DOCSLIB.ORG

The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H. Murphy All rights reserved. ii DEDICATION For my family: Mom, Dad, Liz, and Brett. iii ACKNOWLEDGEMENTS I would like to thank Professor Heather Hirschfeld for her guidance not only during the dissertation process but throughout my entire time as a student at Tennessee. I would also like to thank my committee members, Professors Kate Buckley, Rob Stillman, and Laura Howes for their insightful feedback. The different perspectives they brought to my defense allowed me to think about my project in new and exciting ways. I owe a great debt to Professor Tom Heffernan and the Tennessee Humanities Center for providing me with the time and resources to complete my project. Tom, in particular, has been a wonderful source of advice and encouragement over the past two years. Finally, I want to thank the Folger Shakespeare Library, Professor Theresa Coletti, and my classmates in the Fall 2011 seminar, “Periodization and Its Discontent.” This course and the insights we shared helped shape much of my thinking for this project. More personally, I would like to thank my parents, Hunter and John Murphy, and my sister and brother-in-law, Elizabeth and Brett Owen, for believing in me and constantly supporting me. I would not have survived this process without them. iv ABSTRACT This dissertation examines mirror figures in three interlude dramas and two of Shakespeare’s histories. I argue that these plays use characters who function as spectators by interpreting the dramatic action. Each mirror figure, however, makes unreliable interpretations that force the audience to reject their assessments. The plays offer no characters to act as alternatives to the unreliable mirror figures, and as a result, the audience must step in to make their own judgment of the plays’ messages. This creates a dramaturgy of participation as the playwrights constantly provoke the audience to actively engage with the action on stage and challenge the interpretations of the unreliable figures. I engage with theories of performance and metatheatricality to challenge the majority of interlude criticism, which argues that each of these plays insists on a single, specific message. I begin with John Redford’s Wit and Science , which includes a material mirror as its central prop. In this play, the unreliable mirror figure, Wit, becomes a literal figure in the mirror as he peers into the physical prop on stage. Each of the other chapters explores another iteration of the unreliable mirror figure. My last chapter examines the way Shakespeare reuses this interlude tradition in Henry IV Part One and Henry IV Part Two . Shakespeare marks Prince Hal with characteristics of the interlude Vice and positions Falstaff as an unreliable mirror figure who helps draw the audience’s attention to Hal’s Vice-like qualities. Thus, in addition to rethinking the didactic purpose of interlude drama, this project also considers, in a new way, how Shakespeare used his audience’s v familiarity with native dramatic traditions to enhance the complexity of his characters and how they relate to the audience. vi TABLE OF CONTENTS CHAPTER I Introduction .................................................................................................. 1 Interlude History and Criticism ...................................................................................... 4 Mirror Literature ........................................................................................................... 10 Rethinking Performance ............................................................................................... 13 Chapter Summaries ....................................................................................................... 15 CHAPTER II Wit’s Mirror .............................................................................................. 19 Scholars on the Mirror .................................................................................................. 21 Reason’s Mirror ............................................................................................................ 24 Wit’s Portrait ................................................................................................................. 26 Confronting the Mirror ................................................................................................. 32 CHAPTER III A and B and Multiplicity .......................................................................... 47 Multiple Interpretations ................................................................................................ 50 Multiple Theories .......................................................................................................... 53 Multiple Beginnings...................................................................................................... 55 Multiple Roles ............................................................................................................... 63 Multiple Endings ........................................................................................................... 73 Chapter IV Ambidexter The Actor .................................................................................. 81 Cambises and the Mirror Tradition ............................................................................... 