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
Results 1-5 of 65
Page v
... word about repetition and nothing 81 A look at imagery 84 A word about pathetic fallacy and foreshadowing 101 Introducing personification and apostrophe 104 A word about nature 110 Thinking about human nature 138 A look at the imagery ...
... word about repetition and nothing 81 A look at imagery 84 A word about pathetic fallacy and foreshadowing 101 Introducing personification and apostrophe 104 A word about nature 110 Thinking about human nature 138 A look at the imagery ...
Page 7
... words Totus mundus agit histrionem: the whole world is a playhouse. Inside, three tiers of gallery seating wrap around the stage. If you pay another penny, you can buy yourself a seat in one of the lower tiers, or for sixpence you can ...
... words Totus mundus agit histrionem: the whole world is a playhouse. Inside, three tiers of gallery seating wrap around the stage. If you pay another penny, you can buy yourself a seat in one of the lower tiers, or for sixpence you can ...
Page 9
... words and phrases strike the modern reader as difficult and strange, and some of these words (such as 'naughty' and 'doubt') have shifted in meaning since Shakespeare's time, thus adding to the difficulty. He frequently uses a different ...
... words and phrases strike the modern reader as difficult and strange, and some of these words (such as 'naughty' and 'doubt') have shifted in meaning since Shakespeare's time, thus adding to the difficulty. He frequently uses a different ...
Page 11
... hear the rhythm in the words? Read the lines aloud once more. Can you hear the regular heartbeat repeating itself in each line? te-DUM, te-DUM, te-DUM, te-DUM, te-DUM ... Shakespeare generally uses ten. William Shakespeare's King Lear 11.
... hear the rhythm in the words? Read the lines aloud once more. Can you hear the regular heartbeat repeating itself in each line? te-DUM, te-DUM, te-DUM, te-DUM, te-DUM ... Shakespeare generally uses ten. William Shakespeare's King Lear 11.
Page 12
... words ('no EYES', as written above), but also across speakers: EDGAR Now fare you well, good sir. GLOUCESTER With all my heart. (Act 4 Scene 5) In the lines above, Edgar's six-beat line (with three iambs) combines with Gloucester's four ...
... words ('no EYES', as written above), but also across speakers: EDGAR Now fare you well, good sir. GLOUCESTER With all my heart. (Act 4 Scene 5) In the lines above, Edgar's six-beat line (with three iambs) combines with Gloucester's four ...
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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