DOCSLIB.ORG

Lone Star Love Or the Merry Wives of Windsor, Texas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lone Star Love Or the Merry Wives of Windsor, Texas Redux Working Draft February 12, 2013 STRICTLY CONFIDENTIAL NOT FOR DISTRIBUTION WITHOUT PERMISSION OF JOHN L. HABER AND JACK HERRICK LONE STAR LOVE or, The Merry Wives of Windsor, Texas An American Musical SHAKESPEARE ON THE RANGE In the wake of The War Between the States, cattle became king in Texas — with a population ratio of 9 cows to every human. Within three years, the annual total grew from 35,000 to 350,000 head of cattle that were driven on foot to Colorado, Wyoming, and Kansas, beside the thousands that were shipped by steamer to New Orleans and other points south and east. This boom time attracted a lot of carpetbaggers, scoundrels and social misfits to the Lone Star State. Among them were “Big John” Falstaff and his Musical Band of Rebels. FURTHER HISTORICAL BACKGROUND Texas became the twenty-eighth state in 1845. By 1860, it was ninth in the nation in per capita wealth, due largely to livestock and farming interests. There emerged an affluent and aspiring middle class from peasant roots, not unlike the bourgeoisie of Shakespeare's Windsor, England. In 1861, Texas seceded from the Union and joined the Confederacy. Though the state was never the scene of significant military operations during the Civil War, it did contribute 50,000 men and extensive supplies to the Confederate cause. The Reconstruction era presented significant problems of law enforcement in Texas, with the influx of carpetbaggers, ex-Confederates and other opportunistic outsiders. From its earliest days, Texas had attracted more than its share of outcasts and criminals. In the rebuilding of a war-damaged economy, land and cattle were the state's greatest assets. Ranching commenced on an unparalleled scale, and the cowboy culture expanded and flourished. Eventually, the town of Windsor along with the Page, Ford and countless other ranches were swallowed up by King Ranch, the largest in Texas, larger in size than the state of Rhode Island. DRAMATIS PERSONÆ COLONEL JOHN FALSTAFF, one of Shakespeare’s greatest characters, larger than life -- imported in all his glory from Windsor, England to Windsor, Texas SERGEANT PISTOL ) CORPORAL NYM ), His Band of Rebels PRIVATE BARDOLPH ) GEORGE PAGE, a wealthy, successful, second-generation cattle rancher head of the Cattlemen’s Association MARGARET ANNE PAGE, his wife – attractive, smart, resourceful, community leader MISSANNE PAGE, their daughter – independent, pretty and coming of age MISS QUICKLY, housekeeper to the Pages – minds her business and others’ with skill JOE FRANK FORD, “new money” cattle rancher – a hardworking self-made man AGGIE FORD, his wife – honest, strong, loyal and beautiful to boot LUCAS and CHESTER, ranch hands to the FORDS SHERIFF BOB SHALLOW, the local law in the body and spirit of Gabby Hayes MASTER ABRAHAM SLENDER, his nephew and ward DOCTOR CAIUS, a French-born eccentric who lands in Windsor by way of New Orleans FARLAND FENTON, the iconic yodeling cowboy CONSUELA ) RUBY ), Windsor gals GRACE ) RUGBY, utility ranch hand BARMAN, Bass Player and Host of the GARTER SALOON STICKS, Percussionist of the GARTER SALOON MISS LIBBY, Fiddler of the GARTER SALOON MUSICAL NUMBERS ACT ONE PRELUDE: “THE BALLAD OF FALSTAFF” Bardolph, Pistol and Nym SCENE 1: THE PAGE RANCH BARN "TEXAS CATTLEMEN" Men of the Company SCENE 2: SOMEWHERE NEAR THE SOUTH 40 "BIG JOHN JUMP" Falstaff and Company SCENE 3: THE GARTER SALOON SCENE 4: THE PAGE