I’m teaching a number of clases on poetry this National Poetry Month, and I wanted to make suggestion if you want to woo a sweetheart this poetry month but don’t know where to start. So here are some resources for you you use, and some links to some of my own work on the subject:
1. Mindup.com
This website is very good at helping you organize your writing into small blocks, webs, charts, etc. This is really useful when you’re creating sonnets because it helps you set up your argument. You can even add pictures to think about the images you’re going to use in your poem!.
This website is very fun and useful for teachers and students. You plug in various adjectives, verbs, and nouns and it does the rest. The sonnets aren’t great, but you do get a clear idea of how sonnets work, and that makes it very useful for students.
A sample sonnet I made about money.
3. Folger.edu- How to Write a sonnet
One of the best pieces of advice I can give to an aspiring poet is to read other poets and learn what you like. The Folger has a yearly competition of student sonnets which you can read on their website, and lots of handouts and info that teaches you about sonnet form, so check it out!
6. My OUtschool Classes on Sonnets and Shakespeare’s writing:
If you want some one-on-one help with writing Elizabethan poetry, consider signing up for my online classes! I teach 2 classes on writing poetry and literary devices:
Love Poetry: Shakespeare Style
This class is a live brainstorming session where I’ll teach you to use the resources I’ve listed above to craft an Elizabethan sonnet of your very own! We’ll also discuss some of Shakespeare’s own sonnets, and the enduring mystery of the Dark Lady and the Fair Young Man.
Trailer video fo “Love Poetry: Shakespeare Style”Page Icon for my Outschool class on Shakespearean writing.
This class is a general intro to Shakespeare’s writing. I discuss the structure of his plays and poems, and I play a fun game where I rewrite some very famous lines in iambic pentameter:
So thanks for reading this list! I hope this helps you out, and if you do consider signing up for my class, I’m offering a special discount for the Love Poetry course: Get $5 off my class “Love Poetry- Shakespeare Style!” with coupon code HTHESVFDPO5 until May 5, 2022. Get started at https://outschool.com/classes/love-poetry-shakespeare-style-k8lL9yLK and enter the coupon code at checkout.
Let thy verse flow like a river, ye merry balladiers!
However, the Romans gave way before the good fortune of the man and accepted the bit, and regarding the monarchy as a respite from the evils of the civil wars, they appointed him dictator for life. This was confessedly a tyranny, since the monarchy, besides the element of irresponsibility, now took on that of permanence
Patrick Stewart (Cassius), convinces Brutus (Ian Richardson), to betray Caesar, RSC, 1970
Under these circumstances the multitude turned their thoughts towards Marcus Brutus, who was thought to be a descendant of the elder Brutus on his father’s side, on his mother’s side belonged to the Servilii, another illustrious house, and was a son-in‑law and nephew of Cato. 2 The desires which Brutus felt to attempt of his own accord the abolition of the monarchy were blunted by the favours and honours that he had received from Caesar. 3 For not only had his life been spared at Pharsalus after Pompey’s flight, and the lives of many of his friends at his entreaty, but also he had great credit with Caesar. 4 He had received the most honourable of the praetorships for the current year, and was to be consul three years later, having been preferred to Cassius, who was a rival candidate. 5 For Caesar, as we are told, said that Cassius urged the juster claims to the office, but that for his own part he could not pass Brutus by.105 6 Once, too, when certain persons were actually accusing Brutus to him, the conspiracy being already on foot, Caesar would not heed them, but laying his hand upon his body said to the accusers: “Brutus will wait for this shrivelled skin,”106 implying that Brutus was worthy to rule because of his virtue, but that for the sake of ruling he would not become a thankless villain. 7 Those, however, who p589 were eager for the change, and fixed their eyes on Brutus alone, or on him first, did not venture to talk with him directly, but by night they covered his praetorial tribune and chair with writings, most of which were of this sort: “Thou art asleep, Brutus,” or, “Thou art not Brutus.”107 8 When Cassius perceived that the ambition of Brutus was somewhat stirred by these things, he was more urgent with him than before, and pricked him on, having himself also some private grounds for hating Caesar;
So far, perhaps, these things may have happened of their own accord; the place, however, which was the scene of that struggle and murder, and in which the senate was then assembled, since it contained a statue of Pompey and had been dedicated by Pompey as an additional ornament to his p597 theatre, made it wholly clear that it was the work of some heavenly power which was calling and guiding the action thither.
Well, then, Antony, who was a friend of Caesar’s and a robust man, was detained outside by Brutus Albinus,110 who purposely engaged him in a lengthy conversation; 5 but Caesar went in, and the senate rose in his honour. Some of the partisans of Brutus took their places round the back of Caesar’s chair, while others went to meet him, as though they would support the petition which Tulliusº Cimber presented to Caesar in behalf of his exiled brother, and they joined their entreaties to his and accompanied Caesar up to his chair. 6 But when, after taking his seat, Caesar continued to repulse their petitions, and, as they pressed upon him with greater importunity, began to show anger towards one and another of them, Tullius seized his toga with both hands and pulled it down from his neck. This was the signal for the assault. 7 It was Casca who gave him the first blow with his dagger, in the neck, not a mortal wound, nor even a deep one, for which he was too much confused, as was natural at the beginning of a deed of great daring; so that Caesar turned about, grasped the knife, and held it fast. p599 8 At almost the same instant both cried out, the smitten man in Latin: “Accursed Casca, what does thou?” and the smiter, in Greek, to his brother: “Brother, help!”
