has no conclusion. He can’t kill himself because his conscience tells him that God is against it, and he cannot kill Claudius because of fear of death or damnation.
When he says “The native hue of resolution,” he means red, (as in blood), is curtailed, cut off by the very thought of Deaths pale scythe.
Interpretations:
Mel Gibson plays Hamlet as a sort of man in mourning. He is as close to the action movie hero as Hamlet gets with his large, imposing physique and brutal looking medieval sword:
Speaking of action heroes, the whole movie Last Action Hero has a reoccurring motif of nodding to Hamlet. The avenging hero archetype is the prototype for every action movie, every superhero, (and most kung fu), and it began with Shakespeare’s Hamlet. This is why it’s hilarious that Schwarzeneger portrays him in Last Action Hero- the movie is a loving parody of every single action star since the original- Hamlet.
Why Else might Hamlet be so cryptic?
Not all versions are about suicide or murder
Lawrence Olivier believed that Hamlet has an Oedipus complex, and therefore has an unconscious desire to murder his father and sleep with this mother, which is why he considered himself unworthy to avenge his father’s death. In Olivier’s To Be, you can almost see his Hamlet aroused by his own Oedipal fantasies and then recoiling with disgust right before he says the line: “Perchance to dream.”
Kenneth Branaugh’s Hamlet centers around court intrigue. In contrast with Oliver’s Gothic Elsinore, his is bright and baroque, but it’s full of two way mirrors. Half the film is either large shots with lots of people watching public performances or POV shots of people being watched.
Branaugh’s interpretation of “To Be,” focuses on the possibility that Hamlet knows that Claudius is watching him through the two way mirror- he frightens him, puzzles, him, but in the end, never gives Claudius a clue as to his true intentions.
Murder or suicide?
the speech is not only famous for its universality but its evocative imagery, clear (albeit cryptic) construction, and heightened circumstances.
Shakespeare is able to give us a complete character without giving everything away, which allows anyone to reinterpret the character their own way. That is why Shakespeare’s characters endure.
I just started posting funny videos on Tiktok and I would love to know what you think of them, and what I should do next. Check it out! https://vm.tiktok.com/ZMeHYfSAU/
Happy St. Patrick’s Day! The Emerald Isle has long been a source of illumination for poet’s pens and Shakespeare was no exception. The Bard of Avon is indebted to Mother Ireland not only for the inspiration he took, but sadly for the pain he gave her back.
None of Shakespeare’s plays are set in Ireland, but he freely adapted elements from Irish folklore. English poet Edmund Spencer visited Ireland in the 1590s and adapted the folklore he picked up into his opera The Fairy Queen, which Shakespeare adapted into A Midsummer Night’s Dream
The Irish created and continue to tell many of the fairy legends and stories that we retell and adapt today. If you go to Lullymore park in Ireland, you can see a place that is essentially a “Fairy preserve.”
Types of fairies you can “spot” at the Lullymore Park in Ireland:
The old stories tell that Fairies are magical creatures who live in hollow places in the earth. Some are benevolent and help give rain and pleasant weather to the Earth, Like the king and Queen of the fairies, Oberon and Titania:
And the mazed world, By their [the tides] increase, now knows not which is which: And this same progeny of evils comes From our debate, from our dissension; We are their parents and original.
— Titania, (Queen of the Faries), A Midsummer Night’s Dream Act II, Scene i.
Titania in this speech shows great concern for nature, humanity, and the planet. She believes it is the responsibility of fairies, particularly herself and her husband Oberon, to control the elements and keep humans and fairies safe. Some fairies, however, are cruel and enjoy playing tricks on mortals, just like Puck in A Midsummer Night’s Dream, or Queen Mab in Romeo and Juliet.
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
Close reading of Puck’s speech (MND II, i)
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This is a short analysis I created of the tricks Puck plays on people in A Midsummer Night’s Dream, as part of my acting course on Ouschool.com. Note the different ways Puck is portrayed in photos as a satyr, a rotund elf, and sometimes as an almost- demon like figure.
