CHAPTER 1

INTRODUCTION

A. Background of the Problem

In learning language there are four skills that must be learned by the learner. Those
skills are: listening, reading, speaking, and writing. People do communicate each other use
a language. According to Syafrizal (2014:3) language is one of the most important aspects
in human life. It is the basic element of the communication. A language has function to
convey purpose or something that wanted. Like said by Jeremy Harmer (1998:48) a
language function is a purpose you wish to achieve when you say or write something. By
performing the function you are performing an act of communication.
The communication technic in learning language, one of is by speaking, and in the
classroom it can be practiced by play or drama or role-play. In this technic, student
encourages to speak up in pairs or group. So, everyone has chance to practice speaking.
Incorporating role-play into the classroom adds variety, a change of pace and
opportunities for a lot of language production and also a lot of fun! It can be an integral
part of the class and not a 'one-off' event. If the teacher believes that the activity will work
and the necessary support is provided, it can be very successful. However, if the teacher
isn't convinced about the validity of using role-play the activity "will fall flat on its face
just as you expected it to" (Gillian Porter Ladousse 1987). Therefore, if you think positive
and have a go, you may be pleasantly surprised.
That explanation above about play/drama/role-play will be discussed in this paper
that is about material design and lesson planning: plays.

B. Formulation of the Problem

Based on the background of the problem, our discussion deal with these questions:
1. What is the definition of drama/plays?
2. What are the elements of drama?
3. What is function and types of drama?
4. What is the correlation psychology literature of drama?
5. How to anticipate student problem?
6. How to design material of plays in the classroom?

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C. Objective of the Problem
Regarding to the formulation of the problem above, the writers determine the
objective of the study are divide into:
1. To know the definition of drama/plays,
2. To know the elements of drama,
3. To know the function and types of drama,
4. To know the correlation psychology literature of drama,
5. To know the way to anticipate students problems,
6. To know the design material of plays in the classroom.

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 CHAPTER II
DISCUSSION

A. The Definition of Drama/Plays

The word of drama emanating from Greek language Drau which means is
Action or does something. Aristoteles (in Endraswara, 2011:12) said that drama is a
representation of an action, similar with Aristoteles, Moulton (in Tarigan, 2000:70) said
that drama presented in action. Performances have full code and symbols that keep a story
from beginning until the end. Stories like this become an interesting drama. Drama which
too easy to conjecture is precisely not interested. Another explanation from Harymawan
(in Milawaty, 2011:72) that word of drama is draomi from Greek language, it means
doing, obtain, action, or reaction.
The other definition of drama according to Lazard from two quotations. . . drama is
not made of words alone, but of sights and sounds, stillness and motion, noise and silence,
relationships and responses. (J. L. Sryan, 1975, Drama, Stage and Audience.) However
familiar or unfamiliar the world of a tragedy, comedy, farce or melodrama may be,
everything that we experience has its source, in the long run, in words.(Gareth Lloyd
Evans, 1977, The Language of Modern Drama.)

There is another term that drama is drame, it is from French language, Soemanto
(in Endraswara, 2011:11) it means that drama is supposed to explain the story about
middle level life. Correlation with perform on stage, another explanation from Whittaker
(2008:5,6) she explain that drama is the process, something that is ongoing. Whittaker also
said that drama can cover rehearsals and work up to a performance and also the process of
learning. It means that, Whittaker tries to explain that drama is a process, because it is
cover rehearsals to performance.
Play drama should have process of rehearsals that make a performance become
good. With process we can learn more how to play drama. Play drama without process or
work up, will dissolved a performance. Finally, drama is kinds of literature that has written
with dialogues that observe the elements which action and movement that performed on
the stage.

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B. The Elements of Drama
According to Lynch (2012) most successful playwrights follow the theories of
playwriting and drama that were established over two thousand years ago by a man named
Aristotle. In his works the Poetics Aristotle outlined the six elements of drama in his
critical analysis of the classical Greek tragedy Oedipus Rex written by the Greek
playwright, Sophocles, in the fifth century B.C. The six elements as they are involve: Plot,
Theme, Characters, dialogue, Music, and Spectacle. In addition Lynch (2012) explains that
elements of drama are:
1. Plot is what happens in a play; the order of events, the story as opposed to the
theme; what happens rather than what it means.
2. Theme is what the play means as opposed to what happens (plot); the main idea
within the play.
3. Character is the personality or the part an actor represents in a play; a role played
by an actor in a play.
4. Dialogue is the word choices made by the playwright and the enunciation of the
actors delivering the lines.
5. Music is Aristotle meant the sound, rhythm and melody of the speeches.
6. Spectacles are the visual elements of the production of a play; the scenery,
costumes, and special effects in a production.

