Adults and older readers may use this text to gain an idea of how modern teenagers respond to language, and can use this as an example to attempt to interact with them.
Both schools and libraries can use ‘To Be Or Not To Be, Innit’ as a means of introducing children into Shakespeare without putting too much strain on them, and making it an enjoyable experience at the same time.
Because of the use of language by the author, it is suggested that he must have an idea of both language in Shakespearian times, as well as all forms of modern day communication today. As a result, the book will have been written recently, by an adult who is experimenting to combine both forms of English to bring back to love of Shakespeare to modern society.
Overall, the author uses a light-hearted, informal tone to convince the reader to think of him and Shakespeare as welcoming and familiar people, rather than distanced and adamant. He does this mainly through the various street language that he uses, but also the technique of using the terms ‘us’ and ‘we’, rather than ‘I’. By using both colloquial speech, such as ‘respect’, ‘massive’ and ‘turf’, fused with famous Shakespeare terms like ‘alas’, the novelist puts forward his ideas to both registers.
Shakespeare’s name is used differently throughout the course of the introduction, but the ways the writer presents the proper noun make it appealing to all crowds. Such informal terms as ‘Will’ make him seem familiar and comforting, as well as persuading the reader that Shakespeare is a known and liked person, rather than a title or status. He also refers to Shakespeare as ‘The Bard’, and ‘William Shakespeare’. Although this gives the sense that Shakespeare is a title, it is used to reflect the importance and greatness of him.
Partway through the text, the author challenges the young readers and their opinions of Shakespeare. He follows the quote ‘a lot of people think he’s boring and lacks street cred.’ With the single-worded reply, ‘Perhaps.’. This reply shows he is willing to listen to the judgments of the youth, but will still informally express adapting to Shakespeare by stating it as his feelings towards the matter. This way, when the author goes on to argue his point that Shakespeare would be exceedingly popular today, it is not presented to the reader as an insult, but rather an optional belief. The novelist does not attempt to oppose the youth readers, as he would appear very formal, and would be seen as taking away their freedom and authority.
The use of many discourse markers and conjunctions helps the novelist create various links between the old Shakespearian English with the modern lingo used culturally today. By doing this, he merges the two groups into one, and persuades each other that they are together.
To make sure the whole of the introduction isn’t focused on the younger generation and those not interested in the works of Shakespeare, famous quotes such as ‘Alas, poor Shakespeare’ and a few old English terms, it reminds the older generation about the excellence of Shakespeare, as well as the ability to inject Shakespeare’s terminology into modern discussions.
However, these old English greats are altered by the author to make sure both registers are appealed to the idea of reading these. Famous texts have been changed into more comical and entertaining names, such as ‘De Taming of de Bitch’, ‘Macbeff’ and ‘Two Geezas of Verona’. The use of a lower-register (cockney) tone and phonetics helps attract the disinterested youths into liking the idea of reading these texts, as well as persuading the higher register to see if Shakespeare’s works can be successfully ‘translated’ for the lower register.
As well as using terms commonly associated with the younger generation, the writer also uses words such as ‘fit bitch’ and ‘street cred’ to appeal to the youth’s more rebellious sides, to lure them further into the novel. Another sign of picking at the darker sides of younger readers is highlighted in the end statement, where he lists that the ‘sexist, duplicitous, cross-dressing and violent moments’ are kept from the original extracts. This gives a boost of coolness to the original works of Shakespeare, giving him a more respectable title, and also saying that they are the only bits which have been kept from the old stories, showing the more rebellious side of the novelist as well.
The framing works at the top of the page indicate that Shakespeare represents tradition and heritage, showing it to be authentic. This contrasts to the title below it, which appears to be hand written. As a result, a non-fictional approach to the fiction has been created, as well as making the book more personal. The dropdown capital ‘A’ also represents the olden traditions which showed the works to be high prestige.
Many phonetics are shown in various parts of the writer’s introduction. By using such words as ‘de’, ‘Jools’ and ‘Macbeff’, the writer appeals to the lower register to state that a link between Shakespeare and common phonetics used in street language can be created, making Shakespeare more accessible to them. This can be contrasted by the many declaratives and the occasional rhetorical statement he uses. By asking ‘what would he have to prove’, it’s asking the reader to find a reason as to why he should not be popular today if he was around, raising his prestige as well as ‘street cred’.
Overall, the author has successful accomplished his goal by making Shakespeare more accessible to the modern youth and users of street language, as well as keeping the appeal of the older generation towards Shakespeare. Although the author can seem undermining of the youths at certain points, the overall use of teen-slang and attempting to appear on their side can convince them that the writer is being sincere. However, even though this can be of use to older readers as a way to connect with the youths, some readers may oppose the idea, and state the negative points of attempt to ‘simplify’ Shakespeare’s works. Nevertheless, because of the effect of his language, the author will receive more praise than concern.
