A comic logo of Shakespeare to celebrate the 450th anniversary of Shakespeares birthday in Shakespeare 450 conference held by the Société Française Shakespeare in Paris 2127 April 2014 Shakespeare in GlobalLocal Contexts ID: 636303
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Slide1
Global/Local Shakespeare
A comic logo of Shakespeare to celebrate the 450th anniversary of
Shakespeare's birthday in Shakespeare 450 conference, held by the Société Française
Shakespeare in Paris, 21-27 April 2014.Slide2
Shakespeare in Global/Local Contexts
The Shakespeare Association of Korea presents an International Shakespeare Conference on Shakewspeare in Global/Local Contexts in Seoul, Nov. 1 and 2 2013.Slide3
Shakespearean Journeys
The Asian Shakespeare Association gives its inaugural conference on Shakespearean Journeys in Taipei, May 15-18 2014Slide4
Taiwan Shakespeare Association
http://www.shakespeare.tw/association/TSA/news.htmlSlide5
Shakespeare’s Globe
Shakespeare’s Globe, London
Photo: Tom GreenSlide6
A Wooden O
The Prologue in Shakespeare’s
Henry V:
Or may we cram
Within this wooden O the very casques that did affright the air at Agincourt?
O pardon, since a crookèd figure may
Attest in little place a million,
And let us, ciphers to this great account,
On your imaginary forces work.
Shakespeare’s Globe, London
http://bloggingshakespeare.com/a-little-love-affair-with-the-globeSlide7
Shakespeare Festival
http://uk.reuters.com/article/2012/07/26/uk-oly-flame-adv-idUKLNE86P01R20120726Slide8
MIT Global Shakespeares
The MIT Global Shakespeares Video & Performance Archive provides online access to performances of Shakespeare from all over the world.
MIT Global Shakespeares
http://shakespeares.mit.edu/Slide9
Taiwan Shakespeare Database
An open-access online archive offers Taiwan’s Shakespearean productions.
Taiwan Shakespeare Database
http://shakespeare.digital.ntu.edu.tw/shakespeare/Slide10
ASIA
Asian Shakespeare Intercultural Archive aims to share approaches to performing Shakespeare in East and Southeast Asia.
Asian Shakespeare Intercultural Archive
http://a-s-i-a-web.org/Slide11
Asia
Shakespeare Performance in Asia
http://web.mit.edu/shakespeare/asia/Slide12
Shakespeare on Film, Television and Radio
International Database of Shakespeare on Film, Television and Radio
http://bufvc.ac.uk/shakespeare/Slide13
RSC
RSC archive
http://www.shakespeare.org.uk/explore-shakespeare/collections/catalogues.htmlSlide14
Shakespeare and Popular Culture
http://bardolatry.com/2010/01/hamlet-1948-directed-by-and-starring-laurence-olivier/
Laurence Olivier’s
Hamlet
(1948)
You may watch it online now:
http://viooz.co/movies/9584-hamlet-1948.htmlSlide15
Musicals
Broadway Musical: West Side Story
Takarazuka Revue: Romeo and Juliet
http://www.concordplayers.org/00productions/WestSideStory/WestSideStory.html
http://takarazukaarchive.blogspot.tw/Slide16
Manga Shakespeare
Manga Shakespeare:
Twelfth Night
Manga Shakespeare
Twelfth Night
Manga Edition:
Twelfth Night
http://www.mangashakespeare.com/titles/twelfth_night.htmlSlide17
Classics Illustrated
British publisher Papercut presents a comic book series featuring Shakespeare’s plays.
http://www.comicvine.com/classics-illustrated-5-hamlet/4000-351981/Slide18
Global/Local Shakespeare
This course is designed to enhance an intercultural vision. It emphasizes in what ways Shakespeare is affected by the following three phenomena:Globalization
LocalizationGlocalizationSlide19
Shakespeare can be fun!
http://www.amazon.com/Twelfth-Night-For-Kids-Shakespeare/dp/0887532330/ref=pd_rhf_dp_s_cp_3?ie=UTF8&refRID=0F7QP63BXRJN6ESWN8ET
Slide20
Shakespeare Animation
Shakespeare: The Animated Tales (1992)
http://www.imdb.com/media/rm3562905344/tt0147788?ref_=ttmd_md_pvSlide21
Disney’s A Midsummer Night’s Dream
A Midsummer Night’s Dream
in its
Mickey Mouse Works
program, and later, the episode returned in
House of Mouse
series, dedicated to celebrate the 100
th
anniversary of Walt Disney’s birth.
http://www.youtube.com/watch?v=hC318Nkbr4YSlide22
Gnomeo and Juliet (2011)
Gnomeo and Juliet
, based on Shakespeare’s Romeo and Juliet, is a popular British animation film.
http://simplywallpaper.net/browse-desktop/gnomeo-julietSlide23
Zetsuen no Tempest: The Civilization Blaster
(2009) Zetsuen no Tempest: The Civilization Blaster
is relevant to Hamlet and the Tempest
http://www.zetsuen.net/Slide24
Romeo X Juliet (2007)
Romeo x Juliet turns Shakespeare’s tragedy into a romantic comedy. It begins with Juliet who disguises herself as a boy because she is the only survivor after Montague’s attack. Juliet falls in love with Romeo when she accidently runs into Romeo on the street.
http://www.dm5.com/manhua-romeo-juliet-luomiouzhuliye/###Slide25
Japanese Shakespeare:
Macbeth Akira Kurosawa’s the
Throne of the Blood (1957) is based on Macbeth.
http://www.tpwang.net/movie/%E8%9C%98%E8%9B%9B%E5%B7%A2%E5%9F%8ESlide26
Taiwanese Shakespeare: Macbeth
Wu Hsing-kuo’s The Kingdom of Desire (1986) is influenced by Kurosawa’s
Throne of the Blood. https://www.google.com.tw/search?q=%E6%85%BE%E6%9C%9B%E5%9F%8E%E5%9C%8B&source=lnms&tbm=isch&sa=X&ei=mafZU-SKNYGhugSIoYDQAg&ved=0CAYQ_AUoAQ&biw=931&bih=554#imgdii=_Slide27
Global/Local Shakespeare
Syllabus
Shakespeare's Globe
is a reconstruction of the Globe Theatre
http://en.wikipedia.org/wiki/Shakespeare's_GlobeSlide28
Shakespeare’s
Sonnets
The sonnets are dedicated to one "Mr. W.H.". The identity of this person remains a mystery.
W. H. = Who He?
W. H. = William Himself
W. H. = William Herbert (the Earl)?
W. H. =
Henry
Wriothesley
, Earl of Southampton
William Hart (Shakespeare’s nephew)?Slide29
Macbeth’s Soliloquy
Macbeth
Is this a dagger
which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? Or art thou but
A dagger
of the mind, a false creation,
Proceeding from the heat-
oppressèd
brain?Slide30
Romeo and Juliet
Act II Scene 1
Manga Shakespeare
Romeo and Juliet
by Sonia LeongSlide31
Manga Shakespeare Twelfth NightSlide32
Shakespeare and Japanese Comics
A scene from Harumo Sanazaki’s
Romeo and JulietSlide33
Harumo Sanazaki’s manga adaptations of Shakespeare Slide34
Manga ArtistsSlide35
Othello
DUKE OF VENICE
What would You, Desdemona?DESDEMONA That I did love the Moor to live with him,
My
downright violence (violation of normal standards)
and
storm of fortunes (disruption of my own future)
May trumpet to the world: my heart's subdued
Even to the very
quality (nature)
of my lord:Slide36
Kawakami Otojirô’s Hamlet
Kawakami Otojirô played the ghost of King Hamlet in Hamlet
. http://elsinore.ucsc.edu/Ghost/ghostHistory.htmlSlide37
Shakespeare and Politics
The Contemporary Legend’s The Tempest
http://twclt.com/DramaStory.aspx?Drama=DSlide38
Shakespeare and London
Shakespeare’s Globe
http://www.travelstay.com/attractions/Shakespeares_Globe_Theatre_Hotel_List.htmSlide39
Propeller
All Male Cast of Twelfth Night
http://shakespearean.tumblr.com/post/28102292454/propeller-are-once-again-touring-their-productionsSlide40
Malvolio the Puritan
http://thebardsbookclub.wordpress.com/Slide41
Shakespeare’s Globe
All Male cast of Twelfth Night
http://www.classicalite.com/articles/4023/20131122/mark-rylance-stephen-fry-star-in-shakespeare-s-twelfth-night-and-richard-iii-on-broadway.htmSlide42
Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate :
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot
the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines.
By chance
or nature's changing course untrimm'd;
But thy eternal summer shall not fade
Nor lose possession
of that fair thou;
Nor shall Death brag thou wander'st in his shade,
When
in eternal lines to time thou growest.
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Slide43
Recitation
Sonnet 18http://www.youtube.com/watch?v=H-_QlzUJBbU&feature=relatedSlide44
Local Shakespeares
Age of DiscoveryImperialismPost-colonialism
LocalizationSlide45
Taiwanese Shakespeare
Taiwan Shakespeare Database
http://shakespeare.digital.ntu.edu.tw/shakespeare/Slide46
Beijing Opera
Hamlethttp://shakespeare.digital.ntu.edu.tw/shakespeare/view_record.php?Language=ch&Type=p&rid=CLT1990HAM
Based on
Hamlet,
Contemporary Legend’s
War and Eternity
(1990) has a Chinese title called Wangzi Fuchou Ji, which literally means
The Revenge of the Prince
.
http://shakespeare.digital.ntu.edu.tw/shakespeare/view_record.php?Language=ch&Type=p&rid=CLT1990HAMSlide47
Taiwanese Parody of Shakespeare
Shamlet (1992), Shamulete, written, directed and performed by Lee Kuo-shiu, was the first parody of Shakespeare in Taiwan after the Japanese rule.
http://www.ipeen.com.tw/comment/528034Slide48
Shakespearean Musicals in Taiwan
Kiss Me Nana (1997)
A Rock ’n’ Roll Midsummer Night’s Dream of the East
(1999)
http://www.godot.org.tw/collection.asp?Page=3Slide49
Taiwanese
Macbeth
Tainaner Ensemble’s Sonata of the Witches – The Macbeth Verses (2004)
Tainaner Ensemble’s
Shakespeare Unplugged 3 – Macbeth
(2007)
Tainaner Ensemble’s
Shakespeare Unplugged 3 – Macbeth
(2007)
http://shakespeare.digital.ntu.edu.tw/shakespeare/view_record_other_file.php?Language=en&Type=rf&rid=TNE2007MAC042Slide50
Taiwanese Opera
Romeo and Juliet
Yumei and Tenlai (2004), kitsch adaptation of
Romeo and Juliet
, imitated the popular O Pei Ra style, a reformed Taiwanese opera performed during the late Japanese rule.
http://www.goldenbough.com.tw/2006/theatre_2.htmSlide51
Hakka
The Taming of the Shrew
My Daughter’s Wedding (2007),
Fuchun Chianu
, is a Hakka musical of
The Taming of the Shrew.Slide52
Measure for Measure
in Yu Opera
Measure, Measure!, Liangdu (2012), was performed by Taiwan Bangzi Opera Company.
http://www.ncfta.gov.tw/ncfta_ce/c04/c04030210.aspx?E=SWRlbnRpdHlJRD00MTgmUGFnZUluZGV4PQ==Slide53
Taiwanese King Lear
Lear Ong
(1996)
Translator: Ten Hui-hun
Tai-leh PublisherSlide54
American Romeo and Juliet
A Romeo and Juliet set in the 1960s in Alabama, U.S.
http://www.youtube.com/watch?v=Dcuh7CQd04YSlide55
Unit Tests
What does Shakespeare’s Romeo and Juliet have to do with people in Stratford, Alabama in the U.S. in the 1960s? In Shakespeare’s
Romeo and Juliet, the couple is separated because of their family.