Moreover, drama is an interesting literary work which is created, sensation, and

high intention. Absolutely, in drama also have negative aspect, include drama which has
hardness and sexual scene, it is sometimes makes spectators learn to do that. Moreover,
romantics drama also makes romanticism for the actors in other side. It is also in tragic
drama almost make affect to the spectators feels sadness. However, except negative thing
that has explained before, according to Endraswara (2011:13-14) there are some positives
aspects in drama;
1. Drama as an effective medium and flat to describing social conflicts, moral
dilemmatic, and personal problem that without bring special consequences from
our action.
2. The actors of drama make us to focus to the protagonist play, to feel the emotions,
and to feel the conflicts, as well as feel the actors affliction.

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 3. In tragic as the example, with little hurt to the heart, we could learn how to life with
suffering, give knowledge and learning to determine also with magnificence we
could against it.
4. Through comedy, we shall enjoy the joke as a secret of life that for what human
against and for what human to protect something.
5. With a good melodrama, fantasy, could to chase away skepticism, to expand our
imagination, and bring us drive out from ourselves, thus it is not surprising that
drama has been cognizable as therapist.
6. Psychiatrist has been known how to use psychodrama as effective media which
could the patient would remind the past experience.
7. Socio drama also showing the function in society, for example as a media to help
society for concluding the fictionally identity who have conflicts in family, and
also in group.

From seventh things above explain the advantages of drama as a work that suitable
to watch and to learn. There are positives and negatives in drama, but it depends on the
reception of the spectacles. Drama is a mirror in our life. With drama we can do as a
figure, feeling, and feel a play in drama. However, it depends on the actor itself. The actor
should bring the drama script accepted to the spectacles by his action on the stage.
Because, any actor is difficult to remember dialogues on the script and in the end of
performance the spectacles just appreciate to his process not in the drama script that the
actor trying to describe by the action.
Drama script could categorize in literary work and as individual work of writer.
With act of expressing figure, and giving ideas in a logic story, as well as imagine the
setting in order make story as alive. The important elements that support drama is drama
script. Drama script is more important in a drama performance. The writers not only write
a drama script to read but also to perform.
Thus meaning of drama script is all text that dialogist and have plot. Therefore, as
the reader which read a drama script without watching the performance, only imagine the
plot that happen on the stage. Furthermore, we also can find the elements of drama script,
it is like plot, plot could make a story being interesting. Without prepare about a good plot,
drama often make feel not good. Drama plot usually straight and also make zigzag in a

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story. It is depend on the writer to arrange the plot thus creating a good story. A good
drama is developing with a good plot.
According Ghazalai (2001:7) in Setyaning thesis, plot of drama script is developing
dramatics events through with appear some motivations about the character itself. In
addition according to Dietrich (1953:32), there are five parts in play:
1. Exposition: beginning, introducing, parts of play which situation as a beginning
explained. Time, social place, and psychology are arranged.
2. Complication: when power balance are broken by present of action,
3. Climax: is high point which consternation the drama, where the protagonist as well
as antagonist actors include in the story but it is not the solution of the story, only
broken the their situation,
4. Resolution: taking down after climax over, however probably will growth again,
5. Conclusion: the conclusion or phase of the ending of story.
Based on the explanation above, drama script is part of the performance on the
stage; meanwhile in play there are exposition, complication, climax, resolution, and
conclusion to develop performance as well as drama script itself. A drama script is
different from a novel, a short story or a poem. In novels and short stories, the reader will
be given a detailed description of a situation and the background for a particular event,
whereas in a drama script, the reader will be given only an overview (general description)
of a particular situation and the location or place.
The dialogue will deliver the message and thoughts of the author. This is what
distinguishes drama from other literary works. Indeed, the nature of a drama is driven by
dialogue. The authors thoughts or ideas are conveyed through dialogue by the actors
(characters) interacting in a drama.
A good drama script will be able to give a clear picture of the author's thoughts
through the dramatic elements in the resulting dialogue. Dramatic element means the
diction or expressions that can create conflict in a drama, such as dialogue that elicits
feelings of anger, delight, amusement, and so on. A good drama should have an element of
suspense, tension and be able to arouse the curiosity of its reader or audience. According to
Lethbridge and Mildorf (2004:90) Dramatic texts is different with poetry or narrative, it is
usually written for the purpose of being performed on stage.
Based on the explanation above dramatic texts or drama script is different with
poem, as well as narrative text. Drama script is always for performance on the stage. The

