William Shakespeare
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A Yorkshire Tragedy by William Shakespeare (Apocrypha)
A Yorkshire Tragedy by William Shakespeare (Apocrypha) This etext was produced by Tony Adam. Shakespeare, William. A Yorkshire Tragedy. Not So New as Lamentable and True. In C.F. Tucker Brooke, ed., The Shakespeare Apocrypha (Oxford, 1918). ALL'S ONE, OR, ONE OF THE FOUR PLAYS IN ONE, CALLED A YORK-SHIRE TRAGEDY AS IT WAS PLAYED BY THE KING'S MAJESTY'S PLAYERS. Dramatis Personae. Husband. Master of a College. Knight, a Justice of Peace. Oliver, Ralph, Samuel, serving-men. Other Servants, and Officers. page 1 / 56 Wife. Maid-servant. A little Boy. SCENE I. A room in Calverly Hall. [Enter Oliver and Ralph, two servingmen.] OLIVER. Sirrah Ralph, my young Mistress is in such a pitiful passionate humor for the long absence of her love-- RALPH. Why, can you blame her? why, apples hanging longer on the tree then when they are ripe makes so many fallings; viz., Mad wenches, because they are not gathered in time, are fain to drop of them selves, and then tis Common you know for every man to take em up. OLIVER. Mass, thou sayest true, Tis common indeed: but, sirrah, is neither our young master returned, nor our fellow Sam come from London? RALPH. page 2 / 56 Neither of either, as the Puritan bawd says. Slidd, I hear Sam: Sam's come, her's! Tarry! come, yfaith, now my nose itches for news. OLIVER. And so does mine elbow. [Sam calls within. Where are you there?] SAM. Boy, look you walk my horse with discretion; I have rid him simply. I warrant his skin sticks to his back with very heat: if a should catch cold and get the Cough of the Lungs I were well served, were I not? [Enter Sam. -
Barbican Events Dec 2017 Barbican.Org.Uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–
1 Barbican Events Dec 2017 barbican.org.uk News 2–12 Playing the Changes 2–4 Barbican Maker: Emma Johnson 4–6 Transpose 7–9 The Caretaker 9–11 Ho Ho Homeware 11–12 Listings 13–53 Art 13–17 Film 18–26 Classical Music 26–44 Contemporary Music 44–45 Theatre & Dance 45–50 Learning 50–53 Information 53–67 Explore 53 Booking 55 Calendar 58–67 2 News Playing the Changes Christian Campbell, Trinidadian Bahamian poet, essayist and cultural critic, considers the importance of Basquiat’s work for today’s audience. Some questions for Boom for Real: what tools, what language, what new ways of being together do we have now that we didn’t have then with which to read the work of Jean-Michel Basquiat? How has the work changed (which is also to ask, how have we changed)? And how does the work read us now? Fortuitously a new commission, Purple, is currently on show in the Curve by the ferociously brilliant artist John Akomfrah , who claims Basquiat as an influence. Housing Akomfrah and Basquiat at the same institution changes the conversation. This is a crucial time to look at Basquiat again given major global cultural shifts including the rise of more African- American, Caribbean, Latin American and other diaspora artists and writers; the rise of ’First World’ discourses on diaspora; the rise of intersectional black theories (such as black feminist theory, black queer theory, etc) and new histories of black expressive cultures; the rise of critical theory; the rise of alternative histories of conceptualism; the rise and increasing visibility of black immigrants in North America and Europe; the development of institutional support for the arts outside of North America and Europe (through museums, festivals, prizes, biennials, 3 etc); and the endurance and renewal of anti-colonial and black radical movements that continue to fight institutional racism in all spheres. -
Winter 2005 Who Wrote Fellowship’S 3Rd the Spanish Annual Meeting Tragedy? Held in Baltimore by C
Vol.4:no.2 "Let me not to the marriage of true minds admit impediments..." Winter 2005 Who wrote Fellowship’s 3rd The Spanish annual meeting Tragedy? held in Baltimore By C. V. Berney he Spanish Tragedy was one of the ixty members gathered most popular and important plays of in Baltimore, Mary- Tthe Elizabethan era. If you ask an Sland, in early October academic who wrote it, the reply will be for the third annual confer- “Thomas Kyd, of course,” and it will be ence of the Shakespeare Fel- given in a voice ringing with authority and lowship. The program was certitude. varied, with over 20 speak- But it may not be quite that simple. In ers, a debate, and several the- their introduction to the play, Brooke and atrical performances, includ- Paradise note that ing productions of Julius Caesar by the Baltimore The early editions of The Spanish Tragedy are all anonymous, and none of Shakespeare Festival, “De- the theatrical