It’s time once again to check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond in the name of fun and public service. All of the following searches brought people to this site in the past week.

That’s a good question. For the past five years, I’ve been using “Mosh” by Eminem. It was great for teaching repetition, rhyme, rhythm, alliteration, antithesis, allusion, and emendation (where I edited out the profanity). Useful as it is, though, it’s starting to get a little old, so I’d appreciate any good suggestions. Are there any popular hip hop songs today that use a lot of poetic devices that might be good for teaching Shakespeare?

Well, the Tudors were English, but it’s important to remember that they reigned from 1485 to 1603, a time of extraordinary changes in publishing, literacy, and what would be considered “the English language.” This was the time of the Great Vowel Shift, as Middle English transitioned into Early Modern English, and the Middle Ages gave way to the Renaissance.

Probably the most famous work written by a Tudor monarch would be the Defense of the Seven Sacraments, which Henry VIII wrote in Latin, a very common written language at the time. However, his personal letters are in English.

Bloody Mary refers to Queen Mary I, another Tudor monarch who reigned from 1553-1558. She was daughter to Henry VIII (by Catherine of Aragon) and older sister to Elizabeth I. She died before Shakespeare was born, and does not appear in any of his plays, not even the one that bears her father’s name.

The phrase “ghost the fine worth” is an anagram of “Twelfth Night, or Shoe” if you add an extra “L” into the mix. But “Shoe” is not the subtitle of that play, and the extra “L” is cheating, so that’s probably not it. If you do allow substitutions, you can swap “S” for “KNURY” and make “King Henry the Fourth, Two.” The closest I can come is to remove an “O” from the original phrase and replace it with “AEM.” What play title could you anagram then?

UPDATE: Play title discovered by Dharam. See comments for answer.

It’s hard to really put a play at a particular grade level. I prefer to teach the play I want to teach, and plan instruction to fit the students I’m teaching. I’ve only taught As You Like It twice, once to 7th graders and once to graduate students. The lighthearted tone of the play and the fun situations that it depicts make this a fun choice for even the youngest students studying Shakespeare. So if you’re wondering if As You Like It would be a good play for your students, it probably is!

The historical Macbeth died in 1057, so the event you’re looking for is most likely the Battle of Hastings in 1066. This completed the Norman invasion, and basically defined what we think of England even today. William the Conqueror became King William I of England, and every English monarch since – whether King John or Richard III or Henry VIII or George III or Victoria or Elizabeth II – has been a direct descendant of his. That is one impressive legacy.

I leave the task of responding to the remaining search terms to my readers:

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

Every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought readers to this site in the past week.

Enjoy!

Queen Katherine in Shakespeare’s Henry VIII is Catherine of Aragon. You can find good monologue material here and here.

You really have to consider Paulo Friere as Augusto Boal’s number one influence. Boal’s works also contain significant references to Marx, Hegel, Aristotle, Brecht, and Shakespeare. He was, of course, also greatly influenced by all of the many people with whom he interacted during his lifetime.

I love the idea of having students write obituaries for Shakespeare’s characters. They could also write classified ads, advice column requests, and news stories. I’ve recently read blog posts where characters from Shakespeare have written Letters to Santa and New Year’s Resolutions, and these seem like good writing assignments for students as well.

Because he kills everyone who might possibly get in his way. But is he ultimately successful? See below.

Nothing. He’s dead.

Even if he weren’t, life would be bleak. His wife would be gone, and he’d be out of power. And as a former tyrant, he’d be made a laughing stock among the people. His decision to attack Macduff after all of the prophecies have come true may seem reckless to us, but he may not feel that he has a choice.

People looking for hidden “I wrote this” messages in Shakespeare are generally looking to prove that the plays were written by someone else. Shakespeare would have had little reason to hide such a message. But take a look at this page from a late Hamlet quarto, and see if you can find Shakespeare’s authorship message (hint: look at the writing below “Hamlet, Prince of Denmark”).

None of the three seasons of Slings & Arrows centered around The Tempest, but the very first scene of the series does. Geoffrey is directing this very play before the events that will bring him back to the New Burbage. I often tell people who may be interested in the show to watch this scene and the opening credits, and if they’re not hooked by then, there is no need to go on.