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Tragedy of Julius Caesar by William Shakespeare Drama created by William Shakespeare,
1599 has five act and eighteen scenes. In this drama scripts have much conflict that
Shakespeare tries to develop. Shakespeare makes many assumptions that happen when
Caesar death to the reader. In TTJC drama, William Shakespeare chose Brutus and
Antonius as the main character in every act at his works of Julius Caesar. As Leah (1988;
158) wrote in his book that just as Act II might be said to belong to brutus, Act III
belongs to Antonius. Even though, Brutus and Antonius as the main character in
Shakespeare Drama Script. But Cassius is the main person which makes Caesar death.
There are many senators that successfully Cassius get to against Caesar.
Historically, Hart (1978) Cassius as the instigator of conspirator makes a meeting
to his close friends Marcus Brutus, Cassius, Casca, Trebonius, Ligarius, Decius Brutus,
Metellus Cimber. In this meeting they make a decision that they must kill Caesar in order
there is not monarchy leadership. The condition to against Caesar as the leader of Rome is
the purpose of William Shakespeare to show us that there is a conflict political situation
when the leader trying to make a monarchy leadership. In another explanation, McManus
(2011) write that in 49 BC, when Caesar won a civil war between pompeys legion, Caesar
declared himself as a dictators. Throughout his campaign, Caesar practiced and widely
publicized his policy of clemency (he would put no one to death and confiscate no
property). It means that there is no society who rich, all same according to Caesar.
Different with Hart (1978), he said that Caesar is keep society property is only used
for themselves. In fact, just Caesar is being rich then society. In addition, McManus (2011)
also explain that Caesar only takes opportunity from the society. Because of his power,
also attitude that we cannot follow, he also have secret relationship with his friends wife,
especially to Cleopatra, and she bore a son which name Caesarion from Caesar.

C. Function and Types of Drama

Drama is one of the best literary forms through which dramatists can directly speak
to their readers or audience as well as they can receive instant feedback of audience. A few
dramatists use their characters as a vehicle to convey their thoughts, values such as poets
do with personas, and novelists do with narrators. Since drama uses spoken words and
dialogues, thus language of characters plays a vital role, as it may give clues to their
feelings, personalities, backgrounds, and change in feelings, etc. In drama the characters

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live out a story without any comments of the author, providing the audience a direct
presentation of characters life experiences.
While the types of drama, let us consider a few popular types of drama as follow:

1. Comedy Comedies are lighter in tone than ordinary writers, and provide a happy
conclusion. The intention of dramatists in comedies is to make their audience
laugh. Hence, they use quaint circumstances, unusual characters and witty
remarks.
2. Tragedy Tragic dramas use darker themes such as disaster, pain and death.
Protagonists often have a tragic flawa characteristic that leads them to their
downfall.
3. Farce Generally, a farce is a nonsensical genre of drama, which often overacts or
engages slapstick humor.
4. Melodrama Melodrama is an exaggerated drama, which is sensational and
appeals directly to the senses of audience. Just like the farce, the characters are of
single dimension and simple, or may be stereotyped.
5. Musical Drama In musical drama, the dramatists not only tell their story through
acting and dialogue, nevertheless through dance as well as music. Often the story
may be comedic, though it may also involve serious subjects.