What is the cause of the couple’s tragedy in this American
Romeo and
Juliet?
A) Religion
B) Family
C) Racial discrimination
http://www.youtube.com/watch?v=Dcuh7CQd04YSlide56
Glocalization Shakespeare
British Publsiher SelfMadHero
Manga Shakespeare seriesSlide57
Manga and Shakespeare
The Chibis on the left are created for the characters in Merchant of Venice
http://risuko.deviantart.com/art/Merchant-of-Venice-Chibi-Set-48840113Slide58
I.2
ExpositionA young lady comes to a new country:
Who is she?What happens to her?Does she have family?What country is this?
Who governs Illyria?
Who live here?
What is Viola planning to do?Slide59
I.2.42-46
Vio.
O! that I serv’d that lady,
And might not be deliver’d to the world,
Till I had made mine own occasion mellow,
What
my estate is (that my position might not be made known to the world until the time is ripe.).
Cap.
That were hard to
compass (arrange),
Because she will
admit (take notice of)
no kind of
suit (request),
No, not the duke’s.Slide60
I.2.59-64
Vio. What else may
hap (happen) to time I will commit;Only
shape (adapt)
thou thy silence to my
wit (invention).
Cap.
Be you his eunuch, and your
mute (dumb servant)
I’ll be:
When
my tongue blabs (tells tales),
then let mine eyes not see.
Vio.
I thank thee: lead me on. [
Exeunt.Slide61
Hamlet
At least three graphic novels of
Hamlet on the Taiwanese market:Meng
Chen’s
shôjo
manga
series of
Hamlet
(2006);
Lai
Youxien
and Wu Chun’s
Wangzi
Fuchouji
[
The Prince’s Revenge
] (2011);
Manhua
Shashibiya
:
Hamulete
(2012).
Meng Chen’s shôjo manga series of
Hamlet
(2006) Slide62
Hamlet
Lai Youxien and Wu Chun’s Wangzi Fuchouji [The Prince’s Revenge
] (2011);Slide63
Hamlet
Manhua Shashibiya: Hamulete (2012)
Chinese translation of the SelfMadeHero’s Manga Shakespeare Hamlet Slide64
Japanese Josei Manga Shakespeare
Harumo Sanazaki’s lady manga Shakespeare collection, including
Romeo and Juliet
Macbeth
A Midsummer Night’s DreamSlide65
Korean shôjo Manga Shakespeare
Romeo and Juliet
http://www.suncolor.com.tw/index_book_c1_01_data.aspx?bokno=027002004Slide66
Shakespeare’s Globe
As You Like It
II.7.142-146
All the world’s a stage,
And all the men and women merely players; They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
Shakespeare’s Globe, London
Photo: Tom GreenSlide67
Global Shakespeare
Shakespeare Travels across the continents
http://blog.misfit-inc.com/post/22378278157/sketching-the-bardSlide68
Local Shakespeare
Hamlet (1909), a report of performance in Sakae-za
Shamlet (1992), an adaptation of
Hamlet
http://www.ipeen.com.tw/comment/528034
Taiwan Nichinichi Shimpo database, Oct. 3, 1909.Slide69
Glocalization Shakespeare
Harumo Sanazaki’s lady manga collection of Shakespeare (2003)
Lai Youxien and Wu Chun’s
Wangzi Fuchouji
[
The Prince’s Revenge
] (2011)Slide70
Cartoon Shakespeare
Japan Punch (1874)
2B or not 2B
http://triggs.djvu.org/global-language.com/ENFOLDED/BIBL/____HamJap.htm
http://thedailydose.com/2011/08/09/cartoon-gallery/2011-july-2-william-shakespeare-young-hotel-employee-asks-2b-or-not-2b-900x643/Slide71
RSC Twitter Shakespeare
2b or not 2b
Such Tweet Sorrow
(2010)
http://www.thelmagazine.com/TheMeasure/archives/2010/04/13/follow-the-royal-shakespeare-companys-twitter-production-of-romeo-and-juliet-such-tweet-sorrow
https://twitter.com/julietcap16Slide72
Shakespeare Souvenirs
Gift shopTo quack or not to quack
http://www.walkandwear.co.uk/catalog/popup_image.php/pID/21399/imgID/0Slide73
Out, damned spot!
http://shakespearethisyear.blogspot.tw/2013_01_01_archive.html
http://www.shakespearesglobe.com/shop/product/macbeth-spot-mug/31?session_id=1407592811f39594cff3438b6b831294d78727be95Slide74
The World’s Mine Oyster
London is Your Oyster
http://shax.blogs.wm.edu/2012/07/19/london-is-your-oyster/Slide75
Shakespeare in Africa
http://www.worldshakespearefestival.org.uk/about.html
http://www.atgtickets.com/shows/venus-and-adonis/shakespeares-globe/Slide76
Shakespeare in South America
A Brazilian theatre company, Grupo Galpao’s version of Romeo and Juliet
in 2012 World Shakespeare Festival
http://www.braziliarty.org/2012/06/alicia-bastos-review-grupo-galpao%E2%80%99s-romeo-and-juliet/Slide77
Shakespeare in Arab World
There are three Arabic adaptations in World Shakespeare Festival. They almost like three different languages: Iraqi Arabic, classical Arabic, and Juba Arabic, a South Sudanese dialect.
http://www.timeout.com/london/theatre/world-shakespeare-festival-cymbeline-juba-arabicSlide78
Shakespeare and the World
http://www.windowsonwarwickshire.org.uk/spotlights/shakespeares_study/world03.htmSlide79
Global/Local Shakespeare
To be or not to be in different languages.
http://www.pinterest.com/pin/254312710180670999/Slide80
The World’s thine oyster.
http://dictionaryblog.cambridge.org/2014/04/01/phrases-from-shakespeare-part-2/Slide81
Shakespeare’s
Sonnets
The sonnets are dedicated to one "Mr. W.H.". The identity of this person remains a mystery.
W. H. = Who He?
W. H. = William Himself
W. H. = William Herbert (the Earl)?
W. H. =
Henry
Wriothesley
, Earl of Southampton
William Hart (Shakespeare’s nephew)?Slide82
Shakespeare’s
Sonnets
Structure and Analysis
Harold
Sakuishi’s
Seven
Shakespeares
Lost years (1585-1592)
English version:
http://mangaway.com/manga/%E4%B8%83%E4%BA%BA%E7%9A%84%E8%8E%8E%E5%A3%AB%E6%AF%94%E4%BA%9A-240
Chinese version:
http://www.cartoonmad.com/comic/2277.htmlSlide83
Sonnets
Characters: the Fair Youth, the Rival Poet, and the Dark Lady.
The Poet
Shakespeare?
Fair Youth
Mr. W.H.?
Dark Lady
?
http://web.cartoonad.com/comic/227700122020005.html
The Dark Lady in Harold Sakuishi’s
Seven
Shakespeares
(Episode 12)Slide84
154 Sonnets
Are the sonnets fiction or autobiographical?
154 Sonnets: The first 126 sonnets deal with the young man mainly, and the next 26 with the dark lady, and the last two are
a reference to the love triangle in Greek mythology.
http://web.cartoonad.com/comic/227700192024024.html
The Poet and the Dark Lady in Harold Sakuishi’s
Seven
Shakespeares
(Episode 19)Slide85
Love Triangle
Shakespeare’s sonnets tells a
love triangle:
The poet
adores
a young man
of great beauty but of little virtue. The poet also loves
a dark lady
, but the young man steals the dark lady.
The Poet, the Dark Lady, and the Fair Youth
in Harold Sakuishi’s
Seven
Shakespeares
(Episode 19)
http://web.cartoonad.com/comic/227700192024005.htmlSlide86
Shakespeare
Sonnet 55
The sonnets consist of 14 lines, three
four-line stanzas (called quatrains)
and a final
couplet
composed in
iambic pentameter.
The rhyme scheme is typically
a
b
a
b
(first quatrain),
c
d
c
d
(second quatrain),
e
f
e
f
(third quatrain), and
g
g
(couplet).
Not marble, nor the gilded monumen
ts
a
Of princes, shall outlive this powerful rh
yme; b
But you shall shine more bright in these conten
ts
a
Than unswept stone, besmear'd with sluttish t
ime. b
When wasteful war shall statues
overturn, c
And broils root out the work of mason
ry, d
Nor Mars his sword nor war's quick fire shall
burn c
The living record of your memo
ry.
d
'Gainst death and all-oblivious enmi
ty
e
Shall you pace forth; your praise shall still find
room f
Even in the eyes of all posteri
ty e
That wear this world out to the ending
doom. f
So, till the judgment that yourself arise,
g
You live in this, and dwell in lovers' eyes.
gSlide87
Iambic Pentameter
What is iambic pentameter?Iambic sounds:de-DUM de-DUM
Not marble, nor the gilded monumen
ts
a
Shown as a iambic unit:
Not mar
ble, nor
the gil
ded mo numents
Slide88
Glossary
Iambic: One unstressed syllable followed by one stressed syllable
Pentameter: A line of verse containing five iambsMeter:
Rhythm that repeats a basic pattern
Stress:
Intensity that makes a sound prominent
Intonation:
Rise and fall in pitch of the voice in speech
Pace:
Rate of movementSlide89
Sonnet Analysis
Imagery:
similes, metaphorsTheme: read the sonnet as a whole, and then read each quatrain to find the metaphor and the development of the story.
Tone:
experience the poet’s emotionsSlide90
Shakespeare’s Sonnets
In general, Shakespeare’s Sonnets
often contains three themes: (1) life is short (2) the beauty won’t last
(3) the Poet feels trapped in his own desire. Slide91
Shakespeare’s
Sonnet 55
Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme;
To whom this sonnet is dedicated to?
The poet compares his poem, Sonnet 55, to the royal princes’ tomb.Slide92
Sonnet 55
Not
marble,
nor the
gilded monuments
Of princes, shall outlive
this powerful rhyme;
But you shall shine more bright in these contents
Than
unswept
stone,
besmear'd
with sluttish time.
When wasteful
war
shall statues overturn,
And broils root out the work of masonry,
Nor
Mars
his sword nor war's quick fire shall burn
The living record of your memory.