RANCH “ONLY A FOOL” The Pages and the Fords "THROWDOWN IN WINDSOR" The Company "CAIUS'S THEME" Doctor Caius "SLENDER’S THEME" Slender SCENE 5: OUT ON THE PRAIRIE "PRAIRIE MOON" MissAnne and Fenton "THE COWBOY'S DREAM" Fenton and Miss Quickly SCENE 6: THE GARTER SALOON ”ASK ME NO REASON” Falstaff and Wives SCENE 7: THE PAGE RANCH "ANOTHER MAN’S HAT" Mrs. Page, Mrs. Ford and Company SCENE 8: THE PAGE RANCH BARN SCENE 9: THE GARTER SALOON “ONLY A FOOL”/”EL TONTO CELOSO” Ford, Miss Libby and Saloon Girls SCENE 10: THE FORD RANCH "LONE STAR LOVE" Prelude Mrs. Ford, Mrs. Page and Falstaff ACT ONE FINALE: "LONE STAR LOVE" The Company ACT TWO ENTR’ACTE: "HARD TIMES" Bardolph, Pistol and Nym SCENE 1: THE GARTER SALOON "COLD CASH" Falstaff, Women and Band SCENE 2: THE PAGE RANCH HOUSE "COUNT ON MY LOVE" Fenton and MissAnne SCENE 3: BEHIND THE SCHOOL HOUSE AT HIGH NOON "CODE OF THE WEST" The Company "QUAIL-BAGGING" The Company SCENE 4: THE FORD RANCH "TEXAS WIND" Mrs. Ford SCENE 5: REPTILE RIDGE "THE WILD CAT MOAN" Pistol, Miss Libby, Falstaff and Company SCENE 6: THE SAGUARO (CACTI) GROVE "LOVE IN THE LIGHT OF THE MOON" Falstaff, Wives and Company "THE BALLAD OF FALSTAFF" Falstaff, Band and Company REPRISE: "LONE STAR LOVE" The Company "SUGARFOOT RAG" The Company and Band LONE STAR LOVE is dedicated to TOMMY THOMPSON (1937-2003) Founder of The Red Clay Ramblers Tommy and son Tom Ashley Tommy as Falstaff in the mid-1970’s (with Jim Wann as Pistol) in The Merry Wives of Windsor Forest Theatre, 1973 2/18/13 Act One, Page 1 LONE STAR LOVE or, The Merry Wives of Windsor, Texas AUTHORS’ NOTE: The entire action takes place in and around Windsor, Texas in the fall of 1865. BARDOLPH, PISTOL and NYM are FALSTAFF'S Band of Rebels, which includes additional on-stage musicians. In this rough and tumble environment, microphones and other modern components co-exist with objects of the period. Minimal scenic elements, props and furniture define locations and suggest the world more than representing it. Paying homage to the original Globe Theatre (built in 1599) with its inner “below” and upper “above,” the set is a multi- level barn— with several stairways and entrances and large sliding doors upstage, opening onto views of the prairie landscape. This is Shakespeare "Texas-style." ACT ONE PRESHOW/PROLOGUE A casual and friendly ambiance is advocated from the get-go, and from time to time, characters break the “fourth wall” as in Shakespeare’s Merry Wives. Old- fashioned signs are posted at various entrances to the theatre such as “Welcome to Windsor” and “Cattle Crossing,” etc. The set is in open view, with a big “Windsor, Texas Cattlemen’s Association” banner stretching across the railing of the upper deck of the barn. Band members may be spotted on stage and out in the house -- playing Western tunes idiomatic to the show. House lights go to half, and GEORGE PAGE appears on stage and addresses the audience. PAGE Howdy, folks! My name’s George Page and I wanna welcome y’all to Windsor, Texas. It’s the year of Our Lord 1865, so I gotta ask you to turn off those beepy things, you know, cell phones and the like – [turning off his own ringing cell and sticking it into his pocket] that’s it. Much obliged. Now I reckon you may have heard of Billy Bob Shakespeare’s “The Merry Wives of Windsor” --England, that is—well, we’ve taken that tale and given it some Texas beef. [Sound of cattle.] So sit back, kick off your shoes (maybe not) and enjoy how that big ‘ole tub o’ lard John Falstaff rode into Windsor town with his band of rebels and tried to take our