D. Psychology Literature of Drama/Plays

Literature and psychology are having correlation each other in the world of
literature. Literature is being from imagination process on condition that has content of
psychic. Tendency of psychic itself is appear to the characters behavior in a literary works
(drama). Therefore, this literary works could be analyzed by using Psychological
Approach.
Walgito (in Setyaning, 2011;25) psychology is a kind of knowledge that human as
the object of the study because of the psyche itself is talking about soul. It is mean that,
psychology is knowledge about soul. According to Ratna (2004:346), psychology
literature is mean not to prove validity of psychology theory itself, like with adjusting a
text did and playwright did. Psychology literature is text analysis with consider a relevance
and the role of psychology study. With concentrating attention to the characters, thus,
could analyze spiritual conflict that probably contradiction with psychology theory.
According to Wellek Rene and Austin Werren (in Setyaning 2011;25,26)
psychology and literary is correlating each other, it is often the characters, situation as well
as plot that construct in a novel or drama is based on existence of psychology, because the
playwright is sometimes using psychology theory in describing the character or the

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environment. Function of psychology itself is doing investigate in soul mind through
characters in a literary works and understand more about human action as well as responds
toward another action. Literary is showing about live, and live itself considerable part from
social reality. Endraswara (2013:96) explain that basis assumption of psychology literature
research is influenced by some case they are: First, there is opinion that literary works is
product of psyche and mind of playwright that on subconscious situation after that make it
in conscious situation. Second, besides analyze the character with psychology approach,
psychology literature also the aspects of mind and feeling of the playwright in creating a
works.
How far the playwright imagines a character thus the works is being alive. Emotion
contacts through dialogues or choosing word. Similar explanation from Milner (in Susanto,
2012:58) that Sigmund Freud creates dream, illusion, and mite as foundation of
subconscious. According to explanation, its mean that dream as well as illusion is being
one of interpretation in using as model in applying literary psychoanalysis classic model.
In categorization, literary different with psychology, as we know that literary is
correlated with fiction, drama, and essay that classified in art, while psychology is
supposed to scientific study about human action and mental process. Even though,
different in explanation, however both of them have a same point that they are come from
human and live as source of investigation. Furthermore, psychology literature research is
based from Freud theory. He explains that conscious is small part from mental live while
the big one is from subconscious. This subconscious could sublimate to the creative
process of playwright. When the playwright creating a character sometime dreamy as
realistic. As far as playwright creates works, they also often being crazy thus the
expression is like not from the playwright conscious itself.
Endraswara (2013:101) argue that studies of Psychology literature uncover
psychoanalysis personality that covering three elements: id, ego, and super ego. The third
systems of this personality are correlated in each other as well as made totalities, and
human action as interaction product between them.
Explanation from Schellenberg (in Ratna 2004:63) Id or Es is primitive
encouragements that should be satisfied, one of them is libido. Thus Id is subjective primer
reality, Inner world before individuals have experience about outside. The ego is
responsible to control Id, while the Super Ego is contains about word of heart.
Furthermore, it means that process of psychoanalytic of Freud about Id, Ego and Super

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Ego that include in psyche topographies. It is important for living thing especially human.
Freud theory of Id means that is a first energy of human that must be satisfied. This energy
could be namely as pleasure principle. The aim of this principle is reducing a stress.
Thus, there is an effort to get a pleasure and reducing suffering. It is could be
shown when baby crying it sign that the baby need to eat or drink. Besides that Ego is
actuality personality of a person. Ego itself is governing the mutual relations of someone
with the world. In this case ego totally backward with id, if id mastered pleasure principle,
ego precisely mastered reality principle. However, ego not only control id, but also
regulate super-ego. Basically, the ego does not mean deprive of volition id but only
postponed for a while in looking for reality. Whereas, Super Ego is about potential or
energy spiritual representing reality of conscience, Super Ego is the power of morality
within humans. Super Ego maintained by culture through the role of the parents when
teaching kids about goodness, piety, which is good and what is bad.

E. Anticipating Students Problems

We have already looked at a number of tasks and activities for exploiting an extract
from a play with students. But before deciding what kind of activities and tasks are to be
used with students, it is important, when planning your lesson, to try to anticipate some of
the difficulties they may have with a particular text. The tasks and activities you use in the
lesson can then be adapted to help overcome some of these problems below:
1. The background to the text
o Will you need to give students a summary of the plot leading up to the text you are
using, or can the context be easily inferred?
o Is there any cultural or historical information students will need to have in order to
make sense of the text?
o Is it useful to know anything about the authors life or other works?
o Do students need to know what genre the play is in order to make sense of it?

2. The language of the text

o Are there any words or phrases in the text which will be unfamiliar to students?
Should you pre-teach these? If so, which ones? Or should you encourage the
students to check the meaning in a dictionary or provide exercises to help students
deduce the meaning from context?