Cringe-worthy Shakespeare: Shakespeare’s only Irish character, captain mcmorris in “Henry V”
When Shakespeare is racially insensitive towards people of color, the cringe-worthy writing is mercifully few and far between. With the exception of Aaron the Moor and Don Armada, there are only a few sporadic derogatory references to non-White Anglo-Saxon Protestants. Sadly though, Shakespeare might have permanently harmed the Irish through his character the Irish captain Macmorris in Henry the Fifth, his only Irish character.
According to The Irish Times, there is a longstanding stereotype that still exists in the British Isles that Irish people are violent, short-tempered, and essentially savages and Shakespeare might have invented this stereotype (or at least popularized it) when he wrote this scene from Henry the Fifth, Act III, Scene ii:
FLUELLEN To the mines! tell you the duke, it is not so good to come to the mines; for, look you, the mines is not according to the disciplines of the war: the concavities of it is not sufficient; for, look you, the athversary, you may discuss unto the duke, look you, is digt himself four yard under the countermines: by Cheshu, I think a' will plough up all, if there is not better directions. GOWER The Duke of Gloucester, to whom the order of the siege is given, is altogether directed by an Irishman, a very valiant gentleman, i' faith. FLUELLEN It is Captain Macmorris, is it not? GOWER I think it be. FLUELLEN By Cheshu, he is an ass, as in the world: I will verify as much in his beard: be has no more directions in the true disciplines of the wars, look you, of the Roman disciplines, than is a puppy-dog. Enter MACMORRIS and Captain JAMY GOWER Here a' comes; and the Scots captain, Captain Jamy, with him. FLUELLEN Captain Jamy is a marvellous falourous gentleman, that is certain; and of great expedition and knowledge in th' aunchient wars, upon my particular knowledge of his directions: by Cheshu, he will maintain his argument as well as any military man in the world, in the disciplines of the pristine wars of the Romans. JAMY I say gud-day, Captain Fluellen. FLUELLEN God-den to your worship, good Captain James. GOWER How now, Captain Macmorris! have you quit the mines? have the pioneers given o'er? MACMORRIS By Chrish, la! tish ill done: the work ish give over, the trompet sound the retreat. By my hand, I swear, and my father's soul, the work ish ill done; it ish give over: I would have blowed up the town, so Chrish save me, la! in an hour: O, tish ill done, tish ill done; by my hand, tish ill done! FLUELLEN Captain Macmorris, I beseech you now, will you voutsafe me, look you, a few disputations with you, as partly touching or concerning the disciplines of the war, the Roman wars, in the way of argument, look you, and friendly communication; partly to satisfy my opinion, and partly for the satisfaction, look you, of my mind, as touching the direction of the military discipline; that is the point. JAMY It sall be vary gud, gud feith, gud captains bath: and I sall quit you with gud leve, as I may pick occasion; that sall I, marry. MACMORRIS It is no time to discourse, so Chrish save me: the day is hot, and the weather, and the wars, and the king, and the dukes: it is no time to discourse. The town is beseeched, and the trumpet call us to the breach; and we talk, and, be Chrish, do nothing: 'tis shame for us all: so God sa' me, 'tis shame to stand still; it is shame, by my hand: and there is throats to be cut, and works to be done; and there ish nothing done, so Chrish sa' me, la! JAMY By the mess, ere theise eyes of mine take themselves to slomber, ay'll de gud service, or ay'll lig i' the grund for it; ay, or go to death; and ay'll pay 't as valourously as I may, that sall I suerly do, that is the breff and the long. Marry, I wad full fain hear some question 'tween you tway. FLUELLEN Captain Macmorris, I think, look you, under your correction, there is not many of your nation-- MACMORRIS Of my nation! What ish my nation? Ish a villain, and a bastard, and a knave, and a rascal. What ish my nation? Who talks of my nation? FLUELLEN Look you, if you take the matter otherwise than is meant, Captain Macmorris, peradventure I shall think you do not use me with that affability as in discretion you ought to use me, look you: being as good a man as yourself, both in the disciplines of war, and in the derivation of my birth, and in other particularities. MACMORRIS I do not know you so good a man as myself: so Chrish save me, I will cut off your head. GOWER Gentlemen both, you will mistake each other. JAMY A! that's a foul fault. A parley sounded GOWER The town sounds a parley. FLUELLEN Captain Macmorris, when there is more better opportunity to be required, look you, I will be so bold as to tell you I know the disciplines of war; and there is an end. Exeunt