With this age group, I recommend doing activities to introduce the plot, characters, and themes of the play before they read the actual text. Start here, and if you like what you read, check out my doctoral dissertation, which was on this exact topic. You should also check out the Cambridge School Shakespeare Macbeth, which has a lot of great activities that can be adapted to this age group, and the Shakespeare Set Free book that includes Macbeth for even more great ideas.

Probably the most significant war Shakespeare lived through was the undeclared Anglo-Spanish War. In the late 16th century, Spanish King Phillip II was gathering an international coalition of Catholic forces to launch an invasion of England and overthrow Queen Elizabeth I. The Spanish Armada was famously defeated by the English navy in 1588. This victory launched a new wave of patriotic fervor among the English, and a popular trend of writing plays about English kings just as Shakespeare was beginning his career as a playwright.

No. Tudor was the surname of the English royal family from 1485 to 1603. The man we refer to as King Henry VIII was born Henry Tudor, Queen Elizabeth I was Elizabeth Tudor, etc. Margaret Tudor, sister of Henry VIII, married James Stuart (King James IV of Scotland) and their offspring continued the Stuart line in Scotland. Eventually, the Stuarts (in the person of James VI of Scotland) ascended to the English throne as well. When we speak of the Tudors and the Stuarts, then, we are not referring to titles, but to actual family names.

So, Shakespeare wasn’t a Tudor; he was a Shakespeare. But he was born and raised under Tudor rule. He lived the rest of his life under Stuart rule.

I was taken aback by this one.

In this post, I discussed how ancient Greek playwrights would often show characters torn between their solemn duties to their oikos (family) and their polis (state), and how this is also a recurring theme in the television series 24. I also discussed how both 24 and ancient Greek tragedy share a unity of place, and used Antony and Cleopatra as a counter-example to demonstrate that Shakespeare did not have to conform to this unity.

What, then, was this search looking for? I don’t really think that oikos vs. polis is a theme in Antony and Cleopatra. It seems to me that the interests of family and state are aligned, and what the title characters are really balancing are those interests vs. their own passions.

The technical term for a king with no Y chromosomes is a “queen.” Notable queens of England have included a couple of Elizabeths, a couple of Marys, an Anne, and a Victoria (plus others, depending on what you want to count).

Almost by definition, a man has an X chromosome and a Y chromosome, and a woman has two X chromosomes. I say almost, because it is possible for there to be variations, but I am not familiar with any kings of England with such a condition.

I leave the task of responding to the remaining search terms to my readers:

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

It’s been a while, but every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service.

In celebration of the fact that I’m moving the Googleplex to Sundays, I’m going to double my usual 6-for-me/6-for-you format and give you 12 of each. Full disclosure: I actually started this post some time ago. All of the following 24 searches did bring people to this site in the same week; it just wasn’t this past week.

Enjoy!

I kept getting hits for this search, and couldn’t for the life of me figure out what people were looking for. Then, I realized that they were searching for this TED lecture on how schools kill creativity, given by Sir Ken Robinson in 2006. It’s almost 20 minutes long, but well worth watching. I should have posted this a long time ago.

I think they were looking for the actual psychological phenomenon, and not my analysis of a sitcom. But this post now ranks fourth in this particular Google search. The Internet is a funny place.

Shakespeare’s take on George III would have been well worth the staging. He probably would have also had a go at William III and the Glorious Revolution. We’d probably still be staging the famous Battle of the Boyne scene and debating whether or not Shakespeare was a secret Jacobite.

The two monarchs were Elizabeth I and James I. I’m not really sure what the rest of your question was going to be.

Shakespeare lived between two periods of severe religious strife. The mid-16th century was marked by radical shifts in English religious life described in greater detail here. After Shakespeare’s death, growing religious tension between Catholics and Protestants would lead to civil war and the execution of King Charles I. Compared to these two periods of violence, Shakespeare’s England was relatively stable religiously, though obviously there was still some unrest.

People have looked to Shakespeare’s plays for clues of where he fell on the question, but there’s no concrete evidence either way. Most of his plays are set either before the Protestant Reformation or in Northern Italy (which was solidly Catholic at the time) so Shakespeare – seemingly by design – didn’t have to deal with the religious issue much. One notable exception is Measure for Measure, which takes place in Vienna. If you would like to read Shakespeare’s scenes depicting a Protestant official debating the death penalty with a Catholic novice, you will find them here and here.