'
Gainst
death
and all-oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
So, till the judgment that yourself arise,
You live in this
, and dwell in lovers' eyes. Slide93
First Stanza 1-4
What is the theme of the Sonnet 55?
besmear'd: make filthywith sluttish time:
i.e., by filthy time.
In Elizabethan time the word "sluttish" could refer to a sexually promiscuous woman or a
grubby, unkempt woman.
Here Shakespeare personifies Time as the latter.
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But
you
shall shine more bright in these contents
Than unswept stone,
besmear'd
with
sluttish
time. Slide94
Second Stanza 5-8
broils: angry, violent quarrels or riots. Mars :
warFire: effectyour memory:
this verse
When wasteful
war
shall statues overturn,
And
broils
root out the work of masonry,
Nor
Mars
his sword nor war's quick
fire
shall burn
The living record of
your memory. Slide95
Third Stanza 9-12
Posterity: future generations
'Gainst
death and all-oblivious enmity
Shall you pace forth;
your praise
shall still find room
Even in the eyes of all
posterity
That wear this world out to
the ending doom.Slide96
Couplet 13-14
Judgment: on Judgment Day
This: poemCan you detect the tone of the narrator?
So, till the
judgment
that yourself
You live in
this,
and dwell in lovers' eyes.Slide97
Sonnet 20
A woman's face with
Nature's own hand painted Hast thou, the master-mistress of my passion; A woman's gentle heart, but not acquainted
With shifting change, as is false women's fashion;
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it
gazeth
;
A man in hue, all hues in his controlling,
Much steals men's eyes and women's souls
amazeth
.
And for a woman wert thou first created;
Till
Nature
, as she wrought thee, fell a-doting,
And
by addition me of thee defeated,
By adding one thing to my purpose nothing.
But since she
prick'd
thee out for women's pleasure,
Mine be thy love and thy love's use their treasure. Slide98
First Stanza 1-4
A woman's face with Nature's own hand painted (a natural beauty)
Hast thou, the master-mistress (likely male-mistress)
of my passion;
A woman's gentle heart, but not
acquainted
With shifting change, as is
false (unfaithful)
women's fashion;
A naughty card based on Shakespeare’s
Sonnet 20
image derived from the internet:
http://www.someecards.com/usercards/viewcard/befcb9314d954d7d4ebb0dbaf86cba7cddSlide99
Second Stanza 5-8
An eye more bright than theirs, less false in
rolling (straying),
Gilding (making the object seem golden)
the object whereupon it
gazeth
;
A man in
hue (appearance; complexion; color)
, all
'hues'
in his controlling,
Much steals men's eyes and women's souls
amazeth
.
Hue:
appearance
All hues:
all looks
The Fair Youth leads the beauty fashion.Slide100
Third Stanza 9-12
And
for (as) a woman wert thou first created;
Till
Nature (goddess loves you, too)
, as she wrought thee, fell a-doting,
And
by addition
me of thee defeated,
By
adding one
thing (penis)
to my purpose nothing.
This stanza has an obvious sexual implication, which raises a question whether the Poet’s (Shakespeare) affection for the Fair Youth is homoerotic.
By Addition/By adding one:
penisSlide101
Couplet 13-14
But since she prick'd
thee out for women's pleasure,Mine be thy love and thy love's use their treasure.
Prick'd
:
picked?
erected
Shakespeares
Sonette
by Robert Wilson and Rufus Wainwright at the Berliner Ensemble (2009):
http://www.youtube.com/watch?v=FsTOXq01KQU&feature=relatedSlide102
Shakespeare’s
Sonnet 18
Sonnet 18 in Harold Sakuishi’s
Seven
Shakespeares
http://mangaway.com/manga/%E4%B8%83%E4%BA%BA%E7%9A%84%E8%8E%8E%E5%A3%AB%E6%AF%94%E4%BA%9A-240Slide103
Sonnet 18
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:Rough winds do shake the darling
buds of May,
And
summer's lease
hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his
gold complexion
dimm'd;
And every fair from fair sometime declines,
By chance, or
nature's
changing course, untrimm'd;
But
thy eternal summer
shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall
Death
brag thou wander'st in his shade,
When
in eternal lines
to time thou grow'st;
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee. Slide104
First Stanza 1-4
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate (i.e., evenly-tempered; mild and sweet):
Rough winds
do shake the
darling buds of May,
And
summer's lease
hath all too short a date: Slide105
Second Stanza 5-8
Sometime too hot the eye of heaven shines (i.e., the sun),
And often is his gold complexion
dimm'd;
And every fair from fair sometime declines
By chance
or nature's changing course untrimm'd
And every fair from fair sometime declines:
the beauty (fair) of everything beautiful (fair) will fade (declines).
or nature's changing course untrimm'd:
the natural changes are the same as agingSlide106
Third Stanza 9-12
But thy eternal summer shall not fade
Nor lose possession of that fair thou owest (i.e., that beauty you possess);
Nor shall Death brag thou wander'st in his shade,
When
in eternal lines to time thou growest (The beloved becomes immortal, grafted to time with the poet's eternal lines (= his poems). Slide107
Couplet
So long as men can breathe or eyes can see,
So long lives this and this gives life to thee.
Please use the below link to listen to a recitation of Sonnet 18:
http://www.youtube.com/watch?v=H-_QlzUJBbU&feature=relatedSlide108
Unit Tests
After studying Sonnet 18, please answer the following question: What is the theme of the Sonnet 18?
A) life is shortB) the beauty won’t last.C) both of the aboveSlide109
Assignment 1
Your assignment is to recite Sonnet 18 in a scenario, which offers your reading and narration with dramatic effects and actions. Please create a brief film of your own interpretation with a use of any visual images to assist your understanding of the metaphors in this sonnet. You should submit the film to the ShareCourse platform.Slide110
Sonnet 116
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved. Slide111
First Stanza 1-4
Let me not to the marriage of true minds
(A)
Admit impediments. Love is not
love
(B)
Which alters when it alteration finds,
(A)
Or bends with the remover to
remove
:
(B)
The two rhymes:
mind
and
finds
love
and re
moveSlide112
Second Stanza 5-8
O no!
it
is an ever-fixed mark
(C)
That looks on tempests and is never shaken;
(D)
It is the star to every wandering bark,
(C)
Whose worth's unknown, although his height be taken.
(D)
it: LoveSlide113
Third Stanza 9-12
Love's not Time's fool, though rosy lips and cheeks
(E)
Within his bending sickle's compass
come:
(F)
Love alters not with his brief hours and weeks,
(E)
But bears it out even to the edge of
doom.
(F)
.
Again,
come
and
doom
seem not rhymed well.Slide114
Couplet 13-14
If this be error and upon me
proved,
(G)
I never writ, nor no man ever
loved.
(G)
The rhyme does not sound right if we pronounce it in contemporary English.
Please listen to Ben Crystal’s demonstration of
Sonnet 116
:
http://www.youtube.com/watch?v=bt7OynPUIY8Slide115
Sonnet 135
Whoever hath her wish, thou hast thy 'Will,'
And 'Will' to boot, and
'Will'
in overplus;
More than enough am I that vex thee still,
To thy sweet
will
making addition thus.
Wilt thou, whose
will
is large and spacious,
Not once vouchsafe to hide my
will
in thine?
Shall
will
in others seem right gracious,
And in my
will
no fair acceptance shine?
The sea all water, yet receives rain still
And in abundance addeth to his store;
So thou, being rich in
'Will,'
add to thy
'Will'
One
will
of mine, to make thy large
'Will'
more.
Let no unkind, no fair beseechers kill;
Think all but one, and me in that one
'Will.'Slide116
Will
The meanings of will which recur throughout the poem are as follows.
1. Wish, desire; thing desired. 2. Carnal desire, lust, sexual longing.
3. The auxiliary verb denoting a future tense, as in 'it
will
be so, thou
wilt
vouchsafe'.
4. Willfulness, obstinacy, determination.
5. A slang term for the male sex organ. As in -
this night he fleshes his will in the spoil of her honour.
AW.IV.iii.14.
6. A slang term for the female sex organ.
7. The name 'William'. Slide117
First Stanza
Whoever hath her wish, thou hast thy 'Will,
And
'Will'
to boot (in addition),
and
'Will'
in overplus (in excessive surplus);
More than enough am I that vex thee still,
To thy sweet
will
making addition thus.
Will:
someone’s resolution, sexual desire or Will (William
Shakespeare or William Herbert?)
If the second and third Wills mean a male sexual organ, this sonnet is very bawdy.Slide118
Second Stanza
Wilt thou whose
will is large and spacious, Not once
vouchsafe (grant)
to hide my
will
in thine?
Shall
will
in others seem
right (adorable),
And in my
will
no fair acceptance shine?
will:
who has large and insatiable sexual
desires
or who has such a
large female genital.
my will in thine:
to have intercourse
will in others:
others' penisesSlide119
Third Stanza
The sea all water, yet receives rain still
And in abundance (abundantly) addeth to
his store (its (the sea's) reserves, quantities of water.);
So thou, being rich in 'Will,' add to thy 'Will‘
One will of mine (a desire of mine), to make thy large 'Will' more
Will:
to increase your sexual pleasure, to swell out your large cunt, to make your store of Williams increase.Slide120
Couplet
Let no unkind, no fair beseechers kill; Think
all but one (all wills are alike), and me in that one 'Will.‘
Will:
that I am the William you desire; that whatever one is in you, it is me; that whatever that one pleasure is that you desire, I will give it to youSlide121
Shakespeare’s
MacbethAct I Scene 5
Shakespeare’s Globe
Photography: Tom GreenSlide122
Soliloquy
To whom the soliloquy is spoken?
Audience-addressed speechSelf-addressed speech
Interior monologue
Hamlet’s soliloquy in Act III Scene 1
“To be or not to be”
Kenneth
Branagh
(1996)
Laurence Olivier (1948)Slide123
Soliloquy Types
Plain SoliloquyAccompanied SoliloquyDialogical Soliloquy- Lady Macbeth’s speech in Act I Scene 5, responding to the letter sent by Macbeth
Soliloquy with Prop- Macbeth’s speech in Act II Scene 1, seeing the daggerSlide124
Imagination
Please imagine yourself watching and listening to the action.
It is a drama, not a novel
!
When you read a scene, please ask yourself the following questions:
Where does the scene take place?
How do the characters feel and act in the scene?
If you were the character, what would you do?Slide125
First Witch
When shall we three meet again? In thunder, lightning, or in rain?
Second Witch When the
hurlyburly's
(riot)
done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Manga Shakespeare
Macbeth
illustrated by Robert DeasSlide126
Second Witch
Upon the heath (wasteland).
Third Witch There to meet with Macbeth.
First Witch
I come,
Graymalkin
!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt.Slide127
Iambic Pentameter
Iambic: One unstressed syllable followed by one stressed syllable
Pentameter: A line of verse containing five iambsIambic: de-DUM de-DUM
Full
fath
om
five
my
fath
er
lies
Heart beat…regular
Iambic pentameter example:
O
Romeo, Ro
me
o,
where
fore
art
thou
Ro
me
o
?
