Feminism and 1984

Hi,

Here are a few things to get you started on the feminism/misogyny question in terms of Orwell and 1984.

• Daphne Patai on 1984 (in your folder)

• And another one

• A Prezi:

Mr M

(Y13) Faustus: A vs B

Hi folks,

Arthur Darvill as Mephostopheles (Globe Theatre, 2011)

As I'm sure you've already gathered, there are two different versions of Doctor Faustus: the A text of 1604 and the B text of 1616. 

As I said last lesson, I struggle to read the opening lines of the A text, as I still expect to hear the lines that I still remember from when I studied the B text eighteen (argh!) years ago. 

Compare:

A) Not marching now in fields of Thrasimene, 
Where Mars did mate the Carthaginians...

B) Not marching in the fields of Thrasymene,
Where Mars did mate the warlike Carthagens...

So, why are there two texts? And what's the difference?

The A text:

The frontispiece of the 1604 quarto attributes the play to "Ch. Marl.". A second edition (A2 - 1609) is merely a reprint of the 1604 text. The text is short for an English Renaissance play, only 1485 lines long. (For comparison, Macbeth is around 2700 lines; Hamlet is over 4000).

The B text:

The 1616 quarto. This second text was reprinted in 1619, 1620, 1624, 1631, and as late as 1663.
The 1616 version omits 36 lines but adds 676 new lines, making it roughly one third longer than the 1604 version. Among the lines shared by both versions, there are some small but significant changes in wording; for example, "Never too late, if Faustus can repent" in the 1604 text becomes "Never too late, if Faustus will repent" in the 1616 text, a change that offers a very different possibility for Faustus's hope and repentance.


Comparison and theories:

A major change between texts A and B is the name of the devil summoned by Faustus. Text A states the name is generally "Mephastophilis", while the version of text B commonly states "Mephostophilis".The name of the devil is in each case a reference to the character in Faustbuch, the source work, which appeared in English translation in about 1588.

The relationship between the texts is uncertain and many modern editions print both. As an Elizabethan playwright, Marlowe had nothing to do with the publication and had no control over the play in performance, so it was possible for scenes to be dropped or shortened, or for new scenes to be added, so that the resulting publications may be modified versions of the original script.


The 1604 version (A) is believed by most scholars to be closer to the play as originally performed in Marlowe's lifetime, and the 1616 version to be a posthumous adaptation by other hands. However, some disagree, seeing the 1604 version as an abbreviation and the 1616 version as Marlowe's original fuller version. Some scholars believe the longer version, with additional scenes added by Samuel Rowley, would have been performed at the Rose Theatre, with the edited version performed when the play was taken out of London on tour - away from the resources of the Rose.

We're unlikely to ever learn the truth.


See here and here for more on the performance history and textual issues. 

See the A and B texts side-by-side here.

Mr M

Y12: Coursework questions to consider

Oh hi Y12,

Firstly, congratulations to our quiz champs (Louis, Charlie, Daniel, Will, Harry and Cameron) - a victory for sheer weight of numbers!

Now, a reminder of your fun holiday homework:

Below is a list of the coursework questions we've put together.

Please follow the instructions above.

At the bottom of the doc, you will find a list of critical opinions about 'The Winter's Tale' from a range of critics. These will give you an insight into some of the debates around the play, and one or two of them might eventually make it into your essay. Here's the doc:



If you find any other useful links, quotes from critics or any other resources, please leave a comment to let me know.

Keep checking back for updates. I'll post any good sites or resources that I find.


Have a good Christmas,


Mr M

About Pandosto

Hi,


Robert Greene, who famously referred to Shakespeare as 'an upstart Crow, beautified with our feathers...in his owne conceit the onely Shake-scene in a countrey", wrote the source material for The Winter's Tale.

Here are some links to some info about Pandosto:

The full text - with modern spelling
Pandosto at Wikipedia

It's worth considering the things that Shakespeare changed from the source material. As always, Shakespeare's language transforms the story to create a richness way beyond that of the source. The drama is heightened. It is infused with poetry and comedy.

Often, Shakespeare creates a character who either doesn't exist in the source or is very different - often a show-stealing character. Think Mercutio in Romeo and Juliet. Or, in The Winter's Tale, both Autolycus and Paulina.

Also, throw in a bear and a statue - and you have an infinitely better (and weirder) piece of work.


Mr M

Y12: Where we are

Hi all,

Tony Bell as Autolycus at the Rose Theatre

With only a week and a bit left until Christmas, we really need to motor through to the end of the text. Our priority will be to focus on the aspects of comedy in The Winter's Tale which might make a good focus for an essay question.

Here's our short-term timeline as it see it at this moment:

1) Finish the play by Monday 15th December at the latest. There'll be another quiz!
2) You'll take away a list of coursework questions to brainstorm.
3) In early January, you'll submit a one-page outline essay plan.
4) We'll have some one-to-one discussions to approve your plan.
5) You will write a first draft (under 1500 words) by the end of January.
6) After getting feedback, you will have until after February half term to submit your final draft.

In lessons, we'll be mainly focusing on our novel, The Road, after Christmas. 

Mr M

Act 4 Scene 4: It's epic!

Hi,

Horticultural 'grafting' - a metaphor...

Next lesson, we'll be:

1) Doing a comedy theory quiz
2) Reading five pages of 4.4
3) Preparing to have a go at a short re-creative task based on the scene.

