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.
Shakespeare himself was a father, and he frequently wrote about the dynamic between fathers and their children. There are many different types of fathers in Shakespeare’s 40 plus plays, and this week I’m ranking them in terms of three categories: Good Dads, Bad Dads, and “Dad Dads.” You’ve probably already read the “Worst Dad” post, so now we’re looking at the good, and the not so good. I used the following criteria when choosing the top 5 dads in each categories:
The Good Dads
Are supportive for their kids
Try to keep their children happy
Offer help and advice, especially on their children’s future.
Are willing to sacrifice themselves
They let their children become their own people.
The Bad Dads
Treat their children as property
Have little to no interest in their children
Put their children in danger
Subject their children to abuse
In some cases, they murder them!
The “Dad” Dads
Are basically good hearted, but they have some kind of flaw that prevents them from becoming really good parents.
In my view, are the most human, modern dads on the list.
I’ve chosen to award these dads a necktie, something every ok dad needs.
Now, onto the Dad Dads:
5. Aegean from The Comedy Of Errors. Aegean wonders around for 20 years looking for his lost children, which I call devoted parenting, but a little aimless and undisciplined. I therefore award Aegean two ties with little anchors on them, to remind him to stay in one place and wait for his sons to find him!
Alexandre Bida, “The death of Lord and John Talbott,” 1895
4. Lord Talbott from Henry the Sixth Part I. Talbott is the hero of the English fight against the French at the close of the Hundred Years War. He goes toe to toe with Joan of Arc on numerous occasions. He also raises a fine and valliant son, John Talbott who is also a warrior. The two die bravely in a siege against the French, rather than surrendering, or leaving the other to die. Talbott is clearly also devoted to his child, but his career choice doesn’t allow his son to grow up in a safe environment! I therefore award Talbott two ties with little English and French flags on them.
The Ghost of Hamlet’s Father by William Blake, 1806.
3. The Ghost Of Hamlet’s Father from Hamlet/ Portia’s Dad from Merchant Of Venice. Both these parents die before their plays begin, yet they still try to improve their children’s lives from beyond the grave! The Ghost helps Hamlet become king of Denmark, and Portia’s dad tries to help her find a good husband, (one who will love her for something besides her beauty or riches). Although these parents achieve their goals, waiting this long to help their kids seems a bit like absentee parenting! I therefore award these posthumous parents ties with little skulls on them.
2
. King Henry IV, from King Henry IV King Henry is the classic career dad, one who wants his son Hal (the future King Henry V), to follow in his footsteps. The two have a terrible fight when Henry thinks Hal is trying to steal his crown on his deathbed! Eventually though, father and son reconcile, and dad even gives the future king some last minute advice; if you fight a war with France it’ll help secure your crown, which Hal does and succeeds! I therefore award King Henry a tie with little crowns on it, hoping that nobody with a dagger ties tries to steal it when he’s sleeping!
1. Prince Pericles from Pericles Pericles is another busy dad- King Antiocus tries to murder him, and he has to leave his own kingdom. Then he gets shipwrecked 3 times! In fact, his only daughter is born onboard a ship in the middle of a storm! Pericles raises the girl for a number of years, but then has to leave again, and guess what, he gets shipwrecked AGAIN! He eventually finds his daughter and they live happily ever after, but you kind of get the idea that Pericles is a little accident-prone, which keeps him from being on the Best Dads list. Sorry Pericles, but at least you get a tie with, what else, Boats on it! Maybe next Fathers Day, someone will get you a life preserver.
And now at Long LAST, the BEST Dads in Shakespeare!
Aaron fights to protect his baby child.
5. Aaron the Moor from Titus Andronicus. Ironically, one of the worst villains in Shakespeare is also one of the best fathers. Aaron is fiercely protective of his child, even threatening people at sword point if they dare come near his baby. He also plans out the child’s future and is willing to give his own life for a promise that Lucius will protect and nourish his son. He may be a monster to everyone else, but to his baby, Aaron is simply, a good dad!