local wives for a ride, how he got his comeuppance--and a whole lot more! FALSTAFF [From back of the house] Come on, ya lousy bunch of loafers! PAGE [To BAND] Hit it, boys! [PAGE exits as BARDOLPH, PISTOL and NYM emerge from the back of the house up the center aisle. They begin singing in the house and relate and sing to the audience.] ♫ SONG: “BALLAD OF FALSTAFF” BARDOLPH, PISTOL and NYM BARDOLPH, PISTOL AND NYM 2/18/13 Act One, Page 2 WE’RE NOT PROPER AND PRIM WE GO RIDIN’ ALONG DOIN’ WRONG, FOLLOWIN’ HIM! WHO IS THIS RAMBLIN’ KNIGHT, RUNS AWAY FROM A FIGHT? DRUNKEN, GREEDY AND MEAN TOO FAT TO BE SEEN IN THE NATURAL LIGHT. OH, IT’S… BIG JOHN FALSTAFF! WILDEST IN THE WEST— BIG JOHN TAKES THE HIGH ROAD AND THE DEVIL TAKE THE REST. EIGHTEEN HUNDRED AND TEN IN A MISTY MOUNTAINEOUS GLEN SOME DOWN IN NORTH CAROLINA GAVE A MIGHTY WHINE LIKE A PIG IN THE PEN! FALSTAFF [Popping up out of the audience, choosing a lady to represent his mother] Mama!! AND SINCE THAT TROUBLESOME MORN WHEN FAT LITTLE JOHNNY WAS BORN— FALSTAFF [Handing cigar to someone] It’s a boy! BARDOLPH, PISTOL and NYM HE RAMBLED ALL OVER THE SOUTH HAND TO MOUTH THROUGH THE COTTON AND CORN. AND IT’S… BIG JOHN FALSTAFF— FALSTAFF That’s me! BARDOLPH, PISTOL and NYM THRIVES UPON HIS WITS BIG JOHN GETS THE PEACHES AND ALL WE GET’S THE PITS! BIG JOHN FALSTAFF! LEADER OF THE BAND TEARIN’ UP THE WOMEN AND BURNIN’ UP THE LAND TEARIN’ UP THE WOMEN AND BURNIN’ UP THE LAND! FALSTAFF Come on boys, I’m hungry. Let’s poach us some cattle! 2/18/13 Act One, Page 3 [HOEDOWN TAG] [FALSTAFF and BAND disappear, as arguing CATTLEMEN take their places for the Cattlemen’s Association meeting.] ACT ONE, SCENE 1: THE PAGE RANCH BARN SHERIFF BOB Mr. Page, persuade me not! PAGE Simmer down, Sheriff Bob! SHERIFF BOB By hell, I’ll nab whatever thievin’ skunk’s been poachin’ my herd, and introduce him to the business end of a rope! FORD You sayin’ we got rustlers? SHERIFF BOB I’m sayin’ I’m one longhorn short of a herd. I’m sayin’ I’m the law, and that’s all I’m sayin’. I ain't one of the big owners like you, Mr. Ford, or you, Mr.
Load more

Recommended publications
  • Merry Wives (Edited 2019)
    !1 The Marry Wives of Windsor ACT I SCENE I. Windsor. Before PAGE's house. BLOCK I Enter SHALLOW, SLENDER, and SIR HUGH EVANS SHALLOW Sir Hugh, persuade me not; I will make a Star-chamber matter of it: if he were twenty Sir John Falstaffs, he shall not abuse Robert Shallow, esquire. SIR HUGH EVANS If Sir John Falstaff have committed disparagements unto you, I am of the church, and will be glad to do my benevolence to make atonements and compremises between you. SHALLOW Ha! o' my life, if I were young again, the sword should end it. SIR HUGH EVANS It is petter that friends is the sword, and end it: and there is also another device in my prain, there is Anne Page, which is daughter to Master Thomas Page, which is pretty virginity. SLENDER Mistress Anne Page? She has brown hair, and speaks small like a woman. SIR HUGH EVANS It is that fery person for all the orld, and seven hundred pounds of moneys, is hers, when she is seventeen years old: it were a goot motion if we leave our pribbles and prabbles, and desire a marriage between Master Abraham and Mistress Anne Page. SLENDER Did her grandsire leave her seven hundred pound? SIR HUGH EVANS Ay, and her father is make her a petter penny. SHALLOW I know the young gentlewoman; she has good gifts. SIR HUGH EVANS Seven hundred pounds and possibilities is goot gifts. Enter PAGE SHALLOW Well, let us see honest Master Page. PAGE I am glad to see your worships well.
