Love's Labor's Lost, perhaps at the country house of a great lord, such as the Earl of Southampton, circa ; London, at Court, Christmas
You do remember all the circumstance? This is typical of the 'School'; it doesn't ask the student to consider this play in relation to any others by Shakespeare or otherwise.
The edition has been written particularly for students who quite possibly have not experienced a Shakespeare play before at all and most likely have not studied one in detail before.
The 'New' is more mindful of academia and the more mature student. Seriously, this is a major difference between the two editions.
The thrust of the 'New' is to unfold classical references, refer to many other works about Shakespeare's plays and cross-reference the plays themselves. Whereas, the thrust of the 'School' is to roll up shirt and blouse sleeves and discover the play for oneself in a classroom or drama studio.
There is no right or wrong about this; but certainly the most fun method for a class of students is surely that of the 'School' to learn about the play by discovering it through reading, listening and thinking about the text of the play.
Students would only be intimidated if they felt that they had to assimilate a vast body of criticism and other plays; it would pose a massive hurdle to understanding the play.
Since Shakespeare wrote about people and they sadly! This approach of inviting the young to discover a Shakespeare play in their own terms is not unique. The result of this was that they came out with things like Hath not a black boy eyes.
They thoroughly enjoyed the production after this. This is not surprising as Shakespeare wrote about how people are and prejudice is such a deeply rooted trait we still see many forms of it today. Interestingly, neither edition mentions Antonio's possible previous homosexual relationship [xvii] or at least desire for Bassanio as a likely reason for his depression: A good example of something for the class to think about in the 'School' is Jonathan Miller a Jew asking Olivier who was playing Shylock if he had seen a newsreel of Hitler spontaneously dancing a jig at news of the surrender of France.
In addition to these things to think about on every page in the 'School', there is a look back at the end of each act with a series of broader questions; sometimes relating to a particular production. For instance, at the end of Act 4, we are told that Dustin Hoffman would like to ask Shakespeare for more lines for Shylock half-way through the trial scene.
The exercise is to write that speech and choose where best to place it! Not a two minute exercise but something to think about! The first question here is 'A fair trial'! Another exercise is to arrange the characters in order of prejudice, and then in order according to how much you like them and compare the two lists!
Conclusion with a personal voice Clearly, there are many ways of focussing an edition. There is the notes at the back approach demonstrated by the New Penguin Shakespeare.
Personally, I reject this format for my own uses since I really do need ready access to the notes. It would be more usable, of course, as would all the others if they were presented in HTML on the WWW but academia will probably take a hundred years to catch up with the technologyJ Alan Durband goes too far the other way in 'translating' Shakespeare into modern language.
Shakespeare isn't that difficult to understand. We don't need to have all the words replaced with alternate words! However, I feel he is to be congratulated in an attempt to bring Shakespeare to the masses, albeit too much of an attempt!
Shakespeare has benefited from people in the past adapting and cutting his work - perhaps most notably by Garrick.
The Bard survives in this way, down the ages. A work like this may help popularise the works and bring more people into Shakespeare's theatre. However, if all it succeeds in doing is stopping people reading the original text, preferring the simplified version, then I feel it is an abortion.
Arden is a solid choice, particular for people interested in the genesis of the piece - it goes to pains to note differences in F.
The 'New' is another good scholarly choice and my recommend edition for the sole reader but, and I think it will come as no surprise to a reader of this essay, my out and out favourite is the 'School' which surprisingly does live up to its noble intentions summarised above of encouraging readers to discover the play for themselves by thinking about it.
Clearly, this is best done in groups but it is also my personal choice for sole study. Shakespeare is often stated as seeing performance as publication and I think that the study of the text at moderate level is best afforded by encouraging people to explore it for themselves rather than wading through academia.
They are right to leave Shakespeare until last. He has mentioned a couple of times, most recently to the Shakespeare Studies class of June that Romeo and Juliet is the most popular play.Ontario Department of Lands and Forests: Resource Management Report Workplace Safety and Insurance Board and Workers' Compensation Appeals Tribunal Annual Reports Legislative Assembly of Ontario: Official Report of Debates (Hansard) Ontario Fish and Wildlife Review Report of the Wartime Prices and Trade Board Ontario Sessional Papers my_virtual_library.
The Merchant of Venice by William Shakespeare.
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Home / Literature / The Merchant of Venice / The Merchant of Venice Analysis Literary Devices in The Merchant of Venice. Symbolism, Imagery, Allegory Merchant ends with the promise of one or more hook-u Plot Analysis.
Antonio Loves Bassanio. Portia's Father Has Set Up the Game of the. Deceptive Intentions - Analysis on "The Merchant of Venice" by William Shakespeare The Merchant of Venice, by William Shakespeare, shows the deliberate use of deception by the characters.
Deception is a tool that is used for many purposes. The purposes can be harmful, protective or for personal gain. In The Merchant of Venice, Portia. The Theme of Deception in the Merchant of Venice by William Shakespeare PAGES 1.
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The romantic-comedy, The Merchant of Venice, by William Shakespeare, shows the deliberate use of deception by the characters. Deception is a tool that is used for many purposes. The purposes can be harmful, protective or for personal gain.
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