notices of the play mentions throning a Deity” by Michael Kyd. We owe our knowledge of his Dunn in the persona of authorship to Thomas Heywood, who Among the activities at the 3rd Annual Shakespeare Fellowship Charles Dickens, and Shake- Conference in Baltimore was the awards banquet, where special quotes three lines (IV.i.86-88) in his Speare, a show about Oxford Apology for Actors, 1612, with the words: recognition was bestowed on Dr. Gordon Cyr (left) for Lifetime “Therefore, M[aster] Kid, in his Spanish Achievement and Tom Regnier (right) for Scholarship. Outgoing as the bard, by Kinetic En- Tragedy, upon occasion thus presenting Fellowship President Alex McNeil (center) presented the awards. -
Fernando Pessoa: a Peripheral Shakespearean out of His Time
Vincenzo Russo Fernando Pessoa: A Peripheral Shakespearean out of his Time I was a poet animated by philosophy, not a philosopher with poetic faculties. I loved to admire the beauty of things, to trace in the imperceptible through the minute the poetic soul of the universe. he poetry of the earth is never dead. — Fernando Pessoa Traces of Portuguese Modernism he irst historical avant-garde of Portuguese literature may be easily iden- tiied from a chronological point of view. he blaze of avant-garde icono- clasm burned itself out in a little less than two years, as part of a modernist experience which, by contrast, was to continue in its various forms and recurrences at least until the Second World War. his period of the irst avant-garde falls between the publication dates of two short-lived but highly signiicant journals, Orpheu (1915) and Portugal Futurista (1917). he irst two issues of Orpheu – a third was on the brink of publication but was never printed for inancial reasons – came out in March and June of 1915 and, for all the critical complications involved, mark the beginning of Modernism in Portugal. In Fernando Pessoa’s words, Orpheu was the ‘sum and synthesis of all modern literary movements’ and was to prove capable of absorbing Europe’s disruptive literary aesthetic movements (Futurism, Cubism, Vorticism, Orphism) through a process which was not merely 192 Vincenzo Russo of imitation but transposition, as became a peripheral context such as Portugal: with a hallmark of originality which best represents the form, transitory perhaps, but also highly typical, of early Portuguese Modernism. -
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ACKNOWLEDGEMENT Part of the materials used in this block is drawn from self-learning materials developed by IGNOU, New Delhi and few other Open Education Resources duly acknowledge in the reference section at the end of the unit. BACHELOR OF ARTS (HONOURS) IN ENGLISH (BAEG) BEG-2 British Poetry and Drama: 17th And 18th Centuries BLOCK-3 17TH AND 18TH CENTURIES DRAMAS UNIT 1 BEN JONSON: VOLPONE (PART I) UNIT 2 BEN JONSON: VOLPONE (PART II) UNIT 3 JOHN DRYDEN: ALL FOR LOVE (PART I) UNIT 4 JOHN DRYDEN: ALL FOR LOVE (PART II) UNIT 1 BEN JONSON: VOLPONE (PART I) STRUCTURE 1.1 Learning Objectives 1.2 Introduction 1.3 Ben Jonson: The Playwright 1.3.1 His Life 1.3.2 His Dramatic Career 1.3.3 Few Famous works Of Ben Jonson 1.4.4 Few Quotes on Jonson 1.4 Jonsonian Comedy 1.5 Critical Reception of Jonson 1.6 Let us Sum up 1.7 Answers to Check Your Progress (Hints Only) 1.8 Possible Questions 1.1 LEARNING OBJECTIVES After going through this unit, you will be able to discuss Ben Jonson as an important English playwright of the 16th century make an assessment of Jonson and his works explain the nature of Jonsonian type of comedy provide a critical reception of Jonson 1.2 INTRODUCTION Volpone is Ben Jonson's most famous comedy . Written in 1606 and represented in March of the same year at the Globe Theatre in London by the King's Men , it was published for the first time in 1616 . -
The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2018 The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere Sarah Marksteiner Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Playwriting Commons Recommended Citation Marksteiner, Sarah, "The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere" (2018). Undergraduate Honors Theses. Paper 1264. https://scholarworks.wm.edu/honorstheses/1264 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Creation of Original Cymbeline Companion Piece Lady Tongue for Professional Submission: Increasing Opportunity for Women in the Classical Theatre Sphere A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Theatre from The College of William and Mary by Sarah A. Marksteiner Williamsburg, VA December 7, 2018 1 TABLE OF CONTENTS ABSTRACT ............................................................................................................................... 2 CHAPTER I: THE GENESIS ................................................................................................... -