    [Show full text]
  • X Block 1.P65
    ENG-02-X (1) Institute of Distance and Open Learning Gauhati University MA in English Semester 2 Paper X Drama I Block 1 Shakespeare’s Contemporaries Contents: Block Introduction: Unit 1 : General Introduction to English Renaissance Drama Unit 2 : Christopher Marlowe’s The Jew of Malta Unit 3 : Ben Jonson’s Volpone (1) Contributors: Dr. Aparna Bhattacharya Associate Professor, Dept. of English (Units 1 & 2) Gauhati University Biswajit Saikia Gauhati University (Unit 3) Editorial Team Dr. Asha Kuthari Choudhury Associate Professor, Dept. of English Gauhati University Dr. Uttara Debi Asst. Professor in English IDOL, GU Prasenjit Das Asst. Professor in English KKHSOU, Guwahati Sanghamitra De Lecturer in English IDOL, GU Manab Medhi Lecturer in English IDOL, GU Cover Page Designing: Kaushik Sarma : Graphic Designer CET, IITG February, 2011 © Institute of Distance and Open Learning, Gauhati University. All rights reserved. No part of this work may be reproduced in any form, by mimeograph or any other means, without permission in writing from the Institute of Distance and Open Learning, Gauhati University. Further information about the Institute of Distance and Open Learning, Gauhati University courses may be obtained from the University's office at IDOL Building, Gauhati University, Guwahati-14. Published on behalf of the Institute of Distance and Open Learning, Gauhati University by Dr. Kandarpa Das, Director and printed at Maliyata Offset Press, Mirza. Copies printed 1000. Acknowledgement The Institute of Distance and Open Learning, Gauhati University duly acknowledges the financial assistance from the Distance Education Council, IGNOU, New Delhi, for preparation of this material. (2) Block Introduction: This block is entitled "Shakespeare's Contemporaries" which refers you clearly to the Elizabethan period in English literary history.
    [Show full text]
  • Merry Wives of Windsor
    The Merry Wives of Windsor by William Shakespeare Presented by Paul W. Collins © Copyright 2012 by Paul W. Collins The Merry Wives of Windsor By William Shakespeare Presented by Paul W. Collins All rights reserved under the International and Pan-American Copyright Conventions. Except as permitted under the U.S. Copyright Act of 1976, no part of this work may be reproduced, distributed, or transmitted in any form or by any means, or stored in a database or retrieval system, electronic, mechanical, photocopying, audio or video recording, or other, without the prior written permission of the copyright owner. Contact: [email protected] Note: Spoken lines from Shakespeare’s drama are in the public domain, as is the Globe edition (1864) of his plays, which provided the basic text of the speeches in this new version of The Merry Wives of Windsor. But The Merry Wives of Windsor, by William Shakespeare: Presented by Paul W. Collins is a copyrighted work, and is made available for your personal use only, in reading and study. Student, beware: This is a presentation, not a scholarly work, so you should be sure your teacher, instructor or professor considers it acceptable as a reference before quoting characters’ comments or thoughts from it in your report or term paper. 2 Chapter One Confrontations aiting outside George Page’s stately Windsor home this fine sunny morning is Hugh W Evans, a kindly Welsh cleric. The parson hopes to resolve a complaint being made by the visiting uncle of a parishioner. “Sir Hugh, persuade me not,” insists the wizened old man, a veteran of the war, and now one of the keepers of the king’s grounds.
    [Show full text]
  • The Merry Wives of Windsor, Fat, Disreputable Sir John Falstaff Pursues Two Housewives, Mistress Ford and Mistress Page, Who Outwit and Humiliate Him Instead
    Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Scene 1 Scene 2 ACT 1 Scene 3 Scene 4 Scene 1 ACT 2 Scene 2 Scene 3 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 5 Scene 1 Scene 2 Scene 3 ACT 4 Scene 4 Scene 5 Scene 6 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.
    [Show full text]
  • 2016 Study Guide
    2016 STUDY ProductionGUIDE Sponsor 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER BREATH OF KINGS: REBELLION | REDEMPTION BY WILLIAM SHAKESPEARE CONCEIVED AND ADAPTED BY GRAHAM ABBEY WORLD PREMIÈRE COMMISSIONED BY THE STRATFORD FESTIVAL DIRECTORS MITCHELL CUSHMAN AND WEYNI MENGESHA TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by The Brian Linehan Charitable Foundation and by Martie & Bob Sachs INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: From left: Graham Abbey, Tom Rooney, Araya Mengesha, Geraint Wyn Davies.. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis ..............................................................................................................