9 So the affair began, and those who were not privy to the plot were filled with consternation and horror at what was going on; they dared not fly, nor go to Caesar’s help, nay, nor even utter a word. 10 But those who had prepared themselves for the murder bared each of them his dagger, and Caesar, hemmed in on all sides, whichever way he turned confronting blows of weapons aimed at his face and eyes, driven hither and thither like a wild beast, was entangled in the hands of all; 11 for all had to take part in the sacrifice and taste of the slaughter. Therefore Brutus also gave him one blow in the groin. 12 And it is said by some writers that although Caesar defended himself against the rest and darted this way and that and cried aloud, when he saw that Brutus had drawn his dagger, he pulled his toga down over his head and sank, either by chance or because pushed there by his murderers, against the pedestal on which the statue of Pompey stood. 13
And the pedestal was drenched with his blood, so that one might have thought that Pompey himself was presiding over this vengeance upon his enemy, who now lay prostrate at his feet, quivering from a multitude of wounds. 14 For it is said that he received twenty-three; and many of the conspirators were wounded by one another, as they struggled to plant all those blows in one body.
-Plutarch’s Life Of Caesar
Artwork
Bust of Caesar Artwork for Julius Caesar. Immoral Longings, 2013.
Video 📹
Commentary
James Shapiro in his book 1599, addresses the common complaint that in the play that bears his name, Julius Caesar dies halfway through the play and has little time onstage to make a connection with the audience. The play is about tyrananicide, what causes it, what it looks like, and especially its aftermath. In a time when Jesuits and Catholic radicals threatened to assassinate Queen Elizabeth, Shakespeare wrote a powerful story about how fragile government systems can be; how striking the head off Rome leads to anarchy and sometimes tyranny.
Outschool.com will be honoring the contributions of Shakespeare during the very first Shakespeare Week on March 21-27th.
course image: Immersive Guide To Romeo and JulietCourse image: Intro To Stage Combat
Course image: Shakespearean Acting Course image: The Violent Rhetoric Of Julius Caesar Course image: Basics of Shakespearean ActingCourse image: Immersive Guide To Macbeth course image: How to Write Like Shakespeare course image: Intro to Shakespeare
I’m honored to take part in this celebration, and I’m offering several aclasses which relate to Shakespeare in an engaging way. Here’s the schedule below:
If you want to sign up for one of my classes, please visit my Outschool page:
I apologize for not spending enough time on black history month this February.
If I do prove her haggard,
Though that her jesses were my dear heartstrings,
I’ld whistle her off and let her down the wind,
To pray at fortune. Haply, for I am black
Or for I am declined
Into the vale of years,—yet that’s not much—
She’s gone. I am abused; and my relief
Must be to loathe her.
Othello, Act III, Scene iii.
Psychologists say some men expect the worst of everyone, especially women. I would argue that Othello is an example of a man who has been threatened so often, he expects the worst of everyone, especially his wife, and this is why it’s so easy for Iago to manipulate him.
I don’t know what it’s like to be black in 21st century America let alone the trauma of Othello’s life, which was riddled with hardship such as being sold into Slavery, encountering Cannibals, and rising through the ranks of an army that doesn’t quite trust him. But based on the psychology of people who undergo trauma, the text of the play, and some details about Venetian life, I think looking at Othello through the perspective of trauma and toxic masculinity is an illuminating interpretation of the play.
I want to be clear that I am not saying domestic violence is condonable, or that being black has anything to do with abuse. What I am trying to say is that Othello is a play that in my view sheds a light on trauma, PTSD, toxic masculinity, and systemic oppression.
In the book Beyond Anger, psychologist Thomas J. Harbin illustrates just how easily a man can deceive himself with jealousy brought on by his own insecurities.
Angry men often believe that others do not approve of them, or think highly of them so more than likely when you assume you know what another is thinking you will assume that person is thinking negative thoughts about you more garbage yen when you For example and whenever [Othello] notices that his wife is not in a good mood, he asks “What’s wrong with you?” his wife usually says that nothing is wrong but [Othello] assumes that she is not telling the truth, and that she is actually angry with him. He then gets angry because he assumes she is blaming him for something that he didn’t do; the ‘garbage out’ mind reading is also frustrating to those around you friends coworkers and family can see that you are getting angry with them, but they have no idea why.
J. Thomas Harbin, “Beyond Anger,” 2018.
Why might Othello be insecure and angry?
Actor Adrian Lester doesn’t think that the play is about race, but about the trauma of military society and according to Aryanna Thompson of George Washington University, he hoped the audience would see Othello as a soldier, not a black man, when he played the role at the National Theater in 2003, when England and America were engaged in military interventions in Iraq.
Though this interpretation works, I would argue that the exploitation of people of color is very much what the play is about, not just on stage but also in places like the military. “The play’s military context is short-lived, serving mainly as a framework for the intense private wars that follow. And in this emotional arena, Othello is far less secure.” Maybe Othello’s toxic insecurities come from being seen as disposable by the Venetian upper crust. Like Shylock before him, Othello is an alien in his own country and if he offends anyone, he will be crushed. He is then put in a dangerous situation where the troops have to hurry up and wait for the danger to find them, which is always a recipe for disaster as the clip above shows.
Maybe a lot of black people felt this feeling of cultural disposibility in the 1600s: listen to professor Thompson talk about the way black people were exploited in the Elizabethan and Jacobean era:
If you watched this clip, you might notice that for most of the history of the play, the draw has been seeing white actors ‘rise to the challenge’ of playing a black man. Sadly, Othello the character is not only exploited by characters in his own play, the role has been exploited as a novelty by theater companies for centuries. My point here is that I see merit to the question of whether or not this play deserves to be performed since from the beginning, it was designed to exploit blackness and the stereotypes of blackness by white actors.
Trauma makes abuse understandable but it doesn’t make it right. The cycle must be broken. Shakespeare’s gift here is to show how toxic masculinity is ultimately self destructive. Plus racial oppression and sexual repression leads everyone into tragedy.