Summer Sonnets at The

Total Page:16

File Type:pdf, Size:1020Kb

Summer Sonnets at The CAST SUNLIGHT SHAKESPEARE WALK Wander with us at Pah Homestead, a promenade of summer Shakespeare sonnets and scenes, art, sparkling wine, wit and delectable dessert. A delightful and delicious wander through the gorgeous Pah Homestead, as the sun lingers over Monte Cecilia Park, l isten to some of Shakespeare's most famous and most Aaron Richardson Anya Banerjee beautiful sonnets and scenes. And of course sweet summer air and sweet words go perfectly with... sweet dessert from Homestead Café. Damien Avery Francesca Savige Maxine Cunliffe Natalie Beran Scott Sheridan Thank you to Haydn Middleton & the Homestead cafe, Zoe Hoeberigs, Anne Pokel, Cally Castell, Auckland Summer Shakespeare and Benjamin Henson. SUNLIGHT SHAKESPEARE WALK at the Pah Homestead presented by the International Actors Ensemble and the James Wallace Arts Trust 1. Sonnet 23 (Francesca Savige) 11. Sonnet 18 (Damien Avery) As an imperfect actor on the stage... Shall I compare thee to a summer's day? 12. Hamlet from HAMLET Act 2 Sc. 2 (Scott Sheridan) 2. Romeo & Juliet from ROMEO AND JULIET Act 2 Sc. 2 (Aaron Richardson & Anya Banerjee) 13 . Adriana from THE COMEDY OF ERRORS Act 2 Sc. 2 (Anya Banerjee) 3. Sonnet 116 (Francesca Savige) Let me not to the marriage of true minds... 14. Titania from A MIDSUMMER NIGHT'S DREAM Act 2 Sc. 1 (Maxine Cunliffe) 4. Amiens' song from AS YOU LIKE IT Act 2 Sc. 7 (Damien Avery, Composition by Cally Castell) 15. Sonnet 130 (Scott Sheridan) My mistress' eyes are nothing like the sun... 5. Duke Senior from AS YOU LIKE IT Act 2 Sc. 1 (Maxine Cunliffe ) 16. Benedick from MUCH ADO ABOUT NOTHING Act 2 Sc. 3 (Damien Avery) 6. Duke of Gloucester from RICHARD III Act 1 Sc. 1 (Scott Sheridan) 17. Sonnet 121 (Anya Banerjee) ’Tis better to be vile than vile esteemed... 7. Sonnet 29 (Francesca Savige) When in disgrace with fortune and men's eyes... 18. Rosalind & Orlando from AS YOU LIKE IT Act 3 Sc. 2 (Francesca Savige & Aaron Richardson) 8. Sonnet 147 (Natalie Beran ) My love is as a fever... 19. Sonnet 33 (Natalie Beran) Full many a glorious morning have I seen... 9. Sonnet 57 (Francesca Savige) Being your slave, what should I do... 20. Amiens' song from AS YOU LIKE IT Act 2 Scene 5 (Damien Avery, Composition by Cally Castell) 10. Orlando from AS YOU LIKE IT Act 3 Sc. 2 (Aaron Richardson) 21. Sonnet 128 (Maxine Cunliffe. Music: William Byrd, Fantasia) .
Recommended publications
  • The Athenaeum Press Series
    THE ATHENAEUM PRESS SERIES G. L. KITTREDGE AND C. T. WINCHESTER GENERAL EDITORS Series announcement THE "Athenaeum Press Series" includes the choicest works of Eng­ lish literature in editions carefully prepared for the use of schools, col­ leges, libraries, and the general reader. Each volume is edited by some scholar who has made a special study of an author and his period. The Introductions are biographical and critical. In particular they set forth the relation of the authors to their times and indicate their impor­ tance in the development of litera­ ture. A Bibliography and Notes accompany each volume. Athenaeum Press Series THE SONNETS OF SHAKESPEARE WITH AN INTRODUCTION AND NOTES BY H. C. BEECHING, M.A., D. LITT. BOSTON, U.S.A., AND LONDON GINN & COMPANY, PUBLISHERS 1904 ENTERED AT STATIONERS' HALL COPYRIGHT, 1904 BY H. C. BEECHING ALL RIGHTS RESERVED IV V7^ O AMICIS BALLIOLENSIBVS ANDREAE CECILIO BRADLEY SIDNEIO LEE DE POETA NOSTRO BENE MERENTISSIMIS QVORVM FAVOR HVNC LIBELLVM VNICE PRODVXIT GENITOR 4~ CO (^ 195527 PREFACE This edition of Shakespeare's sonnets was suggested by my friend Mr. A. C. Bradley, Professor of Poetry at Oxford, who was interested in a paper on the subject which I con­ tributed to the Cornhill Magazine in February, 1902. That paper, by the good leave of the publisher, I have used as the basis of the present Introduction ; and the rest of my editorial work has consisted in dividing up the sonnets into groups and annotating them. As there are already before the public not a few editions of Shakespeare's son­ nets by well-known writers, I may be allowed to set out what I conceive to be the peculiarities of this edition.
