Back when we used to be able to enjoy things like bars and friends, I used to participate in a monthly event held in a bar called Drunken Shakespeare.

Sponsored by the Night Shift Theatre Company, the event invited anybody who wished to participate to come in and sign up for a slot to perform a Shakespeare piece to the crowd. I was a regular since my first attendance in June 2017.

When the pandemic hit, the event was renamed #SequesteredShakespeare and moved to Instagram. We also did a few socially distant meetings in person in Central Park when the weather was nicer.

The most recent Sequestered Shakespeare was held online this past Monday. Here is the video I put together to share with the group.

Enjoy!

Caption: Shakespeare’s Prince Hal envisions his reformation and his future as king.

Today is Sibling’s Day, and I’m pleased to send a shout out to my sister Susan, as well as the honorary brothers and sisters I’ve been lucky to accumulate over the years.

I lost such an adopted brother four years ago today. Larry Cohen and I grew up together throughout childhood and our teenage years. My earliest memories of him are from the second grade play — I was the Scarecrow and he played the Tin Man — though our association must have gone back longer than that since our mothers were best friends. Case in point, I first learned about my mother’s cancer from Larry. She had told Anne Cohen before she told me. A lot of information went through that loop over the years, but none for some time, since I’m the only surviving member of the quartet.

Larry had a sister Lauren, who was Susan’s age, also part of our extended elective family. So when Lauren posted a Facebook request for stories about her brother so her nephew Forest could read about his father, I decided to bring it here, where I could have the space to be as long-winded and self-indulgent as the moment would allow. If that doesn’t interest you today, you can come back on Thursday for the riddle. There won’t be any anagrams or Shakespeare references here. (Well, maybe just one Shakespeare reference towards the end, but that’s it.)

My friendship with Larry spanned well over forty years and through many stages of life, but if I’m being honest, I think of him as my middle-school friend, because that’s about as important as it gets. When you’re as vulnerable as we are at that age, it matters a lot who you choose to trust. Sharing secrets nobody else can know. Co-navigating the social jungle of adolescence. Discovering who you are and who you can help each other become. That’s who Larry and I were to each other. We started out as little boys and we became men together, and we were better men for having done it together. That’s a bond that, once formed, can never be broken, not even now. Not even in death. Because the man I am now came out of that time, and the people who were a part of that will always be a part of me. Period.

We were also part of the same synagogue, and a lot of our social world revolved around events and organizations in the Jewish community. We were observant, but not particularly religious, and services were something we did out of obligation, not devotion. There was one prayer that Larry and I made a little game around. Most Jewish people are very familiar with the commonly recited prayer “Aleinu” (literally “it is upon us”) and its familiar opening line:

The prayer ends with the words u’shemo echad (his name will be one), and in the services I’ve attended, it is sung to a particular tune so that the word u’shemo is repeated three times. Larry and I, as middle-school children, thought it would be funny to point to each other and sing “You schmo” while everyone else was singing u’shemo. So we did, and it was even funnier than we had hoped! What’s more, it got funnier and funnier each time we did it, over the many years we attended services together. I don’t know how two school children in the early 1980’s were able to develop such a sophisticated and wry sense of humor, but you’ll have to trust me — it was comedy gold.

Fast forward through high school and beyond. There are a lot more stories I could tell. Larry and I founded a Students Against Driving Drunk chapter our freshman year of high school, and by our junior year, it had over 100 members. But, for now, I want to push forward to October 2005. My father passed away that month after a year-long battle with cancer. Friends and family — including Larry, Lauren, and Anne — gathered at my mother’s house for the Jewish custom of sitting shiva. For those who haven’t done it, it involves a lot of food, stories about the deceased, and intense community bonding.

At one point, we gathered in the foyer to do prayers, and one of the prayers was the Mourner’s Kaddish. I hadn’t cried for my father’s death before then, but something about saying the Mourner’s Kaddish as an actual mourner brought me to the breaking point. All of the stress that had been building up in my body erupted, and I found myself crying and shaking and pushing my way through a prayer that was overly familiar and yet an entirely new experience for me. Saying the Mourner’s Kaddish for my father may have been one of the worst moments of my life. And then, just like that, it was over, and we were ready to move on to the next prayer in the book.