4. The Old Shepherd from The Winter’s Tale. This character is a very mirror of generosity and kindness; not only does he take care of his son The Clown, he adopts a poor discarded child, the princess Perdita, with no obligation to do so. He raises her for 16 years and constantly brags about her to the entire town. She becomes a beautiful, wise, and modest girl who fills her adopted father with pride because of his good parenting. Even when Perdita meets her real father, she speaks of The Old Shepherd with real filial affection “Oh my poor father.”
3.
Lord Capulet, from Romeo and Juliet. I know this was a controversial choice, and I discuss my choice in detail on my podcast, but I’ll sum up my major arguments here:
Even though a lot of actors choose to have him smack Juliet around, there’s no mention of it in Shakespeare’s text. The most he ever does is threaten to strike her, but the stage directions never indicate he does it. Capulet is clearly more bark than bite.
From the very beginning of the play, Capulet has shown that he cares about Juliet, and wants her to marry for love, not money.
Lord Capulet hovers and frets constantly when Juliet tells him she will marry Paris, staying up late to plan the wedding! I ask you, does that sound like a tyrannical father? I wonder sometimes if Lord Capulet would’ve forgiven Juliet for marrying Romeo if she had just told him. In any case, based on my criteria above, Capulet is a good dad, bad tempered, yes, but fundamentally concerned for the welfare of his children.
3. Prospero fromThe Tempest I chose this high spot for Prospero mainly because he seems to have the most success of any other dad in the cannon. Like Pericles, he too is shipwrecked with his daughter, but Prospero stays with Miranda, raises her alone, teaches her everything she knows, and calls her an angel that helped preserve his life. Prospero cares so much for his daughter that he refuses to give into despair, even though he’s lost his wife, his dukedom, and his home.
Prospero also hatches a plan to get him and Miranda off the island, to get his dukedom back, and to get her married to a handsome prince name Ferdinand, and he succeeds with every one of these endeavors, even though it takes 12 years. Prospero gets extra points for his patience and his wisdom, but I have to admit he’s a bit of a control freak; he demands that Miranda listen to him and obey him no matter what, and he warns Ferdinand that there will be dire consequences if he dare try to do anything illicit with his daughter before the wedding. In addition, there’s no denying that Prospero is also acting out of self interest- he wants to become duke again, and he wants revenge against his enemies and that’s partially why he raises a tempest, (or a huge storm), instead of just sending a message back to Milan.
1.
Simonides grants permission for Pericles to wed his daughter. Production shot from Mary Zimmerman’s 2006 production of “Pericles.”
King Simonedes from Pericles, Prince Of Tyre You might forget this character because he only has a short time onstage, but I defy anyone to come up with a better father. He’s kind, supportive, stable, funny, and has a wonderful relationship with his daughter Thaisa. Above all, Simonedes actually listens to his child and does everything in his power to help her when she decides she wants to marry Pericles. Also, like Prospero, Simonedes pretends to object to the marriage, but you kind of get the sense that, rather than testing the affection of the couple, he’s actually just playing a joke on them. You can hear a “gotcha” and a fatherly wink in the final line of the speech in Act II, where he pretends to object to their marriage:
Congratulations to all our fabulous fictional fathers! Thank you for reading, and see you soon!
Illustration from “William Shakespeare’s Star Wars”
Play review: William Shakespeare’s Star Wars
Since Monday was May the Fourth, and since I got some encouraging comments about the previous post, I’m happy to review one of the most interesting Shakespeare spin-offs I’ve ever encountered: William Shakespeare’s Star Wars by Ian Doescher. For those of you who haven’t heard of this play, it’s basically the script of Star Wars put into Shakespearean verse. The writer clearly loves both Shakespeare and Star Wars, and puts lots of cheeky Shakespearean references in the text, such as Luke Skywalker parodying Hamlet as he steals a Stormtrooper’s uniform and Yorrick-like, holds up the helmet to his face:
“Alas poor Stormtrooper, I knew ye not,” (Doescher IV, vi, 1) The play lends itself perfectly for performance in an Elizabethan playhouse with its sparse stage directions and an Elizabethan chorus that comments on the action and tells the audience whenever action occurs offstage, such as when the Death Star gunners prepare their mighty laser to destroy the planet Alderon. I certainly got a kick out of reading this play since I too am a huge Shakespeare/ Star Wars fan. However, since this blog is meant to help us learn and appreciate Shakespeare, the question is, does this play have any value to Shakespearean students? At first I wasn’t sure, but now I say yes!
