William Shakespeare: Antony and Cleopatra
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THE PALE BHAKEBPEARE Revised Edition - - General Editors Helge Kiikeritz and Charles T. Prouty THE YALE SIIAKESPEABE THE TRAGEDY OF ANTONY AND CLEOPATRA Edited by Peter G. Phia.1a.s NEW IIAVEN AND LONDON YALE UNIVERSITY I'RESS Oopyright, 1922, 1966, by Yala Univereity Prear. first Publiahed, July 1921 Revised Edition, July 1956 Pif th Printing, June 1965 Prhtted {n the United States of A~norica , A11 rights reserved. This book nany not be reproduced, in whole or in part, in any form (except by reviewer.9 for the public press), witliout written pemnissiolb from tlie publivlrers. Library of Congress ontalog card number: 55-102GC Originally published on the fund given to tho Yale University Pross in 1917 by the me.mbers of the Kingslsy l'rust Asaocintion (Scroll and Xey Society of Pale College) to commeazorate the seve,nty-jif th anniversary of the founding of the society. Preface of the General Editors S the late Professor Tucker Brooke has observed, A practically all modern editions of Shakespeare are 18th-century versions of the plays, bnscd on the additions, alterations, and emendations of editors of that period. It has been our purpose, as it was Pro- fessor Brooke's, to give the modern reader Shake- speare's plays in the approximate form of their orig- inal appearance. About half the plays appeared in quarto form before the publication of the First Folio in 1623. Thus for a large number of plays the only available text is that of the Folio. In the case of quayto plays our policy has been to use that text as tlie basis of the edition, unless it is clear that the test has been contaminated. -
Study Guide 2016-2017
Study Guide 2016-2017 by William Shakespeare Standards Theatre English Language Arts Social Studies TH.68.C.2.4: Defend personal responses. LAFS.68.RH.1.2: Determine central ideas. SS.912.H.1.5: Examine social issues. TH.68.C.3.1: Discuss design elements. LAFS.910.L.3.4: Determine unknown words. TH.68.H.1.5: Describe personal responses. LAFS.910.L.3.5: Demonstrate figurative language. TH.912.S.1.8: Use research to extract clues. LAFS.1112.SL.1.1: Initiate collaborative discussions. TH.912.S.2.9: Research artistic choices. TH.912.H.1.4: Interpret through historical lenses. Content Advisory: Antony and Cleopatra is a political drama fueled by intimate relationships. There are battle scenes. If it were a movie, Antony and Cleopatra would be rated “PG-13.” !1 Antony and Cleopatra Table of Contents Introduction p. 3 Enjoying Live Theater p. 3 About the Play p. 6 Plot Summary p. 6 Meet the Characters p. 7 Meet the Playwright p. 8 Historical Context p. 11 Elizabethan Theater p. 11 Activities p. 12 Themes and Discussion p. 17 Bibliography p. 17 !2 Antony and Cleopatra An Introduction Educators: Thank you for taking the time out of your very busy schedule to bring the joy of theatre arts to your classroom. We at Orlando Shakes are well aware of the demands on your time and it is our goal to offer you supplemental information to compliment your curriculum with ease and expediency. What’s New? Lots! First, let me take a moment to introduce our new Children’s Series Coordinator, Brandon Yagel. -
Desperate Housewives of Shakespeare
Desperate Housewives of Shakespeare A One-Act Comedy By Jane and Jim Jeffries Performance Rights It is an infringement of the federal copyright law to copy or reproduce this script in any manner or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” ELDRIDGE PUBLISHING COMPANY hiStage.com © 2013 by Jane and Jim Jeffries Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=2502 Desperate Housewives of Shakespeare - 2 - Dedication Special thanks to Susan Dahl and the Hudson Drama Department for showcasing this play at the Wisconsin One-Act Play Competition in October 2012. STORY OF THE PLAY Okay, these housewives may not be real, but they are desperate! Shakespeare has been manipulating and twisting their lives for six plays now, and they desperately want to escape his evil machinations. But are they desperate enough to commit murder? Shakespeare has been found dead: stabbed, poisoned, starved, choked, bitten by an asp, and even turned into a baardvark (excuse the pun). Lady Macbeth, Juliet, Kate, Rosalind, Cleopatra, and Titania all had the means and the motive to kill Shakespeare, but who really did it? This comic tragedy (or is that tragic comedy?) has all of the action of a Shakespearean play but with none of those angsty monologues about the meaning of life. Great for a strong female cast with some serious comedy chops. -
Online Library of Liberty: Shakespeare's Plutarch, Vol. 2