De
ny
thy
fa
ther
and
re
fuse
thy
name
,
Or
if
thou
wilt
not,
be
but
sworn
my
love,
And
I’ll
no
lon
ger
be
a
Ca
pu
letSlide128
Macbeth
Fair is foul, and foul is fair: Hover through the fog and filthy air.
Is this verse written in iambic pentameter?Is it a rhymed verse?Which words will you stress when you read this scene?
What is the tone?!Slide129
Macbeth I.5.1-30
LADY MACBETH
(reading)
“They met me in the day of success, and I have learned by the
perfectest
report they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it came missives from the king, who all-hailed me
'Thane of Cawdor,'
by which title, before, these weird sisters saluted me, and referred me to the coming on of time with
'Hail, king that
shalt
be!'
This have I thought good to deliver thee, my dearest partner of greatness, that thou
might’st
not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell.”Slide130
I.5.1-30
Glamis thou art, and Cawdor; and shalt be
What thou art promised. Yet do I fear thy nature;It is too full o' th' milk of human kindnessTo catch
the nearest way
:
thou wouldst be great,
Art not without ambition
, but without
The illness should attend it.
What thou wouldst highly,
That wouldst thou holily;
wouldst not play false,
And yet wouldst wrongly win.
Thou'ld’st have, great Glamis,
That which cries,
“Thus thou must do,”
if thou have it,
And that which rather thou dost fear to do,
Than wishest should be undone.
Hie thee hither,
That I may pour my spirits in thine ear
And chastise with the valor of my tongue
All that impedes thee from
the golden round,
Which
fate and metaphysical aid
doth seem
To have thee crowned withal.Slide131
Shakespeare’s
MacbethAct I Scene 5 and Act II Scene 1
Manga Shakespeare
Macbeth
illustrated by Robert DeasSlide132
Soliloquy Types
Plain SoliloquyAccompanied SoliloquySoliloquy with Prop- Macbeth’s speech in Act II Scene 1, seeing the dagger
Dialogical Soliloquy- Lady Macbeth’s speech in Act I Scene 5, responding to the letter sent by MacbethSlide133
I.5.28-43
Lady Macbeth
The raven himself is hoarseThat croaks the fatal entrance of DuncanUnder my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty. Make thick my blood.Slide134
I.5.44-54
Stop up the access and passage to remorse,That no
compunctious (regretful)
visitings
of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman’s breasts,
And take my milk for gall, you
murd'ring
ministers (murdering demon),
Wherever in your sightless substances
You wait on nature’s mischief. Come, thick night,
And
pall (cover)
thee in the
dunnest
smoke of hell,
That my
keen knife
see not the wound it makes,
Nor heaven peep through the blanket of the dark
To cry “Hold, hold!”Slide135
Macbeth II.1.34-42
Macbeth
Is this a dagger
which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? Or art thou but
A dagger
of the mind, a false creation,
Proceeding from the heat-
oppressèd
brain?Slide136
II.1.43-48
I see thee yet, in form as palpable (reachable)
As this which now I draw.Thou
marshall’st
me
the way
that I was going,
And such
an instrument
I was to use.
Mine eyes are made
the fools o'
th
' other senses (inferior to other senses),
Or else
worth (better than)
all the rest. I see thee still,
And on thy blade and
dudgeon (handle)
gouts of blood,
Which was not so before. There’s no such thing.Slide137
II.1.49-61
It is the bloody business which informs
Thus to mine eyes. Now o'er the one half-worldNature seems dead, and wicked dreams abuse
The curtained sleep. Witchcraft celebrates
Pale Hecate’s (Goddess of Witch)
offerings, and
withered murder,
Alarumed
by his
sentinel (guard)
, the wolf,
Whose howl’s his watch, thus with his
stealthy (secret)
pace,
With
Tarquin’s
(the Roman tyrant)
ravishing strides, towards his design
Moves like a ghost. Thou sure and
firm-set earth,
Hear not my steps, which way they walk, for fear
Thy very stones
prate (reveal)
of my
whereabout
,
And take the present horror from the time,
Which now suits with
it.
Whiles I threat,
he
lives.Slide138
II.1.62-65
Words to the heat of deeds too cold breath
gives. (Words cool down the heat of deeds.)
[A bell rings]
I go, and it is done. The bell invites me.
Hear it not, Duncan, for it is a knell
That summons thee to heaven or to hell.
http://www.youtube.com/watch?v=pusU90ov8pQ&noredirect=1
Tarquin
The Roman king,
Tarquin
(
Sextus
Tarquinius
), rapes
Lucrece
, the act upon which Shakespeare's long poem of the same name is based. Macbeth and
Tarquin
have many similarities. Slide139
Characters
Viola – a young lady later disguised as a young man named Cesario.
Duke Orsino – Duke of IllyriaOlivia – a wealthy countess
Sebastian
– Viola's twin brother
Antonio
– a captain and friend to Sebastian
Malvolio
– steward in Olivia’s house
Maria
– Olivia's gentlewoman
Sir Toby Belch
– Olivia's uncle
Sir Andrew Aguecheek
–Sir Toby’s rich friend
Feste
– the clown
Fabian
–Sir Toby’s servantSlide140
I.5.154-161
Mal.
Not yet old enough for a man, nor young enough for a boy; as a squash (unripe peapod) is before ’tis a peascod, or
a codling (unripe apple)
when ’tis almost an apple: ’tis with him in
standing water (at the turn of the tide),
between boy and man.
He is very
well-favoured (attractive),
and he speaks very
shrewishly (sharply):
one would think his mother’s milk were scarce out of him.Slide141
I.5.162-174
Oli.
Let him approach. Call in my gentlewoman. Mal.
Gentlewoman, my lady calls. [
Exit.
Re-enter
MARIA.
Oli.
Give me my veil
: come, throw it o’er my face.
We’ll once more hear Orsino’s embassy.
Enter
VIOLA
and
Attendants.
Vio.
The honourable lady of the house, which is she?
Oli.
Speak to me; I shall answer for her. Your will?
Vio.
Most radiant, exquisite, and unmatchable beauty
,—I pray you tell me if this be the lady of the house, for I never saw her: I would be loath to cast away my speech; for, besides that it is excellently well
penned (written [i.e. composed].),
I have taken great pains to
con (learn by heart.)
it. Good beauties, let me sustain
no scorn (don’t laugh at me.);
I am very
compatible (sensitive),
even to the least
sinister usage (unkindness).
Slide142
I.5.175-189
Oli.
Whence came you, sir? Vio.
I can say little more than I have studied (i.e. as an actor learns his part.),
and that question’s out of my part. Good gentle one, give me
modest (reasonable)
assurance if you be the lady of the house, that I may proceed in my speech.
Oli.
Are you a comedian?
Vio.
No,
my profound heart (my wise little sweetheart);
and yet, by the very fangs of
malice (in the face of the most cruel spite)
I swear
I am not that I play (I am not what I impersonate [as the audience knows].).
Are you the lady of the house?
Oli.
If I do not usurp myself, I am.
Vio.
Most certain, if you are she, you do usurp yourself;
for, what is yours to bestow is not yours to reserve (i.e. you are acting wrongly by not giving yourself away to a husband.).
But
this is from my commission (not in my instructions): I will on (I will go on)
with my speech in your praise, and then show you the heart of my message.Slide143
I.5.218-235
Oli. Give us the place alone: we will hear this divinity (sacred doctrine).
[
Exit
MARIA
and
Attendants.]
Now, sir;
what is your text (the subject of your discourse)?
Vio.
Most sweet lady,—
Oli.
A
comfortable (bringing spiritual consolation)
doctrine, and much may be said of it. Where lies your text?
Vio.
In Orsino’s bosom.
Oli.
In his bosom! In what chapter of his bosom?
Vio.
To answer by the method, in the first of his heart.
Oli.
O! I have read it: it is heresy.
Have you no more to say?
Vio.
Good madam,
let me see your face.
Oli.
Have you any commission from your lord to negotiate with my face? you are now
out of (departing from)
your text: but we will draw the curtain and show you the picture.
[
Unveiling.
]
Look you, sir, such a one I was as this present : is’t not well done?
Slide144
I.5.236-250
Vio.
Excellently done, if God did all (i.e. if you haven’t used cosmetics.).
Oli.
’Tis in grain (ingrained, natural.),
sir; ’twill endure wind and weather.
Vio.
’Tis
beauty truly blent (blended),
whose red and white
Nature’s own sweet
and cunning (skilful)
hand laid on:
Lady, you are the cruell’st she (woman) alive,
If you will lead (carry) these graces to the grave
And leave the world no copy (i.e. a child.).
Oli.
O! Sir, I will not be so hard-hearted; I will give out divers
schedules (various detailed listings)
of my beauty: it shall be inventoried, and
every particle and utensil labelled to my will (every item goes to my will.):
as
Item,
Two lips,
indifferent (fairly)
red;
Item,
Two grey eyes, with
lids (eyelids)
to them;
Item,
One neck, one chin, and so forth.
Were you sent hither to praise (make a valuation of) me?
Slide145
I.5.251-257
Vio.
I see you what you are: you are too proud;But, if you
were the devil (even if you were as proud as Lucifer [leader of the fallen angels].),
you are fair.
My lord and master loves you: O! such love
Could be but recompens’d (would not receive more than it deserved.), though you were crown’d
The nonpareil of beauty (crowned the unequalled queen of beauty.).
Oli.
How does he love me?
Vio.
With adorations,
with fertile (abundant)
tears,
With groans that thunder love, with sighs of fire.
Oli.
Your lord does know my mind; I cannot love him;
Why can’t Olivia love Orsino? In her eyes, what is Orsino like?Slide146
I.5.259-264
Olivia: Yet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth;In voices
well divulg’d (well spoken of), free (generous),
learn’d, and valiant;
And, in dimension and
the shape of nature (in his physical form).
A
gracious (attractive) person
; but yet I cannot love him:
He might have took his answer long ago.Slide147
I.5.265-274
Vio.
If I did love you in my master’s flame (spirit),
With such a suffering, such a
deadly life (Viola pictures Orsino as a martyr, dying for love.),
In your denial I would find no sense;
I would not understand it.
Oli.
Why, what would you?
Vio.
Make me
a willow cabin (hut of willows [the emblem of unrequited love].)
at your gate,
And call upon
my soul (i.e. Olivia)
within the house;
Write loyal
cantons (songs)
of
contemned (rejected)
love,
And sing them loud even in the dead of night;
Halloo (shout)
your name to the
reverberate (resonant)
hills,
And
make the babbling gossip of the air (Echo, a nymph who wasted away for love of Narcissus until nothing remained but her voice.)Slide148
A Willow Cabin Speech
The significance of Viola/Cesario’s Willow Cabin speech
The speech is said in response to Olivia’s request. “Why, what would you?”
1. Make me
a willow cabin
at your gate,
And call upon
my soul (i.e. Olivia)
within the house;
2. Write loyal
cantons (songs)
of
contemned (rejected)
love,
And sing them loud even in the dead of night;
3. Halloo (shout)
your name to the
reverberate (resonant)
hills,
And
make the babbling gossip of the air (Echo)
Cry out, ‘Olivia!’ O! you should not
rest (a. remain; b. have peace of mind)
Between the elements of air and earth (i.e. anywhere.),
But you should pity me!Slide149
I.5.275-279
Vio.