Before I read the play, I was a little apprehensive as I’ve seen Shakespearean gimmicks fall flat before; I once saw a dreadful production of Macbeth where the whole cast was made up to look like zombies for absolutely no purpose except to cash in on the zombie fad. So at first, I wondered, “Why bother translate Star Wars into Shakespearean language”? As I read on though, I realized what the author had done was give readers a rare glimpse into how Shakespeare himself wrote.
This helps prove one thing I’ve always felt about teaching Shakespeare- parody and gentle satire are a great way to deconstruct his plays into something a little easier to grasp. As I said before, Doescher’s play is full of tiny bite-size portions of real Shakespearean dialogue that allow you to digest some of The Bard’s most famous lines. Also, he’s following the same ‘recipe’ Shakespeare used in his plays and speeches, so I’m going to deconstruct some of the Shakespearean elements that Doescher employed to concoct this Shakespeare/Sci-fi classic hybrid. I’ll focus on the first play in the series: Verily A New Hope, but you can find these components in all of the plays in the Star Wars Saga.
Iambic pentameter- the most obvious difference between the original Star wars is that Doescher took the dialogue and put it into the same poetic meter Shakespeare used. For those who don’t know, Iambic pentameter is a kind of unrhymed poetry with 10 syllables per line. Each line also has 5 stressed beats that strike like a heart beat- Da DUM Da DUM Da DUM Da DUM Da DUM. To keep the emphasis on the right syllables, sometimes the writer has to shift the syntax or add and subtract words to get them to fit. This is why instead of the famous: “A long time ago, in a galaxy far, far away,” the Prologue at the beginning says:
“ In time so long ago begins our play,
In star-crossed galaxy far, far away.”
Doescher’s time-consuming process of translating a prose movie script into blank verse poetry is exactly Shakespeare did when he wrote his plays, only instead of movie scripts, he took the chronicles of English history to become Hamlet, Macbeth, Lear, and many others. With all the work involved in crafting poetry like this, it’s no wonder he didn’t have time to think up an original story!
Telling the audience what you’re doing- As I said last week, one thing to keep in mind when you read Shakespeare is that his plays were performed outdoors with no microphones, in an audience of nearly 3,000 people! It must have been extremely hard to see or hear the action onstage. Shakespeare tried to solve this problem by having characters announce what they’re doing, which would be tedious, if he didn’t also know how to spice up the dialogue with lines that reveal the character’s emotional state, like when Lord Capulet says: “My fingers itch,” to warn his daughter he’s about to hit her. Doescher captures this extremely well in the speech where Vader lifts up the Rebel Leader and begins to choke him to death:
I turn to thee, thou rebel. Aye, I lift
Thy head above my own. Thou canst now choose
To keep thy secrets lock’d safe in that head
Or else to keep thy head, and thus thy life (Doescher I, ii 6-10).
This passage explains to the reader or playgoer that Vader has lifted the man over his head, (demonstrating his cruelty and his strength), and subtly plays on the fact that Vader is looking at his head, wants the knowledge in his head, and will crush his head if the Rebel doesn’t cooperate. Shakespeare’s Richard III makes a similar threat: “Villain, set down the corpse, or by St. Paul, I’ll make a corpse of him that disobeys!”
The Aside One thing Shakespeare does that few modern writers ever do is have characters talk directly to the audience; thus establishing an intimate relationship between you and a person who is confiding their secrets in you. The most striking example of this in Shakespeare’s Star Wars is R2D2, who in the movie never spoke at all, but made cute little electronic beeps and whirrs. Having R2 speak gives the reader an unexpected closeness because R2 never speaks to anyone else.