The Online Library of Liberty A Project Of Liberty Fund, Inc. Plutarch, Shakespeare’s Plutarch, Vol. 2 (containing the main sources of Anthony and Cleopatra and of Coriolanus) [1579] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
All Joy O' the Worm: the Ironic Tragedy of Antony and Cleopatra
"All joy o' the worm" The Ironic Tragedy of Antony and Cleopatra A. M. Kinghorn The modern critic seeking to investigate the nature of the tragic condition in Shakespeare's Antony and Cleopatra inherits not only the problems handed down from previous generations nurtured on Bradley, Dowden, Granville Barker and Dover Wilson, but also those which emerge from the play's effect upon a present-day audience. Some degree of compromise is undoubtedly needed if the traditional body of attitudes surrounding the lovers is to be reconciled with contemporary doubts concerning the values they claim to represent. Cleopatra was familiar to Shakespeare's audiences as the legendary seductress of two great Romans--Julius Caesar in her "salad days" and of Mark Antony in her thirties' Both her important conquests were middle-aged and she herself was considered to be an outstanding example of la femme fatale, like Boccaccio's Criseida, una vi/lana of Italian romance. Such masterful men could only be entrapped by such a strong- willed female, in her own right a Queen, capable of swaying emperors and captains--the supreme earthly manifestation of the vision of eros. Enobarbus's extravagant recollection of her physical person as "O'er-picturing that Venus where we see/The fancy outwork nature" (II,ii, 200-1) and invidious comparison of other women to her in the "infinite variety" of her erotic techniques (ibid., 235-8) make of her a dream courtesan such as all men desire. Agrippa responds with suitable remarks--"0, rare for Antony" and "Rare Egyptian!" (ibid., 205, 219) but cannot resist bringing Cleopatra down to earth with a bump: Royal wench! She made great Caesar lay his sword to bed; He plough'd her and she cropp'd (ibid.' 227-9) -9- and in scene vi of the same act, even Enobarbus, prompted by Pompey, recalls, a little hesitantly, how Apollodorus carried "a certain queen to Caesar in a mattress" (1.70). -
Figurative Language in Shakespeare's Plays
The Grammardog Guide to Figurative Language in Shakespeare’s Plays All quizzes use sentences from twenty plays. Includes 400 multiple choice questions. TABLE OF CONTENTS ALL’S WELL THAT ENDS WELL - Exercise 1 ...................................................................... 4 ANTONY AND CLEOPATRA - Exercise 2 ............................................................................... 6 AS YOU LIKE IT - Exercise 3..................................................................................................... 8 THE COMEDY OF ERRORS - Exercise 4 .............................................................................. 10 CORIOLANUS - Exercise 5 ...................................................................................................... 12 HAMLET - Exercise 6 ................................................................................................................ 14 HENRY IV, PART I - Exercise 7 ............................................................................................. 16 HENRY V - Exercise 8 ............................................................................................................... 18 JULIUS CAESAR - Exercise 9 ................................................................................................. 20 KING LEAR - Exercise 10 ......................................................................................................... 22 MACBETH - Exercise 11 .......................................................................................................... -
Antony and Cleopatra Mark Antony
Antony and Cleopatra Mark Antony – one of the Triumviri of Rome along with Octavius Caesar and Aemilius Lepidus – has neglected his soldierly duties after being beguiled by Egypt's Queen, Cleopatra. He ignores Rome's domestic problems, including the fact that his wife, Fulvia, rebelled against Octavius, and then died. Octavius calls Antony back to Rome from Alexandria in order to help him fight against Pompey (Sextus Pompeius), Menecrates, and Menas, three notorious pirates of the Mediterranean. At Alexandria, Cleopatra begs Antony not to go, and though he repeatedly affirms his love for her, he eventually leaves. Back in Rome, Agrippa brings forward the idea that Antony should marry Octavius Caesar's sister, Octavia, in order to cement the bond between the two men. Antony's lieutenant Enobarbus, though, knows