William Shakespeare - Poems
Classic Poetry Series William Shakespeare - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive William Shakespeare(26 April 1564 - 23 April 1616) an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. -
Ashbourne Story III: New Documents Vindicate Barrell
Vol.1:no.3 "Let me not to the marriage of true minds admit impediments..." Spring 2002 Ashbourne Story III: New documents Close review of the painting’s vindicate Barrell restoration reveals a history of deception and destruction Folger’s own files negate its By Barbara Burris dismissal of his 1940 work ust like a small overlooked n Part III of her continuing series on the Ashbourne portrait of detail that eventually be Shakespeare owned by the Folger Shakespeare Library, re- Jcomes crucial to the solution Isearcher Barbara Burris—using files on the painting’s restora- of a puzzling mystery, the seem- tion provided by the Folger—has found that the world famous ingly insignificant wrist ruffs Shakespeare library has apparently always known that the all- in the Ashbourne portrait have important “CK” monogram—first discovered by Charles Wisner an impact far beyond their im- Barrell in his x-ray/infrared analysis of the painting in 1940—has portance in the painting. been right where Barrell first found it. This “CK” monogram is In Part II of this series (Win- important because it most likely stands for the Dutch artist ter 2002 issue), we demon- Cornelis Ketel—known to have painted a circa 1580s portrait of Fig. 1 By permission, Folger Shakespeare Library strated through costume dat- Oxford which is now lost. On the top is the left wrist ruff (Fig. ing that the Ashbourne could It was the presence of this monogram on the painting that was 1) as it appears today (after a 20- not have been painted after the key in leading Barrell to conclude that the original sitter was year restoration project). -
'Bardwashing' Shakespeare: Food Justice, Enclosure, and the Poaching Poet Kevin A. Quarmby1 KEYWORDS
Journal of Social Justice, Vol. 5, 2015 (© 2015) ISSN: 2164-7100 ‘Bardwashing’ Shakespeare: Food Justice, Enclosure, and the Poaching Poet Kevin A. Quarmby1 William Shakespeare arguably represents the height of English intellectual creativity. His drama and poetry transcend his mortality, speaking to generation upon generation with an authoritative appeal that seems morally superior because of its durability over the centuries. In his play As You Like It, Shakespeare even appears to glorify the social bandit and proto food activist. Characters that survive in the Forest of Arden by poaching their usurping duke’s deer are likened to the mythical figure, Robin Hood. The allusion achieves greater significance when considered alongside near- contemporary pseudo-biographies that record Shakespeare’s early life as a poacher and youthful renegade. At face value, Shakespeare’s Robin Hood reference might suggest his subtle advocacy of food sovereignty and social justice. This romanticized image is supported by later historiographies that interpret medieval and early modern enclosure from a specifically partisan viewpoint. Early nineteenth century historians who referenced More’s Utopia, and whose influence is evident in enclosure analyses ranging from Marx to Polanyi and Bookchin, unwittingly assist in perpetuating the iconography of the social bandit Shakespeare, united with his rebellious rural contemporaries. Surprisingly, however, Shakespeare’s true personality – that of a shrewd and ruthless businessman, at ease with hoarding in time of famine as purchasing common-land rights and privileges at the expense of his impoverished neighbors – is less familiar. The opportunistic, land-grabbing, pro-enclosure Bard, while not erased from critical view, is certainly shielded by the bardolatrous hero- worship of later ages. -
The Development of Anti-Catholicism in Early Modern English Drama
