{"product_id":"shakespeare-for-every-day-of-the-year-isbn-9780143134374","title":"Shakespeare for Every Day of the Year","description":"\u003cb\u003e\"\u003ci\u003eShakespeare for Every Day of the Year\u003c\/i\u003e is not just for Christmas, but for all time.\" —Helena Bonham Carter\u003cbr\u003e\u003cbr\u003eA magnificent collection of 365 passages from Shakespeare's works, for the Shakespeare scholar and neophyte alike.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eMake Shakespeare a part of your daily routine with \u003ci\u003eShakespeare for Every Day of the Year\u003c\/i\u003e, a yearlong collection of passages from Shakespeare's greatest works. Drawing from the full spectrum of plays and sonnets to mark each day of the year, whether it's a scene from \u003ci\u003eHamlet\u003c\/i\u003e to celebrate Christmas or a Sonnet in June to help you enjoy a summer's day. There are also passages to mark important days in the Shakespeare calendar, both from his own life and from his plays: You'll read a pivotal speech from \u003ci\u003eJulius Caesar\u003c\/i\u003e on the Ides of March and celebrate Valentine's day with a sonnet. Every passage is accompanied by an enlightening note to teach you its significance and help you better appreciate the timelessness and poetry of Shakespeare's words\u003ci\u003e. Shakespeare for Every Day of the Year\u003c\/i\u003e will give you a thoughtful way reflect on each day, all while giving you a deeper appreciation for the most famous writer in the English language.\"What distinguishes [\u003ci\u003eShakespeare for Every Day of the Year\u003c\/i\u003e] are its fascinating, scholarly prefaces. A lucky dip for all ages and a handsome Christmas diversion.\" —Books of the Year, The Observer\u003cbr\u003e\u003cbr\u003e\"\u003ci\u003eShakespeare for Every Day of the Year\u003c\/i\u003e is not just for Christmas, but for all time.\" —Helena Bonham CarterAllie Esiri is a former English stage, film, and television actress and has been in numerous productions of Shakespeare’s plays, including performances with the English Shakespeare Company. A lifelong lover of Shakespeare’s poetry, she also studied Medieval and Modern English at Cambridge University.\u003cp\u003e\u003cb\u003eJanuary 1 | Romeo and Juliet | Prologue\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eVery few of Shakespeare's plays have a prologue, but among them is the following from Romeo and Juliet. It is one of the most famous openings in the canon and a fitting start for our year of Shakespeare. The Prologue tells us that these original star-crossed lovers are going to die, which amounts to something of a spoiler. Because of this, the audience knows that despite the levity and love in the beginning of the play, this couple is hurtling, unbeknownst to them, towards a tragic fate.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCHORUS\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTwo households, both alike in dignity\u003c\/p\u003e\u003cp\u003eIn fair Verona, where we lay our scene,\u003c\/p\u003e\u003cp\u003eFrom ancient grudge break to new mutiny,\u003c\/p\u003e\u003cp\u003eWhere civil blood makes civil hands unclean.\u003c\/p\u003e\u003cp\u003eFrom forth the fatal loins of these two foes\u003c\/p\u003e\u003cp\u003eA pair of star-crossed lovers take their life;\u003c\/p\u003e\u003cp\u003eWhose misadventured piteous overthrows\u003c\/p\u003e\u003cp\u003eDoth with their death bury their parents' strife.\u003c\/p\u003e\u003cp\u003eThe fearful passage of their death-marked love,\u003c\/p\u003e\u003cp\u003eAnd the continuance of their parents' rage,\u003c\/p\u003e\u003cp\u003eWhich, but their children's end, nought could remove,\u003c\/p\u003e\u003cp\u003eIs now the two hours' traffic of our stage;\u003c\/p\u003e\u003cp\u003eThe which if you with patient ears attend,\u003c\/p\u003e\u003cp\u003eWhat here shall miss, our toil shall strive to mend.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eJanuary 2 | Twelfth Night | Act 1 Scene 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eShakespeare mentions food in all of his plays, and many of the associated phrases have become absorbed into modern English expressions; perhaps in your 'salad days', when 'the world is your oyster', you may find yourself 'in a pickle'. You may have fond memories of a 'feast fit for the Gods', though not in the same sense as Brutus meant it in Julius Caesar: for him, the feast is Caesar, whom Brutus hopes to 'carve up'. The opening line of Twelfth Night is one of Shakespeare's most well known. Here, the lovelorn Duke Orsino orders his court musicians to keep playing romantic tunes so that he might become sick of thinking about love, like a glutton unable to contemplate another mouthful.