From across the crowded room, Larry and I made eye contact with each other. Now, obviously, we weren’t going to do it. But that didn’t mean that we couldn’t take advantage of the opportunity to make the other guy laugh at an inappropriate time. Each of us steeled ourselves, prepared for the inevitable moment to come.

Our eyes locked. Neither of us smiled. Neither of us gave a knowing nod. Just a dead stare.

He’s going to break, each of us thought. He’s weak.

The moment had passed without scandal. Each of us turned back to our prayer books. We never spoke of this moment, and I’ve never told this story until now.

But I think it’s worth telling now, because it speaks to a special type of friendship. Saying the Mourner’s Kaddish for my father may have been one of the worst moments of my life. But then, because my middle-school friend was there, I was able to be transported out of that moment and immerse myself into a juvenile game filled with childish nostalgia. That’s a piece of magic. And while I may have a few other friends that I have that kind of a special relationship with, I will never, ever make another one, and so the loss of one of the few I had was immeasurable.

I hope Forest will read this, today or someday, and to him, I offer some words from the poet Shakespeare:

Those friends thou hast, and their adoption tried,
Grapple them unto thy soul with hoops of steel.

Sometimes Shakespeare’s lines can be hard to understand, but these aren’t. The friends you make in middle school won’t be your best friends in life. When you’re an adult, you may go years without talking with them. But they hold a special place in your life and should be cherished. You might as well start appreciating them now. And saying the Mourner’s Kaddish for my father was plenty hard for me; I can’t imagine what it will be like for you tomorrow. When you’re older, we’ll get together, and I’ll tell you the real stories.

And one last thing: be respectful during services. Other people around you are trying to pray. Don’t be a knucklehead like your dad was.

Shakespeare Teacher (and Quincy) got a nice mention in the most recent issue of The Shakespeare Newsletter!

Click the image to read the entire article by Stephanie Cowell, who crafted a lovely write-up of our reading group, now running over ten years.

Or, you can click here to go directly to the resource page referenced in the article.

After months and months of indignant denials, the Trump administration is finally being made to confront hard evidence of their campaign’s collusion with the Russians. To be clear, there’s not any evidence that they colluded in the Russians’ election-tampering, but there was definitely ongoing communication between the Trump people and the Russian government, and about the election.

Donald Trump Jr. was forced to reveal that he met with a Russian lawyer in June 2016 because he wanted campaign dirt on Hillary Clinton. The suspicious nature of the revelation was exacerbated by a string of lies and omissions surrounding this meeting. But the important thing to remember is that he was told in advance that this meeting was part of the Russian efforts to help the Trump campaign. There’s just no way to get around that.

And now we learn that the meetings that Jeff Sessions held with Russian Ambassador Sergey Kislyak were about the campaign after all, despite Sessions’ repeated insistence to the contrary, and this only after the secret meetings were revealed in the first place.

We really do need to let Mueller finish his investigation before we jump to any conclusions, but it’s not looking good for the Trump team. I don’t know; what do you think, Shakespeare?

From Henry V:

Their faults are open:
Arrest them to the answer of the law;
And God acquit them of their practises!

Shift around the letters, and it becomes:

Where Russian attachés offer to approach little frat squirt Don, and he’s eager to meet with them.

And I have send a special shout out to the brilliant Randy Rainbow, who’s like a modern-day Schoolhouse Rock for grown-ups.

The inaugural Shakespeare Follow-Up is dedicated to Rebecca.

As she can tell you, when Puck is first introduced in A Midsummer Night’s Dream, he meets a fairy who tells him:

I do wander every where,
Swifter than the moone’s sphere;

But what is the moon’s “sphere” and why should we believe it is particularly swift? To fully appreciate this line, and many like it across the canon, it’s important to know a little bit about how Shakespeare and his contemporaries viewed the cosmos.

In the Metaphysics, Aristotle described a system of concentric spheres, based on the works of pre-Socratic philosphers. Each observable planetary body, including the Moon, was embedded in one of these spheres. The spheres were made of transparent matter, in contact with one another, and able to rotate independently. (Positing a thin layer of WD-40 between spheres would have been beyond the technological capabilities of the ancient Greeks.) The Moon’s sphere was the closest to the Earth, and therefore, could move the fastest. This was followed by Mercury, Venus, the Sun, Mars, Jupiter, Saturn, and the sphere of the stars. Outside the spheres was the Prime Mover, which is the original source of all motion. God, if you like.