King Lear takes place in pre-Christian Britain. The characters make various references to Roman gods such as Jupiter and Apollo.

Queen Elizabeth died in 1603, and Shakespeare had spent much of his career writing popular plays about her famous ancestors. When James I ascended the throne, Shakespeare wrote a play about his ancestors to honor the new king.

Note that the bloodthirsty Macbeth is not one of these ancestors. Rather, the noble Duncan, Malcolm, Siward, Banquo, and Fleance are the ancestors of James depicted in the play. Oh yeah, and the first seven of the show of eight kings. See below.

Not good. Concerned about a prophecy that says that Banquo’s decendants will be kings, Macbeth demands to know whether all that he has done has been for the benefit of another’s line. The witches show him eight kings, and Banquo’s ghost who points to them as his. These eight kings correspond with the eight actual Stuart kings of Scotland. The eighth king is James himself.

Well, I suppose the conventional answers are Romeo and Juliet and A Midsummer Night’s Dream. But I’ve had some success with Othello and Cymbeline which aren’t exactly the first plays that come to mind when I think of the term “age appropriate.” If you can find a way to help students make it their own, the experience will encourage them to appreciate Shakespeare, no matter which play you choose. Go with a selection that you’re passionate about, and maybe your enthusiasm will be infectious. Or, if you’re really daring, describe a few of the plays to the students, and let them choose which one they want to work with.

Ah, Jack Cade – one of Shakespeare’s most under-recognized comic characters. Propped up as a claimant to the throne, the rough-hewn Cade promises to kill all the lawyers and ban literacy. The famous scene is here and you can find Cade monologues here and here.

She’s pretty clearly evil, and I’ve never seen her played any other way, but that’s as far as I can go. I’m sure someone has played her otherwise. Does anyone have another experience, or an idea of an alternate interpretation?

This makes me very curious. Were they looking for my Tempest lipogram? Or did they have another reason to search for this? It seems pretty specific to me. Hmmm.

I leave the task of responding to the remaining search terms to my readers:

Thanks for the good feedback about last week’s invite rhymes for the Best of the Bard and Henry VIII invites. The Shakespeare invites don’t usually involve poetry, but I do like to include a tagline to catch the interest of group members. Since I haven’t actually organized a reading in some time, I could at least share with you some of the taglines I’ve used. And since there are a few Shakespeare lovers who read this blog, I thought we could make a game out of it.

Can you identify the fifteen plays represented by the taglines below?

1. Bundle up, head on over, and join us as we catch winter by its tale. Hot cocoa will be served.

2. You like it! You really like it!

3. Everybody dies.

4. Come join us at our favorite Bavarian beerhouse as we travel to an austere statehouse, a rowdy whorehouse, and a dank jailhouse.

And then we’re gonna read a play.

5. Revenge is a beach.

6. Witches! Ghosts! Swordplay! Intrigue! Betrayal! Treachery! And the cold-blooded murder of a benefactor! Come join in the fun, as we read the play that dares not speak its name.

7. An afternoon to read. A lifetime to master.

8. We all know what happens when the children of rival families fall in love. But what happens when the rulers of rival countries fall in love?

9. What better way to spend an afternoon than with Rumor, Blunt, Shallow, Silence, Fang, Snare, Mouldy, Shadow, Wart, Feeble, Pistol, Quickly, and Doll?

10. Four hundred years before Seinfeld, there was a show about nothing.

11. We’re gonna party like it’s 1199.

12. Cast of Characters: a nobleman in disguise, an adulterer, a tyrant, an outcast, a wimp, a lackey, a fugitive, a bastard, a fool, two wicked sisters, and an elderly king, slowly losing his grasp on his humanity. Yes, we’re all in there somewhere.

13. And now for something completely different.

14. Bon Appetit!

15. Come join our monthly meeting of conspirators as we sink our daggers into Shakespeare’s classic tale of political intrigue and betrayal in Ancient Rome.