83 Criticism of Ambidexter ............................................................................................... 88 Ambidexter as Actor ..................................................................................................... 91 Ambidexter and the Audience .................................................................................... 106 CHAPTER V Hal as Ambidexter and Falstaff as Mirror Figure ................................... 112 The Ambidexter and His Mirror ................................................................................. 116 Hal’s Damnable Iteration and His Corrupted Saint .................................................... 126 The Play Extempore .................................................................................................... 131 Becoming King and Rejecting the Mirror Figure ....................................................... 137 Chapter VI Conclusion ................................................................................................... 142 LIST OF REFERENCES ................................................................................................ 146 Vita .................................................................................................................................. 154 vii CHAPTER I INTRODUCTION Throughout the early modern period, both playwrights and spectators used the idea of the mirror to describe drama. The play-as-mirror metaphor was so ubiquitous in this period that Hamlet himself describes drama as “hold[ing]…a mirror up to nature.” 1 Anne Righter insists that Hamlet’s statement is an idea “about the theatre upon which both the dramatist and his audience were agreed” and that “Hamlet himself speaks as though his Elizabethan idea of drama were part of some immemorial order of things.” 2 Both Hamlet and Righter point to the common assumption that plays worked as mirrors for audiences in that audience members would see themselves in the action on stage, which would then lead to some kind of self-understanding or reveal an essential truth. Shakespeare was not the first playwright to voice this idea of drama through one of his characters; many
Load more

Recommended publications
  • Adelaide May Yearling & Bloodstock Sale 6 May 2018
    ADELAIDE MAY YEARLING & BLOODSTOCK SALE 6 MAY 2018 MORPHETTVILLE SALES COMPLEX, ADELAIDE, SOUTH AUSTRALIA ADELAIDE MAY YEARLING SALE 6 MAY 2018 SELLING SCHEDULE Yearlings ....................................................................Lots ..................................................11am ADELAIDE MAY BLOODSTOCK SALE 6 MAY 2018 SELLING SCHEDULE Weanlings ............................................................... .................................................................. Lots Racehorses ........................................................... .................................................................. Lots Broodmares ......................................................... .................................................................. Lots FOR FURTHER INFORMATION GO TO: www.magicmillions.com.au MAGIC MILLIONS ADELAIDE Morphettville Sales Complex, 1 Park Terrace, Park Holme SA 5043 I PO Box 100 Park Holme SA 5043 T +61 8 8297 8055 I F +61 8 8297 2136 E [email protected] Account of DUCATOON PARK, Kadina, SA. Lot 1 (100% GST) BROWN COLT Foaled 15th October 2016 Branded : nr sh; 17 over 6 off sh Sire Redoute's Choice Danehill ....................................... Danzig BARBADOS Shantha's Choice .................... Canny Lad 2008 Virage de Fortune Anabaa ........................................ Danzig Virage ......................................... Kenmare Dam Bellotto Mr. Prospector .................. Raise a Native FLINDERS ISLAND Shelf Talker ......................................
    [Show full text]
  • Jonson's Use of the Morality of Vice in Volpone and the Alchemist
    JONSON'S USE OF THE MORTALITY VICE IN VOLPONE AND THE ALCHEMIST JONSON'S USE OF THE MORALITY VICE IN VOLPONE AND THE ALCHEMIST By JANE CHRISTINE GARRETT A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jane Christine Garrett, September, 1990 MASTER OF ARTS (1990) McMaster University (English) Hamilton, Ontario TITLE: Jonson's Use of the Morality of Vice in Volpone and The Alchemist AUTHOR: Jane Christine Garrett, Hons. B.A. (McMaster University) SUPERVISOR: Dr. Anthony Brennan NUMBER OF PAGES: vi, 98 11 ABSTRACT This thesis is an attempt to demonstrate the ways in which Ben Jonson incorporates some of the qualities of the Morality Vice into the lead characters of Volpone and The Alchemist. While critics have often ignored Jonson's Morality heritage, the similarity between his lead cozeners and the Vice is often striking. Face and Mosca's overwhelming love of the theatre manifests itself in their superior ability to create a drama in which their scheming partners and ambitious clients expose the faults to which all humanity is prone. Certainly, as it strives to rule the dramatic world, the Vice forms a precarious bond with the audience. Its Morality traits underscore its evil nature and therefore alienate us from the Vice to some degree. However, this figure could imitate humanity and thus invites the audience into an uncomfortable camaraderie which exposes the spectators' own attraction to greed. The first chapter of my thesis examines many of the Vice's central characteristics, such as his love of masks and his ability to create and sustain anarchy.
