King LearInsight Publications, 2011 - 224 pages Even the most resolutely disengaged students can finally 'discover' and thrill to the rhythms and passions of Shakespeare's plays! Award-winning teachers and Shakespearean scholars have extensively trialled their approach to teaching Shakespeare's plays in the classroom, and this series is the result! The plays in this series are becoming increasingly popular for student resources in schools as English and Drama teachers discover their fabulous teaching and learning qualities. |
From inside the book
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Page 9
... iambic pentameter and rhyming couplet or you may be unfamiliar with these terms . In either case , it is important to practise reading the text aloud to appreciate the sound of the language and to understand the relationship between the ...
... iambic pentameter and rhyming couplet or you may be unfamiliar with these terms . In either case , it is important to practise reading the text aloud to appreciate the sound of the language and to understand the relationship between the ...
Page 11
... iambic pentameter Most of Shakespeare's plays are written in blank verse , which is unrhymed poetry written in a regular rhythm or metre known as iambic pentameter . The majority of King Lear is written in blank verse , so we will start ...
... iambic pentameter Most of Shakespeare's plays are written in blank verse , which is unrhymed poetry written in a regular rhythm or metre known as iambic pentameter . The majority of King Lear is written in blank verse , so we will start ...
Page 12
... iambs . Each iamb contains one unstressed beat followed by one stressed beat ( te - DUM ) . As each line has five iambs , this forms the rhythm called iambic pentameter ( ' penta ' relates to a group of five , as in pentagon , which is ...
... iambs . Each iamb contains one unstressed beat followed by one stressed beat ( te - DUM ) . As each line has five iambs , this forms the rhythm called iambic pentameter ( ' penta ' relates to a group of five , as in pentagon , which is ...
Page 13
... (iambic) And THOU no BREATH at ALL? Thou'lt COME no MORE; (iambic) NEVer, NEVer, NEVer, NEVer, NEVer. (trochaic) (Act 5 Scene 3) Notice how the rhythm in the final quoted line is not the expected heartbeat rhythm of the iambic pentameter ...
... (iambic) And THOU no BREATH at ALL? Thou'lt COME no MORE; (iambic) NEVer, NEVer, NEVer, NEVer, NEVer. (trochaic) (Act 5 Scene 3) Notice how the rhythm in the final quoted line is not the expected heartbeat rhythm of the iambic pentameter ...
Page 15
... iambic pentameter, in which he reveals his philosophy of life and his immoral intentions, to lengthy exchanges with Gloucester and Edgar in conversational prose (Act 1 Scene 2). This highlights Edmund's duplicitous character. It is ...
... iambic pentameter, in which he reveals his philosophy of life and his immoral intentions, to lengthy exchanges with Gloucester and Edgar in conversational prose (Act 1 Scene 2). This highlights Edmund's duplicitous character. It is ...
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Common terms and phrases
Act 1 Scene Alack ALBANY audience Bedlam beggars blinding Burgundy characters Child Rowland complete the table contrast Copy and complete CORDELIA KING LEAR CORNWALL daughters death dost dramatic irony Duke Duke of Cornwall Earl of Gloucester EDGAR GLOUCESTER EDGAR emphasise enters Exit eyes father FOOL KING LEAR Fortune France GENTLEMAN give GLOUCESTER EDGAR GLOUCESTER Gloucester's gods Gonerill and Regan Gonerill's hast hath hear heart iambic pentameter iambs imagery Jacobean James justice KENT KING LEAR Kent’s KING LEAR FOOL KING LEAR KENT kingdom Kingdom of Britain knave language Lear and Cordelia Lear's letter lines look Lord Lord Chamberlain's Men Madam means messenger nature night Nuncle Nunn nutshell OSWALD KENT paraphrase might read pathetic fallacy Peter Brook play play’s poor Prithee Questions REGAN GONERILL servant sister soliloquy speak speech storm tell Text notes thee thine Trevor Nunn trochee villain words