    [Show full text]
  • Shakespeare's Sonnets in Russian
    Shakespeare’s Sonnets in Russian: The Challenge of Translation Elena Rassokhina Umeå Studies in Language and Literature 37 Department of Language Studies Umeå University 2017 Department of Language Studies Umeå University SE-901 87 Umeå http://www.sprak.umu.se This work is protected by the Swedish Copyright Legislation (Act 1960:729) © 2017 Elena Rassokhina ISBN: 978-91-7601-681-7 Front cover illustration: Elena Rassokhina, Aleksei Zakharov, Anja Rassokhina Electronic version accessible via http://umu.diva-portal.org/ Umeå Studies in Language and Literature 37 Printed by: Print & media, Umeå University Distributed by: eddy.se ab, Visby Umeå, Sweden 2017 To study Shakespeare in translation is just another way to find him. Ton Hoenselaars The translation of verse is impossible. Every time is an exception. Samuil Marshak Table of Contents Table of Contents i Abstract iii List of Articles v Acknowledgements vii A note on transliteration and translation ix Preface 1 1. Introduction 3 1.1. Shakespeare’s sonnets as a Russian literary phenomenon 3 1.2. Objectives of the research and methodology 5 1.3. Disposition of the thesis 6 1.4. Sources and limitations 7 1.5. Critical studies of the sonnets and their translations into Russian 8 1.6. Theoretical background 11 1.6.1. Translation and norms 11 1.6.2. Translation as rewriting 12 1.6.3. Translations and retranslations 13 1.6.4. Translatability and poetic translation 17 2. The context of Shakespeare’s sonnets 25 2.1. The sonnets and translation competence 25 2.2. Date of composition and the author’s intentions 26 2.3.
    [Show full text]
  • SUGGESTED SONNETS 2015 / 2016 Season the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS
    SUGGESTED SONNETS 2015 / 2016 Season The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all.
    [Show full text]
  • Chapter I Introduction
    CHAPTER I INTRODUCTION This chapter discusses the background of the study, the research problems, the research objectives, significance of the research, scope and limitation of the research, and definition of the key terms of the research at the end of this chapter. A. Background of the Research Communication is an activity that we do every day. By having good communication among human, the relationship can be interlaced better. Agus (2007:10) stated that communication is the process forwarding meaning in the form of idea or information that someone do to others by using particular media. Communication gets amends by era go to era. Long time ago, communication was only done through symbol and also signal, then at present the communication is getting amends by using words. Literature is one part of communication. This is one molded art of effloresce man creature along with developing eras. Literature is a result of processes interaction between human and their environment, how they see environment around them and create beautiful opus by using language. Jones (1968:1) states that literature is simply another way we can experience the world around us through our imagination. When we talk about literature, it means that we are talking about written materials that deal with thoughts and feeling. Based on above information, we can understand that literary work is a creative activity. It can be in the form of drama, prose even poetry whether it is fiction or 1 2 nonfiction. Besides, it is an art which has sensibleness, imagination, and emotion. Literature also can be defined as an art which is resulted from creative thinking of its writers consisting of aesthetic words series in the part of language for communication.
    [Show full text]
  • Shakespeare's Sonnets the Complete Guide
    Shakespeare's Sonnets The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 12 Jan 2011 15:37:45 UTC Contents Articles Shakespeare's sonnets 1 Introduction 9 Petrarch's and Shakespeare's Sonnets 9 Dedication and Characters 15 Henry Wriothesley, 3rd Earl of Southampton 15 Sexuality of William Shakespeare 21 Emilia Lanier 25 Mary Fitton 31 Rival Poet 33 The Sonnets 35 Procreation sonnets 35 Sonnet 1 35 Sonnet 2 37 Sonnet 3 38 Sonnet 4 39 Sonnet 5 41 Sonnet 6 42 Sonnet 7 43 Sonnet 8 47 Sonnet 9 48 Sonnet 10 50 Sonnet 11 51 Sonnet 12 52 Sonnet 13 54 Sonnet 14 55 Sonnet 15 57 Sonnet 16 58 Sonnet 17 60 Sonnet 18 62 Sonnet 19 65 Sonnet 20 67 Sonnet 21 70 Sonnet 22 72 Sonnet 23 74 Sonnet 24 76 Sonnet 25 78 Sonnet 26 80 Sonnet 27 82 Sonnet 28 83 Sonnet 29 84 Sonnet 30 89 Sonnet 31 92 Sonnet 32 93 Sonnet 33 94 Sonnet 34 96 Sonnet 35 98 Sonnet 36 102 Sonnet 37 106 Sonnet 38 107 Sonnet 39 108 Sonnet 40 109 Sonnet 41 111 Sonnet 42 112 Sonnet 43 114 Sonnet 44 116 Sonnet 45 117 Sonnet 46 118 Sonnet 47 121 Sonnet 48 122 Sonnet 49 123 Sonnet 50 124 Sonnet 51 125 Sonnet 52 126 Sonnet 53 127 Sonnet 54 130 Sonnet 55 134 Sonnet 56 136 Sonnet 57 137 Sonnet 58 138 Sonnet 59 140 Sonnet 60 146 Sonnet 61 150 Sonnet 62 151 Sonnet 63 153 Sonnet 64 154 Sonnet 65 159 Sonnet 66 162 Sonnet 67 163 Sonnet 68 164 Sonnet 69 165 Sonnet 70 166 Sonnet 71 167 Sonnet 72 168 Sonnet 73 169 Sonnet 74 173 Sonnet 75 174 Sonnet 76 175 Sonnet 77 176 Sonnet 78 177 Sonnet 79 178 Sonnet 80 179