Irish History and Shakespeare: The tempestous relationship between england and Ireland
The mayor and all his brethren in best sort, Like to the senators of the antique Rome, With the plebeians swarming at their heels, Go forth and fetch their conquering Caesar in: As, by a lower but loving likelihood, Were now the general of our gracious empress, As in good time he may, from Ireland coming, Bringing rebellion broached on his sword,
Henry V, Act V Chorus
Robert Devereax, 2nd Earl of Essex (National Portrait Gallery)Hugh, O’Neill, Earl of Tyronne
James Shapiro in his excellent book, A Year In The Life Of William Shakespeare, 1599, posits that contemporary affairs in Ireland might have inspired some of Shakespeare’s greatest plays in including Richard II, Henry V, and Julius Caesar. In 1594 the Earl of Tyrone began a rebellion in Ireland against the English, and in 1599, Queen Elizabeth dispatched the ambitious and chivalrous Earl of Essex to quell it. As you can see in the quote above, Shakespeare mentions Essex’s fight in his play of Henry V, which probably premiered at around the same time Essex was in Ireland.
The audience may have been watching Henry conquer France, but many would have been thinking about Elizabeth’s struggle to conquer Ireland.
BBC Radio 4 Extra – Shakespeare’s Restless World, Ireland: Failures in the Present – Transcript – Shakespeare’s Restless World – Programme 7
Though King Henry successfully conquered and united England and France, Essex failed spectacularly, and Elizabeth was deeply embarrassed by the whole scenario. She was also deeply alarmed by the popularity of Shakespeare’s tragedy Richard II, which shows onstage the deposing and killing of a king who had no children and failed to quell a rebellion in Ireland.
Elizabeth was worried about her subjects but she was also very worried about Essex overseas. Everyone, (including Shakespeare), remembered that 2,000 years ago, Julius Caesar went from him the Senate’s Consul General to dictator by amassing an army, then threatening to invade Rome under the pretense of helping to quell a foreign invasion. Caesar made his name by subjugating tribes in Gaul (modern-day France), and the Senate was worried that he would come home and use his army for a military coup. Look at the expressions on the faces of Cicero and Brutus when they see Caesar coming home in triumph in this scene from the HBO series Rome.
Elizabeth repeatedly attempted to curb Essex’s power while he was fighting in Ireland; she refused to give the Earl more troops for fear that he might be staging a potential coup. Her fears would later be proven right when in 1602, Essex attempted to head a rebellion and take the Crown for himself, but not before one of Essex’s friends commissioned Shakespeare’s company to portray the deposing and killing of King Richard II. Essex was trying to turn himself from a failed Henry V to a victorious Henry IV, and his queen into Richard II.
Left- deposition form the interrogation of Augustine Phillips, one of the actors in Shakespeare’s company about his company’s potential involvement with the Essex rebellion. Right- the hanging of Cinna the poet from Julius Caesar.
Shakespeare might have been inspired to write Julius Caesar after being an unwitting pawn in the political drama between Essex and the queen, and might have even created the character of Cinna the Poet as an analog for Shakespeare himself. In the play, Cinna the poet is mistaken for one of the conspirators by an angry mob and is murdered in the street. Perhaps Shakespeare created Cinna the Poet as a way of coping with the fear he must have had that people might mistake him for a radical, after his play Richard II briefly made him a walking target for those opposed to Essex’s rebellion. In any case, Julius Caesar eloquently documents the kind of anxiety of not knowing who could be trusted when it comes to politics, whether it be a populist warrior like Julius Caesar or Essex, or the Queen, privy council, or indeed Roman senate, and the whole thing started from a failed attempt to quell a rebellion in Ireland.