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eORSINO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIf music be the food of love, play on,\u003c\/p\u003e\u003cp\u003eGive me excess of it, that, surfeiting,\u003c\/p\u003e\u003cp\u003eThe appetite may sicken, and so die.\u003c\/p\u003e\u003cp\u003eThat strain again! It had a dying fall.\u003c\/p\u003e\u003cp\u003eO, it came o'er my ear like the sweet sound,\u003c\/p\u003e\u003cp\u003eThat breathes upon a bank of violets,\u003c\/p\u003e\u003cp\u003eStealing and giving odour. Enough, no more!\u003c\/p\u003e\u003cp\u003e'Tis not so sweet now as it was before.\u003c\/p\u003e\u003cp\u003eO spirit of love, how quick and fresh art thou,\u003c\/p\u003e\u003cp\u003eThat, notwithstanding thy capacity\u003c\/p\u003e\u003cp\u003eReceiveth as the sea, nought enters there,\u003c\/p\u003e\u003cp\u003eOf what validity and pitch soe'er,\u003c\/p\u003e\u003cp\u003eBut falls into abatement and low price\u003c\/p\u003e\u003cp\u003eEven in a minute. So full of shapes is fancy\u003c\/p\u003e\u003cp\u003eThat it alone is high fantastical.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJanuary 3 | The Merchant of Venice | Act 5 Scene 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eMusic is a poignant feature in many of Shakespeare's plays, just as it was important in the philosophy of his era. Pythagoras's view, which was entertained right up until the Renaissance, was that the celestial spheres on which the planets and stars move around must make a sound as they spin. He called this sound the Music of the Spheres, a principle of harmony which governs the whole universe. With this in mind, in The Merchant of Venice when Jessica says that she is 'never merry' when she hears 'sweet music', Lorenzo observes that she must be attentive to the harmony of the universe; by extension, anybody who claims to be entirely unmoved by music should be regarded with caution.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLORENZO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe reason is your spirits are attentive.\u003c\/p\u003e\u003cp\u003eFor do but note a wild and wanton herd\u003c\/p\u003e\u003cp\u003eOr race of youthful and unhandled colts\u003c\/p\u003e\u003cp\u003eFetching mad bounds, bellowing and neighing loud,\u003c\/p\u003e\u003cp\u003eWhich is the hot condition of their blood,\u003c\/p\u003e\u003cp\u003eIf they but hear perchance a trumpet sound,\u003c\/p\u003e\u003cp\u003eOr any air of music touch their ears,\u003c\/p\u003e\u003cp\u003eYou shall perceive them make a mutual stand,\u003c\/p\u003e\u003cp\u003eTheir savage eyes turned to a modest gaze\u003c\/p\u003e\u003cp\u003eBy the sweet power of music. Therefore the poet\u003c\/p\u003e\u003cp\u003eDid feign that Orpheus drew trees, stones and floods,\u003c\/p\u003e\u003cp\u003eSince nought so stockish, hard, and full of rage\u003c\/p\u003e\u003cp\u003eBut music for the time doth change his nature.\u003c\/p\u003e\u003cp\u003eThe man that hath no music in himself,\u003c\/p\u003e\u003cp\u003eNor is not moved with concord of sweet sounds,\u003c\/p\u003e\u003cp\u003eIs fit for treasons, stratagems and spoils,\u003c\/p\u003e\u003cp\u003eThe motions of his spirit are dull as night,\u003c\/p\u003e\u003cp\u003eAnd his affections dark as Erebus.\u003c\/p\u003e\u003cp\u003eLet no such man be trusted. Mark the music.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eJanuary 4 | As You Like It | Act 2 Scene 5\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eShakespeare's song lyrics use a different metrical structure from his poetry (trochaic trimeter, not iambic pentameter or tetrameter, for you poetry buffs), though most were not entirely of his own composition. Living between Stratford and London, Shakespeare absorbed the rural influences of his home town and fed them onto the stage in the city in the form of pastoral songs, usually adapted from pre-existing common ballads and folk songs. The melancholy Jaques contributes his own verse to ShakespeareÕs greenwood song, exposing the shallowness of the philosophy of this ditty: 'Ducdame' means absolutely nothing.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAMIENS\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eUnder the greenwood tree,\u003c\/p\u003e\u003cp\u003eWho loves to lie with me,\u003c\/p\u003e\u003cp\u003eAnd turn his merry note\u003c\/p\u003e\u003cp\u003eUnto the sweet birdÕs throat:\u003c\/p\u003e\u003cp\u003eCome hither, come hither, come hither.\u003c\/p\u003e\u003cp\u003eHere shall he see\u003c\/p\u003e\u003cp\u003eNo enemy\u003c\/p\u003e\u003cp\u003eBut winter and rough weather.