Today, we read a chunk of Act 4 Scene 4 (which is 40 pages long in my edition). To clarify the events and ideas in this long and complex scene, take a look here for a quick and easy summary. The first 21 bullet points take us up to where we are in the scene. Why not have a go at a quiz or two while you're there?

Click the image above to learn more about 'grafting' - then consider the relevance of this idea to the play.

Here's the scene with some helpful marginal notes.

Oops. I also forgot that we were going to go over Time's chorus at the start of Act 4. Keep hold of your notes - we'll do this next week.

Homework reminder:

1) Hand in essay (staging 4.3) on Thursday
2) Revise your comedy theory stuff.



Mr M

Shakespeare's Verse: An analysis (+ bear pics)

Hi folks,

Here's my effort at the homework.

I have:

1. Recorded how I'd stress the lines to consider how it fits with iambic pentameter (black)
2. Looked out for sound effects like internal rhyme, alliteration and assonance (green)
3. Picked out key images to highlight the tone of the language (orange)
4. Added a few comments about the effect + interpretations (black)

My overall conclusion from doing this? Well, Cleomenes and Dion are excited, enthusiastic and are positively gushing about their experiences in Delphos. Perhaps this explains the lines with extra syllables. They are not calm and controlled, and this is shown through the variations from the patterns of iambic pentameter. At the same time, it's poetic and musical. The rhymes and semi-rhymes, as well as the use of softer sounds (long vowels, fricatives, sibilance and liquid sounds) create a feeling of dream-like awe and wonder. The language of religion and the heavens helps to bear out this feeling of the sublime, the wonderful.

In other words, there's a connection between form, structure  and style - and subject matter/mood.

Now it's your turn. Don't nick my lines!

As a final present, here's a few of my favourite images of the bear on stage.

Enjoy, 

Mr M

Y12 Homework: Verse form and *reading around the bear*

Hi folks,

Sorry - we didn't get as far as I wanted today as it seemed necessary to spend more time on Shakespeare's verse form.

As a follow-up to our discussion today, I'd like to set you a short task. Here it is:

1) Pick out 3-4 lines of speech from a character in Act 3 which are rich or interesting in terms of their sound as well as imagery (Paulina in Act 3 Scene 2 is a good choice - or Leontes. In Act 3 Scene 1, Cleomenes and Dion are gushing about their experiences in Delphos - so perhaps poetry and musicality of language can be expected there? Antigonus in 3.3?)

2) Write your lines across a page of A4.

3) Annotate your lines in as much detail as possible, focusing on:

•    stressed and unstressed syllables
• rhyme/half-rhymes
• alliteration (and sibilance) and assonance
• punctuation and the flow of the verse

In addition, consider how word choices and imagery enhance the effects of the tone created through sound.

If you need help, here are a few things to get you thinking...

First, my powerpoint from today:

Also, have a look at this video in which actors playing Macbeth and Lady Macbeth discuss the effect of iambic pentameter on their performances:

If you are still not sure, I'll do one of my own and post it here tomorrow so you can see what I'm after.

I'd also encourage you to consider interpretations of the bear and its impact. Here are a couple of places to start:

http://www.shmoop.com/winters-tale/bear-symbol.html
http://www.roh.org.uk/news/exit-pursued-by-a-bear-how-do-you-approach-shakespeares-famous-stage-direction

Have a search around for more bear discussion and be prepared to share next week.


Cheers,


Mr M

The Oracle at Delphi

Hi,
 

Consulting the Oracle by John William Waterhouse

I wanted to point you in the direction of further information about one of the classical references in The Winter's Tale: the Oracle at Delphi. Here, I mean classical in the sense of 'pertaining to Greek and Roman antiquity, especially with reference to literature and art'. The presence of the Oracle in the play puts it in a pre-Christian, pagan setting - despite some anachronistic Christian references.

Check out this link for more about the Delphian Oracle:

http://en.wikipedia.org/wiki/Oracle

Or if you want to dig deeper:

http://www.shakespeareoxfordfellowship.org/wp-content/uploads/Oxfordian2007_Showerman-Death.pdf

Finally, a rich understanding of classical mythology can really help you to develop a deeper understanding of Shakespeare's plays. If you're interested in the classical world or ancient myths, check out one of Shakespeare's favourites: Ovid's Metamorphoses.
Also great: Ted Hughes's Tales from Ovid. 


Mr M

Video Sparknote: 1984

A neat synopsis of Orwell's novel:

Mr M

Orwell... a life in pictures

Chris Langham as Orwell

The man himself...

Hi,

Last lesson, I showed you a little bit of the BBC's docudrama, Orwell: A Life in Pictures.

It's an excellent place to start to get a sense of who Orwell was and what he was about. Remember, Orwell is played by an actor, but the words all come from the writing of the man himself.

You can watch the whole thing on YouTube by clicking here.

Enjoy!


Mr M

Y13: 1984 production and resources

Hi all,

Here's a link to the website of the Headlong Theatre Company's production of 1984, which is at York's Theatre Royal all next week.

If you click on 'explore' at the top of the page, you'll get to all that good stuff I showed you in the lesson. It's definitely worth having a rummage.

I hope some of you get yourself to York to see it! (Laura - I eagerly await your review!)


Mr M