Here’s a question. Who among Shakespeare’s characters do you think *says* the least, but is still most crucial to the play? Hamlet, as we know, never shuts up. I’m looking for his opposite. Somebody who manages to say very little but still accomplish great things.
The Prince from Romeo and Juliet would be an example, although only technically — he shows up to say “Look if there’s any more violence in the streets somebody’s going to be executed,” and then later, when there’s violence on the streets, he shows up to banish Romeo. Both important plot points. Technically he wraps the play up but I don’t count that so much among the “action” bits.
I say “technically” because he’s really a minor character who only shows up just to make these points. It’s not like he’s got much stage time.
Compare Cordelia, who disappears after her big opening scene for awhile, and then comes back strong at the end. But I don’t know how her line count would compare with some others.
Ophelia certainly doesn’t get to say much – but can we really count her in this list? Is she ever anything more than someone else’s pawn?
I’m not sure if I’m getting across my premise. Trying to drum up some conversation, it’s been quite here recently.

This is going to sound like a homework question, but you all know that it’s been a long time since I was in high school :).
Othello is typically described as a story of jealousy. When there’s even the slightest hint that his wife has been unfaithful, noble Othello is reduced to a snarling, violent animal who sees her death as the only possible outcome.

But what about Iago’s jealousy of Cassio? Doesn’t the whole play revolve around something that Cassio has, that Iago wants? It’s not just the promotion, is it? Cassio has Othello’s attention. When Othello needs something, he turns to Cassio. Iago wants to be in that position. I would say that Cassio has Othello’s love, but I’m not sure how accurate that is — Othello catches Cassio brawling at the bar and demotes him just as quickly. He doesn’t seem to lose too much sleep over it.
How are the two different? How are they the same? Discuss.

According to Google, the following are the most popularly asked questions that still remain unanswered. Who wants to be first with some answers?

• What kind of person does Cassius seem to be?
• Why won’t Brutus take an oath?
• What lie does Iago tell Montano about Cassio?
• How does Oberon find Titania and Bottom?
• How does Petruchio tame Kate?
• How does Romeo describe Juliet’s beauty?

Most of these don’t seem especially difficult, I just think that patience is required to formulate an answer. After all, doesn’t Romeo spend most of the play describing Juliet’s beauty? That’s a lot of text to cite 🙂
Thanks to everybody who’s been providing the answers!!

Its late on a Friday so I don’t expect this post to get much traffic, but we shall see :).
The post about Iago’s convincing of Roderigo to kill Cassio got me thinking — what scenes does Shakespeare *not* give us, that you wish he did? Imagine Shakespeare was alive today and we got a sort of “director’s cut” of your favorite play, including deleted scenes. What scenes are on your wish list?
The Iago / Roderigo example is a simple one (because its inclusion doesn’t really do much for the plot). Hamlet’s loaded with them — the initial confrontation between Hamlet and Ophelia (during his feigned madness), Ophelia’s death as Gertrude watches…
What else?

Today is Bob Dylan’s seventieth birthday. To celebrate, Bardfilm and Shakespeare Geek have compiled a list of his Shakespeare-related songs. It’s not just the ubiquitous “Shakespeare, he’s in the alley / With his pointed shoes and his bells” from “Stuck inside of Mobile with the Memphis Blues Again,” you know!

Bob Dylan’s Shakespeare Songs

Won’t You Come See Me, Queen Mab?

The Times, They Are A-Changin’: O Cursed Spite, That Ever I was Born to Put Them Right

Rainy Day Women #12 (Goneril) and 35 (Regan)

A Hard Rain’s A-Gonna Fall, For The Rain it Raineth Every Day

Something’s Happening, but You Don’t Know What it is, do you, King Lear?

Fool Wind

It Ain’t Me, Ophelia

Come in, Gloucester Said, I’ll Give You Shelter from the Storm

Yea! Heavy and a Bottle of Sack

Oh, Sister (Sung by Angelo to Isabella)

I Ain’t Gonna Work on Oliver’s Farm No More

Cordelia, Cordelia

Blowin’ in the Windy Side of Care

Stuck Inside of Ephesus with the Syracuse Blues Again

. . . and, of course, there’s Bob Dylan singing the plot of Measure for Measure, which you really have to see (and hear) to believe.

Happy birthday, Bob!

Our thanks for this guest post to kj, the author of Bardfilm. Bardfilm is a blog that comments on films, plays, and other matters related to Shakespeare.