In summation, even though Shakespeare sets no plays in Ireland, Irish history and Irish culture are everywhere in his plays. England and Ireland are I are indeed separate islands but the cultural exchange between England and Ireland has inspired Shakespeare and many other great writers for centuries. After all Shakespeare’s most famous honorific, ‘the Bard of Avon’ comes from an ancient Irish tradition of semi-mystical poets, who in Irish folklore, were able to see the future and glimpse worlds that are unseen to ordinary mortals. What Shakespeare really felt about Ireland we don’t know but we do him but he does owe the Irish people a lot of thanks, and on this Saint Patrick’s day, I honor their contribution to him and to him all the world
References:
Shapiro, James. A Year In the Life Of William Shakespeare, 1599. Chapter 6: Things Dying and Things Reborn.
My family is quickly falling in love with the hugely popular online gaming sensation “Among Us,” which if you don’t know, is a strategy game similar to the game “Werewolf,” where a lone player, (known as The Impostor), tries to ‘kill’ a group of people without arousing suspicion. Just like the kids game in “Among Us,” whenever someone gets murdered, the others try to figure out the identity of the murderer.
The fun and drama of the game definitely comes from the paranoia that the players inevitably experience, not knowing whom to trust. Is the murderer over there? Was she the murderer? Is she lying about where she was just now? And most importantly, who is next?
Shakespeare’s Macbeth taps into the paranoia not just of people afraid of being murdered, but even the paranoia of the murderer himself!
“Lady Macbeth and the Daggers” by Henry Fuseli, 1812.
After Macbeth kills the king and he and his wife cover up the blood, there is a council meeting where Ross, Macduff, Malcom, and Donaldbane try to figure out what happened. Macbeth and Lennox accuse the sleeping guards, but not everyone is sure. Watch this “interview” with the character Malcom, the crown prince, who suspects foul play: https://youtu.be/LIWjh59oBS4
While Malcom is nervous and suspicious, Lady Macbeth is the picture of composure, and grief (at least, while in public): https://youtu.be/yFJ5HYWdeMo
Macbeth’s strategy is pretty clever: blame someone else, then get them killed before anyone can question them. Very similar to the strategy I’ve seen impostors try in the game. In fact, there’s even a player who goes by the username: “King Macbeth.” He then justifies killing the guards by claiming that seeing them there threw him into a murderous rage, and he killed them to avenge Duncan’s death:
Macbeth O, yet I do repent me of my fury, That I did kill them. Macduff Wherefore did you so? Macbeth Who can be wise, amazed, temperate and furious, Loyal and neutral, in a moment? No man. The expedition of my violent love
Outran the pauser, reason. Here lay Duncan, His silver skin laced with his golden blood; And his gashed stabs looked like a breach in nature For ruin’s wasteful entrance — there, the murderers, Steeped in the colors of their trade, their daggers Unmannerly breeched with gore. Who could refrain That had a heart to love, and in that heart Courage to make’s love known?
Thanks very much for reading! If you liked this post, please consider signing up for my new “Macbeth” online class via Outschool.com. One really fun part of the class will be a quiz on “Macbeth,” inspired by Among Us!
Happy Midsummer everyone! Wednesday June 24rth is the Midsummer festival, which means as you go to sleep that night, I wish you all Midsummer Night Dreams! Before that though, I welcome you to party like it’s the court of King Oberon, and here are some ideas:
Background: What Are Fairies?
The story of Fairies has many authors that come from multiple folkloric traditions. The Greeks had nymphs, the Romans had cupid, and the English and Germans had…
1. According to Paracelsus, fairies are elemental spirits that help control the Earth’s four elements: Silfs (air), gnomes (Earth), Salamanders (fire), and Undines (water). 2. In some versions, they are household creatures that interact with humans 3. Some cultures call them demoted Angels, not good enough for Heaven, but not bad enough for Hell.
So you can see there are lots of traditions that contribute to our modern concept of the fairy, and plenty of ideas to adapt into your party!