Cry out, ‘Olivia!’ O! you should not rest (a. remain; b. have peace of mind)
Between the elements of air and earth (i.e. anywhere.),
But you should pity me!
Oli.
You might do much.
What is your parentage (family)?
Vio.
Above my fortune, yet
my state (present social rank)
is well:
I am a gentleman.Slide150
Olivia’s Soliloquy
Oli.
‘What is your parentage?’‘Above my fortunes, yet my state is well:
I am a gentleman.’ I’ll be sworn thou art:
Thy tongue, thy face, thy limbs, actions, and spirit,
Do give thee five-fold blazon (an aristocratic class).
Not too fast: soft! soft!
Unless the master were the man (unless the servant were the master).
How now!
Even so quickly may one catch the plague?
Methinks I feel this youth’s perfections
With an invisible and subtle stealth
To creep in at mine eyes. Well, let it be.
What, ho! Malvolio!
Re-enter
MALVOLIO.
Mal.
Here, madam, at your service.Slide151
Shakespeare’s
Twelfth NightTwo Soliloquies
Manga Shakespeare
Twelfth Night
by Nana LiSlide152
Viola/Cesario’s soliloquy in Act II Scene 2, depicted in
Manga Shakespeare Twelfth NightSlide153
II.2.17-26
Vio.
I left no ring with her: what means this lady?Fortune forbid my outside (appearance in male attire)
have not charm’d her!
She
made good view of (looked hard at)
me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts (brokenly, not in complete sentences)
distractedly.
She loves me, sure; the cunning of her passion
Invites me in (through, by means of)
this
churlish
(rude)
messenger.
None of my lord’s ring! why, he sent her none.
I am the man (whom she falls in love with):
if it be so, as ’tis,
Poor lady, she were better love a dream.Slide154
II.2.27-34
Disguise, I see, thou art a wickedness,
Wherein the pregnant (full of ideas) enemy (Satan, the ‘enemy of mankind’ [who is always disguised]) does much.
How easy is it for the
proper-false (handsome deceivers)
In women’s waxen (easily impressed)
hearts to set their forms!
Alas!
our frailty is the cause (i.e. of women’s susceptibility to love.),
not we!
For such as we are made of, such
we be (we are what we are made of: Viola excuses her own weakness, as well as Olivia’s.).
How will this
fadge (turn out)
loves her dearly;
And I,
poor monster (i.e. her being both male and female),
fond (dote)
as much on him;Slide155
II.2.35-41
And she, mistaken, seems to dote on me.What will become of this?
As I am man (since I am disguised as a man.),My state is
desperate (hopeless)
for my master’s love;
As I am woman,—now alas the day!—
What
thriftless (wasted)
sighs shall poor Olivia breathe!
O time! thou must untangle this, not I;
It is too hard a knot for me to untie. [
Exit.Slide156
Olivia’s GardenSlide157
III.1.116-124
Oli Under your hard
construction (severe judgement.) must I sit,To force
that (i.e. the ring)
on you, in a shameful cunning,
Which you knew
none of yours (was not yours):
what might you think?
Have you not
set mine honour at the stake,
And baited it with all th’ unmuzzled thoughts
That tyrannous heart can think (Olivia pictures herself as a bear tied to the stake and tormented by all the unrestrained thoughts that a cruel heart can devise.)?
To one of
your receiving (understanding.)
Enough is shown; a
cypress (a transparent veil),
not a bosom,
Hideth my heart. So, let me hear you speak.
Vio.
I pity you.Slide158
III.1.125-129
Oli.
That’s a degree (step) to love.
Vio.
No, not a
grize (step);
for ’tis a
vulgar proof (common experience)
That very oft we pity enemies.
Oli.
Why,
then methinks ’tis time to smile again (I can smile again [because her enemy shows pity].).
O world! how
apt the poor are to be proud (the deprived are so quick to think well of themselves [Olivia is ironic].).Slide159
Oli. Stay:I prithee, tell me what thou think’st of me.Slide160
III.1.141-147
Vio.
That you do think you are not what you are (a. you forget that you are a noblewoman; b. you do not imagine you are in love with a woman.).
Oli.
If I think so,
I think the same of you (i.e. that you are not what you appear to be.).
Vio.
Then think you right: I am not what I am.
Oli.
I would you were as I would have you be (I wish you were what I want you to be [i.e. Olivia’s love].)!
Vio.
Would it be better, madam, than I am?
I wish it might, for now
I am your fool (you’re making a fool of me.).
Oli.
O!
what a deal of scorn looks beautiful
In the contempt and anger of his lip (how beautiful he looks with his lips showing angry contempt.).Slide161
III.1.148-158
Oli.
A murderous guilt (the guilt of a murderer) shows not itself more soonThan
love that would seem hid (love that tries to hide itself); love’s night is noon (the most secret love is as clear as midday.).
Cesario, by the roses of the spring,
By
maidhood (virginity),
honour, truth, and every thing,
I love thee so, that, maugre all
thy pride (despite all your unkindness.),
Nor wit nor reason (don’t force yourself to deduce from this argument [‘clause’] that because [‘For that’] I am courting you, there is no need for you to court me.)
can my passion hide.
Do not extort thy reasons from this clause,
For that I woo, thou therefore hast no cause;
But rather
reason thus with reason fetter (join one reason to another like this.),
Love sought is good, but giv’n unsought is better.Slide162
III.1.159-164
Vio.
By innocence I swear, and by my youth,I have one heart, one bosom, and one truth,And that no woman has; nor never none
Shall mistress be of it, save I alone.
And so adieu, good madam: never more
Will I my master’s tears to you
deplore (weep out).
Slide163
IIII.1.165-166
Oli. Yet come again, for thou perhaps mayst move (persuade)
That heart, which now abhors, to like his love. [Exeunt.Slide164
The Taming of the Shrew (1976)
Comedia del'Arte interpretation
Starring Fredi Olster, Marc Singer and Stephen St. Paul. in American Conservatory Theater in San Francisco.
http://www.amazon.com/The-Taming-Shrew-Marc-Singer/dp/B00021Y850 Slide165
II.1.162-170
PETRUCHIOI’ll
attend (wait for) her hereAnd woo her with some spirit when she comes.
Say that she rail
; why then I’ll tell her plain
She sings as sweetly as a nightingale.
Say that she frown
; I’ll say she looks as clear
As morning roses newly washed with dew.
Say she be mute and will not speak a word
;
Then I’ll commend her volubility,
And
say she uttereth piercing eloquence
.Slide166
II.1.171-177
If she do bid me pack, I’ll give her thanks,
As though she bid me stay by her a week.If she deny to wed, I’ll crave the day
When I shall ask
the banns (announcement of the wedding date)
and when be marrièd.
But here she comes—
and now, Petruchio, speak.
Enter KATHARINA
Good morrow, Kate; for that's your name, I hear.Slide167
II.1.177-190
KATHARINA
Well have you heard
, but something
hard
of hearing:
They call me Katharina that do talk of me.
PETRUCHIO
You lie, in faith; for you are call'd plain
Kate
,
And bonny
Kate
and sometimes
Kate
the
curst (cursed)
;
But
Kate
, the prettiest
Kate
in Christendom
Kate of Kate Hall
, my super-dainty
Kate,
For
dainties are all Kates
(delicacies are called ‘cates’; cuisine)
,
and therefore,
Kate
,
Take this of me,
Kate
of my
consolation (comfort)
;
Hearing thy mildness praised in every town,
Thy virtues spoke of, and thy beauty sounded,
Yet not so deeply
as to thee belongs (as you deserve)
,
Myself am
moved
to woo thee for my wife.Slide168
II.1.191-199
KATHARINA
Moved!
in good time (indeed)
: let him that
moved
you hither
Remove you hence: I knew you at the first
You were a
moveable (a prop or furniture).
PETRUCHIO
Why, what's a
moveable?
KATHARINA
A join'd-stool.
PETRUCHIO
Thou hast
hit it (got it right)
: come,
sit on me.
KATHARINA
Asses (butts; fools)
are made to
bear (carry loads; bear children; carry the weight of a lover)
, and so are you.
PETRUCHIO
Women are made to
bear
, and so are you.
KATHARINA
No such
jade (worthless horse)
as you, if me you mean.
PETRUCHIO
Alas! good Kate, I will not
burden (lie heavy; accuse)
thee;
For, knowing thee to be but young and
light (slender; promiscuous)
--Slide169
II.1.208-213
KATHARINA
Ay, if the fool could find it where it lies,
PETRUCHIO
Who knows not where a wasp does
wear his sting? In his
tail
.
KATHARINA
In his
tongue
.
PETRUCHIO
Whose tongue?
KATHARINA
Yours, if you talk of
tales
: and so farewell.
PETRUCHIO
What, with
my tongue in your tail?
nay, come again,
Good Kate
; I am a gentleman.
KATHARINA
That I'll try.
She strikes himSlide170
II.1.214-221
PETRUCHIO
I swear I'll cuff you, if you strike again.
KATHARINA
So may you lose your arms:
If you strike me, you are no gentleman;
And if no gentleman, why then no
arms (emblem)
.
PETRUCHIO
A herald, Kate? O,
put me in thy books (register me as a gentleman; accept me into your favour)
!
KATHARINA
What is your
crest (heraldic device; feathers on a bird’s head)
? a
coxcomb (fool’s cap; resembling the crest of a cock)
?
PETRUCHIO
A
combless (harmless; peaceable; implying sexual gratification)
cock, so Kate will be my hen.
KATHARINA
No cock of mine; you crow too like a
craven (fighting cock)
.
PETRUCHIO
Nay, come, Kate, come; you must not look so sour.Slide171
II.1. 214-217
PETRUCHIO
I swear I'll cuff you, if you strike again.
KATHARINA
So may you lose your arms:
If you strike me, you are no gentleman;
And if no gentleman, why then no
arms (emblem)
.Slide172
II.1.253-267
PETRUCHIO
Marry (Virgin Mary)
, so I
mean (intend to)
, sweet Katharina, in thy bed:
And therefore, setting all this chat aside,
Thus
in plain
terms (to speak plainly)
: your father hath consented
That you shall be my wife; your dowry
'greed (agree)
on;
And,
Will you, nill you (whether you’re willing or not), I will marry you.
Now, Kate, I am a husband for your turn (just right for you);
For, by this light, whereby I see thy beauty,
Thy beauty, that doth make me like thee well,
Thou must be married to no man but me;
For I am he am born to tame you Kate,
And bring you from a
wild Kate (wild cat)
to a Kate
Conformable (tame; submissive)
as other household
Kates (cates; sweet thing)
.Slide173
Shakespeare’s
Romeo and JulietPrologueSlide174
Prologue
Chor. Two households, both alike in dignity
, In fair Verona, where we lay our scene,
From ancient grudge break to new
mutiny
,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two
foes
A pair of star-cross’d
lovers take their life;
Whose misadventur’d piteous
overthrows
Doth with their death bury their parents’ strife.
