Name: Linda Tran Book Title: The Friendly Shakespeare Author: Norrie Epstein Brief Summary and Arrangement

of the Book:

Period: 6th Genre: Nonfiction Number of Pages: 550

Epsteins composition of this The Friendly Shakespeare is separated and compartmentalized into ten chapters. Each chapter includes various aspects and headings relating to the topic discussed in the chapter; almost like a canopy of branches over numerous smaller leaves on a tree. On Shakespeare: Rather than delving into the world of Shakespeare immediately, Epstein utilizes the first chapter to acknowledge the potential insecurities, mistakes, and misjudgments that readers might possess regarding Shakespeares world. In this chapter, Epstein references Gary Taylors and Roger Pringles personal opinions on Shakespeares style of writing and Shakespeares popularity as a literary artist; and Peggy OBriens insight on why students find Shakespeare difficult. Advice on interpreting Shakespeare is also provided. What is Shakespeare?: In this chapter, Epstein provides facts on Shakespeares life, through a mini biography. His parentage, birth, early life, marriage, lost years, and London years are all divulged within the first half quarter of the chapter. Epstein then proceeds to elucidate the truth behind the theories and illusions projected upon Shakespeare as a man and his works. Potential ugly truths about the real Shakespeare are presented in comparison to the romanticized and humbled man that idealists have created. A Look at the Elizabethan Stage: Epstein elaborately paints an image that illustrates the differences of watching a play in the Elizabethan Age compared to the Modern Age. She then inserts a brief history on the first theatre that was ever created in England and the controversial arguments and oppositions that it evoked in Puritans and politicians. Epstein mentions facts regarding the Globe and its destruction, alongside its reconstruction. Sexist beliefs in the Elizabethan ages influence on actors and lack of actresses are also elaborated upon. The Plays: This chapter begins by elaborating on how difficult it is to even pinpoint the year that a play or poem was written and published by Shakespeare, let alone to find the exact date. Since record books have been lost or destroyed over time, external and internal references are necessary in the search of a plays terminus a quo. Epstein also includes numerous terms that are essential to the interpretation of a play or its contents and transitions. With much depth, the struggles that Shakespearean editors endure are also displayed for the reader to assess. Shakespearean Romantic Comedy: In this chapter, Epstein illuminates Shakespearean humor, by naming several commonly used forms of jesting in Shakespeares works: verbal humor, running gags, quibbles, and topical humor. After this, Epstein highlights

and elaborates on a number of puns within several Shakespearean comedy romance plays, such as Loves Labours Lost; The Merchant of Venice; A Midsummer Nights dream; and many more. The Histories: Epstein sympathizes with mystified Shakespeare readers and play watchers by acknowledging that the historical plays tend to be confusing with its propensity for using the same name for more than one or two characters. She then provides the reader with a plot synopsis for several historical Shakespearean plays. Rhetorical Analysis: Exigency: The urgency behind the composition of the guide was to provide insight into the world of Shakespeare and its complexities and illusions for individuals who possess difficulties in comprehending or enduring Shakespeare. Audience: Epstein is immensely specific when acknowledging her audience, which could be both Shakespeare lovers and haters, since both could be in need of insight, despite their stances. Purpose: Epsteins ultimate purpose for writing The Friendly Shakespeare was to strip away all of the gaudy projections casted upon Shakespeare to reveal the real man and the truth behind the world of Shakespeare for literary analysts to see. Logos: Note that several of the major characters names contain or are near anagrams of the word volio, which in Italian means will. For the Elizabethans, will meant desire, specifically sexual desire. Page 141 By referencing character names in Shakespeare plays, breaking them down, and tying them with the original audience, Elizabethans, Epstein succeeded in logically breaking down and displaying Shakespeares humorous underlined meanings for the reader to analyze and comprehend. Pathos: Sometimes its not important that the audience actually understand the joke, so long as they understand something was funny. That doesnt mean that the actors top for a moment, guffaw like crazy, and slap their thighs Page 80 Using imagery, Epstein succeeded in creating vivid illustrations that appeal to the readers humor; therefore, creating a light atmosphere and encouraging the reader to read on, whilst breaking down the readers barrier against Shakespeare, all the same. Ethos: You can read them stories at a very young age. Macbeth is a hot favorite in the fourth grade. They dont know theyre not supposed to like Shakespeare, so they dont have a resistance yet. And theyre already learning new words all the time, so Shakespeare isnt different from anything else. Peggy OBrien Peggy is the director of education at the Folger Shakespeare Library. Alongside teaching students, OBrien also teaches teachers how to teach Shakespeare. Epstein does a commendable job when it comes to using ethos to win over readers. She referenced at least fifteen different authority figures within this guide.

 Style/tone: Although Epsteins style of writing leans toward formal, rather than informal, she keeps her tone light and soothing, encouraging readers to not give up on Shakespeare. Rather than shoving Shakespeare at the reader, she gently guides the reader by the hand, whilst murmuring soft words of encouragement. Delivery: The cover of the book almost comes off as comical, but assuredly modern; therefore, it appeals to numerous crowds. Although the font chosen to present the majority of the book was Time New Roman in size 12, headings and the beginning letter of paragraphs were embellished with decorous fonts. All of the pages are bordered with an elegant border with an edge that somewhat shares the appearance of a jeweled crown or jeweled hilt of s sword. Pictures were also used to amuse the reader, yet drawing a point, all the same.

Uses of Outside Sources: It was evident that Epstein referred to numerous outside sources when writing this guide. The Friendly Shakespeare contained approximately fifteen to twenty reference figures. For instance, Gary Taylor; Peggy OBrien; Andrew Gurr; and Peter Sellars, just to name a few. Interview dialogues between Epstein and these figures were also inserted into the guide at appropriate places to appeal to the reader authoritatively. Quotes from Shakespeare analysts, Shakespeare fanatics, and Shakespeare critics were used all throughout the guide to either sympathize with the reader or to prove a point. Personal Response: Personally, The Friendly Shakespeare most assuredly served its authors purpose. Although Epstein evidently braced for an unwilling and guarded audience, she still reached out efficiently and succeeded in grasping on to a more willing and open-minded audience, all the same. Her purpose and drive behind this guide were to open the eyes of ignorant yet curious Shakespeare critics to a more realistic and less sentimental and ornamented image of Shakespeare. Her goal was to breach an unwilling readers wall against Shakespeare, and although I did not harbor a wall, being a Shakespeare fanatic myself, it felt as though her efforts were just as powerful as intended. While reading this, I caught myself wanting to try some of the advice that she offered in her guide. For instance, to never read footnotes ever again and to just watch a play that Ive never read in school before. The points that she delivered were logical yet appealing; and they definitely convinced me. She provided a shocking abundance of insight and facts

regarding every aspect possible on Shakespeare. After reading this guide, I honestly believe that my knowledge of Shakespeare and Shakespearean language has widened immensely. Through this guide and her advice, Epstein has evoked a sudden urge within me to just run and grab a Shakespeare play off of my shelf and feverishly devour it right on the spot.