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 12
... trochee It is important to recognise that Shakespeare sometimes departs from strict iambic pentameter, usually to include the metric foot known as a trochee (normally in combination with iambs).The opposite of an iamb, a trochee has the ...
... trochee It is important to recognise that Shakespeare sometimes departs from strict iambic pentameter, usually to include the metric foot known as a trochee (normally in combination with iambs).The opposite of an iamb, a trochee has the ...
Page 15
... trochees, Shakespeare does not always adhere strictly to iambic pentameter. At times he leaves a line of blank verse incomplete, thereby breaking the rhythm of the text. In this example, the relevant lines are highlighted in bold: EDGAR ...
... trochees, Shakespeare does not always adhere strictly to iambic pentameter. At times he leaves a line of blank verse incomplete, thereby breaking the rhythm of the text. In this example, the relevant lines are highlighted in bold: EDGAR ...
Page 16
... trochee), prose and songs. And remember, the rich variety of language is used by Shakespeare to show the range of characters, and the shifting relationships and often ambiguous emotions that make up the world of King Lear. Essential ...
... trochee), prose and songs. And remember, the rich variety of language is used by Shakespeare to show the range of characters, and the shifting relationships and often ambiguous emotions that make up the world of King Lear. Essential ...
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Common terms and phrases
Act 1 Scene ALBANY Albany’s audience Bedlam beggars blinding brother Burgundy characters Child Rowland complete the table contrast Copy and complete CORDELIA KING LEAR daughters death dost dramatic irony Duke Duke of Cornwall Earl of Gloucester EDGAR GLOUCESTER EDGAR EDMUND GLOUCESTER emphasise enters Exit eyes father FOOL KENT FOOL KING LEAR Fool’s GENTLEMAN give GLOUCESTER EDGAR GLOUCESTER Gloucester’s castle gods Gonerill and Regan Gonerill’s hast hath heart iambic pentameter iambs imagery Jacobean KENT KING LEAR Kent’s KING LEAR FOOL KING LEAR KENT KING OF FRANCE King’s kingdom knave language LEAR FOOL KING LEAR KENT KING Lear’s letter lines Lord Madam man’s means nature night Nuncle Nunn nutshell OSWALD pathetic fallacy Peter Brook play’s poor Press PLAY Prithee Questions servant Shakespeare Shakespeare’s plays sister soliloquy speak storm Text notes thee There’s thine Trevor Nunn trochee villain words