The fearful passage of their death-mark’d
love
,
And
the continuance of their parents’ rage,
Which,
but their children’s end,
nought could
remove
,
Is now the two hours’ traffick of our stage;
The
which
if you with patient ears
attend
,
What here shall miss, our toil shall strive to
mend
. [Exit. (1:15)Slide175
Prologue
Enter Chorus.Chor. Two
households (families), both alike in dignity (nobility),
In fair Verona, where we
lay (set)
our scene,
From ancient
grudge (quarrel)
break to new
mutiny (violence),
Where
civil (belonging to fellow-citizens)
blood makes civil hands unclean.Slide176
Prologue
From forth (bred from) the fatal loins of these two foes
A pair of star-cross’d (ill-fated) lovers take their life;
Whose
misadventur’d (unfortunate)
piteous
overthrows (disasters)
Doth (do)
with
their death bury their parents’ strife (fight).Slide177
Prologue
The fearful passage (course)
of their death-mark’d (doomed to death) love,
And the continuance of their parents’ rage,
Which,
but their children’s end (but…end: only the deaths of their children.),
nought could
remove (stop),
Is now the two hours’ traffick (business lasting for two hours) of our stage;
The which if you with patient ears attend,
What here shall
miss (what is omitted in this Prologue (which, inform, is a perfect sonnet).),
our
toil (labor)
shall strive to mend.
[Exit.Slide178
Characters
House of Capulet
Capulet Juliet’s father
Lady Capulet
Juliet’s mother
Juliet
the 13-year-old daughter of Capulet
Tybalt
Juliet’s cousin
The Nurse
Juliet's personal attendant
Peter
,
Sampson
and
Gregory
servants
House of Montague
Montague
Romeo’s father
Montague's wife
Romeo’s mother
Romeo
the son of Montague
Benvolio
Romeo's cousinSlide179
Character Studies
Please ask the following questions for each character:
Who is he/she? (i.e. age, personality, education, etc.)What is he/she trying to do? (i.e. your purpose, motivation in the scene)
By what means? (your method to get what you want)
Against what resistance (anyone or anything stops you from getting what you want)
Does this person get what he or she wants?Slide180
I.3.1-4
Enter LADY CAPULET and Nurse.
Lady Cap.
Nurse, where’s my daughter?
call her forth to me.
Nurse.
Now, by my maidenhead, at twelve year old
,— (The Nurse perhaps lost her virginity soon after this.)
I bade her come. What, lamb! what
, ladybird! (The Nurse’s term of endearment.)
God forbid! (i.e. that anything has happened to Juliet.)
where’s this girl? what, Juliet!
Slide181
I.3.5-10
Enter
JULIET. Jul. How now! who calls?
Nurse.
Your mother.
Jul.
Madam, I am here.
What is your will? (what do you want)
Lady Cap.
This is the matter. Nurse,
give leave awhile. (leave us for a time)
We must talk in secret:
nurse, come back again;
I have remember’d me,
thou’s (you shall)
hear
our counsel. (conversation)
Thou know’st my daughter’s of
a pretty age. (a. at an attractive age; b. old enough.)
Slide182
I.3.11-15
Nurse. Faith (by my faith),
I can tell her age unto an hour. Lady Cap.
She’s not fourteen.
Nurse.
I’ll
lay (wager)
fourteen of my teeth—
And yet to my
teen (sorrow)
be it
spoken (it must be said)
I have but four—
She is not fourteen. How long is it now
To
Lammas-tide (time)
?
(1 August; Lammas (from an Anglo-Saxon word for ‘loaf’) was a harvest festival celebrating the first ripe corn.)
Slide183
I.3.16-22
Lady Cap. A fortnight and odd (a few)
days. Nurse.
Even or odd, of all days in the year,
Come
Lammas-eve (31 July, the day before Lammas.)
at night shall she be fourteen.
Susan (The Nurse’s own daughter.)
and she—God rest all Christian souls!—
Were of an age (the same age).
Well, Susan is
with God (dead);
She was too good for me. But, as I said,Slide184
I.3.16-22
Lady Cap. A fortnight and
odd (a few) days.
Nurse.
Even or odd, of all days in the year,
Come
Lammas-eve (31 July, the day before Lammas.)
at night shall she be fourteen.
Susan (The Nurse’s own daughter.)
and she—God rest all Christian souls!—
Were of an age (the same age).
Well, Susan is
with God (dead);
She was too good for me. But, as I said,Slide185
I.3.23-30
Nurse
On Lammas-eve at night shall she be fourteen;
That shall she,
marry (by the Virgin Mary);
I remember it well.
’Tis since the earthquake now
eleven years;
And she was wean’d, I never shall forget it,
Of all the days of the year, upon that day;
For I had then laid
wormwood (a bitter herbal preparation (used to persuade the infant to stop suckling).)
to my
dug, (breast)
Sitting in the sun under the dove-house wall;
My lord and you were then at Mantua.Slide186
I.3.31-37
Nurse Nay, I do bear a brain:—but, as I said,
When it did taste the wormwood on the nippleOf my dug and felt it bitter, pretty fool!
To see it
tetchy (irritable)
and
fall out with the dug.
‘Shake,’ (move, get away)
quoth the dove-house:
’twas no need, I trow,
To bid me trudge: (’twas…trudge: there was no need to tell me to take myself off.)
And since that time it is eleven years;Slide187
I.3.38-42
NurseFor then she could
stand high lone (upright by herself); nay, by the rood, (the cross of Christ)
She could have run and waddled
all about; (everywhere)
For even the day before she broke her
brow: (cut her forehead)
And then my husband—God be with his soul!
A’ (he)
was a merry man—took up the child:Slide188
I.3.43-50
Nurse ‘Yea,’ quoth he, ‘dost thou fall upon thy face?
Thou wilt fall backward
when thou hast more wit;
Wilt thou not, Jule?’ and, by my halidom,
The pretty wretch left crying, and said ‘Ay.’
To see now how a jest shall come about!
I warrant (I’m sure), an (if)
I should live a thousand years,
I never should forget it: ‘Wilt thou not, Jule?’ quoth he;
And, pretty fool,
it stinted (stopped (crying))
and said ‘Ay.’
Slide189
I.3.51-55
Lady Cap. Enough of this; I pray thee, hold thy peace. (be quiet)
Nurse.
Yes, madam. Yet I cannot choose but laugh,
To think it should leave crying, and say ‘Ay.’
And yet, I warrant, it had upon
its brow (its forehead)
A bump as big as a young
cockerel’s stone; (testicle)
Manga Shakespeare
Romeo and Juliet
,
illustrated by Sonia LeongSlide190
I.3.56-61
Nurse. A parlous knock; and it cried bitterly:
‘Yea,’ quoth my husband, ‘fall’st upon thy face?
Thou wilt fall backward when thou
com’st to age; (are old enough)
Wilt thou not, Jule?’ it stinted and said ‘Ay.’
Jul.
And stint thou too, I pray thee, nurse, say I.
Nurse.
Peace, I have done.
God mark thee to his grace! (God…grace: may God choose you for His special grace.)Slide191
I.3.62-67
Nurse
Thou wast the prettiest babe that o’er I nursed:
An I might live to see thee married once,
I have my wish. (And…wish: if I could live to see you married, I should have all I could wish for.)
Lady Cap.
Marry, that ‘marry’ is the very theme
I came to talk of. Tell me, daughter Juliet,
How stands your disposition to be married? (How…married: how do you feel about being married.)
Slide192
I.3.68-73
Jul. It is an honour that I dream not of.
Nurse. An honour!
were not I thine only nurse, (were…nurse: if I were not the only nurse who has fed you.)
I would say thou hadst suck’d wisdom from thy teat.
Lady Cap.
Well, think of marriage now; younger than you,
Here in Verona,
ladies of esteem, (noble ladies)
Are made already mothers:
by my count, (reckoning)Slide193
I.3.74-80
Lady Cap. I was your mother much upon these years (at about the same age)
That you are now a maid. Thus then in brief,
The valiant Paris seeks you for his love.
Nurse.
A man, young lady! lady, such a man
As all the world—why, he’s a
man of wax. (a perfect model of a man)
Lady Cap.
Verona’s summer hath not such a flower.
Nurse.
Nay, he’s a flower;
in faith (indeed),
a very flower.Slide194
I.3.95-99
Lady Cap.
So shall you share all that he doth possess,
By having him
making yourself no less. (no lower (in social esteem))
Nurse.
No less! nay, bigger;
women grow (i.e. become pregnant)
by men.
Lady Cap.
Speak briefly
, can you like of (be pleased with)
Paris’ love?
Jul.
I’ll look to like (I’ll…like: I’ll expect to like him.),
if looking liking move; (If looking ….move: if seeing him is enough to make me like him.)
But
no more deep will
I
endart
(shoot as a dart)
mine eye
Than your consent gives strength to make it fly.
(no more…fly: I won’t give him any more encouragement than you will allow.)Slide195
Ranman
½
Ranma (boy) & Akane (girl)
Episode 39
"Kissing is Such Sweet Sorrow! The Taking of
Akane's
Lips“
Akane
has been chosen to play the part of
JulietUpon
hearing that the person who plays Romeo gets to see China,
Ranma
wants to play the role.
The balcony scene at 1:49
http://www.youtube.com/watch?v=4ImCrnbgOHwSlide196
II.1.42-51
Ben. Go, then, for ’tis in vain
To seek him here that means not to be found.
Rom.
He jests at scars, that never felt a
wound.
(He…wound: he can laugh at scars because he has never been wounded;
speaking to Benvolio’s ‘found’ (scene 1, line 48) indicates that no scene break is intended—although Romeo is now
inside
the orchard.)
Leonard Whiting as Romeo
in
Romeo and Juliet
(1968), directed by Franco ZeffirelliSlide197
Character Studies
Please ask the following questions for this character:
Who is he/she? (i.e. age, personality, education, etc.)
What is he/she trying to do? (i.e. purpose, motivation in the scene)
By what means? (method to get what he or she wants)
Against what resistance (anyone or anything stops him or her from getting what he or she wants)
Does this person get what he or she wants? Slide198
II.1.44-51
Rom. But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun! Arise, fair sun, and kill the envious
moon,
Who is already sick and pale with grief,
That thou her
maid (Diana; goddess of the moon and patroness of virgins)
art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but
sick and green,
And none but
fools
do wear it (Her…wear it: Romeo compares the habitual
‘greensickness’ (=anaemia)
of young girls (‘vestal’),
to the green and yellow coat worn by professional jesters.);
cast it off.Slide199
II.1.52-60
[JULIET
appears above at a window. Rom
It is my lady; O! it is my love:
O! that she knew she were. (O that…were: I wish she knew that she is the lady I love.)
She speaks, yet she says nothing: what of that?
Her eye
discourses (speaks eloquently);
I will answer it.
I am too bold, ’tis not to me she speaks:
Two of the fairest stars
in all the
heaven,
Having some business, do entreat
her eyes
To twinkle in their
spheres (orbits)
till they return.