Claudius Ptolemy was an astronomer living in Alexandria in the 2nd century AD, while Egypt was part of the Roman Empire. Ptolemy noticed that some of the data, particularly retrograde motions of the planets, could not be explained by the existing model. He added the idea of epicycles, spheres rotating within spheres, which allowed for irregular movement of the planets, and the concept remained the dominant cosmological model for centuries.

Around the 12th century, Aristotelian concepts (including Ptolemaic cosmology) became intertwined with Christian theology. By the time Copernicus developed his heliocentric model in the early 16th century, it was not only a challenge to Aristotle and Ptolemy, but also to Church teachings that God put man in the center of the universe.

This is the world that Shakespeare and Galileo were born into in 1564. The theories of Copernicus were known, but not commonly accepted as true. It should be noted, however, that even Copernicus accepted the idea of celestial spheres; he just put the Sun in the center instead of the Earth. Shakespeare makes reference to the spheres all throughout his plays, often metonymously for the cosmos as it affects our fates, or simply as a shared cultural reference.

So the Bastard in King John can ask “Now, now, you stars, that move in your right spheres,/ Where be your powers?” as Demetrius in A Midsummer Night’s Dream observes “Yet you, the murderer, look as bright, as clear,/ As yonder Venus in her glimmering sphere.”

Fixed and unchangeable, the spheres also serve as a convenient metaphor for the rightfulness of hierarchies here on Earth. Shakespeare draws this comparison often, most notably in this speech from Ulysses in Troilus and Cressida:

The heavens themselves, the planets, and this centre
Observe degree, priority, and place,
Insisture, course, proportion, season, form,
Office, and custom, in all line of order:
And therefore is the glorious planet Sol
In noble eminence enthron’d and spher’d
Amidst the other; whose med’cinable eye
Corrects the ill aspects of planets evil,
And posts, like the commandment of a king,
Sans check, to good and bad: but when the planets
In evil mixture to disorder wander,
What plagues, and what portents, what mutiny,
What raging of the sea, shaking of earth.
Commotion in the winds, frights, changes, horrors,
Divert and crack, rend and deracinate
The unity and married calm of states
Quite from their fixure!

When we see the Sun referred to as “the glorious planet Sol,” it has the power to remind us just how much distance is between the scientific understanding of Shakespeare’s time and our own. And reading this in 21st century America, we also feel the gap in worldview as we see hierarchic culture defended so fiercely. Both celestial spheres and geocentrism will likewise fade in the century following Shakespeare’s death, but the ideas remain forever embedded in Shakespeare like the planets in their spheres. Thus, we understand that when, in 1 Henry IV, Hal tells Hotspur that “Two stars keep not their motion in one sphere,” it’s Elizabethan for “This town ain’t big enough for the both of us.”

Astronomers during Shakespeare’s lifetime, most notably Tycho Brahe and Johannes Kepler, already began using observational data to cast doubts about both geocentrism and the celestial spheres. The observation of comets was making the sphere model difficult to maintain. Galileo also took up the idea of heliocentrism and, after a long battle with the Church, was pressured into recanting. But the theories of Isaac Newton and the Scientific Revolution later in the 17th century gave heliocentrism a much stronger grounding in modern science which led to a wider acceptance as the culture became more open to the reexamination of our scientific understandings.

It wasn’t until the 20th century, however, that science learned that none of these models was the center of the universe, but rather one solar system among billions across a vast sprawling cosmos.

One can only wonder what Shakespeare might have done with such a revelation.

New research from Liverpool University shows that Shakespeare (and other classical writers) can stimulate the brain. For me, what stood out from earlier studies, was the attention to the duration of the phenomenon:

The study went on to test how long the effect lasted. It found that the “peak” triggered by the unfamiliar word was sustained onto the following phrases, suggesting the striking word had hooked the reader, with their mind “primed for more attention”.

This means that if you’re experiencing a work by Shakespeare, who is constantly throwing these poetic curve balls, you can sustain the brain boost over long periods of time. I’ve certainly experienced this sensation many times. I’ll basically go to see any Shakespeare play, regardless of the venue, just so I can hear these words spoken to me. I participate in a monthly Shakespeare reading group, and feel the effect even more profoundly when I am the one reading the words.