    [Show full text]
  • Ph.D. THESIS Ewa Błasiak
    UNIVERSITY OF WROCŁAW Faculty of Letters Ph.D. THESIS Ewa Błasiak The Return of the Morality Play in Anglophone Drama of the First Half of the Twentieth Century Supervisor prof. dr hab. Ewa Kębłowska-Ławniczak Co-supervisor dr Marcin Tereszewski Wrocław 2020 2 ACKNOWLEDGEMENTS I wish to express my gratitude to my supervisor, Professor Ewa Kębłowska-Ławniczak, for her mentorship, guidance and constant support throughout the writing process. I am grateful for her patience, encouragement and the time she devoted to helping me develop this project. I would also like to thank her for being an extraordinary academic teacher, for it was the intellectual challenge of her English Literature classes which I attended as a first-year undergraduate student that inspired me to undertake further studies in this direction. I wish to extend my gratitude to my co-supervisor, Doctor Marcin Tereszewski, for the attention he gave to this thesis and for his invaluable suggestions. I am also grateful to the entire Institute of English Studies at the University of Wrocław for providing me with a stable and stimulating academic environment during all the years I spent there as an undergraduate and postgraduate student. I wish to thank all my teachers and lecturers for instilling in me curiosity and equipping me with skills which proved indispensable in working on this thesis. 3 4 Contents Introduction: Within and Beyond the Middle Ages ........................................ 7 Modern reception and assessment of the Middle Ages .................................................... 12 The notion of medievalism ............................................................................................... 18 Part I: The Return of the Morality Play Tradition to Contemporary British, European and American Drama and Its Reception .......................
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • Proceedings of the Shakespeare and His Contemporaries Graduate
    THE BRITISH INSTITUTE OF FLORENCE THE ITALIAN ASSOCIATION OF SHAKESPEAREAN AND EARLY MODERN STUDIES Advisory Board Mariacristina Cavecchi, Università degli Studi di Milano Giuliana Iannaccaro, Università degli Studi di Milano Donatella Pallotti, Università degli Studi di Firenze Alessandra Petrina, Università degli Studi di Padova Laura Tosi, Università degli Studi di Venezia “Ca’ Foscari” Humour in Shakespeare’s Arcadia Selected Papers from the “Shakespeare and his Contemporaries” Graduate Conference Florence, 23 April 2015 edited by Roberta Mullini and Maria Elisa Montironi The British Institute of Florence 2017 Humour in Shakespeare’s Arcadia. Selected Papers from the “Shakespeare and his Contemporaries” Graduate Conference. Florence, 23 April 2015 / edited by Roberta Mullini and Maria Elisa Montironi – Firenze: The British Institute of Florence, 2017. © The Contributors, 2017 ISBN (online) 978-88-907244-4-2 http://www.britishinstitute.it/it/biblioteca/biblioteca-harold- acton/events-at-the-harold-acton-library Graphic design by Roberta Mullini Front cover: Will Sommers, by Francis Delaram, active 1615-1624 [Public domain], via Wikimedia at the site https://en.wikipedia.org/wiki/Will_Sommers#/ media/File:WillSommers_engraving_300dpi.jpg.. Back cover: Four figures contemplate the inscription on a tomb in Arcadia. Etch- ing by Etienne Picart after Nicolas Poussin, 1653. Wellcome Library, London. We act in good faith in publishing this material here. However, should they exist, any legitimate copyright holder is invited to contact the editors. This publication has been double blind peer reviewed. This is an open access book licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0), which means that the text may be used for non- commercial purposes, provided credit is given to the author.
