Here I have discussed the nature of the Fool in 1.4 and also given a brief introduction to the meter of the play.
I have tried to focus my discussion of the Fool on 1.4 simply to maintain the sense of introduction to the play. My intention is that if students use these talks effectively, they will soon be able to make the links and develop the interpretations of the play for themselves.
The talk about meter focuses on Gaps in the Iambic Pentameter and the effectiveness of these in establishing emotion and allowing for action. Again, I have focused on 1.1 for the reasons outlined above.
English Teaching Resources 
Sorry, I don’t have 20 min. to spare to listen to such a slow-talking lecture. Reading it in text form wd probably take less than half that. Please try again.
What a staggeringly busy life you must lead. Poor you.
Why not use the technical term for that ‘gap’ in the meter, ie.a ‘caesura’ in the line about France? iambic pentameter would be better expressed as:
^ – /^ – / ^ -/ ^ -/ ^ –
Iambic tetrameter = for spells and incantations! Best illustrated in ‘Macbeth.’
Great ideas though and as you say, Steven Fry’s . ‘The Ode well Travelled’
is a masterpiece.
Because i understabd a caesura to ve an artificial gap within a line. Tge gap here refers to the “empty” feet left by curtailing the spoken kength of the line itself- acting as beats rest in music.
Sorry about typos: iPhone keypad!