\u003c\/p\u003e\u003cp\u003e[. . .]\u003c\/p\u003e\u003cp\u003e\u003cb\u003eALL\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eWho doth ambition shun,\u003c\/p\u003e\u003cp\u003eAnd loves to live i'th'sun,\u003c\/p\u003e\u003cp\u003eSeeking the food he eats,\u003c\/p\u003e\u003cp\u003eAnd pleased with what he gets:\u003c\/p\u003e\u003cp\u003eCome hither, come hither, come hither.\u003c\/p\u003e\u003cp\u003eHere shall he see\u003c\/p\u003e\u003cp\u003eNo enemy\u003c\/p\u003e\u003cp\u003eBut winter and rough weather.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJAQUES\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eI'll give you a verse to this note, that I made\u003c\/p\u003e\u003cp\u003eyesterday in despite of my invention.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAMIENS\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAnd I'll sing it.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJAQUES\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThus it goes:\u003c\/p\u003e\u003cp\u003eIf it do come to pass\u003c\/p\u003e\u003cp\u003eThat any man turn ass,\u003c\/p\u003e\u003cp\u003eLeaving his wealth and ease,\u003c\/p\u003e\u003cp\u003eA stubborn will to please:\u003c\/p\u003e\u003cp\u003eDucdame, ducdame, ducdame.\u003c\/p\u003e\u003cp\u003eHere shall he see\u003c\/p\u003e\u003cp\u003eGross fools as he,\u003c\/p\u003e\u003cp\u003eAn if he will come to me.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eJanuary 5 | The Merchant of Venice | Act 1 Scene 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eJanuary is the beginning of our calendar year, named after the Roman two-headed god Janus, who faces both towards the future and back at the past. He is mentioned by Salerio in the dialogue with the inexplicably sad Antonio that opens The Merchant of Venice. Shakespeare's England was yet to embrace January as the first month, as the beginning of the year was still in the spring, on 25 March.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eANTONIO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIn sooth I know not why I am so sad.\u003c\/p\u003e\u003cp\u003eIt wearies me, you say it wearies you;\u003c\/p\u003e\u003cp\u003eBut how I caught it, found it, or came by it,\u003c\/p\u003e\u003cp\u003eWhat stuff 'tis made of, whereof it is born,\u003c\/p\u003e\u003cp\u003eI am to learn;\u003c\/p\u003e\u003cp\u003eAnd such a want-wit sadness makes of me\u003c\/p\u003e\u003cp\u003eThat I have much ado to know myself.\u003c\/p\u003e\u003cp\u003e[. . .]\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSALERIO\u003cbr\u003e\u003c\/b\u003e I know, Antonio\u003c\/p\u003e\u003cp\u003eIs sad to think upon his merchandise.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eANTONIO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eBelieve me, no. I thank my fortune for it\u003c\/p\u003e\u003cp\u003eMy ventures are not in one bottom trusted,\u003c\/p\u003e\u003cp\u003eNor to one place; nor is my whole estate\u003c\/p\u003e\u003cp\u003eUpon the fortune of this present year.\u003c\/p\u003e\u003cp\u003eTherefore my merchandise makes me not sad.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSALERIO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eWhy then you are in love.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eANTONIO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFie, fie!\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSALERIO\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eNot in love neither? Then let us say you are sad\u003c\/p\u003e\u003cp\u003eBecause you are not merry; and Õtwere as easy\u003c\/p\u003e\u003cp\u003eFor you to laugh and leap, and say you are merry\u003c\/p\u003e\u003cp\u003eBecause you are not sad. Now, by two-headed Janus,\u003c\/p\u003e\u003cp\u003eNature hath framed strange fellows in her time:\u003c\/p\u003e\u003cp\u003eSome that will evermore peep through their eyes\u003c\/p\u003e\u003cp\u003eAnd laugh like parrots at a bagpiper,\u003c\/p\u003e\u003cp\u003eAnd other is such vinegar aspect\u003c\/p\u003e\u003cp\u003eThat they'll not show their teeth in way of smile\u003c\/p\u003e\u003cp\u003eThough Nestor swear the jest be laughable.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Penguin Books","offers":[{"title":"Default Title","offer_id":46304476528869,"sku":"NP9780143134374","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780143134374.jpg?v=1767736443","url":"https:\/\/k12savings.com\/es\/products\/shakespeare-for-every-day-of-the-year-isbn-9780143134374","provider":"K12savings","version":"1.0","type":"link"}