Alison Weir, The Princes In The Tower (London: The Folio Society, 1992)
A slight rearrangement of this section. Instead of one huge sticky post, it’s easier to post as and when I come across something worth sharing. You can see the previous mega-post by clicking here.
This week’s quotation is attributed to Elizabeth Wydville, widow of Edward IV. She was, at this stage, in sanctuary with her youngest son, and determined to preserve their lives – and hers – by keeping the two boys separated.
… nor custom stale his infinite variety. (Enobarbus: ANTHONY AND CLEOPATRA: II.ii.245-246) [bastardised by me, obviously]
Our timetables for next year were finalised last Friday, and this is what mine looks like – at least in terms of Shakespeare / EMP material. It’s more of the same, basically – although I finally lost The Tempest – which Top Set Y11 had voted to study back in the day when I had complete freedom about what to teach. I think it could be the last year I teach this combination – I want to make at least one change …
So, as we enter the final stretch, you’d think that we teachers would be winding down, right? Imitating Will Kemp in his warm up for his ‘Nine Days’ Wonder‘, by cavorting up and down the corridors of the English block in carefree abandon, greeting fellow English teachers with a hearty ‘hey, nonny nonny!‘ as we pass their empty classrooms?
Not a bit of it, sadly. Whilst our exam classes have donned their gladrags and tottered off into the distance on their improbable high heels (and that’s just the boys, obviously), we’re left with end-of-year assessments for everyone else, which naturally have to be turned around pretty damn quickly.
A running theme in the play is how Caesar’s assassination is going to be remembered and reenacted for centuries to come, so I drew the swimmers in modern clothes.
I had a ‘tense’ conversation with a Y10 lad today. He has about a week to work on a 5-minute or so presentation. The subject is entirely open to him, but it ought to be something he has sufficient interest in that he can produce a structured, coherent talk, with the ability to think on his feet and answer potentially tricky questions on it afterwards (if he wants to get a decent mark). It contributes towards his GCSE qualification under the new specification, and he could be asked to reprise the performance at our school’s ‘Work-Ready Day‘ in two weeks’ time: an important shop window for pupils to get noticed by major local employers, where talent HAS been ‘spotted’ in the past. And ‘scouted’. Despite the fact that the students would rather eat their own tongues than do the presentation once, let alone twice …
… as The Bossmight remark. A guy who, perhaps appositely in the light of this post, I admire for his authenticity as much as his music.
The Taming of the Shrew: Act III
By now, I wonder if anyone is who they say they are in this play. Poor old Christopher Sly‘s been conned into thinking he’s a Lord with a young, beautiful wife, remember: and that was BEFOREthe play properly started … When I see the Stage Direction:
“Enter LUCENTIO [as Cambio], HORTENSIO [as Licio] and BIANCA”
(who I suspect is not as pure, dutiful, or even as nice as she seems), my heart sinks a little.
It’s been a while since I expressed some mild distaste at the prank played on the admittedly unsympathetic Christopher Sly at the beginning of this play.
(the reading continues to schedule, by the way, but I can see myself having to catch up on the act-by-act commentaries over the summer holidays)
Doing a bit of research – perhaps on the back of my reluctance to engage with the comedies, I found that the play has plenty of detractors, but I’ve seen it once – several years ago, at the Cambridge Shakespeare Festival – and enjoyed the performance.The casting certainly seemed to back up Robert Atkins’ views: