Shakespeare No Fear

[Darios Uclaray]

Yetdo I fear thy nature; It is too full o' the milk of human kindness To catch the nearest way: thou wouldst be great; Art not without ambition, but without The illness should attend it: what thou wouldst highly, That wouldst thou holily; wouldst not play false, And yet wouldst wrongly win.

When daisies pied and violets blue And lady-smocks all silver-white And cuckoo-buds of yellow hue Do paint the meadows with delight, The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo; O, word of fear, Unpleasing to a married ear.

I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes like stars start from their spheres, Thy knotted and combined locks to part, And each particular hair to stand on end Like quills upon the fretful porpentine. But this eternal blazon must not be To ears of flesh and blood. List, list, O list!

The Player Queen gives this speech in the play that Hamlet stages to flush out Claudius. She suggests that women tend to experience love and fear in equal measure. What do you think? Is this experience of fear unique to women?

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About one month later, I got a package from the producers of the conference. I opened it up and found a stack of forms, which were audience feedback forms on my presentation. I also found a cassette tape of my talk (yes, I realize I am aging myself with that last part). I popped the tape in the player and started listening to myself. Then, I began reading the audience feedback forms. What I read was extremely painful.

When my 13 year old son first started acting a few years ago, by being a member of the cast in a live theater production, he loved it. He had to audition for a part, and that process caused him a ton of anxiety, but he survived it. In order for new acting opportunities to be possible for him after that, he understood the fact that he would have to continue to partake in these grueling auditions.

NOTE TO READER: This is a great opportunity for me to share how far my son has come in his acting career by overcoming his fear of auditions. He now chooses to do them on his own, and loves the opportunities he gets through them. Check it out HERE.

As things started to succumb to chaos in the dungeons of fear and hunger, he was sent from the Kingdom of Rondon for aid. In short time he too lost his mind. Now he tries to guard the area to his last breath from anyone who sets foot to the fortress.

- New Gods, about Iron Shakespeare

From what can be gleaned from the little information given to the player in the game, the armor used to be a man called Iron Shakespeare. Shakespeare was most likely the name, and 'Iron' must be an epithet or title given to him, most likely because of how heavily armored he was.

He fights with his arms, which cause high damage and broken bones. He will ignite his right lantern arm at the end of the first turn, and his left lantern arm at the end of the second. His ignited lanterns will no longer cause the Fracture status effect - but they deal more damage and gain a 60% chance to apply the burning status effect.

In these lines, Shakespeare also uses another technique known as an apostrophe. This is seen when the speaker or speakers address their words to someone or something that cannot hear them or is unable to hear them. In this case, they are talking to people who are either sleeping or dead.

The fourth and final stanza of the poem is different than those which came before it. The rhyme scheme changes and so does the use of punctuation. Here, Shakespeare ends the first four lines and the sixth line with an exclamation point. His speaker is exclaiming over the lack of fear, witchcraft, and negativity that the dead have to worry about. These lines are sung excitedly and with a lot of energy. The song/poem ends with the speakers wishing the two deceased (or so they think) characters well in death.

Poetry+ PDF Guides are designed to be the ultimate PDF Guides for poetry. The PDF Guide consists of a front cover, table of contents, with the full analysis, including the Poetry+ Review Corner and numerically referenced literary terms, plus much more.

In his novel, Voyage of the Dawn Treader, C.S. Lewis chronicles an island where all dreams come true. Sounds wonderful, right? But think about it a moment. All dreams. Our fondest wishes, but also our most terrifying fears. On this island, we would meet every shadowy thing we ever imagined to be lurking in the darkness, every terrifying image we ever tried to thrust from our mind.

This is Macbeth's situation. Just as the three Weird Sisters predicted, or perhaps precipitated, his fondest wishes, his secret dreams of power, have all come true. But so too have his darkest fears. In the course of the play, we see Macbeth struggling against those phantoms, struggling to master or eradicate his own fears. "I am cabin'd, cribb'd, confined, bound in / To saucy doubts and fears" (3.4.24-25), he laments to the men he has hired to murder Banquo. He has won the crown, but his mind is poisoned, his tranquillity lost. He cannot enjoy his triumph, cannot rest, cannot sleep.

Shakespeare's preeminence as a dramatist rests in part on his capacity to create vivid metaphors and images that embody simple and powerful human emotions. This lesson is designed to help students understand how Shakespeare's language dramatizes one such emotion: fear. Students will work in small groups to perform the so-called "banquet scene," in which the newly-crowned Macbeth, while entertaining the lords of Scotland, encounters a ghost only he can see. The twist here is that while there will be opportunities for students to analyze Shakespeare's language, the performance itself will be done without words. The wordless performance means that students will need to develop physical equivalents for the clues to Macbeth's state of mind that are embedded in Shakespeare's poetry.

Note: This lesson may be taught either as a stand-alone lesson or as a prequel to the complementary EDSITEment lesson, "Shakespeare's Macbeth: Fear and the Motives of Evil." The second lesson takes a broader look at fear in the play, exploring how fear becomes not just merely the result of Macbeth's actions, but a cause of his increasingly desperate and evil actions. While the activities in the present lesson center around students' performance of one scene, in "Shakespeare's Macbeth: Fear and the Motives of Evil" students use a search engine to locate and analyze key passages throughout the play that suggest the motives of Macbeth's precipitous descent into evil.

As an opening assignment, ask students to think about times when they have felt fear and horror. What are some of the physical symptoms of fear and panic? What does the face of a fearful person look like? What are some of the various facial expressions of fear? What is the body language of a person who is feeling fear? How does extreme fear affect the mind? How does it affect what we see or hear? How do we master fear? (You might want to assign this opening exercise as a journal assignment: students will then have time to reflect on the feelings, thoughts, and physical sensations associated with fear.) Summarize student responses on the board so that the class will have a record when they begin to work in performance groups. Tell students they are going to be performing a scene in which a normally brave man has a terrifying vision, a vision that no one else around him can see.

Print out copies of act 3, scene 4, from the online text of Macbeth developed by Dr. Michael Best (see "Preparing to teach the lesson," above). Students will need their own copies of the text to write on in the activities that follow. Before you read the scene aloud as a class, ask students to pay particular attention to the entrances and exits of the ghost. Can they tell, from his words, when and where Macbeth first sees the ghost? Ask students to write their comments and reactions in the margins of their copy as you read through the scene, and to make notes by passages in which Shakespeare uses imagery, metaphor, and simile to reveal aspects of Macbeth's psychology (for definitions and brief discussions of metaphor, simile, and other rhetorical figures and literary terms, see the EDSITEment-reviewed Victorian Web: the Tropes). Look, for example, at such animal images as "rugged Russian bear," "arm'd rhinoceros," and "Hyrcan tiger." What does it tell us about Macbeth's state of mind that his speech is filled with images of beasts? What feelings and impressions do these and other images convey?

Once you have read through the scene as a class, ask students whether there were any passages or events they did not understand. Discuss the central elements of the scene, establishing the meanings of any difficult words or passages. Ask students questions about whether or not they think that Macbeth actually sees a ghost, or whether the ghost is just a metaphor for something that is inside him--like the "dagger of the mind" referred to in the quote at the top of this lesson plan (2.1.36-39). Discuss Macbeth's response to the ghost, or to the phantom produced by his own mind. How do students imagine him looking and behaving? What are his expressions, his body language, at various points in the scene? What difference does it make that Macbeth, as Shakespeare tells us the very beginning of the play, is no coward? (You might want to share with them a passage from the first act in which a wounded soldier describes how "brave Macbeth" has ruthlessly dealt with the Scottish traitor, Macdonawald (1.2.16-23). The point here is that what the "banquet scene" depicts is the spectacle of an otherwise brave man confronting a terrifying vision, as is implicit in Macbeth's declaration to the ghost that "what man dare, I dare" (99). Ask students what difference to performance this understanding of Macbeth's nature might make (as a hint, you might ask them to consider the impression conveyed by the illustration of Macbeth that accompanies this lesson plan, above left).

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