Part One: The Invitation:
There’s a ton of free fairy clip art and fairy designs online. Below is an invitation I created for free with an app called Canva and a parchment background picture I found online.
1. Pixie invitations 2. Immortal Longings
Second card design I created on Canva.
You probably also know that I am a huge fan of the website Immortal Longings because of their excellent Shakespearean art and they sell cards too. You can buy the cards or download the pictures on their website.
Shakespearean Greeting Cards from Immortal Longings.com
Part Two: Decorations Fairy
Fairy Dens Right now the Royal Shakespeare Company is making DIY Fairy decorations including a Fairy Den that you can share with your family and friends:
What is a Fairy Den? Fairies in folklore are closely tied to the Ancient Celts and Druids, who believed that Fairies live in hollow places underground. A fairy den is a homemade den that imitates the ancient fairy hollows.
In addition to fairy dens, there are tons of fairy lights, fairy coloring books, and other fairy crafts you can find. Here is a fairy lantern my wife made using pickle jars!
First paint the jars with white paint and cut out paper fairies to paste around the inside of the jar (we used tackey glue). You can also stick star stickers on the inside of the jars.For added realism, you can glue fake moss to the bottom of the jar. We got this from our local dollar store.Put a small battery powered LED light inside.Turn on the LED lights and take the lanterns somewhere dark.Detail of the fairy lights.
Part Three: The Feast
Since the Fairies in Midsummer are woodland spirits, almost any forest or camping themed recipes can be adapted. Here are some ideas that my wife and I made for our own fairy themed party.
2. Love potion: Similar to follow the leader or musical chairs. A group of people lie down and pretend to sleep. Then someone plays Puck by putting a real or pretend flower in one of the player’s hands. The Puck then yells “Awake,” and sets a timer or plays some music. The object of the game is for everyone to chase after the flower and get it before time runs out.
Costumes:
Make some printable donkey masks for Bottom, flower crowns for the fairies, and don’t forget your wings!
Since most schools are still closed due to Covid 19, many parents, teachers, and students are learning online. In this time of crisis, I want to try and help, so I’m asking for advice from you on what Shakespearean resources you want me to make/ review on this blog:
What plays do you need resources for but can’t find?
Want to know if a site or app is any good? Let me know and I’ll review it!
Need lesson plans or study help? I’ll post some links.
For now, you can check out my activities teachers and student pages which includes lesson plans and ideas for specific plays, as well as reviews of educational apps and websites. You can also check out my plays of the month pages, which helps analyze plays for students and teachers.
Just today I found an activity for finding figurative language on the seesaw app:
This is just a start, I know, but I want this blog to help people enjoy and understand Shakespeare and if I can ease the burden of teachers and parents who are already struggling during this difficult time, I can think of nothing more worthwhile.
To begin wrapping up our Richard III month, I thought it might be appropriate to speak a little about the battle that ended the real Richard’s life, the Battle of Bosworth Field, August 22, 1485.
What does Shakespeare Say about the battle:
KING RICHARD III
Come, bustle, bustle; caparison my horse.
Call up Lord Stanley, bid him bring his power: I will lead forth my soldiers to the plain, And thus my battle shall be ordered: My foreward shall be drawn out all in length, Consisting equally of horse and foot; Our archers shall be placed in the midst John Duke of Norfolk, Thomas Earl of Surrey, Shall have the leading of this foot and horse. They thus directed, we will follow In the main battle, whose puissance on either side Shall be well winged with our chiefest horse. This, and Saint George toboot!
What think’st thou, Norfolk?
NORFOLK
A good direction, warlike sovereign.
Richard III, Act V, Scene iii.
This speech matches very well with what the chronicles mention about the battle. In those days the English archers were more deadly than their cavalry, so Richard probably wanted to pick off as many soldiers as possible with the archers, then mow the rest down with his charge toward Henry.
Contemporary Accounts, (courtesy of the Richard III Society). The most complete, and unbiased account I could find was Polydore Virgil, which is also likely the one from which Shakespeare got his information. You’ll notice that it mentions the long line of foot soldiers and horsemen, and the mention of the Duke of Norfolk commanding one of Richard’s forces.