BONUS QUESTION: If readings are typically held on the first Sunday of each month, what play would have been the appropriate choice for January 2008?

Please post whatever you come up with in the comments section.

UPDATE: Correct plays provided by Asher (10) and Jeremy (6).

I was telling someone of my list of favorite scenes this evening, and it made me think of a reading that I was planning to have several years ago. Instead of choosing one play, I would edit together a collection of the most popular scenes for us to read. Due to scheduling problems, we weren’t able to have the reading, but I did send out an invitation. The invitation was written largely in iambic dimeter (!), and I thought the readers of this site might appreciate it.

Enjoy!

A witches’ brew. A fiery shrew. A knavish sprite. A portly knight. A maid’s disguise. A Jew’s surprise. A bastard’s plan. Each age of man. A paper crown. A motley clown. A nightmare haunt. This John of Gaunt. A guarded door. A jealous Moor. A castaway. St. Crispin’s Day.

A eulogy. A balcony.

The death of kings.

And other things…

It’s the very best of all the scenes, speeches, and sonnets from Shakespeare, hand-picked and edited by yours truly. Be there … or not to be there.

Oh, did I mention that I’m giving a presentation at the Folger in June?

Readers in the Washington DC area should definitely check this conference out, considering the quality and variety of the two-day program. My co-presenters are an amazing collection of top-notch Shakespeare educators, and I feel incredibly honored to be listed among them.

I will be presenting my research into how technology can help facilitate the collaborative project-based learning that helps younger students make a meaningful stretch into Shakespeare. This study was recently accepted for publication as well, so it’s good news all around.

News and updates, of course, will be posted here.

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

It’s been a while, but every now and then I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought people to this site in the past week.

Obviously, this depends on how much time you spend reading per day, how quickly you read Shakespeare, and how deeply you want to examine the text. But Macbeth is a play, and is one of Shakespeare’s shorter plays at that. You could probably stage an uncut production in about two and a half hours. A first-time reader should be able to make it through the text in two evenings. Reading it out loud in a group should not take more than four hours, including breaks between acts.

“The Promised End” is the last episode of the Canadian television series Slings & Arrows. As with all Season 3 episodes, the title is taken from King Lear. In the last scene of the play, Lear enters carrying his dead daughter and, in a mixture of delusion and denial, believes it is possible she is still alive. Kent looks at the pathetic scene and laments “Is this the promised end?” After a lifetime of power and majesty, Lear has become an object of pity. And if a king can be reduced to this, what end can the rest of us be promised?

The word analysis makes me think this is a homework assignment, but no matter. Here’s the scene. Othello’s hardly in it, and doesn’t seem all that arrogant to me. Did you mean Iago’s arrogance?

I still get a lot of hits for this. But we should clear up the difference between descendants of the Tudors, and descendants of King Henry VIII. Henry VIII has no known descendants, though the conversation continues. But the Tudor line was founded, not by Henry VIII, but his father, Henry VII. His line continued, not through son Henry, but through daughter Margaret. She was ancestor to all future English monarchs. So there are many, many people descended from the Tudors alive today.

This may be controversial, but I’m not a big fan of teaching King Lear in a K-12 setting. I know there are people who have done wonderful things with it, but I think there are better choices. The themes of the play are really more relevant to more mature audiences. I think kids relate better to young lovers, revenge killings, and battles for power than they do to the strained relationships between aging parents and their adult children. It’s one of the greatest works of literature ever written, but I think it takes some life experience to digest. I’ve only ever taught it once, in an advanced graduate course in Shakespeare, and it was one of the best experiences I’ve ever had teaching Shakespeare.

I admit I could be wrong about this, but I hold this belief firmly. I look forward to one day being convinced otherwise.

This is probably not what you were looking for, but my name is Bill.

I leave the task of responding to the remaining search terms to my readers:

We come to school expecting answers, but what we really learn is how to ask good questions.

Any work of drama must ask a question. We see it on television all the time. Who killed Laura Palmer? Will Jack Bauer stop the terrorists? What do the “numbers” mean? We also see a number of television shows and movies where the main characters have jobs that require them to ask good questions. Journalists and police detectives are quite common. We see doctors and lawyers in this role too.

