7. Talk about the language of shakespear and the difficulties of presenting shakespear’s characters to a modern audience.

For any Englishman, there are never can be any discussion on topic who is the world’s greatest poet and dramatist. Only one name possibly suggest itself to him: that of W Shakespeare. All of us use words, phrases and quotation from Sh’s writings that have become part of the common property of English-speaking people.

Shakespeare, more perhaps than any other writer, made full use of the great resources of the English language. Most of us use about 5000 words in our normal employment of English. Sh in his works used more than 25000. There’s probably no better way for a foreigner to appreciate the richness and variety of the English language than by studying the various ways in which Sh used it. For many years critics have been theorizing about the Sh’s plays. Sometimes, indeed, it seems that the poetry of Sh will disappear beneath the great mass of comment written upon it. Fortunately, this is not likely to happen. Sh’s poetry and characters (Macbeth, Othello, Hamlet and all the others) have long delighted not just the English but lovers of literature everywhere. These characters overflow with humanity—weakness, tenderness, jealousness, anger, grief. His characters are more about vulnerability than power, happier to redeem than to consign to damnation. It’s universary relevant.

In brining Sh’s delicate and resonant plays to the stage, many stages of understanding have to be gone through and many interpretations are likely to be rejected as facile and simplistic.

The process is really difficult, but rewarding. For the language of Sh is still foreign even to Britain and making Sh’s works for a modern English-speaking audience requires great thought and effort to say nothing of presenting these works to people who are not British. It’s important to look further within the text and it’s a great stretch to imagination to try to grasp the essence of the play and bring it out in a way, that doesn’t require a British sensibility to comprehend it, but which appears to all. That’s why people prey to many fears over the reception of Sh’s plays.

8. Describe an english journalist’s impressions of travelling through thevast spases of russia, china and mongolia.

It’s no wonder that trains are a literary genre all on their own. Writers from Graham Green to Agatha Christie realized that there is nothing quite like curtain sleeping compartments quicken the narrative pulse. To board the train that crosses countries and continents is to feel that anything might happened.

From the first days of a journey on board a Trans-Siberian Express the journalist was fascinated by the changing countryside, by his first compartment which had the air of a slightly down-at-heel gentlemen’s club. The scale of the Trans-Siberian, the largest and the longest of rail journeys, it difficult to comprehend.

Food in the dining car was adequate, if uninspired. But the best food was to be found at the stations where the train made scheduled stops.

The towns they passed, indistinguishable from one another, were a blur of smoking chimneys and grey apartment block. They rattled across wide rivers and climbed into the Urals. But the very ease of the journey began to betray the journalist. He read, slept, ate and beginning to forget who he was.

Then they crossed into Mongolia. For miles they saw nothing, then 2 or 3 yurts, a herb of horses grazing in a water meadows, a woman tending a flock of black goats.

In the Gobi desert the grass grew sparser,. Like Mongolia, Chine offered them a timeless landscape. But in China everything was man-made, every tree a planted one, every inch of land cultivated. At Peking they came to a half and emerged blinking into the real word again. For all the enticements of China the journalist was said to leave the train. For a week it had been home, secure and familiar.