What if her eyes were
there
,
they
in her head?Slide200
II.1.61-68
Rom
The brightness of her cheek would shame those
stars
As
daylight
doth
a lamp
; her
eyes
in heaven
Would through the airy
region (sky) stream (shine beams of light)
so bright
That birds would sing and think it were not night.
See!
how she leans her cheek upon her hand:
O! that I were a glove upon that hand,
That I might touch that cheek.
Jul.
Ay me! Slide201
II.1.69-79
Rom.
She speaks: O! speak again, bright angel; for thou art
As glorious to this night, being o’er my head,
As is
a winged messenger of heaven
Unto the
white-upturned
wond’ring
eyes (white…eyes: eyes showing their whites as they look in wonder.)
Of mortals, that
fall back (throw their heads back)
to gaze on
him
When
he
bestrides the
lazy-pacing clouds, (slow-moving puffs of cloud)
And sails upon the bosom of the air.
Jul.
O Romeo, Romeo!
wherefore art thou Romeo? (wherefore…Romeo: why is your name ‘Romeo’.)
Deny thy father (refuse to acknowledge your parentage),
and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
Rom.
[
Aside.
]
Shall I hear more, or shall I speak at this?Slide202
II.1.80-91
JULIET
'Tis but
thy name
that is my enemy.
Thou art thyself, though not a
Montague
.
What’s
Montague
? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other
name!
What’s in a
name?
That which we call a rose
By any other word would smell as sweet.
So
Romeo
would, were he not
Romeo
called,
Retain that dear perfection which he owes
Without that title.
Romeo,
doff thy
name,
And for that
name
, which is no part of thee
Take all myself.Slide203
Romeo and Juliet (1968)
British-Italian romance film based on the tragic play of Romeo and Juliet
, directed by Franco Zeffirelli http://ffilms.org/romeo-and-juliet-1968/Slide204
Character Studies
Please ask the following questions for this character:
Who is he/she? (i.e. age, personality, education, etc.)
What is he/she trying to do? (i.e. purpose, motivation in the scene)
By what means? (method to get what he or she wants)
Against what resistance (anyone or anything stops him or her from getting what he or she wants)
Does this person get what he or she wants? Slide205
II.4.1-8
JULIET The clock struck nine
when I did send the Nurse.In half an hour she promised to return.
Perchance she cannot meet him. That’s not so.
Oh, she is lame!
Love’s heralds
should be thoughts,
Which ten times faster glide than the sun’s beams,
Driving back shadows over louring hills.
Therefore do
nimble-pinioned doves draw love
And therefore hath
the wind-swift Cupid wings.Slide206
II.4.9-22
Now is
the sun upon the highmost hill
Of this day’s journey, and from nine till twelve
Is three long hours,
yet she is not come.
Had she affections and warm youthful blood,
She would be as swift in motion as a
ball.
My words would
bandy (throw)
her to my sweet love,
And his to me.
But old folks, many feign as they were dead,
Unwieldy, slow, heavy, and pale as lead.
Enter
Nurse
and
PETER.
O God! she comes. O honey nurse! what news?
Hast thou met with him? Send thy man away.Slide207
II.4.32-40
Nurse.
Jesu! what haste? can you not stay a while?Do you not see that I am out of breath?
Jul.
How art thou out of breath when thou hast breath
To say to me that thou art out of breath?
The excuse that thou dost
make in this delay (for this delay)
Is longer than the tale thou dost excuse.
Is thy
news good, or bad?
answer to that;
Say either, and
I’ll stay the circumstance (I will wait):
Let me be satisfied,
is ’t good or bad?Slide208
II.4.41-44
Nurse. Well, you have made a
simple (foolish) choice; you know not how to choose a man: Romeo! no, not he; though his face be better than any man’s, yet his leg excels all men’s; and for a hand, and a foot, and a body, though they be not to be talked on (not worth talking about),
yet they are past compare. He is not the
flower (model)
of courtesy, but, I’ll warrant him, as gentle as a lamb.
Go thy ways, wench; serve God (Go…God: enough of this, my girl, behave yourself.).
What! have you dined at home?
Jul.
No, no: but all this did I know before. What says he of our marriage? what of that?Slide209
II.4.43-54
Nurse.
Lord! how my head aches; what a head have I!
It beats as it would fall in twenty pieces.
My back
o’
t’other side (on the other side);
O!
my back, my back!
Beshrew (curse)
your heart for sending me about,
To catch my death with
jauncing (tripping)
up and down.
Jul.
I’ faith, I am sorry that thou art not well.
Sweet, sweet, sweet nurse, tell me, what says my love?
Nurse.
Your love says, like an
honest (honourable)
gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous,—Where is your mother?
Slide210
II.4.55-61
Jul. Where is my mother! why, she is within;
Where should she be? How oddly thou repliest:
‘Your love says, like an honest gentleman,
Where is your mother?’
Nurse.
O!
God’s lady (the Virgin Mary)
dear,
Are you so
hot (impatient
)? Marry, come up, I
trow
;
Is this the
poultice (medication)
for my aching bones?
Henceforward do your messages yourself.
Jul.
Here’s such a
coil (fuss)!
come, what says Romeo?
Nurse.
Have you got leave to go to
shrift (confession)
to-day?
Jul.
I have.Slide211
II.4.62-71
Nurse.
Then hie (go) you hence to Friar Laurence’ cell,
There stays a husband to make you a wife:
Now comes the
wanton (uncontrolled)
blood up in your cheeks,
They’ll be in
scarlet (blush)
straight at any news.
Hie you to church; I must another way,
To fetch a ladder, by the which your love
Must climb a bird’s nest soon when it is dark;
I am the drudge and toil in your
delight, (labour for your happiness)
But you shall bear the
burden (carry a. the responsibility; b. the weight of your lover.)
soon at night.
Go; I’ll to dinner: hie you to the cell.Slide212
Romeo and Juliet
Act IV Scene 3
Manga Shakespeare
Romeo and Juliet
by Sonia LeongSlide213
Plot
Juliet's cousin Tybalt is killed by Romeo. Out of fright, Romeo flees. Capulet, Juliet’s father, wants her to be married to Paris next day. Friar Laurence gives Juliet a potion, which can help her to feign death. Slide214
IV.3. 13-22
LADY CAPULET Good night.
Get thee to bed and rest, for thou hast need.Exeunt
LADY CAPULET
and
NURSE
JULIET
Farewell!—God knows when
we
shall meet again.
I have a faint
cold
fear
thrills
through my veins
That almost
freezes up
the heat of life.
I’ll call
them
back again to comfort me.—
Nurse!
—What should she do here?
My dismal scene I needs must act alone.
Come, vial.
(holds out the vial)
What if this mixture do not work at all?
Shall I be married then tomorrow morning?Slide215
IV.3.23-32
No, no. This shall forbid it. Lie thou there.
(lays her knife down) What if it be a poison, which the friar
Subtly hath ministered to have me dead,
Lest in
this marriage
he should be dishonored
Because he married me before to Romeo?
I fear it is. And yet, methinks, it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point.Slide216
IV.3.33-41
Shall I not, then, be stifled in the vault
To whose foul mouth no healthsome air breathes in,And there die strangled ere my Romeo comes?Or, if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient
receptacle (container),
Where for these many hundred years the bones
Of all my buried ancestors are packed;Slide217
IV.3.42-54
Where
bloody Tybalt, yet but green in earth,Lies festering in his shroud; where, as they say,At some hours in the night spirits resort—?
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like
mandrakes (poisonous plant)
torn out of the earth,
That living mortals, hearing them, run mad—?
Oh, if I wake, shall I not be distraught,
Environèd with all these hideous fears,
And madly play with
my forefather’s joints,
And pluck the
mangled Tybalt
from his shroud,
And, in this rage, with
some great kinsman’s bone,
As with a club, dash out my desperate brains?Slide218
IV.3.55-58
Oh, look! Methinks I see my cousin’s ghostSeeking out Romeo, that did spit his body
Upon a rapier’s point. Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink. I drink to thee.
She drinks and falls down on the bed, hidden by the bed curtainsSlide219
Taiwanese Romeo and JulietSlide220
Pop Music: Sad Juliet (1988)
Annie
Shizuka
Inoh
(
伊能靜
)
The album cover
Annie’s Past and Present Life: Sad Juliet
.
350,000 records sold!Slide221
Juliets (2010)
a collection of three short films directed by Hou Chi-Jan (
侯季然), Shen Ko-Shang (沈可尚) and Chen Yu-Hsun (陳玉勳
).
The first short, “Juliet's Choice” (
該死的茱麗葉
), is set in 70s Taipei under martial law.
Ju
, played by Vivian Hsu (
徐若瑄
),
who is handicapped, longing to escape with the university student,
Luo
.Slide222
Juliets (2010)
“Two Juliets” (兩個茱麗葉) tells a parallel stories of two girls who are both betrayed by their lovers. They give up waiting for their lovers to return and bravely face their respective future.Slide223
Juliets (2010)
In “Another Juliet” (
還有一個茱麗葉), Juliet is played by TV presenter Kan Kan (
康康
),
a gay, middle-aged man who attempts to commit suicide after his 28th unrequited loves before he turns 40 alone.Slide224
Tainaner
EnsembleRomeo and Juliet (2004)
台南人劇團
(
Tainanjen
Jutuan
)
羅密歐與朱麗葉
(
Luomiou
Yu
Juliye
)
呂柏伸導演
(directed by Lu Po-
shen
)
http://shakespeare.digital.ntu.edu.tw/shakespeare/view_record.php?Language=en&Type=p&rid=TNE2004ROMSlide225
K24 (2005-2011)Slide226
Mary in K24
The President’s daughter, Mary, plays Juliet in the play within a play in K24. The ‘woman’ in red dress is the Nurse played by Mario.Slide227
Mario in K24
The secret agent Mario, wearing the T-shirt of the Super Mario Bros, plays the Nurse in the audition.Slide228
Paris in K24
Paris the actor plays Romeo (sitting on the sofa) and Mary the President’s daughter is killed in the parody. Slide229
K24
Directed by Tsai,
Pao-chang
6 hours in total
2 episodes (2005)
4 episodes (2006)
Season 1: 6 episodes (2007)
Revived several times from 2008 onwards.Slide230
Parody
Romeo and Juliet
K24Slide231
“To quack, or not to quack.”
Is this Shakespeare ?
?Slide232
Kawaii
可愛
Shakespeare:mascot for Shakespeare Forum in Tokyo (2012) Tokyo,
at Professor Minami’s college, Shirayuri College
Is This Shakespeare ?
Shakespeare = the most authoritative
global
writer
+
Kawaii
, stupid, manga-style,
local
ly coming from JapanSlide233Slide234
Twelfth Night
By Nana Li Born in China,
Brought up in Sweden,
Now in London
Manga Shakespeare Series
(SelfMadeHero Publishing)
♡ Publisher : London
♡ style: manga
♡ artists: from everywhere
Living in UK.Slide235
Shakespearean products that are produced in one country often travels across national and cultural borders, not necessarily because they are ‘Shakespearean’, but because ‘Shakespeare’ is put in a global media/vehicle such as
anime
and
manga
.