    [Show full text]
  • Henry V Booklet
    William Shakespeare Henry V with Samuel West • Timothy West • Cathy Sara and full cast CLASSIC DRAMA NA320512D 1 Prologue Enter Chorus CHORUS: O for a muse of fire… 3:09 2 Act I Scene 1 An antechamber in King Henry’s palace Enter the two Bishops of Canterbury and Ely CANTERBURY: My lord, I’ll tell you, that self bill is urged… 4:48 3 Act I Scene 2 The council chamber in King Henry’s palace Enter the King, Gloucester, Bedford, Clarence, Westmorland and Exeter and attendants KING: Where is my gracious lord of Canterbury? 8:59 4 Act I Scene 2 (cont.) CANTERBURY: Therefore doth heaven divide… 2:41 5 Act I Scene 2 (cont.) Enter Ambassador of France (with attendants) KING: Now are we well prepared to know the pleasure 5:08 6 Act II Enter Chorus CHORUS: Now all the youth of England are on fire… 2:04 2 7 Act II Scene 1 London. The Boar’s Head tavern Enter Corporal Nym and Lieutenant Bardolph BARDOLPH: Well met, Corporal Nym6:42 8 Act II Scene 2 Southampton Enter Exeter, Bedford and Westmorland BEDFORD: ‘Fore God, his grace is bold to trust these traitors. 3:47 9 Act II Scene 2 (cont.) KING: The mercy that was quick in us… 7:00 10 Act II Scene 3 London. The Boar’s Head tavern Enter Pistol, Nym, Bardolph, Boy and Hostess HOSTESS: Prithee, honey-sweet husband, let me bring thee to Staines. 0:33 11 Act II Scene 3 HOSTESS: Nay he’s not in hell. He’s in Arthur’s bosom… 3:21 12 Act II Scene 4 France.
    [Show full text]
  • The Life of King Henry the Fifth. Edited by Herbert Arthur Evans
    @- THE ARDEN SHAKESPEARE GENERAL EDITOR : W. J. CRAIG THE LIFE OF KING HENRY THE FIFTH THE WORKS OF SHAKESPEARE THE LIFE OF KING HENRY THE FIFTH EDITED BY HERBERT ARTHUR EVANS ? ^^C:<^ METHUEN AND CO. LTD. 36 ESSEX STREET: STRAND LONDON Second Edition /f/7 CONTENTS _ PAGB Introduction -^^ The Life of King Henry the Fifth . i Appendix ^ vfi First Published . Octobir 33rd igoj Seccmd Edition . /g/7 INTRODUCTION — Connexion of Henry V. with the preceding Histories, p. ix Its first on the and in xi — xiv—The appearance stage print, p. —Date, p. Quarto text and its relation—to the Foho, p. xvii Henry V. and the Fatnous Victories^ p. xxv Shakespeare's conception of Henry's xxxi—Conduct of the action and function of the character, p. Chorus,— p. xli —Supposed allusions to contemporary politics, p. xliii This Edition, p. xlvii. The emergence of the historical drama during the last decade of Elizabeth's reign, and the popularity which it achieved during its brief existence, were the natural out- come of the consciousness of national unity and national greatness to which England was then awakening. Haunted for more than a quarter of a century by the constant dread of foreign invasion and domestic treachery, the country could at last breathe freely, and the fervid patriotism which now animated every order in the State found appropriate " " expression in a noble and solid curiosity to learn the story of the nation's past. Of this curiosity the theatres, then as always the reflection of the popular taste, were not slow to take advantage.
