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.
