Shakespeare. Yes, again. And again.

And again. And again.

Why? Because, quite simply, it's what. we. do.

In a message last week, L. wrote to ask for advice about teaching her children Shakespeare. "I will be learning right alongside my children. In your opinion, what is the best way to do this?"

I've answered this question before, several times, on [insert home education message board name here]. But I was also able to find a version of my answer in the M-mv email archives: Eighteen months ago, MDH wrote, "I have a ten-year-old daughter. [...] Do you have any recommendations for the first work for her to read?"

My reply (reworked for inclusion here) offered recommendations and briefly described our approach.

A reply, then
One thing I've pounded home, here and elsewhere, is that the introduction to Shakespeare should be as much like Shakespeare's intended experience as possible -- that is, his plays were meant to be seen and heard, not read. (I heartily disagree with our dear Mr. Bloom on this point, by the way. And that's okay.)

In keeping with the idea of meeting Shakespeare on his own terms, then, a live performance is generally superior to a film. The Misses M-mv met the bard in Kenneth Branagh's Henry V ("O Kate! Nice customs curtsey to great kings"), but they fell in love with him (yes, at six and eight) during a Chicago Shakespeare Theater (CST) production of A Midsummer Night's Dream. A rappin' Puck. A show-stealing Bottom. The grace and wonder of that stage. The fact that the actors met the audience in the lobby. They became hooked -- for life.

But if a live performance isn't possible...

Or if you think your students are not quite ready for the experience...

Branagh's Henry V is a terrific place to which to begin because, well, quite simply, it's easy to follow and exceptionally well done. The plot is uncomplicated, so one can focus on the language, which is exquisite. At the gates of Harfleur, most of us experience (or have already experienced) an "Ah-ha!" moment of the most wondrous sort: I get this! This is amazing! What's next? Shakespeare is great!

Other film intro possibilities: Romeo and Juliet is a so-so introduction. A Midsummer Night's Dream featuring Kevin Kline isn't bad. As an introduction, though, Much Ado about Nothing is better, in my humble opinion. Again, the Branagh production. A mild caution: There is the briefest of nudity in the opening sequence and sexuality is openly (though discreetly, if that's possible) expressed during the scenes in which Claudio is duped into thinking Hero is impure. And speaking of caution, mild or otherwise: The battle violence in Branagh's Henry V may be unsuitable for some young people. You know your child better than I do.

My son's first film adaptation was actually Julius Caesar, with Jason Robbards as Brutus. He adored it. Our experience became the stuff of an article I sold, but this play probably isn't the best way to begin for most people. Besides, my son was already hooked: The year before he had attended a CST production of A Midsummer Night's Dream (a different production than the Misses).

Another possibility would be Twelfth Night, with the incomparable Ben Kingsley as Feste.

Now, then.

Prior to watching a live or filmed performance, we read aloud from an abridgment (e.g., Charles and Mary Lamb, E. Nesbitt, Beverly Birch, Bruce Coville, Adam McKeown -- the latter two being particular favorites here). This gives us the basic plot and, often, the key subplots. (Most recently, we've done this (again) with Hamlet.) Then we watch -- sometimes more than one performance, often more than once.

And then we read the unabridged play to the accompaniment of a quality audio production. Oh, how well we respond to the language when our reading is aided by the audio!

Naxos, Caedmon, and Arkangel are all quality sources for audio productions. Now, despite my unabashed lust for this, our absolute favorite audio productions are Naxos (King Lear, King Richard III, and The Tempest), Caedmon (Twelfth Night), and BBC Radio Presents (Hamlet). Check with your librarian to see what you can borrow before making an audio purchase. In fact, your library may also have many of the film adaptations I've recommended.

So -- retelling, watching, reading while listening. As often as you need and/or like.

Why our English teachers did this in reverse order remains a mystery, no?

As far as I'm concerned, this method works well for adults, too. There is no reason why someone late to the table should miss this meal. I would add only that older students and adults will likely appreciate a more detailed synopsis of the play prior to watching, this in addition to an engaging retelling/abridgement. Master M-mv and I heartily recommend Shakespeare A to Z; The Essential Reference to His Plays, His Poems, His Life and Times, and More.

Other ideas for "teaching Shakespeare"
Use their toys: The Misses M-mv were onto something when their Ken nodded to Barbie and assured her that nice customs curtsey to great kings. Using Barbies or Little Ponies or puppets or whatever to illustrate plot twists or illuminate intent... well, that's just child-like genius at work. Harness it to help your young viewers understand the intricacies of A Midsummer Night's Dream or the intrigue of Hamlet.

Keep a chapbook: Master M-mv and I keep chapbooks devoted to our Shakespeare studies. We copy passages that "speak" to us and share our entries. How fascinating to see what someone else deems worthy of preservation.

Learn the language, naturally: Family M-mv memorizes wide swaths of Shakespeare through repeated viewings and readings (i.e., "listenings"). Obviously, too, the nature of a family-centered learning project (as opposed to a more conventional learning environment) allows for many, many everyday conversations that are colored by bardolatry. (See this entry, for example.) Well, what we use, we own. It's really that simple.

And, as I've written before, Shakespeare need not be hard at all, Fintan.

"It just isn't important in today's society."
L. wrote, "Also, why do you think it is important to read Shakespeare? I have been told by a few folks (homeschoolers!) that it just isn't important in today's society. I disagree, but can't really articulate why. My 'gut instinct' just isn't enough of a reason."