    [Show full text]
  • Production History Organized by Season
    Great Lakes Theater: Production History Organized By Season Year Author Title Director Run Dates 1962-1965 *Lakewood Civic Auditorium *Great Lakes Shakespeare Festival Born *Artistic Director: Arthur Lithgow Rotating Repertory 1962 Shakespeare, William As You Like It Lithgow, Arthur July 11 - Sept 6 1962 Shakespeare, William Richard II Gruenewald, Tom July 28 - Sept 8 1962 Shakespeare, William Othello Lith + Grue, co-dir July 18 - Sept 7 1962 Shakespeare, William Henry IV, Part I Lithgow, Arthur Aug 11 - Sept 9 1962 Shakespeare, William Henry IV, Part II Lithgow, Arthur Aug 11 - Sept 9 1962 Shakespeare, William The Merchant of Venice Lithgow, Arthur Aug 22 - Sept 9 Rotating Repertory 1963 Shakespeare, William Comedy of Errors Lithgow, Arthur June 25 - Sept 13 1963 Shakespeare, William Romeo and Juliet Lithgow, Arthur July 2 - Sept 13 1963 Shakespeare, William The Merry Wives of Windsor Moffatt, Donald July 9 - Sept 13 1963 Shakespeare, William Henry V Lithgow, Arthur July 23 - Sept 13 1963 Shakespeare, William Julius Caesar Moffatt, Donald July 30 - Sept 13 1963 Shakespeare, William Measure for Measure (designer also directed) Lithgow, Arthur Aug 13 - Sept 13 Rotating Repertory 1964 Shakespeare, William The Taming of the Shrew Lithgow, Arthur June 30 - Sept 19 1964 Shakespeare, William Hamlet Lithgow, Arthur July 7 - Sept 19 1964 Shakespeare, William Much Ado About Nothing George, Hal July 14 - Sept 19 1964 Shakespeare, William Henry VI Siletti, Mario July 28 - Sept 19 1964 Shakespeare, William Richard III Earle, Edward August 4 - Sept 19 1964 Shakespeare, William Antony and Cleopatra George, Hal August 18 - Sept 19 Rotating Repertory 1965 Shakespeare, William Macbeth Lithgow, Arthur June 25 - Sept 25 1965 Sheridan, Richard Brinsley The Rivals Siletti, Mario June 29 - Sept 25 1965 Shakespeare, William A Midsummer Night's Dream Hooks, David July 13 - Sept 25 1965 Moliere + Chekhov, Anton The School for Wives + Marriage Proposal Linville, Larry/Lithg.
    [Show full text]
  • The Merchant of Venice—New Edition Copyright © 2010 by Infobase Publishing Introduction © 2010 by Harold Bloom
    Bloom’s Modern Critical Interpretations Th e Adventures of Great Expectations One Flew over the Huckleberry Finn Th e Great Gatsby Cuckoo’s Nest Th e Age of Innocence Gulliver’s Travels One Hundred Years of Alice’s Adventures in Hamlet Solitude Wonderland Heart of Darkness Othello All Quiet on the Th e House on Mango Persuasion Western Front Street Portnoy’s Complaint Animal Farm I Know Why the Pride and Prejudice Th e Ballad of the Sad Caged Bird Sings Ragtime Café Th e Iliad Th e Red Badge of Beloved Invisible Man Courage Beowulf Jane Eyre Romeo and Juliet Black Boy Th e Joy Luck Club Th e Rubáiyát of Omar Th e Bluest Eye Julius Caesar Khayyám Th e Canterbury Tales Th e Jungle Th e Scarlet Letter Cat on a Hot Tin King Lear A Separate Peace Roof Long Day’s Journey Silas Marner Catch-22 Slaughterhouse-Five into Night Th e Catcher in the Song of Solomon Lord of the Flies Rye Th e Sound and the Th e Lord of the Rings Th e Chronicles of Fury Love in the Time of Narnia Th e Stranger Cholera Th e Color Purple A Streetcar Named Macbeth Crime and Desire Th e Man Without Punishment Sula Th e Crucible Qualities Th e Sun Also Rises Cry, the Beloved Th e Merchant of Th e Tale of Genji Country Venice A Tale of Two Cities Darkness at Noon Th e Metamorphosis “Th e Tell-Tale Heart” Death of a Salesman A Midsummer Night’s and Other Stories Th e Death of Artemio Dream Th eir Eyes Were Cruz Miss Lonelyhearts Watching God Th e Diary of Anne Moby-Dick Th ings Fall Apart Frank My Ántonia Th e Th ings They Don Quixote Native Son Carried Emerson’s Essays Night
    [Show full text]
  • Vol. 13, No. 6 November 2004
