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Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
In a sense, all Elizabethan plays were transgen - der: all the parts were played by men and boys. Yet Shakespeare went beyond convention to toy with the cross-gender idea in play after play. And audiences responded positively, without need of explanation.
Opdracht
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
This edition of As You Like It is modernized (gracious!). Why? Rachel Burke said it best, in her introduction to the Bandanna Books edition of The Merchant of Venice: Why translate Shakespeare into modern Eng lish? In a word BARDOPHOBIA. Bardophobia can be des - cribed as that sweaty discomfort one experiences when seeing the word “thee.” Or “thou.” Or “eft soons.” Too many students give up on Shake - speare and buy the Cliffs Notes, which all too often are read instead of the play… Why do some critics object to an edited ver sion of Shakespeare? They object because many editors watered down the original until it is nearly unrecognizable, taking out the similes and metaphors that Aristotle called “the heart of poetry”… The most infamous example is the Family Shakespeare, Henrietta and Thomas Bowdler’s 18th-century ex pur gated edition in which all the “nastiness” was simply cut out.… Where Shakespeare wanted his characters to sound crude, they sound crude. If he wanted the to speak in iambic pentameter, they speak in iambic pentameter. In his plays, intentionally or not, Shakespeare reorganized the whole conception of theater, away from the long-held Aristotelean notions of unities and logical sequence from beginning to end. He didn’t do this alone—Elizabethan theater was a product of many hands and minds, as we are reminded in scrambling to attribute this or that play to Shakespeare or others. Play by committee, perhaps? The gender-crossing in As You Like It is essen - tial to the structure of the play, extending from Act Two to Act Five, with deep explorations of what it means to be a woman or a man. I try to keep changes in Shakespeare’s lan - guage to a minimum, just enough to be understood imme diately without stopping to look up obscure words, expressions, or references. Even so, some obscurities may be lost to bulky dictionaries.
Eerste woorden
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
Orlando. As I remember, Adam, it was upon this fashion bequeathed me by will but poor a thousand crowns, and, as you say, charged my brother, on his blessing, to breed me well; and there begins my sadness.
Citaten
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
Jaques. But, for the seventh cause: how did you fi nd the quarrel on the seventh cause? Touchstone. Upon a lie seven times removed— bear your body more seeming, Audrey— as thus, sir. I did dislike the cut of a certain courtier’s beard; he sent me word, if I said his beard was not cut well, he was in the mind it was. This is called the Retort Courteous. If I sent him word again it was not well cut, he would send me word he cut it to please himself. This is called the Quip Modest. If again it was not well cut, he disabled my judgment. This is called the Reply Churlish. If again it was not well cut, he would answer I spake not true. This is called the Reproof Valiant. If again it was not well cut, he would say I lie. This is called the Countercheck Quarrelsome. And so to the Lie Circumstantial and the Lie Direct.
Phebe. Good shepherd, tell this youth what ’tis to love. Silvius. It is to be all made of sighs and tears; And so am I for Phebe. Phebe. And I for Ganymede. Orlando. And I for Rosalind. Rosalind. And I for no woman.
Rosalind. They say you are a melancholy fellow. Jaques. I am so; I do love it better than laughing.
Laatste woorden
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
EPILOGUE Rosalind. It is not the fashion to see the lady give the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, ’tis true that a good play needs no epilogue. Yet to good wine they do use good bushes; and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue, nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar; therefore to beg will not become me. My way is to conjure you; and I’ll begin with the women. I charge you, O women, 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. If I were a woman, I would kiss as many of you as had beards that pleased me, complexions that liked me, and breaths that I defi ed not; and, I am sure, as many as have good beards, or good faces, or sweet breaths, will, for my kind offer, when I make curtsy, bid me farewell.