Global/Local Shakespeare - PowerPoint Presentation

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 JapanSlide233
Slide234

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