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 o Are there any grammatical structures or functional areas which are not familiar to
students? Should you pre-teach these or focus on them after students have read the
text?
o Are there any discourses features of the text that might cause students difficulty;
for example, sudden changes of topic, characters meaning something different to
what they are saying, etc.? Does the dialogue seem to follow the usual norms of
conversation, or does it disrupt these (as in many modern or Absurdist plays where
there often seems to be little logic in the way characters respond to each other)?
o Is there anything unusual or non-standard about the language of the text? For
example, is it written in rather dated or old-fashioned language? Slang? Does it use
any dialect words?
o Are any rhetorical or literary devices used which may be difficult for students to
understand (e.g. complicated metaphors, apostrophe, synecdoche, etc.)?
o Are there any particular features of pronunciation which the extract could be used
to pinpoint?

3. Motivating and involving students

o How can the theme or topic of the extract be made relevant to the students own
experience? By providing questions for discussion? By asking students to complete
a questionnaire? By asking students to think of situations they know which are
similar to the one in the text?
o In what skill do students need the most practice, and how could the text be used to
help them with that skill?
o What activities would most suit the learning style of the students? Working on their
own with a dictionary? Working in pairs? Being asked to memorise sections from a
dialogue? Being asked to give a personal opinion in English?

F. Design Material of Drama/Plays in the Classroom

As a teaching technique, role playing is based on the philosophy that meanings are
in people, not in words or symbols. If that philosophy is accurate, we must first of
all share the meanings, then clarify our understandings of each others meanings, and
finally, if necessary, change our meanings.

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 In the language of phenomenological psychology, this has to do with changing the
self-concept. The self-concept is best changed through direct involvement in a realistic and
life-related problem situation rather than through hearing about such situations from
others.

Creating a teaching situation which can lead to the change of self-concepts requires
a distinct organizational pattern. One helpful structure for role playing follows:

1. Preparation
a. Define the problem
b. Create a readiness for the role(s)
c. Establish the situation
d. Cast the characters
e. Brief and warm up
f. Consider the training
2. Playing
a. Acting
b. Stopping
c. Involving the audience
d. Analyzing the discussion
e. Evaluating

Although we do not have time to explore each of these in details, it is important to

note that all of them focus on group experiences rather than on unilateral behavior of the
teacher. The group should share in the defining of the problem, carrying out the role
playing situation, discussing the results, and evaluating the whole experience.

The teacher must identify the situation clearly so that both the characters and the
audience understand the problem at hand. In casting the characters, the wise teacher will
try to accept volunteers rather than assign roles. Students must realize that acting ability is
not at stake here but rather the spontaneous discharge of how one thinks the character of
his role would react in the defined situation.

Players may be instructed publicly so that the audience knows what to expect or
privately so that the audience can interpret the meaning of their behavior. Be sure to allow

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for creativity of the actors within their character roles and do not overstructure the
situation.

The discussion and analysis of the role playing situation depends upon how well
we involve the audience. Key questions may be asked by the leader and/or buzz groups
may be formed. All members of the group (actors and the audience) should participate, and
the reactions of the actors may be profitably compared to those of the audience.

The audience is just as much involved in the learning situation as the actors are. In
the analysis and discussion time, the audience should provide possible solutions to the
realistic problem situations which surface.

It is important to evaluate role playing in the light of the prescribed goals.

Categorizing behavior is often overdone and gets in the way of the learning process.
Evaluation should proceed on both groups and personal levels, raising questions
concerning the validity of the original purpose.

Throughout the entire process it will be necessary to deal with certain problems
which arise in role playing situations. The backward, silent member must be encouraged to
contribute. Create an atmosphere in which he is unafraid to share ideas, confident that no
one will laugh at his contributions or harshly criticize his conclusions.

The overbearing monopolize must be curtailed in the discussion phase of role

playing lest he dominate the group and thereby quash the dynamic, Solving this problem
may require some personal counseling outside of class. Tension and conflict in the group
may not always be bad. Sometimes these elements act as a stimulant to thinking. There is
such a thing as creative tension, and it is frequently found in a role playing situation as
group dynamic emerges.