Personification Shakespeare is really good at finding a clever visual metaphor for an abstract idea, and will write speeches or dialogue where characters explore the nature of that idea, a meditation if you will. One of my favorite examples from Shakespeare’s Star Wars is the scene in which Luke and his uncle debate about whether Luke will stay on the farm. Luke compares himself to a bird that’s trying to fly away, while his uncle uses farm metaphors to try and keep him to stay:
OWEN: Wilt thou here in the desert yet desert? Tis only one more season.
LUKE: Now cracks a hopeful heart, when by the land,
A man’s ambitions firmly grounded are:
So shall a bird ne’er learn to fly or soar
When wings are clipp’d by crops and roots and soil.
It’s really very clever the way Doescher mimicks Shakespeare’s wordplay here. Luke is like a bird because he’s a pilot and longs to fly. Owen is a farmer on a desert and is worried about Luke deserting him. We get a clear picture of their relationship from this scene.
Chorus Shakespeare sometimes uses a Chorus to tell us what is going on in plays where the location shifts from place to place- it’s a time honored device in epic storytelling. Nowadays we use a Chorus too, we just call it a Narrator. The difference is that a Chorus also can explain the tone and the mood of the action onstage, so that you can imagine it in your own mind. Take a look at this passage where the chorus describes the famous Star Wars Cantina:
Now mark thee well, good viewer, what you see,
The creatures gather round the central bar
While hammerheads and hornéd monsters talk.
A band composed of aliens bizarre:
This is the great cantina- thou may’st gawk! (III, I, 45-49).
You can see how, unlike a narrator who would just tell you there are a bunch of aliens here, the Chorus describes the sights and sounds of the bar so you can imagine it yourself. The Chorus in Shakespeare’s Henry the Fifth explicitly states that the audience needs to use their imagination to fill out the story of Henry’s conquest of France.
The soliloquy A soliloquy is a speech spoken by a character alone on stage. It often has to do with a complex dilemma such as Hamlet’s “To Be Or Not To Be.”
In Shakespeare’s Star Wars, Luke and Vader have the most soliloquis and with good reason- they have the most complicated emotional journeys- Luke goes from a simple farmboy from Tatooine to a Jedi Knight, while Vader goes from a Jedi to a Sith to a father. Shakespeare’s greatest power is his ability to put complex emotional journeys like these into speeches that the characters share right with us. I loved both these speeches too much to choose, so I’m going to talk about of both. The first is a soliloquy Vader speaks after he kills the Rebel leader:
And so another dies by my own hand,
This hand, which now encas’d in blackness is
O that the fingers of this wretched hand
Had not the pain of suffring ever known. Droescher I.ii, 27-30
This speech reminds me very much of Richard III, one of Shakespeare’s greatest villains. Richard, like Vader, has his life story told in 6 installments where he slowly becomes an evil mastermind. The images of this speech conjure up parts of Vader’s life story: how he lost his hand in Episode II and now has a robotic hand in a black glove. The speech also conjures the fact that his master the Emperor is able to shoot lightning from his hands, and of course, how Vader himself is able to kill by merely gesturing with his hand. Richard has a speech where he talks about all the people he’s killed to become king, and how he now has to kill even more to stay king:
I must be married to my brother’s daughter, Or else my kingdom stands on brittle glass. Murder her brothers, and then marry her! Uncertain way of gain! But I am in So far in blood that sin will pluck on sin: Tear-falling pity dwells not in this eye (Richard III, Act IV, Scene i)
Luke has another speech where he talks about his destiny staring at the twin suns of Tatooine, but I won’t spoil that one for you! Needless to say, it’s awesome. I bring it up because In the movie, it was John Williams’ job to literally underscore Luke’s emotions as the music swelled. Shakespeare’s gift on the other hand was to put powerful emotions and thoughts into carefully composed soliloquys that sound like music when spoken well.