    Chantant • Reminiscences • Harmony Music • Promena Evesham Andante • Rosemary (That's for Remembran Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenad Capricieuse • Serenade • The Black Knight • Sursum Corda Snow • Fly, Singing ournalBird • From the Bavarian Highlands • The L Life • King Olaf • Imperial March • The Banner of St George • Te and Benedictus • Caractacus • Variations on an Original T (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Characteristic Pieces • The Dream of Gerontius • Serenade Ly Pomp and Circumstance • Cockaigne (In London Town) • C Allegro • Grania and Diarmid • May Song • Dream Chil Coronation Ode • Weary Wind of the West • Skizze • Offertoire Apostles • In The South (Alassio) • Introduction and Allegro • Ev Scene • In Smyrna • The Kingdom • Wand of Youth • How Calm Evening • Pleading • Go, Song of Mine • Elegy • Violin Concer minor • Romance • Symphony No 2 • O Hearken Thou • Coro March • Crown of India • Great is the Lord • Cantique • The Makers • Falstaff • Carissima • Sospiri • The Birthright • The Win • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Un dans le Desert • The Starlight Express • Le Drapeau Belge • The of England • The Fringes of the Fleet • The Sanguine Fan • Sonata in E minorNOVEMBER • String Quartet 2004 in E Vol.13,minor •No Piano.6 Quint minor • Cello Concerto in E minor • King Arthur • The Wand E i M h Th H ld B
    [Show full text]
  • Toxic Masculinity in Henry V
    The Review: A Journal of Undergraduate Student Research Volume 21 Article 2 2020 Toxic Masculinity in Henry V Abigail King [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/ur Part of the Dramatic Literature, Criticism and Theory Commons, Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation King, Abigail. "Toxic Masculinity in Henry V." The Review: A Journal of Undergraduate Student Research 21 (2020): -. Web. [date of access]. <https://fisherpub.sjfc.edu/ur/vol21/iss1/2>. This document is posted at https://fisherpub.sjfc.edu/ur/vol21/iss1/2 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Toxic Masculinity in Henry V Abstract Toxic masculinity motivates the characters and plot of Henry V by William Shakespeare. The play revolves around King Henry V and how he is a model leader of England during the Hundred Years War. Henry uses what a “true” man should be to inspire his soldiers when morale is low. Further, manlihood is seen in the characters or lack thereof. Characters that fail to follow the high expectations of masculinity are killed. Audience members recognize the importance of masculinity throughout the play, although the outcomes of those stereotypes are dangerous seen in the superficial friendships and suppression of authentic self. Keywords toxic masculinity, Shakespeare, friendship Cover Page Footnote I would like to thank Dr. Deborah Uman for encouraging me to submit my work and always helping me develop my writing.
    [Show full text]
  • 9 King Henry V Ap 98
    Play: King Henry V Author: Shakespeare Text used: New Cambridge Library ref: Key: enter from within enter from without exit inwards Exit outwards Act door Entering door Space-time indication Commentary /sc IN characters OUT and notes I.o Chorus CHOR. O for a muse of fire... (1) Entrance from the high status door? Chorus CHOR. Admit me Chorus to this history...(32) I.i Canterbury, CANT. My lord, I’ll tell you, that They enter together deep in Ely self bill is urged...(1) conversation. Canterbury, CANT. The French ambassador Despite the reference to going ‘in’ Ely upon that instant Craved audi- to the court to hear the embassy, ence, and the hour I think is this is a loop scene, a prelude to come To give him hearing. Is it their entry from outwards into the four o’clock? court of the next scene. ELY. It is. CANT. Then go we in, to know his embassy...(91-5) I.ii King, KING. Where is my gracious lord The court is brought ‘out’ onto the Gloucester, of Canterbury? stage (throne set, etc.) prior to the Bedford, EXETER. Not here in presence. audience with the ambassador. Clarence, KING. Send for him, good uncle. Westmorland, WEST. Shall we call in th’am- Exeter etc. bassador, my liege? (1-3) Canterbury, CANT. God and his angels guard They now return to the stage, Ely your sacred throne...(7) coming in to the court. Attendant KING. Call in the messengers sent from the Dauphin. (221) Ambassador, KING. ...Now are we well prepared Attendant returns from outwards etc.
    [Show full text]