When creating dramatic activities for the classroom, it’s often useful to think of the power of the dramatic question. Putting students in roles (like detectives) that ask questions can help stimulate their inquiry process.

Last night was the last class in my Dramatic Activities in the English Classroom course, and I invited my graduate students to write any remaining questions they may have about the course material on an index card, and I would try to address them. One student wrote “Why don’t you post your Macbeth lesson to your website?” – a reference to a lesson on Macbeth that I had demonstrated earlier in the course. So now I share it with you.

This is an actual lesson I have taught many times to introduce Macbeth to a class that is new to it. I originally created it for a fifth-grade class that would be studying the play, but I have taught the lesson in many grades, and in this course many times. The lesson is meant to be taught before the students begin reading the play, so they are not expected to have any prior knowledge.

The students are put in role as police detectives. The teacher is in role as the chief of police. The chief informs the detectives that they will be traveling back in time to the 11th century, and gives them an overview of the crime – Duncan, the King of Scotland, has been murdered. There were nine people in the castle at the time the body was discovered. They must choose which suspects to interview and form a theory of the crime. The chief reviews each of the nine suspects:

MACBETH – The Thane of Glamis and Cawdor. It was his castle at Inverness where the murder took place.
LADY MACBETH – Macbeth’s wife.
MALCOLM – The King’s older son, and the Prince of Cumberland. It is assumed he will become king.
DONALBAIN – The King’s younger son.
BANQUO – Kinsman to Macbeth and Duncan.
FLEANCE – Young son to Banquo.
MACDUFF – The Thane of Fife. He discovered the body.
LENNOX – The Thane of Lennox.
PORTER – Keeper of the gate. Nobody can enter the castle unless the gate is opened from the inside.

The chief asks the detectives who they would like to interview. The detectives vote, and whoever is chosen is played by the teacher, who sits in a chair to indicate the change in role. The detectives interview the suspect and take detailed notes until they are satisfied. They may then choose to interview another suspect, who will also be played by the teacher. At the end of class, students have to write a police report, stating who they believe committed the murder, and why they think so.

Though the interviews, intriguing details emerge. The porter was not at his post all night! There were two other people in the castle, and they were killed by Macbeth after the body was discovered! Malcolm and Donalbain have fled, and are not available for questioning! Other details provoke further questions. Why won’t Macbeth give a straight answer about what he discussed with Banquo on the battlements last night? Were Macbeth and Lady Macbeth both woken by Macduff’s knocking this morning? How did Malcolm respond to hearing his father was murdered?

Obviously, the teacher needs to be very familiar with the play to pull this off. But if done well, it gives the students the opportunity to dig around a little bit in the world of the play before approaching the text. The teacher should not overact the role; the activity should be driven by the questioning of the students. Also, I try to avoid giving any information that’s not in the play, if possible.

It really doesn’t matter who the students ask to talk to. I don’t have any particular information that it’s necessary for students to gain from this activity. The focus is not on giving students any particular answers; the value is in getting them to ask the right questions. And when they leave, they should still have questions. It just might motivate them to want to read the play, and help them understand it better when they do.

I’d like to start a new weekly feature where I discuss the teaching of Shakespeare. I know – that’s the last thing you’d expect from this blog – but let’s give it a try and see how it goes. Over the next few months, I’m planning to teach The Merchant of Venice, Othello, and Hamlet to different eighth-grade classes, plus I’ll be doing Macbeth and Shakespeare in general with my graduate students, so I should have a lot to share over the next few months.

This week, I began working with an eighth-grade class on The Merchant of Venice. These students will be creating a video (similar to the Cymbeline video the same teacher’s class created last year). I came in to give students an introduction to the play. I happen to be working with the same students in their Social Studies class on our Civil Rights unit, and I’m looking to make cross-curricular connections, so we began by looking at Shylock’s speech from Act I, Scene iii:

Signior Antonio, many a time and oft
In the Rialto you have rated me
About my moneys and my usances:
Still have I borne it with a patient shrug,
For sufferance is the badge of all our tribe.
You call me misbeliever, cut-throat dog,
And spet upon my Jewish gaberdine,
And all for use of that which is mine own.
Well then, it now appears you need my help:
Go to then; you come to me, and you say,
‘Shylock, we would have moneys:’ you say so;
You, that did void your rheum upon my beard,
And foot me as you spurn a stranger cur
Over your threshold: moneys is your suit.
What should I say to you? Should I not say,
‘Hath a dog money? Is it possible
A cur can lend three thousand ducats?’ or
Shall I bend low, and in a bondman’s key,
With bated breath, and whispering humbleness,
Say this:—
‘Fair sir, you spet on me on Wednesday last;
You spurn’d me such a day; another time
You call’d me dog; and for these courtesies
I’ll lend you thus much moneys?’

I asked the students to interpret the speech, and they seemed to have no trouble at all understanding what Shylock was saying. We went through the rest of the scene and the students understood the deal being made and the motivations behind it on both sides. When we got to the last lines of the scene…

Come on: in this there can be no dismay;
My ships come home a month before the day.

…the students understood that Antonio’s ships would not be coming in. The teacher made a nice connection to the current financial crisis that caught everyone by surprise. We also covered Portia’s father’s challenge by reading Morocco’s examination of the three caskets in the next scene. Before we looked at Morocco’s choice, the students predicted that the lead casket was the correct one, because it’s always the most unlikely one. One student (who “hates Shakespeare”) explained that Portia’s father didn’t want someone for his daughter who was selfish or greedy. I’m really going to enjoy working with this class.

We showed them the Cymbeline video and invited them to start thinking about what they might want to do with The Merchant of Venice. And now that the students’ interest is piqued, the teacher is going to go back and cover the characters and themes before the students start reading the play.

More next week!

I subscribe to a service called “SiteMeter” which allows me to see a limited amount of information about my visitors. One thing that I can see is if someone finds my site via a Google search, and what they were searching for.

Once a week (or so), I check in on what searches people have done to find themselves at Shakespeare Teacher, and to respond to those search terms in the name of fun and public service. All of the following searches brought people to this site in the past week.

At long last, this site is the first hit in a Google search for “Shakespeare Teacher” which means that it’s the default for the “I’m Feeling Lucky” option. So you’ve got to ask yourself one question: Do I feel lucky. Well, do ya, punk?

Abraham Lincoln didn’t die while reading Macbeth; he was shot in the back of the head while attending the theatre. The play wasn’t Shakespeare, but the assassin was Edwin Booth’s brother, so that’s close enough.

Lincoln was a huge fan of Macbeth. Five days before his own assassination, he read aloud passages from the play that dealt with Duncan’s assassination to the Marquis de Chambrun. These passages haunted him, much as the chilling coincidence has the power to haunt us.

The Tudors were a dynasty of English monarchs that rose to power when Henry Tudor defeated King Richard III at the Battle of Bosworth in 1485 to become King Henry VII. The line ended with the death of his granddaughter Queen Elizabeth I in 1603.

Shakespeare was born in England in 1564, during the reign of Elizabeth, and therefore spent most of his life living under Tudor rule. There are also Tudor connections in two of Shakespeare’s history plays. Richard III ends with Henry VII coming to power, and Henry VIII is the story of Elizabeth’s famous father.

I’m not sure. The last vision is, I believe, the show of eight kings, and it seems like Macbeth gets the message: Banquo will be the father to a line of kings. However, Macbeth does go on to try to change his fate, which doesn’t seem to be possible in this world, so maybe that’s the message Macbeth doesn’t get.

My take is that he understands the prophecies, and accepts them as long as they are to his advantage, but when things go badly, he decides to take matters into his own hands, trying vainly (!) to usurp fate as he had usurped so much else.

Evince!

Great question! Usually if I’m teaching Shakespeare, I’m teaching a particular play. If students are new to Shakespeare, I don’t jump into the language right away. I try to structure activities that interest students in the world of the play, the themes, the characters, and the plot.

When I am ready to introduce students to Shakespeare’s language, I do so by giving them a speech from the play we’re about to read, as well as the lyrics to a popular rap song. We then compare and contrast the way language is used in both texts.

I leave the task of responding to the remaining search terms to my readers:

what rule did shakespeare change

how shakespeare affected Galileo

why was shakespeare so successful

a physical description of puck the mischievous sprite

henry the eighth for 10 year olds

shakespeare’s idea of humor