that Octavia can never satisfy him after Cleopatra. In a famous passage, he delineates Cleopatra's charms in paradoxical terms: "Age cannot wither her, nor custom stale / Her infinite variety: other women cloy / The appetites they feed, but she makes hungry / Where most she satisfies." A soothsayer warns Antony that he is sure to lose if he ever tries to fight Octavius. In Egypt, Cleopatra learns of Antony's marriage, and takes furious revenge upon the messenger that brings her the news. She grows content only when her courtiers assure her that Octavia is homely by Elizabethan standards: short, low-browed, round-faced and with bad hair. At a confrontation, the triumvirs parley with Pompey, and offer him a truce. He can retain Sicily and Sardinia, but he must help them "rid the sea of pirates" and send them tributes. -
D. Octavius Caesar Augustus (Augustus) - the Lives of the Twelve Caesars, Volume 2
D. Octavius Caesar Augustus (Augustus) - The Lives Of The Twelve Caesars, Volume 2. C. Suetonius Tranquillus Project Gutenberg's D. Octavius Caesar Augustus, (Augustus) by C. Suetonius Tranquillus This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: D. Octavius Caesar Augustus (Augustus) The Lives Of The Twelve Caesars, Volume 2. Author: C. Suetonius Tranquillus Release Date: December 13, 2004 [EBook #6387] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK D. OCTAVIUS CAESAR AUGUSTUS *** Produced by Tapio Riikonen and David Widger THE LIVES OF THE TWELVE CAESARS By C. Suetonius Tranquillus; To which are added, HIS LIVES OF THE GRAMMARIANS, RHETORICIANS, AND POETS. The Translation of Alexander Thomson, M.D. revised and corrected by T.Forester, Esq., A.M. Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. D. OCTAVIUS CAESAR AUGUSTUS. (71) I. That the family of the Octavii was of the first distinction in Velitrae [106], is rendered evident by many circumstances. For in the most frequented part of the town, there was, not long since, a street named the Octavian; and an altar was to be seen, consecrated to one Octavius, who being chosen general in a war with some neighbouring people, the enemy making a sudden attack, while he was sacrificing to Mars, he immediately snatched the entrails of the victim from off the fire, and offered them half raw upon the altar; after which, marching out to battle, he returned victorious. -
Sallust's Histories and Triumviral Historiography
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Sallust's Histories and Triumviral Historiography Jennifer Gerrish University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons Recommended Citation Gerrish, Jennifer, "Sallust's Histories and Triumviral Historiography" (2012). Publicly Accessible Penn Dissertations. 511. https://repository.upenn.edu/edissertations/511 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/511 For more information, please contact [email protected]. Sallust's Histories and Triumviral Historiography Abstract This dissertation explores echoes of the triumviral period in Sallust's Histories and demonstrates how, through analogical historiography, Sallust presents himself as a new type of historian whose "exempla" are flawed and morally ambiguous, and who rejects the notion of a triumphant, ascendant Rome perpetuated by the triumvirs. Just as Sallust's unusual prose style is calculated to shake his reader out of complacency and force critical engagement with the reading process, his analogical historiography requires the reader to work through multiple layers of interpretation to reach the core arguments. In the De Legibus, Cicero lamented the lack of great Roman historians, and frequently implied that he might take up the task himself. He had a clear sense of what history ought to be : encomiastic and exemplary, reflecting a conception of Roman history as a triumphant story populated by glorious protagonists. In Sallust's view, however, the novel political circumstances of the triumviral period called for a new type of historiography. To create a portrait of moral clarity is, Sallust suggests, ineffective, because Romans have been too corrupted by ambitio and avaritia to follow the good examples of the past. -
Dramaturgy Packet-Nyclovesny (Zoom) 2021