    [Show full text]
  • The Summons of Death on the Medieval and Renaissance English Stage
    The Summons of Death on the Medieval and Renaissance English Stage The Summons of Death on the Medieval and Renaissance English Stage Phoebe S. Spinrad Ohio State University Press Columbus Copyright© 1987 by the Ohio State University Press. All rights reserved. A shorter version of chapter 4 appeared, along with part of chapter 2, as "The Last Temptation of Everyman, in Philological Quarterly 64 (1985): 185-94. Chapter 8 originally appeared as "Measure for Measure and the Art of Not Dying," in Texas Studies in Literature and Language 26 (1984): 74-93. Parts of Chapter 9 are adapted from m y "Coping with Uncertainty in The Duchess of Malfi," in Explorations in Renaissance Culture 6 (1980): 47-63. A shorter version of chapter 10 appeared as "Memento Mockery: Some Skulls on the Renaissance Stage," in Explorations in Renaissance Culture 10 (1984): 1-11. Library of Congress Cataloging-in-Publication Data Spinrad, Phoebe S. The summons of death on the medieval and Renaissance English stage. Bibliography: p. Includes index. 1. English drama—Early modern and Elizabethan, 1500-1700—History and criticism. 2. English drama— To 1500—History and criticism. 3. Death in literature. 4. Death- History. I. Title. PR658.D4S64 1987 822'.009'354 87-5487 ISBN 0-8142-0443-0 To Karl Snyder and Marjorie Lewis without who m none of this would have been Contents Preface ix I Death Takes a Grisly Shape Medieval and Renaissance Iconography 1 II Answering the Summon s The Art of Dying 27 III Death Takes to the Stage The Mystery Cycles and Early Moralities 50 IV Death
    [Show full text]
  • The Castle and the Virgin in Medieval
    I 1+ M. Vox THE CASTLE AND THE VIRGIN IN MEDIEVAL AND EARLY RENAISSANCE DRAMA John H. Meagher III A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December, 1976 Approved by Doctoral Committee BOWLING GREEN UN1V. LIBRARY 13 © 1977 JOHN HENRY MEAGHER III ALL RIGHTS RESERVED 11 ABSTRACT This study examined architectural metaphor and setting in civic pageantry, religious processions, and selected re­ ligious plays of the middle ages and renaissance. A review of critical works revealed the use of an architectural setting and metaphor in classical Greek literature that continued in Roman and medieval literature. Related examples were the Palace of Venus, the House of Fortune, and the temple or castle of the Virgin. The study then explained the devotion to the Virgin Mother in the middle ages and renaissance. The study showed that two doctrines, the Immaculate Conception and the Assumption of Mary, were illustrated in art, literature, and drama, show­ ing Mary as an active interceding figure. In civic pageantry from 1377 to 1556, the study found that the architectural metaphor and setting was symbolic of a heaven or structure which housed virgins personifying virtues, symbolically protective of royal genealogy. Pro­ tection of the royal line was associated with Mary, because she was a link in the royal line from David and Solomon to Jesus. As architecture was symbolic in civic pageantry of a protective place for the royal line, so architecture in religious drama was symbolic of, or associated with the Virgin Mother.
    [Show full text]
  • Mankind Et Everyman Avant-Propos De Jean-Paul Débax & André Lascombes
    Mankind et Everyman Avant-Propos de Jean-Paul Débax & André Lascombes coll. « Traductions introuvables : Théâtre Anglais Médiéval », 2012, p. 1-12, mis en ligne le 13 fevrier 2012, URL stable <https://sceneeuropeenne.univ-tours.fr/traductions/genre-humain-mankind>. Théâtre anglais Médiéval est publié par le Centre d’études Supérieures de la Renaissance Université François-Rabelais de Tours, CNRS/UMR 7323 Responsable de la publication Philippe Vendrix Responsables scientifiques Richard Hillman & André Lascombes Mentions légales Copyright © 2012 - CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. ISSN - 1760-4745 Date de création Janvier 2012 AVANT PROPOS P. 1-2 Mankind et Everyman Avant-Propos Jean-Paul Débax & André Lascombes Centre d’Études Supérieures de la Renaissance, Tours Ce premier volume d’une série projetée d’éditions-tra- ductions des œuvres sources du théâtre européen de la Renaissance, volume consacré au domaine anglais, pro- pose au lecteur deux pièces également représentatives, mais chacune à sa manière, de cette production drama- tique ; elles illustrent, l’une et l’autre, le théâtre de la fin du xve siècle : Mankind (Genre Humain), que nous connais- sons grâce au Manuscrit Macro datant de la fin du siècle, semble avoir été composé à une date très voisine de 1466, et d’autre part The Summoning of Everyman (La semonce ou Convocation de Tout-Homme, traduction/adaptation pro- bable de la pièce néerlandaise Elckerlijc) dont nous avons quatre éditions anciennes, chez deux impri- meurs différents, échelonnées de 1515 à 1535, mais pro- bablement composé avant la fin du siècle précédent.