From tendency to feature: The development of anti-Catholicism in early modern English drama INAUGURAL-DISSERTATION zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) dem Fachbereich Fremdsprachliche Philologien der Philipps-Universität Marburg vorgelegt von Carolina Bauer aus Offenbach/ Main Magistra Artium Gutachter/in Prof. Dr. Sonja Fielitz Prof. Dr. Martin Kuester Einreichungstermin: 08.04.2015 Prüfungstermin: 02.09.2015 (Marburg, 2015) Hochschulkennziffer: 1180 Vom Fachbereich Fremdsprachliche Philologien der Philipps-Universität Marburg als Dissertation angenommen am:………………………………… Gutachter: Prof. Dr. Sonja Fielitz Prof. Dr. Martin Kuester Meiner Familie Zusammenfassung Die vorliegende Dissertation behandelt die Darstellung und Entwicklung antikatholischer Ansichten und Meinungen im reformatorischen England der frühen Neuzeit. Anhand der Verknüpfung faktischer Rechtstexte, historischer Gegebenheiten und fiktionaler Dramentexte wird gezeigt, dass innerhalb eines Jahrhunderts der Glaube in England vollständig vom Katholizismus abrückte und sich dem Protestantismus zuwandte. Da dies unter dem Druck der Regierungen geschah, die mit erheblichen Geld- und Freiheitsstrafen drohten, sollten ihre Forderungen, Vorgaben und Verbote nicht eingehalten werden, waren Konflikte unumgänglich. Wie diese Konvertierung ablief, welche Spuren sie in der Gesellschaft und dem Drama bzw. dem Theater der Zeit hinterließ, ist Gegenstand dieser Arbeit. Der Fokus liegt hierbei auf dem wechselseitigen Einfluss von Politik, Gesellschaft und Drama, dessen Analyse und Darstellung zum Ziel hat aufzuzeigen, dass vor allem in dieser Epoche (die jedoch sinnbildlich für jede andere sich im Umbruch befindende Ära stehen kann) die Beziehung zwischen Bevölkerung/Theaterzuschauer, Drama/Theater und dem machthabenden Herrscher bzw. dessen/deren Regierung keineswegs einseitig gesteuert war, sondern durch einen gegenseitigen, unterschwelligen Einfluss bestimmt wurde. Im einleitenden Teil der Arbeit wird der historische Hintergrund beleuchtet. -
2011 As You Like It
AS YOU LIKE IT Study Guide - 2011 Season Production E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND PLAY DIRECT SHYLOCKCRE LEARN CAESAR A AT ACT TEACH E OTHELLO OPHELI A Message from the Director are transformed by encountering what is “down the rabbit hole.” stark contrast to Hamlet, As IN You Like It is a play about The forest in Shakespeare’s plays is the metamorphosis of the self. always a place of transformation, a A young woman, Rosalind, is able freeing of the self from rigid societal to discover what love truly is by and parental bonds in order to pretending to be someone else, the find an authentic self. With that boy Ganymede. Through playing in mind, we have made our forest she becomes more and more into a whimsical playground where expansive, bolder and more fully objects, clothes, sound, light and herself. color are literally transformed from what they are in the court. Through Inspiration for the physical imaginative play, the characters production of As You Like It came transform themselves. from stories like The Chronicles of Narnia, Through the Looking Glass, Thank you for celebrating the and Coraline. A door is opened into human spirit with us! another world and the characters 2 Contents Shakespeare’s Life and Times ..................................................4 What Did Shakespeare Look Like? ...........................................4 Shakespeare Portrait Gallery ....................................................5 The -
Cliffs Complete Shakespeare's Macbeth
8572-X_3 fm 11/29/01 4:19 PM Page i CLIFFSCOMPLETE Shakespeare’s Macbeth Edited by Sidney Lamb Associate Professor of English Sir George Williams University, Montreal Complete Text + Commentary + Glossary Commentary by Christopher L. Morrow Best-Selling Books • Digital Downloads • e-Books • Answer Networks • e-Newsletters • Branded Web Sites • e-Learning New York, NY • Cleveland, OH • Indianapolis, IN 8572-X FM.F 4/17/00 8:11 AM Page ii 8572-X FM.F 4/17/00 8:11 AM Page iii CLIFFSCOMPLETE Shakespeare’s Macbeth 8572-X_3 fm 11/29/01 4:19 PM Page iv About the Author Publisher’s Acknowledgments Christopher L. Morrow is currently a doctoral student at Texas A&M Uni- Editorial versity where he is working on a dissertation in Early Modern drama. Mor- Project Editor: Joan Friedman row received his Bachelor of Arts from the University of Wyoming in 1996 Acquisitions Editor: Gregory W. Tubach and his Master of Arts from Texas A&M University in 1998. He is also Copy Editor: Billie A. Williams currently a graduate assistant with the World Shakespeare Bibliography as Editorial Manager: Kristin A. Cocks well as a volunteer graduate assistant with the Seventeenth-Century News. Illustrator: DD Dowden Special Help: Patricia Yuu Pan Production Indexer: Sharon Hilgenberg Proofreader: Rachel Garvey Hungry Minds Indianapolis Production Services CliffsComplete Macbeth Published by Note: If you purchased this book without a cover you Hungry Minds, Inc. should be aware that this book is stolen property. It was 909 Third Avenue reported as "unsold and destroyed" to the publisher, and New York, NY 10022 neither the author nor the publisher has received any payment for this "stripped book." www.hungryminds.com www.cliffsnotes.com (CliffsNotes Web site) Copyright © 2000 Hungry Minds, Inc.