Tag Archives: drama/theater

Brewer’s Curious Titles: As You Like It

“A comedy (c. 1600) by William Shakespeare (1564-1616). The story is based on Rosalynde: Euphue’s Golden Legacy (1590), a romance by Thomas Lodge (1557-1625), although the clown touchstone and the gloomy philosopher Jaques are purely Shakespeare’s inventions. Orlando is forced to flee the court of the usurping Duke Frederick. He takes refuge in the forest of Arden, where the usurping Duke and his followers are now living. Rosalind, the daughter of the usurped Duke is also obliged to flee, having previously fallen in love with Orlando (and he with her). Disguised as the youth Ganymede, she befriends Orlando and encourages him to practice his wooing of Rosalind on him (i.e. Ganymede). There are certain complications, involving various other sets of lovers. In the end, all is revealed, four pairs of lovers marry and Frederick the usurper surrenders the dukedom to its rightful owner.

The title indicates the playwright’s desire to please with his offering. At the end, Rosalind addresses the audience directly:

‘I charge you, O woman, for the love you bear to men, to like as much of this play as please you; and I charge you, O men, for the love you bear to women—as I perceive by your simpering none of you hates them—that between you and the women the play may please.’           V. iv, Epilogue

‘What You Will,’ the subtitle of Twelfth Night, has an equivalent implication. Similar epilogues, asking the audience for their approbation and indulgence, were something of a theatrical convention at the time; for example, at the end of The Tempest Prospero speaks the epilogue, ending:

‘As you from crimes would pardon’d be,

Let your indulgence set me free.’        V. i, Epilogue

There is another example in All’s Well that Ends Well.

There have been two film versions of As You Like It. The 1936 version includes Laurence Olivier in the cast, and J.M. Barrie co-wrote the screenplay. The 1992 version turns the Forest of Arden into a London ‘cardboard city’ for the homeless.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Shakespeare’s 18th Sonnet

In response to a request from a student, I worked up this reading on Shakespeare’s 18th Sonnet and this vocabulary building and comprehension worksheet to accompany it. If you’re not familiar with this, one of the famous poems of all time, it begins with the line “Shall I compare thee to a summer’s day?”

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Book of Answers: The Front Page

“What is the setting of The Front Page? The 1928 play about newspapers by Ben Hecht and Charles MacArthur is set in Chicago’s Criminal Courts Building.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Book of Answers: William Shakespeare on Killing All the Lawyers

“What Shakespeare character says ‘The first thing we do, let’s kill all the lawyers’? Dick the Butcher says it in Henry the Sixth, Part 2 (c. 1590), act 4, scene 2, line 84. His proposal is made in support of Jack Cade’s plans for a revolution in England.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Rotten Reviews: George Bernard Shaw Pans Othello

“Pure melodrama. There is not a touch of characterization that goes below the skin.”

George Bernard Shaw, Saturday Review 1897 

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998. 

Brewer’s Curious Titles: The Children’s Hour

“A play (1934) by US playwright Lillian Hellman (1905-84) about the scandal that erupts after a teacher is accused of lesbianism by a vengeful pupil. Filmed in 1936, the play was based on a real case that was reported in Scotland in the 19th century and pointed out to the author by her close friend, the crime novelist Dashiell Hammett. The title itself comes from the first verse of a poem by Longfellow:

‘Between the dark and the daylight,
When the night is beginning to lower,
Comes a pause in the day’s occupations,
That is known as the Children’s Hour.’

H.W. Longfellow: Birds of Passage, Flight the Second, ‘The Children’s Hour’ (1860)”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Book of Answers: The Angry Young Men

“Who were the Angry Young Men? A group of British playwrights and novelists in the 1950s, including John Osborne, Kingsley Amis, and Alan Sillitoe. Their politics were left-wing; their favorite theme was alienation.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Brewer’s Curious Titles: Children of a Lesser God

“A play (1979) by the US dramatist Mark Medoff (b. 1940) about the efforts of a hearing therapist to develop a relationship with a profoundly deaf young woman who refuses all offers of help. Written especially for the deaf actress Phyllis Frelich, it was filmed with Marlee Matlin, also deaf, in 1986. The title refers to the tendency of people with good hearing to dismiss the hearing impaired as inferior beings.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

The Algonquin Wits: George S. Kaufman on Raymond Massey’s Method Acting

“‘Massey won’t be satisfied until he’s assassinated.’ Kaufman remarked about actor Raymond Massey’s heralded performance in Abe Lincoln in Illinois.”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Term of Art: Anticlimax

“A critical term, the first recorded definition of which comes from Dr. Samuel Johnson: ‘a sentence in which the last part expresses something lower than the first.’ It is often used deliberately for comic effect to create an ironical letdown by descending from a noble tone or image to a trivial or ludicrous one. For example, in Henry Fielding’s burlesque The Tragedy of Tragedies (1931), Lord Grizzle addresses Huncamunca: ‘Oh! Huncamunca, Huncamunca, Oh!/ Thy pouting breasts, like Kettle-Drums of Brass,/Beat everlasting loud Alarms of joy….’ Bathos is an unintentional anticlimax.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.