    [Show full text]
  • Everystudent Collection 2011
    Everystudent A Collection of Allegorical Plays In the Style of the Medieval Morality Play “The Summoning of Everyman” By Students of the 2011-12 MYP 10 Drama Class Gyeonggi Suwon International School - 1 - Table of Contents Introduction by Daren Blanck .................................................................. page 3 Seven by Nick Lee and Lyle Lee .................................................................. page 4 Slayers by Mike Lee, Daniel Choi and Eric Cho ......................................... page 9 True Friendship by Yealim Lee and Hannah Seo .................................... page 12 Graduation by Judy Oh and Jaimie Park .................................................. page 16 FC society by JH Hyun and Jacob Son ...................................................... page 19 It’s Just Too Late by Jeeho Oh, Ryan Choi and Jee Eun Kim ................. page 22 The Freedom of Will by Eric Han and Bryan Ahn ................................. page 26 Everystudent Justine Yun, Rick Eum, and Seong Soo Son ...................... page 32 Everystudent by Lilly Kim, Seungyeon Rho, Erin Yoon .......................... page 37 Appendix: The Summoning of Everyman abridged by Leslie Noelani Laurio .... page 39 - 2 - Introduction An allegory is a narrative having a second meaning beneath the surface one - a story with two meanings, a literal meaning and a symbolic meaning. In an allegory objects, persons, and actions are metaphors or symbols for ideas that lie outside the text. Medieval drama was wrapped in the stories and doctrines of the medieval Christian church. Most plays could be classified as Mystery Plays - plays that told the stories of the Bible, Miracle Plays - plays that told the stories of saints and martyrs, and Morality plays - allegorical works that sought to convey a moral or some doctrine of the church. Everyman is perhaps the most famous of this last category.
    [Show full text]
  • University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
    CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without.
    [Show full text]
  • Comparison of the Two Plays
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Eliška Poláčková Everyman and Homulus: analysis of their genetic relation Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eliška Poláčková Acknowledgement I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his patient and kind help, Prof. PhDr. Eva Stehlíková for useful advice, and Mgr. Markéta Polochová for unprecedented helpfulness and support. Table of Contents Introduction ....................................................................................................................... 1 1 Morality Play and Its Representatives ........................................................................... 3 1.1 Morality Play .......................................................................................................... 3 1.2 Everyman ................................................................................................................ 5 1.3 Homulus .................................................................................................................. 7 2 Concept of Translation in The Middle Ages ................................................................. 9 3 Comparison of Everyman and Homulus ...................................................................... 11 3.1 Composition .........................................................................................................
    [Show full text]
  • FEARSOME FIGHT Midnight Bisou Duels to the Wire to Win Apple Blossom See Page 4
    MONDAY, APRIL 15, 2019 BLOODHORSE.COM/DAILY RYAN THOMPSON RYAN FEARSOME FIGHT Midnight Bisou Duels to the Wire to Win Apple Blossom See page 4 IN THIS ISSUE 9 Oppenheim: Demand Steady in Early April Sales 22 Stone Farm’s Hancock Back in the Derby with Roadster 25 Omaha Beach Exits Arkansas Derby in Good Order BLOODHORSE DAILY Download the FREE smartphone app PAGE 1 OF 41 Leading distaffer & G1 winner at 2, 3, and 4 RUSHING FALL captured her third G1 victory in the $350,000 Jenny Wiley S. (G1) on Saturday to tie her with Take Charge Lady for the second-most stakes wins at Keeneland with four. Only 2-time Horse of the Year Wise Dan has more Keeneland stakes victories. WATCH RACE Congratulations to breeders Fred W. Hertrich III & John D. Fielding and owner e Five Racing Thoroughbreds CONTENTS 4 Midnight Bisou Duels to the Wire to Win Apple Blossom 8 Leading Jockeys 9 Oppenheim: Demand Steady in Early April Sales 22 Stone Farm’s Hancock Back in the Derby with Roadster 25 Omaha Beach Exits Arkansas Derby in Good Order 27 Broodmare Sire Review of Top Kentucky Derby Contenders 29 Campaign Earns First Stakes Victory in Tokyo City Cup 30 American Pharoah’s First U.S. Starters to Race April 17 31 Saturnalia Takes Satsuki Sho at Nakayama Racecourse 32 John Egan Looks to Scale Sales Pyramid at Tattersalls 34 Mohaather Likely to Contest Two Thousand Guineas 35 Results 40 Entries ANNE M. EBERHARDT ANNE M. ON THE COVER Midnight Bisou (outside) battles with Escape Clause to the wire in the Apple Blossom at Oaklawn Park FREE BLOODHORSE DAILY APP Providing updated news and analysis throughout the day.
    [Show full text]