So as you can see, the author’s loving parody of Shakespeare allows us a rare glimpse of how the Bard wrote; his cleverness at adapting stories, his use of verse, wordplay, metaphor, personification, choruses, and his unique ability to write characters that talk to us as if we were in on their deepest secrets.
Hi folks! Since this site is basically a Shakespeare appreciation site, I wanted to start off this week by showing you how you can enjoy Shakespeare at the first reading, even if you’ve never read him before! What follows is a list of advice based on the way I myself learned to enjoy Shakespeare, backed up with some nuggets of wisdom I’ve picked up from teachers along the way. https://youtu.be/knWg6Mf4MiM?feature=shared I. Learn the Story of the play.
I would argue that the biggest advantage the Elizabethans had over us was they knew the story of the play before they even came into the theater. All of Shakespeare’s plays were adapted from other sources, including myths and fairy tales. A Midsummer Night’s Dream is literally a fairy tale about the Fairy Queen Titania. There was no such thing as “spoiler alert” in Shakespeare’s day, in fact the prologue of “Romeo and Juliet” gives away the ending before the play has begun!
Clearly, Shakespeare wasn’t interested in making his plays a surprise.The thing is that back then audiences didn’t want new stories, they wanted familiar stories told in a new way, the same way we base movies off of comic books and novels. So the first thing you can do to put you on the same level is read the story of the play before hand. Quiz yourself about what happens: who are the characters you should be rooting for? Whom are they fighting against? What is stopping the hero(s) from achieving their goals? This is a rare time when cliff notes and spark notes actually help; learning the story of the play will help you connect with the action on the stage and instead allow you to concentrate on the characters and the language. I also recommend websites like Crash Course that tell the story with a sense of fun. II. Read the play- the whole thing, (preferably out loud).
The first time you read Shakespeare, you probably won’t get every word, but don’t worry, you’re not supposed to. Every single edition of Shakespeare has a glossary on the opposite page that translates the basic idea of what you’re reading. If you’re a first time reader, I highly recommend the Folger Shakespeare edition, (available at amazon.com). These editions not only have a good glossary, but big, friendly pictures of a lot of the terms. They also have a free online version of Shakespeare’s texts which you can look at here: http://www.folgerdigitaltexts.org/
I would also advise you to read the plays out loud. Shakespeare loved playing with the sounds of words- having characters hiss and bellow and whisper and seduce the ear. Some of the most fun I ever had with Shakespeare was having a Shakespeare reading party with my friends, where we discovered a play by reading it together and playing with voices and accents.
Another option is to listen to the play while you read it. There are great websites like Audible.com and Librivox that allow you to listen to the play spoken by voice actors. Hearing the play will open it up in a way that just reading it can’t After all, the plays are meant to be heard, that’s why they call it an audience (audio- to hear).
Finally, if you go to nearly every public library there’s a recording of The Archangel Shakespeare, a series of CD recordings of professional actors performing every one of Shakespeare’s plays. Many of these performers have done Shakespeare professionally, so you know they know what they’re taking about. III. Watch a movie. There are hundreds of Shakespeare movies out there, and each one can show you a little bit about how the play feels and looks when it is placed in the hands of an actor or director. You may be expecting some guy in wrinkled tights bellowing his lines in a fake-Elizabethan set, but lots of Shakespeare movies have chosen inventive settings for Shakespeare in different times and places, like Ian McKellen’s Fascist-era Richard III, Michael Hoffman’s 19th century Midsummer Night’s Dream, or my favorite, Julie Taymor’s epic retelling of Titus Andronicus in a fictionalized blend of ancient Rome and modern Italy. A movie allows you to hear the text read, and allows you to see ideas from the play brought to life on the big screen. IV. Go see it if you can. Almost every major city has a Shakespeare festival, and lots of regional theaters also choose to do Shakespeare. The reason is simple- he’s royalty free, and everyone recognizes his name. As you watch the play, try to answer these questions:
-Which characters did you like?
-Was there a line you really liked or one that seemed to speak to you?