Even seeing the text written can do the job, though I often pause a lot when reading and so the pace isn’t necessarily the same. But the research shows an increase in reflection as well, so perhaps that’s a different manifestation of the effect. I subscribe to a Twitter feed that only tweets the plays themselves, one line every ten minutes like clockwork. Every now and then I’ll hit a familiar line and feel the brain bolt. I don’t know why that should be, but I get my shot to the brain all the same.

If I’m doing something that requires no mental attention, I’ll listen to an audio lecture. If I’m doing something that requires my full attention, I’ll listen to music. But if I’m doing something tedious that needs some focus but provides no mental stimulation, I’ll listen to Shakespeare. I’ll typically choose an audio production that I’ve listened to many times before, so I don’t need to be an engaged audience member the whole time. But I find that I can keep my conscious mind engaged on the task much more easily if my subconscious mind is swept away on a wave of poetic bliss. And when a line or two does drift into my awareness, I know the play well enough that I can enjoy it out of context, much like I do the Twitter feed. I get the hit without having to break my stride.

This is your brain on Shakespeare. Any questions?

Over at Pursued by a Bear, Cassius put together a series of videos lauding Shakespeare’s Most Underrated Characters back while I was on hiatus. They’re definitely worth checking out. Even when you disagree with one of her choices, she makes a compelling case.

Still, she includes such “underrated characters” as Hamlet and Othello. And while I totally get that a character can be highly rated and yet underrated, a list like this is an opportunity to bench the starters and let the minor characters show their stuff. Basically, what I’m saying is, I want to play too. Now that I’m back, here is my list, with a hat tip to Cassius for the idea.

An old theatre maxim says there are no small parts, but below you’ll find some really outstanding exceptions. Some of them don’t even have names. If your reaction to seeing some of these is “Wait… who?” then I’ve done my job. But don’t dismiss them just yet; they’re on this list for a reason. Let’s start the countdown at 50.

50. Costard (Love’s Labour’s Lost) – With so many foolish characters in one play, it’s easy to overlook the actual clown. But Costard spins some impressively deft wordplay that puts more erudite characters to shame.

49. Pinch (The Comedy of Errors) – Just as things get about as silly as you think they could get, enter good Doctor Pinch. While others suspect Antipholus of mere madness, Pinch tries to exorcize Satan from within him.

48. Fluellen (Henry V) – The Welsh captain may speak his bombast with a funny accent, but he’s not a man to be trifled with. He bravely leads his troops into battle, and handles himself ably in private matters as well.

47. The Scottish Doctor (Macbeth) – A doctor is brought in to cure Lady Macbeth’s madness. Sadly, modern psychiatric practice would be far beyond the reach of Shakespeare’s England, let alone Macbeth’s Scotland.

46. Peter Quince (A Midsummer Night’s Dream) – It can’t be easy to construct a troupe of actors from weavers and tailors, but this is one carpenter who is up to the task. Ah, the joys of community theatre.

45. Antipholus of Ephesus (The Comedy of Errors) – The other three twins may have more stage time, but the funniest moments of the play come from the misfortunes that befall the local Antipholus.

44. Corin (As You Like It) – The old forest-dwelling shephard councils the younger love-struck Silvius, matches wits with Touchstone, and reminds us that courtly life isn’t better than the simple life, just different.

43. Antonio (Twelfth Night) – Sebastian’s savior and friend mentions that he happens to be a wanted criminal. But his love and loyalty prove to be powerful forces, as is his rhetoric when he thinks he’s been betrayed.

42. Paulina (The Winter’s Tale) – Hermione may have been the one to fake her death, but it’s Paulina who has to sell it. And sell it she does, without so much as flinching. Note to self: stay on Paulina’s good side.

41. Joan La Pucelle (1 Henry VI) – Joan of Arc, the peasant girl who led troops in winning great battles against the English, was a revered heroine among the French people. Of course, Shakespeare wasn’t French.

40. Oliver and Celia (As You Like It) – They seem like they’re going to be purely functional roles: Orlando’s evil brother and Rosalind’s supportive cousin. And then, boom, they meet and it’s love at first sight.

39. Chorus (Henry V) – The “muse of fire” prologue stands out, but the Chorus stays on the job throughout the play, adding vibrant imagery to expand the theatrical experience beyond the limitations of the stage.

38. Adam (As You Like It) – Rather than embody the bleak vision of Jacques’s last age of man, the spry Adam warns Orlando of the plot against him and faithfully agrees to serve him in exile. Eighty years young!