Well, actually, "gut instinct" may be plenty of reason, but I can see why one might think this an inadequate response in conversation. As I wrote to L., though, I honestly don't know what to say to folks who could, in seriousness, maintain that Shakespeare -- the inventor of the human -- is unimportant. Nothing I said, however well articulated or carefully stated, would deter them from that (misinformed) position. And, as I grow older, I find that I'm less and less inclined to fight against such ignorance. A bemused sigh and furrowed brow might be all you can offer when confronted with -- well, I typed such fools but realized that some of you might find that too harsh and dismissive, so I'll go with people who hold that view.

Heh, heh, heh.

I also suggested that L. take a peek at this entry. There is, I am certain, something about the pursuit of excellence that some people simply. don't. get. But life is short, and the struggle to win over the ignorant is, in my experience, futile. I'd rather discuss Hamlet than attempt to persuade someone of Shakespeare's value.

Bibliography
It's incomplete, really, but the following list represents books titles that have been helpful in my own studies. These are the books to turn to -- after the abridgment and the performance and the reading/listening. (The ol' M-mv mantra: Wash. Rinse. Repeat.) I've boldfaced those I keep close.

Asimov, Isaac. Asimov’s Guide to Shakespeare (Volumes One and Two).
Barton, John. Playing Shakespeare: An Actor’s Guide.
Bloom, Harold. Shakespeare: The Invention of the Human.
Boyce, Charles. Shakespeare A to Z; The Essential Reference to His Plays, His Poems, His Life and Times, and More.
Brown, Ivor. Shakespeare.
Burgess, Anthony. Shakespeare.
Carter, Avis Murton. One Day in Shakespeare’s England.
Chrisp, Peter. Welcome to the Globe! The Story of Shakespeare’s Theater.
Crowl, Samuel. Shakespeare at the Cineplex: The Kenneth Branagh Era.
Epstein, Norrie. The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard.
Fallon, Robert Thomas. A Theatergoer’s Guide to Shakespeare.
Garber, Marjorie. Shakespeare, After All.
Goddard, Harold C. The Meaning of Shakespeare (Volumes One and Two).
Gollub, Herman. Me and Shakespeare: Adventures with the Bard.
Green, John and Paul Negri. Great Scenes from Shakespeare’s Plays.
* Greer, Germaine. Shakespeare: A Very Short Introduction.
Kermode, Frank. Shakespeare’s Language.
Kott, Jan. Shakespeare Our Contemporary.
Lomonico, Michael. The Shakespeare Book of Lists.
Morley, Jacqueline. Shakespeare’s Theater (part of the Inside Story series).
Norwich, John Julius. Shakespeare’s Kings: The Great Plays and the History of England in the Middle Ages: 1337–1485.
O’Dell, Leslie. Shakespearean Language: A Guide for Actors and Students.
— . Shakespearean Characterization: A Guide for Actors and Students.
O’Toole, Fintan. Shakespeare Is Hard, But So Is Life.
** Saccio, Peter. Shakespeare’s English Kings; History, Chronicle, and Drama.
Silverbush, Rhona and Sami Plotkin. Speak the Speech! Shakespeare’s Monologues Illuminated.
Smith, Bob. Hamlet’s Dresser.
Stanley, Diane, and Peter Vennema. Bard of Avalon: The Story of William Shakespeare.
Van Doren, Mark. Shakespeare.

* Germaine Greer, writing in the Guardian, took aim at Steve Irwin earlier this month. Somewhere in my web travels I read an indignant assertion that Greer was simply trying to make a name for herself and would promptly be forgotten. [Insert the aforementioned bemused sigh and furrowed brow.] I don't necessarily subscribe to Greer's views, but I had thought her reputation as a feminist and scholar was fairly well established. Perhaps she needs a television program. Or a catchphrase. Something memorable, like Crikey! so folks don't forget her. Heh, heh, heh. (An aside: Family M-mv was saddened by Irwin's death; when he was younger, Master was quite a fan. And, believe me, the 5'7" and up club thinks Greer's editorial was ill-advised. Yet something about the assertion that Greer needs to "make a name for herself" just cracked me up. I mean, as if. Anyway....)

** Master M-mv and I also recommend The Teaching Company's courses Shakespeare: Comedies, Histories, and Tragedies, taught by Saccio. Skip the DVDs; opt for the CDs. Unlike Shakespeare, Saccio is meant to be heard, not seen. Heh, heh, heh.

Finally
I haven't a pithy conclusion, but in culling through the archives for related entries, I found this passage:

At 6:15 p.m.
While waiting for brother, the Misses M-mv identified in the is-it-already-night dark sky Cassiopeia, Perseus, Cygnus, and Pegasus and discussed Bruce Coville's retelling of Hamlet with a sort of matter-of-factness that staggers me.

You see, I was late to the table -- for astronomy, for Shakespeare, for Latin, for physics. But I arrived. Finally. I arrived. And I am eating -- with my hands, sometimes, to cram it all in. And so, I cannot help but be amazed, staggered by students three decades younger who absorb the complexities of Hamlet with such seeming facility.

They are so very, very lucky.

Postscript
This note from L. pleased me to no end:

Just a quick note to give you a big THANK YOU for all the Shakespeare information you sent me! This is fantastic! I've already picked up the book by Norrie Epstein at the library and will be picking up more as I'm able. Have you ever considered putting a Shakespeare curriculum together and selling it to folks like me who have "come to the table late"? I think it would be a huge success since, in my opinion, I think Shakespeare intimidates most people...

Thank you for letting me (and others, through your blog) know that Shakespeare IS accessible, doable, and learnable! You are a treasure!

Thank you, L., for the kind, kind words.

I've collected most of our Shakespeare posts into one entry and posted a sidebar link for those who'd like to read more about the inventor of the human.