-Did this play remind you of another play or movie? Did it remind you of something from your own life? V. If I can recommend a good play to start with, start with Å Midsummer Night’s Dream. This play is not only very easy to understand, it’s also charming, funny, romantic, magical, and has a lot of colorful characters. I myself have directed and starred in Dream, and seen no less than 15 productions on stage and screen! If I can quell the fear you may have about Shakespeare, my wife and I directed the play with actors who had never read Shakespeare before, never acted before, and most of them were only 8 years old! So if they can learn this play and grow to love it as much as I do, then I firmly believe you can too! Helpful hints-
1. Shakespeare’s company performed outdoors in the middle of the day, so they had no control over their environment. All the actors had was a bare stage, costumes, and a couple of props. This is why Shakespeare devotes lots of passages to just tell you where the characters are, and what time of day it is. His is a theater of the imagination, so read the descriptions and let the world come to life in your head.
2. Shakespeare drew heavily on images from Greek/Roman mythology and the Bible. If you need help looking up some of these resources up, I can recommend the Encyclopedia Mythica for Greco-roman references, and the Catholic Encyclopedia for Christian references.
3. There is a glossary of every single word Shakespeare ever used and plenty of books too. In terms of simplicity and ease of use, I recommend http://www.shakespeareswords.com/Glossary.
4. Shakespeare wrote four types of plays – Comedy, History, Tragedy, and Romances.
In Tragedy, the hero dies by the end, and the overall tone is one of change and struggle. In Comedy, the hero and the heroine usually get married by the end. The History Plays- are all about a struggle for the English crown and are based on historical chronicles. Most of them conclude in a battle or in the peace after a battle. Romances– “Romance” is a term invented by scholars to describe some of the last plays Shakespeare wrote that don’t end in death like tragedies, and don’t end as happily as the comedies. One such play has a man get eaten by a bear, and another has a man forced to marry a prostitute! Some scholars don’t like this title, but i keep it here because it’s the most common term for these weird plays that include Cymbeline, Pericles, The Winter’s Tale, and The Tempest.
4. DO NOT READ THE NO-FEAR SHAKESPEARE EDITIONS. These books and websites advertise to be a clear-cut translation of Shakespeare with his text on the left, and a modern translation on the right. I believe these editions don’t do justice to the cleverness of Shakespeare’s writing. For example, here’s the famous speech of Macbeth when he discovers that his wife is dead: https://youtu.be/pDdhiTvFcFw?si=mMy6zg8gmM9_K9bo
She should have died hereafter. There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.
I’ve actually played Macbeth, and when I saw this speech, I played it as a struggle to deal with the loss of his wife, (the only person he truly cares about), while at the same time dealing with imminent war. Macbeth wants to put off dealing with the news until tomorrow because he can’t possibly handle it now. What’s really cool about Shakespeare is you don’t have to agree with me; you could just as easily interpret the speech as a manifestation of psychosis, of loneliness, or how bitter and unfair Macbeth’s life is and it would still work! That’s why actors and directors love going on and on about Shakespeare; he gives us the freedom to interpret the speech the way we want, as long as we stay true to the basic text. I don’t think anybody could claim that this is a happy speech! The problem is that No Fear Shakespeare makes it too simple, and doesn’t allow you to really consider the possibilities for interpretation. Read their translation of the speech below:
MACBETH She would have died later anyway. That news was bound to come someday. Tomorrow, and tomorrow, and tomorrow. The days creep slowly along until the end of time. And every day that’s already happened has taken fools that much closer to their deaths. Out, out, brief candle. Life is nothing more than an illusion. It’s like a poor actor who struts and worries for his hour on the stage and then is never heard from again. Life is a story told by an idiot, full of noise and emotional disturbance, but devoid of meaning.
Of course, if you bear in mind the limitations of translating Shakespeare and give yourself the freedom to take it with a grain of salt, that could work too.
So there’s a basic guide for first time readers. Let me know if you agree with my approach, what strategies work for you, and if these techniques were helpful!
For more tips and tricks on analyzing Shakespeare, please sign up for my 30 minute Online Shakespeare class on Outschool.com: