Shakespearean dating tips - Anthony John Peters

445,184 views ใƒป 2013-08-22

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Alex Delizonas
00:06
Using the word Shakespeare
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ื”ืฉื™ืžื•ืฉ ื‘ืžื™ืœื” ืฉื™ื™ืงืกืคื™ืจ
00:07
within any classroom in the 21st century
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ื‘ืชื•ืš ื›ืœ ื›ื™ืชื” ื‘ืžืื” ื”21
00:09
has become almost as dangerous for teachers
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ื”ืคืš ื›ืžืขื˜ ืœืžืกื•ื›ืŸ ืœืžื•ืจื™ื
00:11
as putting balloons in a toaster.
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ื›ืžื• ืœืฉื™ื ื‘ืœื•ื ื™ื ื‘ื˜ื•ืกื˜ืจ.
00:13
After uttering this simple word,
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ืื—ืจื™ ืืžื™ืจืช ื”ืžื™ืœื” ื”ื™ื—ื™ื“ื” ื”ื–ื•,
00:14
the common teacher is met with a mass of groans,
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ื”ืžื•ืจื” ื‘ืžืžื•ืฆืข ื ืชืงืœ ื‘ืžืกื” ืฉืœ ืื ื—ื•ืช,
00:17
moans,
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ื™ืœืœื•ืช,
00:18
devastated looks,
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ืžื‘ื˜ื™ื ืžืื•ื›ื–ื‘ื™ื,
00:19
and the occasional chair tossed in his or her direction.
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ื•ื”ื›ื™ืกื ื”ืžืงืจื™ ื”ืžื•ืฉืœืš ืœื›ื™ื•ื•ืŸ ืฉืœื• ืื• ืฉืœื”.
00:21
But Shakespearean works are not boring,
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ืื‘ืœ ื”ืขื‘ื•ื“ื•ืช ืฉืœ ืฉื™ื™ืงืกืคื™ืจ ื”ืŸ ืœื ืžื—ื–ื•ืช ืžืฉืขืžืžื™ื,
00:23
confusing,
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ืžื‘ืœื‘ืœื™ื,
00:24
long and painful plays written more than 400 years ago.
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ืืจื•ื›ื™ื ื•ื›ื•ืื‘ื™ื ืฉื ื›ืชื‘ื• ืœืคื ื™ ื™ื•ืชืจ ืž 400 ืฉื ื”.
00:27
They're adventures relating to the extremities
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ื”ื ื”ืจืคืชืงืื•ืช ืฉืงืฉื•ืจื•ืช ืœืงื™ืฆื•ื ื™ื•ืช
00:29
of human nature:
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ืฉืœ ื˜ื‘ืข ื”ืื“ื:
00:30
love,
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ืื”ื‘ื”,
00:31
hate,
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ืฉื ืื”,
00:32
jealousy,
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00:32
zealous ambition,
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ืงื ืื”,
ืืžื‘ื™ืฆื™ื” ื—ื–ืงื”,
00:34
fear,
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ืคื—ื“,
00:35
mistrust,
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00:35
deception,
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ื—ื•ืกืจ ืืžื•ืŸ,
ื”ื˜ืขื™ื”,
00:36
and murder.
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ื•ืจืฆื—.
00:37
We owe much of our own language to his invention.
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ืื ื—ื ื• ื—ื™ื™ื‘ื™ื ื”ืจื‘ื” ืžื”ืฉืคื” ืฉืœื ื• ืœื”ืžืฆืื•ืช ืฉืœื•.
00:40
He invented over 2,000 words
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ื”ื•ื ื”ืžืฆื™ื ื™ื•ืชืจ ืž 2,000 ืžื™ืœื™ื
00:42
for use in his plays,
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ืœืฉื™ืžื•ืฉ ื‘ืžื—ื–ื•ืช ืฉืœื•,
00:43
which still remain in the Oxford English Dictionary.
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ืฉืขื“ื™ื™ืŸ ื ืžืฆืืช ื‘ืžื™ืœื•ืŸ ืื•ืงืกืคื•ืจื“ ืœืื ื’ืœื™ืช.
00:45
Words like "countless"
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ืžื™ืœื™ื ื›ืžื• "ืจื‘ื™ื ืžืกืคื•ืจ"
00:47
and "assassination"
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"ื•ื”ืชื ืงืฉื•ืช"
00:48
as well as phrases like
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ื›ืžื• ื›ืŸ ื‘ื™ื˜ื•ื™ื™ื ื›ืžื•
00:50
"one fell swoop,"
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"ื ืคื™ืœื” ืžื”ื™ืจื”,"
00:51
"foul play,"
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"ืžืฉื—ืง ืžืœื•ื›ืœืš,"
00:52
and even "to be in a pickle"
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ื•ืืคื™ืœื• "ืœื”ื™ื•ืช ื‘ืฆืจื”"
00:54
all originated from William's brilliant brain.
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ื›ื•ืœื ื”ื’ื™ืขื• ืžื”ืžื•ื— ื”ืžื‘ืจื™ืง ืฉืœ ื•ื•ืœื™ืื.
00:56
And there are many echoes
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ื•ื™ืฉ ื”ืจื‘ื” ื”ื“ื™ื
00:57
of Shakespeare's romantic language too.
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ื’ื ืฉืœ ื”ืฉืคื” ื”ืจื•ืžื ื˜ื™ืช ืฉืœ ืฉื™ื™ืงืกืคื™ืจ.
00:59
If you read <em>Romeo and Juliet</em>,
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ืื ืืชื ืงื•ืจืื™ื ืืช ืจื•ืžืื• ื•ื™ื•ืœื™ื”,
01:00
you'll come across sentences like,
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ืืชื ืชืชืงืœื• ื‘ืžืฉืคื˜ื™ื ื›ืžื•,
01:02
"She doth teach the torches to burn bright,"
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"ื”ื™ื ื‘ืืžืช ืžืœืžื“ืช ืืช ื”ืœืคื™ื“ื™ื ืœื‘ืขื•ืจ ื‘ื‘ื•ื”ืง,"
01:05
and, "So shows a snowy dove trooping with crows."
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ื• "ื›ืš ืžืจืื” ื™ื•ื ื” ืœื‘ื ื” ืฉืžืงืคืฆืช ืขืœ ืขื•ืจื‘ื™ื."
01:09
Both are quite clever metaphors,
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ืฉืชื™ื”ืŸ ืžื˜ืืคื•ืจื•ืช ื—ื›ืžื•ืช,
01:10
suggesting that Juliet is both exceptionally beautiful
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ืฉืžืฆื™ืขื•ืช ืฉื™ื•ืœื™ื” ื”ื™ื ื’ื ื™ืคื” ื‘ืื•ืคืŸ ื™ื•ืฆื ื“ื•ืคืŸ
01:12
and far moreso than anyone else.
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ื•ื”ืจื‘ื” ื™ื•ืชืจ ืžื›ืœ ืื—ื“ ืื—ืจ.
01:15
"For thou art as glorious to this night,
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"ื›ื™ ื”ืื•ืžื ื•ืช ืฉืœืš ื”ื™ื ืžื“ื”ื™ืžื” ืœืœื™ืœื” ื”ื–ื”,
01:17
being o'er my head,
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ื›ืฉื”ื™ื ื‘ืจืืฉื™,
01:18
as is a winged messenger of heaven,"
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ื›ืžื• ืฉืœื™ื— ืžื›ื•ื ืฃ ืžื’ืŸ ืขื“ืŸ,"
01:20
is a simile suggesting angelic qualities
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ื”ื™ื ื”ืฆืขื” ืœืชื›ื•ื ื•ืช ืžืœืื›ื™ื•ืช
01:22
of the lady in question.
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ืฉืœ ื”ื‘ื—ื•ืจื” ื”ืžื“ื•ื‘ืจืช.
01:23
This is not too different from today's comments like,
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ื–ื” ืœื ืžืื•ื“ ืฉื•ื ื” ืžื”ื”ืขืจื•ืช ืฉืœ ื”ื™ื•ื ื›ืžื•,
01:26
"Hey, beautiful!"
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"ื”ื™ื” ื™ืคื™ืคื™ื”!"
01:27
and, "You're the hottest girl in the room."
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ื• "ืืช ื”ื‘ื—ื•ืจื” ื”ื›ื™ ืžื“ืœื™ืงื” ื‘ื—ื“ืจ."
01:30
Shakespeare also uses
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ืฉื™ื™ืงืกืคื™ืจ ื’ื ืžืฉืชืžืฉ
01:31
slightly more complex metaphors
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ื‘ืžื˜ืืคื•ืจื•ืช ืžืขื˜ ื™ื•ืชืจ ืžืกื•ื‘ื›ื•ืช
01:33
to describe the intentions of a mischievous man.
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ื›ื“ื™ ืœืชืืจ ืืช ื”ื›ื•ื•ื ื•ืช ืฉื— ื’ื‘ืจื™ื ืฉื•ื‘ื‘ื™ื.
01:35
For instance,
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ืœื“ื•ื’ืžื”,
01:37
"This holy shrine, the gentle sin is this: My lips,
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"ื”ืžื–ื‘ื— ื”ืงื“ื•ืฉ ื”ื–ื”, ื”ื—ื˜ื ื”ืขื“ื™ืŸ ืฉืœื™ ื”ื•ื ื–ื”: ื”ืฉืคืชื™ื™ื ืฉืœื™,
01:40
two blushing pilgrims,
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ืฉื ื™ ืขื•ืœื™ ืจื’ืœ ืžืกืžื™ืงื™ื,
01:41
ready stand to smooth that rough touch
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ืขื•ืžื“ื™ื ืžื•ื›ื ื™ื ืœื”ื—ืœื™ืง ืืช ื”ืžื’ืข ื”ืžื—ื•ืกืคืก
01:43
with a tender kiss,"
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ืขื ื ืฉื™ืงื” ืขื“ื™ื ื”."
01:45
essentially means, "I wish to kiss you."
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ืžื” ืฉืื•ืžืจ ื‘ืขื™ืงืจื•ืŸ, "ืื ื™ ืจื•ืฆื” ืœื ืฉืง ืื•ืชืš."
01:48
Such male intentions were not limited
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ื›ื•ื•ื ื•ืช ื’ื‘ืจื™ื•ืช ื›ืืœื• ืœื ื”ื™ื• ืžื•ื’ื‘ืœื•ืช
01:50
to simple pecks on the cheek either.
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ืœื ื™ืงื•ืจื™ื ืคืฉื•ื˜ื™ื ืขืœ ื”ืœื—ื™.
01:52
An intentional ambiguity was often used
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ื“ืจืš ืžื›ื•ื•ื•ื ืช ื‘ืขืœืช ืฉืชื™ ืžืฉืžืขื•ื™ื•ืช ื”ื™ืชื” ื‘ืฉื™ืžื•ืฉ ืจื‘ื•ืช
01:54
as a cheeky means to proposition marriage
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ื›ื“ืจืš ื—ืฆื•ืคื” ืœื”ืฆืขืช ื ื™ืฉื•ืื™ืŸ
01:56
or a more intimate relationship.
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ืื• ื™ื—ืกื™ื ื™ื•ืชืจ ืื™ื ื˜ื™ืžื™ื™ื.
01:58
Therefore, instead of viewing Shakespearean works
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ืœื›ืŸ, ื‘ืžืงื•ื ืœืจืื•ืช ืืช ื”ืขื‘ื•ื“ื•ืช ืฉืœ ืฉื™ื™ืงืกืคื™ืจ
02:01
as out-dated, boring, and unhelpful,
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ื›ืžื™ื•ืฉื ื•ืช, ืžืฉืขืžืžื•ืช, ื•ืœื ืžื•ืขื™ืœื•ืช,
02:03
start reading today
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ืชืชื—ื™ืœื• ืœืงืจื•ื ื”ื™ื•ื
02:04
and discover the best ways
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ื•ื’ืœื• ืืช ื”ื“ืจื›ื™ื ื”ื˜ื•ื‘ื•ืช ื‘ื™ื•ืชืจ
02:05
to get the one you love
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ื›ื“ื™ ืœื”ืฉื™ื’ ืืช ื–ื• ืฉืืชื ืื•ื”ื‘ื™ื
02:06
to love you back.
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ืฉืชืื”ื‘ ืืชื›ื ื‘ื—ื–ืจื”.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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