I’m always curious to see what search terms bring people to this site. Here is a list of some of the search terms that brought people here today:

shakespeare and technology
tudor riddles
riddle for a waste paper basket
plays genres
josh lymon secret service codename
descendants of king george vi
shakespeare reading group
what did the tudors find and bring back to England
descriptive word that starts with the letter y
knowledge in othello
is smarter a word
who is the more complex villain in king lear
new book on shakespeare, author on the daily show
mary queen of scots descendants in Virginia
macbeth simplified language
codependent relationship between macbeth and lady macbeth
who influenced sir francis bacon
venn diagram puzzles
descendents of the tudors to present day
fox 40 morning news riddle
what did tudors do in there free space
teaching shakespeare to four year olds
henry viii riddles
riddles in shakespeare
lateral thinking games
queen elizabeth “i am henry …”
multiple choice test for king henry the 8th
in merchant of venice two fathers in post strike rules on their daughters
giant shakespeare crossword puzzle
boleyn living relatives
literacy in shakespeare’s time
a list of twenty things that shakespeare wrote
top 10 reasons to vote
where can i find information on the descendants of bloody mary
what is the coincidence that happened between shakespeare and cervantes

This is a partial list. I deleted several of the search terms, mostly looking for modern-day descendants of the Tudors.

I can tackle a few of these, and I’ll leave the rest to my readers. To the best of my knowledge, Josh Lyman’s Secret Service codename was never revealed on The West Wing. Yes, “smarter” is a word. And Bloody Mary did not have any children, and thus, no descendants.

I have taught Shakespeare to a wide variety of age groups, but never to four-year-olds. I defer to the Shakespeare Geek who is building an early appreciation for the playwright with his own daughters.

As for the Elizabeth quote “I am Henry”, I’m at a loss, though you may be thinking of the Queen’s reaction to a production of Richard II, which is about the deposing of a monarch. She was aware that the Earl of Essex commissioned the production in order to foment rebellion. Elizabeth I is said to have remarked “I am Richard II, know ye not that?”

Does anyone know which Shakespeare author was on The Daily Show? And would anyone like to address the questions about Merchant and King Lear?

Michelle Obama’s Secret Service code name is Renaissance. Very cool.

Her husband’s codename is Renegade, and the kids are Radiance and Rosebud. More codenames can be found here and even more here.

At first, I thought it was odd that they would give all of the family members names that start with the same letter. Wouldn’t that be confusing? Not to keep dwelling on The West Wing, but Eagle and Bookbag didn’t start with the same letter. But looking over these lists, it looks like they do it with every administration. Both Bush families have code names that start with T, probably because W’s name was a holdover from his father’s administration.

It makes you think of what you’d want your Secret Service code name to be. I know what I’d want mine to be, if Michelle Obama didn’t already have it.

I’ve always been a fan of both Rahm Emanuel and The West Wing, but only just learned, via The Media Dude, that Rahm was the model for the fictional Josh Lyman.

As I write this, Ohio is being called for Barack Obama, which pretty much locks in his victory tonight.

And this is a historical moment for so many reasons. It’s not just that we are going to have an African-American president, which in itself is a monumental marker of progress. It’s also about voter turnout and enthusiasm. And even the most cynical among us are daring to hope for change in this country.

For me, what makes this election remarkable is that the undecided voter wasn’t much of a factor. In the past few campaigns, the two candidates were so close that both had to court undecided voters. This leads to pandering, wedge issues, and attack ad wars.

This election was different. Between Obama’s inspirational message, McCain’s coming unglued in the final weeks, the economy in crisis, and the overwhelming Bush fatigue felt by so many of us, it was a perfect storm for the Democratic candidate. As a result, Obama had such a commanding lead that he was able to take the high road and speak directly to the issues.

McCain also tried to campaign cleanly. I never had a problem with the Joe the Plumber strategy. It never bothered me that he wasn’t a licensed plumber, wasn’t about to buy a business, would not have seen a tax hike under Obama, and wasn’t named Joe. McCain was making a point about standing up for small businesses, and Joe the Plumber was convenient shorthand. That seems fair enough.