At the end of the discussion time the group should collectively measure its
effectiveness in reaching solutions to the role problem posed at the beginning. The
techniques of role playing afford another approach to involving students in their own
learning process toward the clarification of self-concepts, evaluation of behavior, and
aligning of that behavior with reality. You can see why this is a desirable approach to
classroom procedure for the teacher. Role playing can be an effective instrument in the
classroom.

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a. Procedure of the Role Play
1. Prepare class for role-play
Present an artificial problem, situation or event that represents some aspect
of reality.
Define the problem, situation and roles clearly.
2. Give clear instructions
Determine whether role-plays will be carried out using student volunteers in
front of the class (the teacher may or may not play a role), in
partnerships/small groups with every student playing a role, or in small
groups with role-players and observers.
Divide students into groups, if appropriate.
Model the skill with a scripted role-play.
3. Act out role-plays
Students follow the procedure outlined by the teacher to act out role-plays.
Unless the teacher is playing a role, it is helpful to walk around the room
and observe how students are experiencing the role-play and offer coaching
to students who are stuck.

b. Discussion (small group and whole class)

Begin by allowing players to communicate feelings experienced during the
role-play.
Have students identify sexual health skills that were demonstrated during the
role-play.
Determine actions that strengthen or weaken these skills (i.e. body language).
Discuss how this role-play is or isnt similar to real life.
Identify ways of using identified sexual health skills in real life situations.

c. Alternatives to traditional procedure

Have students write role-plays as scripts.
Have students write down responses and then role-play in front of the class.
Have students generate a list of challenging lines, then have a student read
the lines to the class and have each student give a response.
Have students develop and act out plays.

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d. Tips for using role-play
Begin with fairly easy situations and work up to more challenging ones.
Be aware that some students may feel threatened or self-conscious. Using
humor can help dispel embarrassment. Using role-plays that exaggerate weak
responses might break the ice.
Reduce the level of abstraction or complexity so that the students may become
directly involved with underlying concepts.
If students find it difficult to determine skills which model sexual health, they
could observe successful role models or ask experts to suggest approaches.

e. Merits of Role-play Strategy

1. Student interest in the topic is raised.
2. Active Participation.
3. Long-term retention.
4. It enhances communication and interpersonal skills.
5. It can be used with individuals or in group situations.
6. It teaches empathy and understanding of different perspectives.
7. It helps individuals to learn to accept both their own feelings and those of
others.
8. It develops condence and self-efficacy.
9. Provides teacher immediate feedback about the learners understanding and
ability to apply concepts.
10. It develops competence.
11. It is useful for a range of topics, including interviewing, counseling skills,
personal relationships, and team working.
12. They require mental and physical activity e.g. gesturing to put forward a point.
13. Reduces discipline problems which often arise from boredom and lack of
motivation.

f. Demerits of Role-play Strategy

1. Role play may awaken previously subdued or suppressed emotions.
2. Less effective in large groups (Chaos).

15
3. Teacher must accept her new role where she/he does not dominate the class
anymore.
4. Embarrassment for some students.
5. Can lack focus unless well planned and monitored.
6. Can be unpredictable in terms of outcomes.
7. Can be time-consuming.

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 CHAPTER III
CONCLUSION

1. Drama is a mode of fictional representation through dialogue and performance. It is

one of the literary genres, which is an imitation of some action. Drama is also a
type of a play written for theaters, televisions, radios and films.
2. In simple words, a drama is a composition in verse or prose presenting a story in
pantomime or dialogue, containing conflict of characters, particularly the ones who
perform in front of audience on the stage. The person who writes drama for stage
directions is known as a dramatist or playwright.
3. A drama, or a play, is a piece of writing that is presented almost exclusively
through dialogue. Like a short story or novel, it has a setting, characters, plot, and
even symbolism. However, the way in which they are presented to the audience is
different, because unlike a short story or novel, the play is meant to be performed
in front of an audience, not read.
4. The elements of drama are the thought, theme, and ideas; action and plot;
characters; language; and music. The spectacle, consisting of the scenery, props,
costumes and special effects of a production, is also an element of drama.

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Ladousse, Porte, Gillian. 1987. Role Play. Oxford University.

Lazar, Gillian. 1993. Literature and Language Teaching. United Kingdom: Cambridge

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Syafrizal, Dr.M.Pd. 2014. Teaching English as Foreign Language. Serang: Untirta Press.

Smith, Emma. 2007. The Cambridge Introduction to Shakespeare. Cambridge University

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