Tonight’s Presentation Includes: 1. Antony and Cleopatra (Act 1, Scene 3), by William Shakespeare 2. “I loved you first: but afterwards my love” by Christina Rossetti 3. Norna; or, The Witch’s Curse from Little Women by Louisa May Alcott 4. “Love’s Philosophy” by Percy Bysshe Shelley 5. Cyrano de Bergerac (Act 5, Scene 6) by Edmond Rostand Shakespeare’s Antony and Cleopatra The Story So Far: Mark Antony—the same Mark Antony from Julius Caesar—has become one of the three leaders of the Roman Republic, along with Octavius Caesar and Lepidus. He governs over the parts of the Roman empire that encompasses the Northern Mediterranean and, as such, has taken up residence in Egypt, where he has fallen in love with the Egyptian Queen, Cleopatra. His love has caused him to neglect Rome's domestic problems. While he is in Egypt, Antony’s wife Fulvia, thinking Antony should be the sole ruler of Rome, joins forces with Antony’s brother to Period Bust of Mark Antony rebel against Octavius. Shortly after their Circa 43-30 BCE rebellion is quashed, Fulvia dies. Octavius calls Antony back to Rome from AleXandria to help him fight against SeXtus Pompey, Menecrates, and Menas, three notorious pirates of the Mediterranean. Enobarbus tells Antony that if he leaves, Cleopatra will die from his absence. Antony goes himself to tell Cleopatra why he must return to Rome… Did you Know…? In 2008, Dominican attorney Kathleen Martinez funded and led, in partnership with the Egyptian Supreme Council of Antiquities, found artifacts at the Taposiris Magna Temple near The Berlin Cleopatra AleXandria that led them to believe the A Roman-made bust of temple contained the tomb of Antony Cleopatra circa 46-40 BCE and Cleopatra. -
Shakespeare's Language
SHAKESPEARE’S LANGUAGE Professor Jonathan Culpeper and his team are one year into a fascinating project using computers to investigate Shakespeare’s language in ways that were previously unimaginable. Here he gives a taste of the kind of insights that are beginning to emerge and the directions the research is going in. Public domain September 2017 emagazine 53 Variable Spellings The second problem is the fog of variability. When Shakespeare was writing, English had only just begun the processes of standardisation. The particular problem concerns spelling. Aside from the fact that whatever spelling was in Shakespeare’s original manuscript is not necessarily what got printed, and that typesetters varied spellings even over the course of one play (thus creating further distance between us and Shakespeare), there is the problem of retrieval. Let’s imagine that you want to use a computer to look up all the cases when Shakespeare uses the word sweet. Searching on that spelling would not be entirely successful. It would miss out cases spelt sweete. Or, let’s say, you want to look up the word hourglass, not just in Shakespeare, but also in the works of his contemporaries, for the purposes of comparison. You would BAND OF BROTHERS OF BAND SALAD DAYS minimally need to check hour glass, houre glass, hour glasse, houre-glasse, SEA CHANGE SEA hour-glass, houre-glass, hour-glasse, houreglasse, hourglass, houreglass and hourglasse. In fact, compound nouns like this are an acutely problematic area, varying hugely even from one Shakespeare edition to another. Computational techniques for analysing language have made some progress with both of these problems. -
Prescribed Sources for Cleopatra: Rome and Egypt, 69–30 BC
Source Methods Aims Attitudes towards Cleopatra Plutarch Wasn't writing a full history of Wanted to provide Writings may well have events, instead he was moral lessons and been shaped by Roman creating character references examples for future propaganda and anti- through anecdotes and generations to live by. Cleopatra bias that was various stories. circulating after her defeat Some historians and death. Writing around 75AD. believe he had a habit of slightly altering He can be selective with Claimed that his grandfather stories to emphasise the anecdotes he picks, so had a friend who knew particular character as to emphasise the Cleopatra’s cook, and that he traits he wanted qualities in Cleopatra, that had access to the memoirs of people to pay he saw through biased Cleopatra’s physician, attention to. E.g. sources about her. Olympus. Anthony’s weakness. Has a tendency to talk Was willing to admit when he But it does seem negatively of women in is unsure of a source/ story. unlikely that Plutarch power. E.g. Alexander’s was looking to mother, Olympia! deliberately deceive his readers when writing such popular biographies. Cassius Dio Worked incredibly hard, and He wanted to cover No personal connection to the various jobs he had held the whole period of Cleopatra or her time. in the government gave him Roman history, in a opportunities to research comprehensive and But he did believe in the Roman history through official clear way. ultimate power of Rome records/information. and the importance of He wants to write Roman Dominance, so he He spent 10 yrs researching about larger aspects of would most likely have and 12 yrs writing.