However, the constant attempts to paint Obama as not a real American were painful to watch. Sarah Palin campaigning across the country would suggest that Obama liked to pal around with terrorists. And then there were the attack ads that used code words to appeal to the worst qualities of the electorate. I don’t think this was in the spirit of what McCain was trying to accomplish with his candidacy. But in the end, the law requires the candidate to explicitly state “I approve this message.” Ironically, it’s John McCain whom we have to thank for that law.

All of that is behind us now. We may go to sleep tonight secure in the belief that we will wake up to morning in America. And President Obama will ride a massive wave of momentum into office, only to find a friendly Congress waiting for him. His first hundred days have the promise to be extraordinary. But we must not let our enthusiasm be replaced with complacency. Change is difficult under the best of circumstances, and there will be pressure to compromise. This is still our country. This is still our government. We must be as vigilant with President Obama as we were with President Bush.

But that comes later. Tonight, we celebrate.

I’m the Shakespeare Teacher, and I approve this message.

I’ve been watching reruns of The West Wing on Bravo. Lately, they’ve been showing episodes from the last two seasons. I am a huge fan of the show, but only have the first four seasons (the Sorkin years) on DVD, so this is a big treat for me. In some cases, I’m seeing episodes that I probably haven’t seen since they first ran.

The show is about the fictional Jed Bartlet presidency. The last two seasons focus largely on the primaries and general election to appoint Bartlet’s successor as president. After a tough primary battle, the candidates are the newcomer, charismatic Democrat Matthew Santos (Jimmy Smits), and the veteran, moderate Republican Arnold Vinick (Alan Alda). It’s a race that uncannily mirrors the current presidential contest. Watching the fictional campaigns and their behind-the-scenes strategizing was enough fun the first time around, but watching them during this election season really makes you feel like you’re sitting on the front lines.

These shows were made years ago, so they can’t really be about Obama and McCain. Or can they? My cousin, Boywonderesq, pointed me towards a New York Times article that outlines how the current Democratic nominee was, to no small degree, the model for his fictional counterpart. The article describes other similarities between the two campaigns that nobody could have predicted.

As might be expected, there are considerable differences between the two scenarios as well. First of all, Obama is way ahead in the polls, and has been for some time. The Matt Santos campaign was well behind for most of the campaign. Also, Vinick is forced to compromise on some of his issues, but refuses to pander on issues where he feels strongly. John McCain’s Straight Talk Express has been off the rails for over a year now.

I’ve always liked and respected Senator McCain. He was a national hero. He was a bipartisan leader. And, yes, he was a maverick. More than anything else, watching these reruns of The West Wing gave me a glimpse into something I feel cheated out of: the chance to see that McCain, my McCain, run for president. Instead, the desire to win and the stress of the campaign trail has made him seem like little more than a snarling, pandering, rambling shell of his former self.

Senator McCain was on Saturday Night Live last night. He was relaxed, amiable, and even funny. One thing seemed clear to me: he knows it’s over, and that he’s lost. There was the old John McCain, ready to reach across the aisle one last time and have a good laugh at his own expense.

I doubt Obama will follow the example of Matt Santos and offer McCain Secretary of State. But I must admit that episode seemed a little less silly than it did when it first aired.

From Henry IV, Part Two:

Come hither, Harry: sit thou by my bed;
And hear, I think, the very latest counsel
That ever I shall breathe. God knows, my son,
By what by-paths and indirect crook’d ways
I met this crown; and I myself know well
How troublesome it sat upon my head:
To thee it shall descend with better quiet,
Better opinion, better confirmation;
For all the soil of the achievement goes
With me into the earth.

Shift around the letters, and it becomes:

Two weeks back, Ms. Christiane Amanpour hobnobbed live with five former secretaries of state.

They told her why their instinct is for the new president to talk to both allies and enemies.

They told her in synch why we must both close Guantanamo and end torture.

They told her why it is time to move on climate change.

They told her why they think Iraq’s a hot potato.

Dumb liberal bile!

You can read a transcript of the interview here.

Well, I am pleased to report that the Cymbeline project turned out very well.

For their video project, the 8th grade class I was working with decided to create a modern-day talk show (instead of a reality show) with characters from Shakespeare’s Cymbeline as guests. The show includes scenes from the original play, an alternate ending, and a commercial for a Cymbeline video game… all written, performed, and produced by the students!

They presented their video at an in-school film festival, and represented their school at a citywide film festival hosted by my organization. And now, through the magic of the Internet, I share the video with you:

If you want to share this video with others, you can link directly to this post or embed the video from its TeacherTube page (where you can also watch the video if you have trouble loading it in here). We will also be featuring the video on the school’s home page.

UPDATE: The kids put the video on YouTube. It’s a much higher quality than what I was able to post to TeacherTube, so if you want to embed the video on your site, you should use that one.

I was planning to post a Greek Tragedy 24 as a follow-up to last month’s Shakespeare 24, but it turned out to be much too derivative. Part of the problem seems to be that the two genres being parodied are much too close to make such a union humorous. In fact, I would go so far as to say that 24 is today’s answer to the ancient Greek tragedy. A statement like that requires some explanation.

The most obvious similarity is the real-time format. Ancient Greek drama was, for the most part, presented in real time. The audience of that age would not have accepted the traditional story-telling techniques that we take for granted today, such as flash-backs and multiple locations. Aristotle’s unity of time is often translated as meaning that the action of a play must take place within 24 hours (which would have worked just as well for this comparison), but Aristotle never actually wrote this, and if you read the plays, they could pretty much take place in the time you spent watching them. The plays start after most of the action has already happened, and the main character is about an hour and a half away from the great reversal of fortune and recognition he has coming. During the play, characters come in and out, but the audience usually stays put. Oedipus realizes that he needs to speak with someone and has to summon him and wait for him to come, unless he just happened to have already summoned him on another matter and, oh look, here he comes now. Audiences of the time had no problem accepting that sort of thing, I suppose. Shakespeare did not have to play by these rules for his audiences, shifting his scenes between Rome and Egypt in Antony and Cleopatra, and famously skipping over sixteen years in The Winter’s Tale, to name just two examples.

Similarly, when Briscoe and Curtis (or whoever the current line-up on Law & Order is this year) get a lead on a suspect, we can immediately cut to them arriving on the scene. When Jack Bauer gets a lead on a suspect, he actually has to physically get to the location. It’s worth noting that only the unity of time, not place or action, is observed. The show can easily switch back and forth between Washington DC and Los Angeles, and have multiple story lines going at the same time. But what the real-time format does for both 24 and Greek tragedy is to give an immediacy to the events being depicted. We can feel like this is something happening in front of us in the moment. When our hero is faced with a choice to make, he has to make it right now, even if it is an impossible choice.

This element of the impossible choice is crucial to both 24 and Greek tragedy. Greek playwrights would often show characters torn between their solemn duties to their oikos (family) and their polis (state). Agamemnon is told that the goddess Artemis will not allow him to sail to Troy unless he sacrifices his daughter Iphigeneia. He now must choose between his responsibility to the polis to wage war with Troy and his responsibility to the oikos to protect his daughter. There is no right answer, only two wrong ones. In true Jack Bauer fashion, he puts national security first, and offers up the kid. Antigone makes the opposite choice. She is told by King Creon that she may not bury her traitorous brother, and she has a duty to obey. But she also has a duty to bury her brother, and she makes that decision - which she will ultimately suffer for. Actions have consequences, and the characters are willing to accept those consequences even when they did not have a better choice.

Similarly, characters on 24 are often put in situations where they have to choose between oikos and polis, between someone they personally care about and national security. National security on this show is less about “protecting our way of life” and more about “millions of people will die” if we don’t stop the threat. Either way, there will be serious consequences. The show finds just those moments where the “right thing to do” is something that most of us couldn’t do. But Jack Bauer can, and he becomes elevated to the level of the mythical hero.

And there we find another similarity. Ancient Greek dramas were often set at a time when, for the Greeks, the mythological overlapped with the legendary. Gods interacted with humans, and humans were a special breed of heroes. The stories did not have to be realistic - their mythical nature allowed the playwrights to explore larger themes. In 24, events are contrived to fit the real-time format, and we accept it. Jack is able to shuttle around from location to location in record time, and we accept it. Most of all, Jack is able to embody the courage, resolve, and self-sacrifice that we admire in our present-day heroes. He does so far beyond what any human would actually be capable of doing. And we accept that, too. In our post-9/11 world, that’s the larger theme.

To sum up: Shakespeare 24 - Very funny. Greek Tragedy 24 - Too “on the nose” to really be funny. But I enjoyed coming to that recognition, and now I am pleased to share it with you.