Yilin
Chen and Minami
Ryuta
, “
Popular
Shakespeares
in
East Asia: Local and Global Dissemination”, Shakespeare
450 , Paris, 21-27 April 2014
Slide236
Can you tell the differences?
Original, Korean Version
Chinese translation version
By
Won Soo YeonSlide237
Won Soo Yeon, a top manhwa
artist in South Korea
(right)
Elio & Yvette
, based on
Romeo and JulietSlide238
Taiwanese translation of Korean Manhwa versions
of Shakespeare
Cordelia and King of France
Hamlet as
bishonen
(a
kawaii
boy)Slide239
English text book version,
Yanbian Daxue University, China.Slide240
Black Butler
(黒執事)
by Toboso Yana (2006- )Three Shakespeare-related episodes/images. 1. Grell quoting “Wherefore art thou Romeo?”
2. Visual references to
Hamlet
3. reference to to princes in London Tower
(
Richard
III)Slide241
Grell’s version of
“O Romeo, Romeo, Wherefore art thou Romeo.”Slide242
Black Butler
A Visual Reference to Hamlet with Yorick’s skull
Do you recognize this as coming from
Hamlet
? Slide243
First Clown
This same skull,sir, was Yorick's skull, the king's jester.HAMLET
This? . . . Let me see. Takes the skull
Alas, poor
Yorick
! I knew him, Horatio (5.1)Slide244
Alas, poor Pig-rick
Ham-let as a piggy Slide245
Cosplay
(
コスプレ
, kosupure), short for
"costume play",is a type of performance art whose participants outfit themselves, with often-elaborate costumes and accessories, as a specific character. Characters are usually sourced in various Japanese and East Asian media, including manga, anime, tokusatsu, comic books, graphic novels, video games, and fantasy movies.).
1
st
Annual
Manga Shakespeare Cosplay
and Performance Competition (2008)Slide246
Cosplay based on
Manga Shakespeare Hamlet
37Slide247
Dress Up Shakespearean Actor magnet figuresSlide248
These are toys are basing their commercial values on Shakespeare’s authority [a flagship model in the market of cultural capital], even though sometimes in parody.
If Shakespeare is not big, these toys wouldn’t sell.
http://rebrick.lego.com/en-US/bookmark/alas-poor-yorick/do0e7gSlide249
Some might say this sort of de-contextualized quotation or spin-offish second order creation are abuse of Shakespeare
. Yet I am no purist. I would like to see and examine what these by-product (as it were) are doing with Shakespeare’s cultural authority by using Shakespeare’s works, as a sort of raw materials (as it were) to work on, rather than finished works. Slide250
Lady Capulet in Harumo Sanazaki,
Romeo and Juliet (2001)
Creative re-creation of Shakespeare’s works in mangaSlide251
Harumo
Sanazaki,
Macbeth
Creative re-creation of Shakespeare’s works in mangaSlide252
manga adaptation of
Hamlet
by Ms. Meng Chen,
全力出版有限公司(台北)
Creative re-creation of Shakespeare’s works in mangaSlide253
Kill Shakespeare
T-shirt,
with the artist’s autographSlide254
Do you know her Name? --- on Harumo Sanazaki’s
Macbeth
(1)
Yukari Yoshihara (University of Tsukuba)Slide255
Shakespeare’s
Lady Macbeth
has no personal name
---why?Slide256
Holinshed’s
Chronicles
(1577), source of Shakespeare’s
Macbeth
Duncan --- a grandson of Malcolm II
reigned only six years
Macbeth
--
also a grandchild of Malcolm II
The Lady of Macbeth
--- whose real name was
Graoch
the granddaughter of Kenneth IV
--- Kenneth IV: killed 1003, fighting against Malcolm II
Note: Shakespeare himself was
an adapter of source texts. Slide257
Ms. Sanazaki gives (back) the name, Grouch,
to Lady Macbeth----why?Slide258
In Shakespeare’s
Macbeth, he is a tyrant.
SIWARD We learn no other but
the confident tyrant
Keeps still in
Dunsinane
, and will endure
Our setting down before 't.
MALCOLM
'Tis
his main hope:
For where there is advantage to be given,
Both more and less have given him the revolt,
And none serve with him but constrained things
Whose hearts are absent too. (5.3)Slide259
Mackbeth
, after the dparture thus of Duncanes
sonnes, vsed
great
liberalitie
towards the nobles of the
realme
, thereby to win their
fauour
, and when he saw that no man went about to trouble him, he set his whole intention to
mainteine
iustice
, and to punish all enormities and abuses, which had chanced through
the
féeble
and
slouthfull
administration of
Duncane
. And to bring his purpose the better to
passe
without
anie
trouble or great
businesse
, he
deuised
a
subtill
wile
to bring all
offendors
and
misdooers
vnto
iustice
, soliciting
sundrie
of his liege people with high rewards, to challenge and
appeale
such as most oppressed the commons, to come at a day and place appointed, to fight singular combats within barriers, in
triall
of their accusations.
In Holinshed, Macbeth is a good king.
From Shakespeare Navigators: http://shakespeare-navigators.com/macbeth/Holinshed/ Slide260
Why did Shakespeare distort history?
One theory: to please King James VI and I.
King James (1566-1625) VI and I
James VI of Scotland, James I of England and Ireland
succeeded Queen Elizabeth I in 1603
cf. Macbeth first performed c. 1606,
possibly before the king.
Banquo = James’ direct ancestor in the Stuart Dynasty
James = the 9
th
Stuart Monarch
ALL
Show his eyes, and grieve his heart;
Come like shadows, so depart!
A show of Eight Kings
, the last with a glass in his hand;
GHOST OF BANQUO following
(4.1)
Slide261
Shakespeare himself was an adapter
--- or pirate --- or bootlegger
of history/source
to be freely adapting, using, abusing, or recycling history.
From the ways he adapted etc., we can know the ways he thought. Slide262
In Ms. Sanazaki’s version --- Macbeth is a generous and good ruler,
who ruled Scotland for more than ten years.Slide263
Gruoch:
Men want me because of my linage, because I am in the royal bloodline, because they can be a king if they have me as their wife. . . Why do you hesitate [to kill Duncan] now? You married me because you have ambition to the throne [not because you loved me].
In the next session, we are going to have chance to
ask the artist, Ms. Sanazaki, about how and why she adapted Shakespeare’s tragedy in that way.
But first, you need to know the story of
Ms. Sanazaki’s
Macbeth
.Slide264
From Macbeth Navigator
http://www.shakespeare-navigators.com/macbeth/JamesGen.html
Historical Lady Macbeth
= descendant of King Duff and Kenneth IV
= higher in the order of line of successionSlide265
I will take revenge on the world, I will have everything.
For all the precious things I have had to give up since my childhood,
To let my husbands gain claim to the kingship.
I have been used as if I were some commodity or property,
Not a human being with my own feelings and mind,
To secure male inheritance of kingship.
I have been exchanged between men fighting for the kingship.
I have been used as a trophy to legitimatize their claim to the throne.
I was torn apart from the boy baby in my former marriage.
To make up for all these losses,
I WILL be a queen.Slide266
Banquo
Macbeth, a fierce fighter, is now a benevolent king,
attentive to his subjects’ wish and needs.Lord
Thanks to his wise government, people became richer.
Our enemy, England, would not dare to attack us for our
king is a dauntless fighter.
Macbeth as a wise ruler in Ms. Sanazaki’s
MacbethSlide267
Banquo
Didn’t you see how people cheered him [Macbeth]?
He has his subjects’ hearts. Slide268
BANQUO
Thou hast it now: king, Cawdor, Glamis, all, As the weird women promised, and, I fear, Thou play'dst most foully for't: yet it was said
It should not stand in thy posterity, But that myself should be the root and father of many kings. (3.1)
Shakespeare’s Banquo
Sanazaki’s Weird SistersSlide269
Sanazaki’s Banquo in despair at the news of Grouch’s pregnancy
Great News! Grouch or Lady Macbeth is pregnant! Slide270
Banquo’s men spill oil on steps.
Grouch falls, and miscarries. Slide271
In Sanazaki’s
Macbeth:Macbeth had intended to abdicate the throne,
so that Banquo’s descendants can be kings,as predicted by the three witches.After abdication, he wanted to live peaceful life with Grouch and their child.
But Banquo injured his wife and killed their child.
Macbeth kills Banquo, to take revenge on his
crime to make Grouch miscarry.Slide272
Grouch becomes deranged after miscarriage.
She dreams of Macbeth’s severed head on her lap,And then dream of her husband calling her to come to him.
Ambition or love?: Sanazaki’s Macbeth as romance Slide273
Dreaming she is going to run into his embrace,
She falls from the citadel.Slide274
講師
: 王肇
數位圖像應用
(
一
)Slide275
Photoshop CS6 功能介紹
開新檔案
(1)
寬度
:59
(2)
高度
:44
(3)Dpi: 72Slide276
Photoshop CS6 功能介紹Slide277
Photoshop CS6 功能介紹
用於選取畫面Slide278
Photoshop CS6 功能介紹
魔術棒
:
比較方便使用Slide279
Photoshop CS6 功能介紹
羽化
:
柔邊功能Slide280
Photoshop CS6 功能介紹
移動圖片功能Slide281
Photoshop CS6 功能介紹
去背另一個小工具
:
橡皮擦
(
土法煉鋼
)Slide282
Photoshop CS6 功能介紹
建好圖層
匯入圖片
使用選取工具框住圖片Slide283
Photoshop CS6
功能介紹
去背
圖片要分成很多類別
!Slide284
Photoshop CS6 功能介紹
分群組
以及各部位Slide285
Photoshop CS6 功能介紹Slide286
講師
: 王肇
數位圖像應用
(
二
)Slide287
Photoshop CS6 圖形去背Slide288
Photoshop CS6 圖形去背
建好圖層
匯入圖片
使用選取工具框住圖片Slide289
Photoshop CS6
分門別類
去背
圖片要分成很多類別
!Slide290
Photoshop CS6 分門別類
分群組
以及各部位Slide291
Photoshop CS6 上色
(1)
使用魔術棒選取
(2)
上色Slide292
Photoshop CS6 上色
(1)
新增圖層
(2)
設定背景色
(3)
設為底層Slide293
Photoshop CS6 新增對話框
新增對話框
選擇框線圖案Slide294
Photoshop CS6 新增對話框
新增文字
請同學記得兩段文字
要新增圖層來完成
這樣動畫
才不會擠在一起Slide295
講師
: 王肇
數位圖像應用
(
三
)Slide296
什麼是AE?
Adobe after effects
(AE)動態視覺設計軟體
用於
2D
和
3D
合成
製作動畫和視覺效果
常用於
Apps
製作上Slide297
今天要做的事
首先要有圖
有圖才能使用Photoshop分解構圖
人物各關節分門別類很重要
接著才能製作動畫Slide298
AE教學
分門別類完會看到許多張圖Slide299
AE教學
尋找軸心Slide300
AE教學
預覽效果Slide301
AE教學
其他效果-
讓人走動Slide302
AE教學
計算格速