Over the last several years editions of Shakespeare’s plays such No Fear Shakespeare have become increasingly popular among everyone under the sun who picks up Shakespeare to read. People love the simplicity of being able to read a “translated” Shakespeare play. These have been created to combat Bardophobia. But are these convenient little volumes the solution to heal the masses of their inability to understand Shakespeare?

It seems like a little bit of a double-edged sword to me.

Translations into a different language always lose something, you can never say exactly what is meant in another language. One problem with “translating” Shakespeare’s text is that it isn’t another language, it’s still English! Any time you substitute words for other words the meaning is not going to be the same. Yes, the English isn’t modern and can be hard to understand but the language didn’t evolve to give a modern substitute for everything. When you change the words, the meaning is changed. Each word has a distinct meaning, sounds, feeling. Accept no substitutes.

Now I’m not saying that there is no merit in these books. I am saying that the translation is not a substitute for reading the play. The modern English is there as tool, not a crutch. When one ignore’s Shakespeare’s text in favor of the modern you aren’t reading Shakespeare. Often Shakespeare’s words have a double meaning. That doesn’t happen when the words are changed. Sometimes footnotes in other editions are more useful in this respect. In other places, the translation may not be the most accurate words to use in place of the text.

Again, the modern is to be used as a tool to help you understand what is being said when it is tough. In that respect these books can be a GREAT help. Some passages in Shakespeare just are too weird to comprehend right away and looking it up in one of these is a wonderful and painless way to get an “Aha! So THAT’S what that means” moment.

No Fear Shakespeare doesn’t solve the problem of getting people to understand Shakespeare and overcome a fear of it. If used alone it is only a cover for the effects, not the problem.

If you like these versions, great! If you teach using these books, awesome! There is nothing wrong with using them. But whatever you do don’t fall into the trap of taking the “easier path” of looking at only the modern text. Shakespeare’s text isn’t simple without some experience first, but if you take the time it is a much more rewarding experience. Try to read the play in its original form as much as possible and glance over to the translation when you need it. In general when you want a short passage in modern English, spend a little time and try to do it yourself. Look up some words, spend some time with it. When you put Shakespeare in your own words you will understand it better, you’ll connect to it more easily, you’ll enjoy it more. When you need a quick answer use the translation, but don’t cheat yourself. It’s a puzzle – and always more rewarding when you piece it together yourself.

I don’t know exactly what it is about this word, but it’s one of my favorites.

diadem (n.) IPA Pronunciation:
crown

HAMLET
A cutpurse of the empire and the rule,
That from a shelf the precious diadem stole,
And put it in his pocket!
- Hamlet (III.iv)

The word just has such a regal sound about it. Crown sounds authoritative, but diadem is royal.

Shakespeare’s language can be challenging. You and everyone else already know this fact. I’ll try not to say it again. Since it can be so challenging (whoops!) some people try to avoid it. When avoiding it for so long doesn’t work and people realize that they have to work on something Shakespearean, for whatever reason, they’re a bit lost on where to start.

This is a tough question to answer. Shakespeare did so much and everyone’s needs are different how can one recommend one starting place? Very carefully. Some might suggest picking up a copy of a play with Shakespeare’s text on one side and a modern “translation” on the other. This isn’t a horrible idea, but I have mixed feelings about those books.

Theatre and English classes alike will usually start their Shakespeare unit with a day or two of biography and history. Great info, but a history lesson isn’t usually the best way to get excited about a piece of text for reading or performing.

If you really want a fun, engaging and relatively easy way to jump into Shakespeare’s text I would recommend The Sonnets. Even if you’re about to work on a play? Yes, even then. The Sonnets make for a great activity for anyone first entering the vast fields of Shakespeare’s writings: from students to teachers to the average person who just wants to start working with Shakespeare’s text.

First off, a Sonnet is only 14 lines long. That’s not a lot of text, so it will be easy to dive into all aspects of the verse without being overloaded with so much to work with. Each sonnet is written in iambic pentameter which will allow the first time student to see how the meter of the verse works right away. Rhyme is used in these poems, one can see the effects that has on the verse, and that some words don’t rhyme anymore. The reader will also have to make sense of the grammatical structure that the authors used. Again, since there are 14 lines, it’s not so much that you can’t make sense of with a little help from a teacher, friend, or book. If you’re lost for what something means you can ask me too and I’ll do my best to help. Have a dictionary handy to see what some words mean, but with some time and thought you’ll be able to make sense of what the Sonnet is saying. It only gets easier with practice too!