37. Pompey (Measure for Measure) – Not quite Pompey the Great, his bum is the greatest thing about him. Sent to prison, the former brothel bartender feels right at home among his old customers.

36. First and Second Lords (All’s Well That Ends Well) – This list has a soft spot for characters who aren’t even given names. The Lords are real characters that help advance the plot over multiple scenes. No respect!

35. Duke Senior (As You Like It) – A lesser man might be slightly annoyed by having his entire dukedom usurped. But Duke Senior takes “being a good sport” to a whole new level. And notice he’s not given a name either.

34. Charmian and Iras (Antony and Cleopatra) – When Cleopatra chooses to leave this world, she is flanked by her two most loyal servants – Iras just before and Charmian just after. Good help is hard to find.

33. Lord Stanley, Earl of Derby (Richard III) – Richard is so crazed with paranoia that when he accuses Stanley of betrayal, we completely believe the good earl’s denial. But wait… yeah, he went right to Richmond.

32. Archibald, Earl of Douglas (1 Henry IV) – “That sprightly Scot of Scots… that runs o’ horseback up a hill perpendicular” is outbattled by Hal, outwitted by Falstaff, and ultimately captured and released. Ah well.

31. Son and Father (3 Henry VI) – On the battlefield, Henry observes a son who has killed his father and a father who has killed his son. He thus realizes the heavy cost of the war, and his own responsibility for it.

30. The Thane of Ross (Macbeth) – Whether it’s victory in battle or the slaughter of your family, nobody delivers the news like the Thane of Ross, whatever his actual name may happen to be.

29. Roderigo (Othello) – Often overshadowed by the more dynamic characters in the play, Roderigo is a fantastic comic role. Hopelessly in love with Desdemona, Roderigo is an easy target for Iago’s machinations.

28. Iachimo (Cymbeline) – This “little Iago” deserves better than to be thought of as a diminutive derivative. But unlike his nefarious namesake, he never really meant any harm, and is honestly repentant at the end.

27. Lord (The Taming of the Shrew) – We remember Christopher Sly, but what of the Lord who devised the over-the-top prank in the first place. Actually, either one could make this list; they usually both get cut.

26. The Provost (Measure for Measure) – When the Duke realizes he can no longer implement his plan alone, he recruits the Provost, who proves to be an able accomplice. But why does he not have a name?

25. The Queen (Cymbeline) – She’s the classic fairy tale wicked step-mother, who even has the self-awareness to swear she isn’t. On her deathbed, she admits she never loved Cymbeline. It’s good to be the Queen.

24. The Earl of Suffolk (1 Henry VI) – He woos the young Margaret for the king, but has some grand designs of his own. “Margaret shall now be queen, and rule the king; But I will rule both her, the king, and realm.”

23. Casca (Julius Caesar) – Other characters consider him dull, blunt, and rude, but don’t take their word for it. I find Casca to be witty, wise, and shrewd. Read over his lines and decide for yourself.

22. Countess of Auvergne (1 Henry VI) – Talbot takes a break from invading France to be flattered by the noblewoman’s invitation to her house. It’s a trap, but she ends up having him over for Freedom Fries anyway.

21. Rumor (2 Henry IV) – Best. Prologue. Ever. The living embodiment of Rumor brags about the damage he’s done, while seamlessly bringing us up to speed on what’s happened since Part One. Open your ears.

20. Simpcox and Wife (2 Henry VI) – They are almost the definition of small Shakespearean roles. But their scene is genuinely laugh-out-loud funny. Go check it out!

19. Mariana (Measure for Measure) – She shows up late in the play, and even then she’s no more than a convenient plot device with very few lines of significance. But then the final scene arrives, and … wow.

18. The Bishop of Carlisle (Richard II) – Richard is defeated, and Henry would be King. Carlisle protests vigorously, describing exactly what will result. As Shakespeare and his audience know, he’s absolutely right.

17. Antonio (The Tempest) – I have to admit that some of the nobles from the boat tend to blend together for me, but Antonio, who usurped his brother Prospero, stands out as the most cold-blooded.

16. Moth (Love’s Labour’s Lost) – Compare Don Adriano de Armado and Moth with Zap Brannigan and Kif. Note that Kif’s first Futurama episode was entitled “Love’s Labour’s Lost in Space.”

15. Mistress Overdone (Measure for Measure) – She’s had nine husbands (“overdone by the last”) and this clear-eyed brothel owner still manages to run her business like a professional.

14. Gratiano (The Merchant of Venice) – It’s okay if you don’t remember. He’s the other guy, the one who ends up with Nerissa. But he’s also a really clever comic character who can be a lot of fun to play.

13. John Talbot (1 Henry VI) – He only appears in a couple of scenes, but Lord Talbot’s son can display valor and loyalty in rhymed couplets like nobody else.

12. Thersites (Troilus and Cressida) – Shakespeare describes him as “a deformed and scurrilous Grecian,” and that’s just in the Dramatis Personae.

11. Lord Chief Justice (2 Henry IV) – Henry V’s harsh denial of Falstaff overshadows the new king giving a high place of honor to the constable who chased him down throughout his wayward youth.

10. Doll Tearsheet (2 Henry IV) – Falstaff’s favorite prostitute knows how to handle herself in a bar fight. She gives Pistol a tongue-lashing he really should have had to pay for.

9. Apemantus (Timon of Athens) – Oh yeah, I went there. But you don’t have to read the whole play, just check out the mother joke in the first scene.

8. Pistol (Henry V) – The loudmouth soldier tends to get overshadowed by Falstaff. But his bombast can shatter the stage when he’s ready to discharge.

7. Domitus Enobarbus (Antony and Cleopatra) – He’s a loyal soldier who abandons Antony only because he can’t support his self-destructive behavior. When Antony returns his treasure, Enobarbus dies of shame.

6. Arthur (King John) – He has few scenes, despite being an important character to the plot. He makes the list for successfully appealing to the heart of a man who has been sent to murder him.

5. Lady Grey (3 Henry VI) – After her side has lost the war, the Widow Grey bravely stands up to the new King. He cannot intimidate her, so he marries her instead. She’ll be Queen Elizabeth in the next play.

4. Sir William Catesby (Richard III) – We remember the evil machinations of Richard and Buckingham, but Catesby is there with them every step of the way, and seems to have no conscience about it.

3. Tranio (The Taming of the Shrew) – It’s easy to forget about Tranio. But while his master is playing servant to win his one true love, Tranio’s the servant who is playing his master – the much harder role!

2. First Gravedigger (Hamlet) – Often dismissed as merely a comic character, the Gravedigger gives Hamlet a chance to reflect on matters of life and death, thus underscoring one of the major themes of the play.

1. Jack Cade (2 Henry VI) – He’s an unlikely claimant to the throne, but his populist rhetoric has the power to start a rebellion at least. This is, I believe, Shakespeare’s most underrated character.

And finally, I invite my friends at Pursued By a Bear to join me in awarding an honorable mention to the most awesome, most minor character in the entire canon…

I’ve long enjoyed the Shakespeare song parodies posted by Bardfilm and ShakespeareGeek. Now, it’s my turn to join in the fun. If this works out, maybe I’ll make it a regular feature.

The idea is to take a popular song and change the words so that it’s about Shakespeare. Here is my first attempt. Enjoy!

Filled with Woe
sung to the tune of “Somebody That I Used to Know”

(With apologies to Gotye, Kimbra, and my readers…)

Now and then I think of when you were my whole tomorrow,
Like when I kissed you at your father’s masquerade;
Told myself that you were right for me,
But felt alone under your balcony,
And yet I always felt that parting was such sweet sorrow.

You can get addicted to a certain kind of sadness,
Like how we know our parents never would approve;
So when you heard that I was banishéd,
Well, you said that we would still be wed,
But I’ll admit that I feared it was over.

But you didn’t have to kill yourself,
Taking poison on your wedding day and come to nothing,
And losing you was hard enough,
But you’re lying dead near Tybalt and that feels so rough.

O, you didn’t have to do this, no,
But I bought some poison, killed Count Paris, now I join your number;
Thus, with a kiss, I let you go,
Now I die somebody who is filled with woe!

Now I die somebody who is filled with woe!
Now I die somebody who is filled with woe!

* * *

Now and then I think about our plan to stay together,
And now I’m guessing that you never really got my note;
A pity you did not survive,
Because the whole time I was still alive;
Thy lips are still warm, Romeo,
And so, happy dagger, kill me –
I’m somebody who is filled with woe!

* * *Somebody!
Filled with woe!
Somebody!
Filled with woe!