‘The day after King Richard, well furnished in all things, drew his whole army out of their encampments, and arrayed his battle-line, extended at such a wonderful length, and composed of footmen and horsemen packed together in such a way that the mass of armed men struck terror in the hearts of the distant onlookers. In the front he placed the archers, like a most strong bulwark, appointing as their leader John, duke of Norfolk. To the rear of this long battle-line followed the king himself, with a select force of soldiers.‘Meanwhile … early in the morning [Henry Tudor] commanded his soldiery to set to arms, and at the same time sent to Thomas Stanley, who now approached the place of the fight, midway between the two armies, to come in with his forces, so that the men could be put in formation. He answered that Henry should set his own men in line, while he would be at hand with his army in proper array. Since this reply was given contrary to what was expected, and to what the opportunity of the time and greatness of the cause demanded, Henry became rather anxious and began to lose heart. Nevertheless without delay he arranged his men, from necessity, in this fashion. He drew up a simple battle-line on account of the fewness of his men. In front of the line he placed archers, putting the earl of Oxford in command; to defend it on the right wing he positioned Gilbert Talbot, and on the left wing in truth he placed John Savage. He himself, relying on the aid of Thomas Stanley, followed with one company of horsemen and a few foot-soldiers. For all in all the number of soldiers was scarcely 5,000, not counting the Stanleyites of whom about 3,000 were in the battle under the leadership of William Stanley. The king’s forces were at least twice as many.
‘Thus the battle-line on each side was arrayed. As soon as the two armies came within sight of each other, the soldiers donned their helms and prepared for the battle, waiting for the signal to attack with attentive ears. There was a marsh between them, which Henry deliberately left on his right, to serve his men as a defensive wall. In doing this he simultaneously put the sun behind him. The king, as soon as he saw the enemy advance past the marsh, ordered his men to charge. Suddenly raising a great shout they attacked first with arrows, and their opponents, in no wise holding back from the fight, returned the fire fiercely. When it came to close quarters, however, the dealing was done with swords.‘In the mean time the earl of Oxford, afraid that in the fighting his men would be surrounded by the multitude, gave out the order through the ranks that no soldier should go more than ten feet from the standards.
Here’s a short infographic I made about the kinds of weapons people used during the Battle Of Bosworth.
When in response to the command all the men massed together and drew back a little from the fray, their opponents, suspecting a trick, took fright and broke off from the fighting for a while. In truth many, who wished theking damned rather than saved, were not reluctant to do so, and for that reason fought less stoutly. Then the earl of Oxford on the one part, with tightly grouped units, attacked the enemy afresh, and the others in the other part pressing together in wedge formation renewed the battle.
Royal Portrait of King Richard III, holding a broken sword.
While the battle thus raged between the front lines in both sectors, Richard learnt, first from spies, that Henry was some way off with a few armed men as his retinue, and then, as the latter drew nearer, recognised him more certainly from his standards. Inflamed with anger, he spurred his horse, and road against him from the other side, beyond the battle line. Henry saw Richard come upon him, and since all hope of safety lay in arms, he eagerly offered himself for this contest. In the first charge Richard killed several men; toppled Henry’s standard, along with the standard-bearer William Brandon; contended with John Cheney, a man of surpassing bravery, who stood in his way, and thrust him to the ground with great force; and made a path for himself through the press of steel.