With 154 different sonnets to choose from, I guarantee that you’ll find one that you can relate to somehow. When you decide to work on a sonnet choose one that speaks to you. This is another advantage of working with the Sonnets. When you have a piece of text that you connect with emotionally you will understand it, memorize it, and enjoy it better and faster.

Now go out there and pick up a sonnet and go to work fun!

Bring in da hoise, brink in da funk. Wait, you can’t bring in a verb. That makes no grammatical sense but it sounds cool, right? Shakespeare could probably pull it off. I’m no Shakespeare.
hoise (v.) IPA Pronunciation:
hoist, remove

BUCKINGHAM
And all together, with the Duke of Suffolk,
We’ll quickly hoise Duke Humphrey from his seat.
- Henry VI, Part 2 (I.i)

When this word is used in the above context it’s fun to say. Think about the seriousness of the action and what the sound of the word does to its meaning instead of saying “remove Duke Humphrey from his seat.” Hoise has more poise. Maybe. I just wanted to make that rhyme. You decide for yourself.

Mr. William Shakespeare is not just famous for writing plays to be performed – he wrote poetry as well. In 1592 there was an outbreak of plague in London and so the theaters were shut down for two years. During this time Shakespeare decided to put his talents to use by writing poetry that wasn’t for the stage. At least some of his sonnets were written during this time along with a few other poems: Venus and Adonis, The Rape of Lucrece, The Phoenix and the Turtle, A Lover’s Complaint, and The Passionate Pilgrim.

Sometime in the 1590s (and maybe after, too) Shakespeare completed 154 sonnets. Unlike the number of plays he wrote, we’re pretty darn certain about the number of sonnets. One very helpful reason is that they were all published – also unlike the plays – during his lifetime (1609) in a volume called Shake-speare’s Sonnets.

You may be asking… What is a sonnet anyway? A sonnet is a certain structure of a poem that was very popular during this time. Over a thousand sonnets from various authors have survived from the late 16th century. A sonnet consists of 14 lines with a three rhyming quatrains followed by a couplet. Or in plainer terms, the rhyme scheme is as follows: A – B – A – B. C – D – C -D. E – F – E – F. G – G. Each line is written in Iambic Pentameter, 10 syllables per line. Much like Shakespeare’s verse in his plays, sometimes these rules are broken. He will play with the meter to create deviant rhythms to add some drama to the verse. Some lines here and there have an extra syllable. What else would you expect from The Bard? Sonnet 99 even breaks the line limit and has 15 lines. Shakespeare never really liked to stick to the rules.

No one can be sure to whom Shakespeare’s sonnets were addressed, if anyone, but there are many theories. More on that some other time. The sonnets are great to just sit down with and speak aloud. I’m sure you’ll find one that really speaks to you. They’re not all about “flowery love” like some think. With 154 of them I think you will find a sonnet for any occasion.

Anything that rhymes with ‘pickle’ is worth mentioning. Especially in Shakespeare.

mickle (adj.) IPA Pronunciation: /mIkl/
great, much, large

DROMIO OF EPHESUS
O villain! thou hast stolen both mine office and my name.
The one ne’er got me credit, the other mickle blame.
- Comedy of Errors (III.i)

I’ll give you a nickel and tickle for that mickle pickle. Cool sentence, huh? Shakespeare wrote that sentence. So it’s not stupid. It’s in that one play…

Note the difference in the above quote between saying “much blame” and “mickle blame.” The latter has a very different feel when spoken, almost a more piercing quality with the more forward vowel.

A version of Shakespeare’s 16th Century Globe Theatre in London as a 21st Century New Globe Theatre In New York. Sounds awesome! I just found out about The New Globe today and I’m really excited.

BUT! It’s just an idea at the moment and the idea needs more support. I won’t usually promote things like this on this website but I am a firm supporter of the arts and anything I can do to help – I will do. So check out the New Globe Campaign so that this cultural arts center can exist. Tell your friends too!

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