Now I die somebody who is filled with woe!

Just as we make Shakespeare more relevant to our students by drawing modern-day connections to his plots and characters, so too can we use the elements of today’s world to make connections to his language.

Sometimes when I teach iambic pentameter, I feel like my students can be like the syllables in that very meter: about half of them are stressed and half of them are unstressed. Whichever half you’re in, you should enjoy Pentametron. This is a website that searches Twitter for tweets that are naturally in iambic pentameter. It then somehow sorts them into rhymed couplets and groups them 14 lines to a page.

It’s intriguing to see instances of unintentional meter. Here are a few quick examples (slightly edited in the retype):

I will forever love The Cosby Show.
Whatever, ready for tomorrow, though.
I haven’t eaten anything today.
I really want to dance the night away.
That breakfast sandwich didn’t stand a chance.
So… what’s the definition of romance?
It’s pretty much already Thursday, damn.
Bob Dylan IS the Tupac hologram.

Click through to see many more. Some of the language is a little salty to use the actual website in the classroom, but it’s a good place to find examples of natural language iambic pentameter and with social media cred to boot! Note that these people aren’t deliberately writing in iambic pentameter, but they ended up doing it anyway. This can help you to make the meter less intimidating for students, and to make the point, as some have argued, that iambic pentameter mimics common natural English language patterns.

I’ve written before about using song lyrics to teach poetic devices, but “Mosh” is about eight years old and I’ve been searching and searching for a more recent song that would be just as useful.

Ladies and gentlemen, we have a winner.

From “More” as performed by Usher
Written by Hinshaw, Khayat, and RaymondWatch me as I dance under the spotlight-
Listen to the people screaming out more and more,
‘Coz I create the feeling that keep ’em coming back,
Yeah, I create the feeling that keep ’em coming back,
So captivating when I get it on the floor.

Know y’all been patiently waiting, I know you need me, I can feel it,
I’m a beast, I’m an animal, I’m that monster in the mirror,
The headliner, finisher, I’m the closer, winner.
Best when under pressure with seconds left I show up.

If you really want more, scream it out louder,
Get it on the floor, bring out the fire,
And light it up, take it up higher,
Gonna push it to the limit, give it more.

Rhyme: more/floor, fire/higher

Alliteration: “monster in the mirror,” create/coming/captivating

Assonance: “patiently waiting,” finisher/winner, Best/pressure/seconds, “limit/give it”

Lists: “I’m a beast, I’m an animal, I’m that monster in the mirror, the headliner, finisher, I’m the closer, winner.”

Antithesis: Get it on the floor/take it up higher

You can have students analyze these lyrics side-by-side with a speech from Shakespeare and compare how the two texts use the same devices. They can then find more examples within the play you are teaching or song lyrics they bring in. They can even start using these devices in their own poetic creations!

…be with you.

Today is Star Wars Day, and Shakespeare Geek and Bardfilm made sure that Shakespeare got in on the action. For my contribution… No, I’m not going to compare Luke Skywalker to Hamlet, at least not today. But I would like to share how the Star Wars franchise has made teaching Shakespeare just a little bit easier.

A series of three related dramatic works is called a trilogy. Four works make a tetralogy. Early in Shakespeare’s career, he wrote a tetralogy of plays about the English kings: Henry VI, Part One; Henry VI, Part Two; Henry VI, Part Three; and Richard III. The plays cover the span of events from 1422 to 1485, and are referred to collectively as the first tetralogy.

A bit later (though still early in his career), Shakespeare wrote another tetralogy of plays about the English kings: Richard II; Henry IV, Part One; Henry IV, Part Two; and Henry V. These plays were set earlier; they depict events that occurred from 1399 to 1415. This was the second tetralogy.

This seems pretty straightforward, but it could often cause confusion, even for graduate students. The second tetralogy takes place before the first tetralogy? How can that be? Why did he do it that way? Wait, which was the first tetralogy?

Everything changed with the release of Episode One: The Phantom Menace. Now, when I explain that Shakespeare wrote the first tetralogy before the second, but the second takes place before the first, I can enjoy their momentarily confused looks. I know I can just add “You know, like Star Wars…” and instantly see the clouds lift and light shine into the room. Since the second Star Wars trilogy, everyone understands the idea of a prequel series.

So thank you to Star Wars for making a hard thing easy. May Henry IV be with you!