This is a re-construction of the kind of armor Richard might have worn into battle. Notice that the helmet has the crown ontop. Photo reprinted from the Bosworth Field museum
‘Nevertheless Henry held out against the attack longer than his troops, who now almost despaired of victory, had thought likely. Then, behold, William Stanley came in support with 3,000 men. Indeed it was at this point that, with the rest of his men taking to their heels, Richard was slain fighting in the thickest of the press. Meanwhile the earl of Oxford, after a brief struggle, likewise quickly put to flight the remainder of the troops who fought in the front line, a great number of whom were killed in the rout. Yet many more, who supported Richard out of fear and not out of their own will, purposely held off from the battle, and departed unharmed, as men who desired not the safety but the destruction of the prince whom they detested. About 1,000 men were slain, including from the nobility John duke of Norfolk, Walter Lord Ferrers, Robert Brackenbury, Richard Radcliffe and several others. Two days after at Leicester, William Catesby, lawyer, with a few associates, was executed. Among those that took to their heels, Francis Lord Lovell, Humphrey Stafford, with Thomas his brother, and many companions, fled into the sanctuary of St. John which is near Colchester, a town onthe Essex coast. There was a huge number of captives, for when Richard was killed, all men threw down their weapons, and freely submitted themselves to Henry’s obedience, which the majority would have done at the outset, if with Richard’s scouts rushing back and forth it had been possible. Amongst them the chief was Henry earl of Northumberland and Thomas earl of Surrey. The latter was put in prison, whree he remained for a long time, the former was received in favour as a friend at heart. Henry lost in the battle scarcely a hundred soldiers, amongst whom onenotable was William Brandon, who bore Henry’s battle standard. The battle was fought on the 11th day before the kalends of September, in the year of man’s salvation 1486, and the struggle lasted more than two hours.
Plaque erected near a small well on Bosworth field, which Richard himself supposedly drank from.
‘The report is that Richard could have saved himself by flight. His companions, seeing from the very outset of the battle that the soldiers were wielding their arms feebly and sluggishly, and that some were secretly deserting, suspected treason, and urged him to flee. When his cause obviously began to falter, they brought him a swift horse. Yet he, who was not unaware that the people hated him, setting aside hope of all future success, allegedly replied, such was the great fierceness and force of his mind, that that very day he would make an end either of war or life. Knowing for certain that that day would either deliverhim a pacified realm thenceforward or else take it away forever, he went into the fray wearing the royal crown, so that he might thereby make either a beginning or an end of his reign. Thus the miserable man suddenly had such an end as customarily befalls them that for justice, divine law and virtue substitue wilfulness, impiety and depravity. To be sure, these are far more forcible object-lessons than the voices of men to deter those persons who allow no time to pass free from some wickedness, cruelty, or mischief.
‘Immediately after gaining victory, Henry gave thanks to Almighty God with many prayers. Then filled with unbelievable happiness, he took himself to the nearest hill, where after he had congratulated his soldiers and ordered them to care for the wounded and bury the slain, he gave eternal thanks to his captains, promising that he would remember their goodservices. In the mean time the soldiers saluted him as king with a great shout, applauding him with most willing hearts. Seeing this, Thomas Stanley immediately placed Richard’s crown, found among the spoil, on his head, as though he had become king by command of the people, acclaimed in the ancestral manner; and that was the first omen of his felicity.’
-Polydore Virgil, c. 1500. Reprinted from the Richard III Society:
The battle took place on August 22nd, 1485 in a small field in Leicester.
Richard had about 70,000 troops, and Richmond had far fewer, aided mostly by French, Scot, and Welsh mercenaries.
Many of Richard’s people like the Earl Of Stanley betrayed him and turned sides.
Several sources record Richard wearing the crown in battle, which Henry Tudor immediately seized after he murdered Richard.
Richard fought bravely against Richmond, charging alone into combat and refusing to be rescued by his army. One account has Richard say: “This day I will die as king or win.” In another account, a lone Welshman killed the king’s horse, which probably was the origin of the line “A horse, a horse, my kingdom for a horse!”
Richard’s body was hacked to pieces, stripped naked, covered with a noose, and displayed at a poor local church for the citizens to mock at for two days. Even contemporary accounts allege that Henry treated his vanquished foe shamefully.
Infographic of Richard’s post-battle wounds.
Above- infographic of Richard’s battle wounds, courtesy of Lifescience.com
To conclude, even Shakespeare admits that Richard was a great commander, who lost the battle when his own soldiers betrayed him, and he was piteously murdered by the man who took over the crown from him. It’s a good thing that the real King Richard’s remains were discovered in 2012, and we now know more about the real man in addition to the myth.
The Shakespearean Student 