    [Show full text]
  • The Concept of Love in Shakespeare's Sonnets
    ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 5, No. 4, pp. 918-923, July 2014 © 2014 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/jltr.5.4.918-923 The Concept of Love in Shakespeare’s Sonnets Fenghua Ma School of Foreign Languages, Jiangsu University, 212013 Zhenjiang, China Abstract—The present paper probes into the concept of love revealed in the Dark Lady group in Shakespeare’s Sonnets. In these poems, the poet depicts a kind of obsession, bitter, hopeless and degenerating, which is totally different from that sweet and ennobling love Shakespeare always pursues in his early works. It is argued that the conflict between the ideal of love and the sensual obsession with the Dark Lady may well be a manifestation of the change in the poet’s mood, namely, from optimism to pessimism. Index Terms—the concept of love, Dark Lady, Shakespeare’s Sonnets I. INTRODUCTION Since there are more legends than documented facts about Shakespeare‟s life, his life, in a sense, remains a mystery. Just for this reason, there were plenty of scholars who read Shakespeare‟s sonnets as his autobiography. In “Scorn Not the Sonnet”, for instance, Wordsworth wrote, “with this Key/ Shakespeare unlocked his heart…” (Gill, 2000, p.356). Although this argument is still open to discussion, many scholars seem to believe that sonnets, as lyrical poems, tend to convey more personal implications than other literary forms. Therefore, Shakespeare’s Sonnets bears a special meaning to his whole career of literary creation. These 154 sonnets, with their profound thought, luxuriant images, sincere and oceanic emotion, as well as artistic fascination, can by all means draw a parallel to his enduring plays.
    [Show full text]
  • The Physical Beauty in Shakespeare's Sonnets
    English Language and Literature Studies; Vol. 6, No. 2; 2016 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education The Physical Beauty in Shakespeare’s Sonnets Chunli Ma1 1 School of Foreign Languages, Zhongyuan University of Technology, Zhengzhou, China Correspondence: Chunli Ma, School of Foreign Languages, Zhongyuan University of Technology, 41# Zhongyuan Road, Zhengzhou, 450007, China. E-mail: [email protected] Received: February 26, 2016 Accepted: March 18, 2016 Online Published: April 28, 2016 doi:10.5539/ells.v6n2p110 URL: http://dx.doi.org/10.5539/ells.v6n2p110 Abstract Beauty, one of the most reoccurring words throughout Shakespeare’s Sonnets, is the principal subject of the poet’s meditation. “From fairest creatures we desire increase, / That thereby beauty’s rose might never die” begins the first poem in the sonnet sequence, a statement about beauty that can be understood as the first articulation of the Sonnets’ aesthetic agenda. Beauty in Shakespeare’s Sonnets is represented in two dimensions: the physical beauty and the spiritual beauty. The physical beauty refers to the beauty of the body and the sensual pleasure derived from desires.By means of the illustration of the physical beauty, Shakespeare conveyed the aesthetical world which brings readers enjoyment and delight, moreover, the poet warns readers that the sensual pleasure should base on married chastity and social norms, otherwise, it would result in death and destruction. The account of sexual pleasure shows that on the one hand for enjoying the life itself, on the other hand, for leaving children behind to make the temporary time eternalized, thus returning back to timeless Garden of Eden.
    [Show full text]
  • Misogyny in the Sonnets: Connections Between Hell and Female Sexuality
    Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 2 2020 Misogyny in the Sonnets: Connections between Hell and Female Sexuality Jordan Kohn-Foley University of South Florida, [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Kohn-Foley, Jordan (2020) "Misogyny in the Sonnets: Connections between Hell and Female Sexuality," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 2. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/2 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Misogyny in the Sonnets: Connections between Hell and Female Sexuality Jordan Kohn-Foley, University of South Florida St. Petersburg n his Sonnets, the language that Shakespeare uses about women becomes the primary manner through which they are I portrayed in a misogynistic manner. Shakespeare’s language ties women’s bodies both literally and metaphorically to hell and darkness throughout the sonnet sequence, while consistently demonstrating anxiety and unease in relation to the concept of lust as expressed by a woman.
    [Show full text]
  • 'The 'I' Experiences Both the Negative State of Not Having Something And
    Volume 12: 2019-20 ISSN: 2041-6776 ‘The ‘I’ experiences both the negative state of not having something and the positive state of yearning for that thing at one and the same time: the two senses that the modern English usage of the word ‘want’ conveniently holds side by side’ [Catherine Bates]. Is loss the dominant feeling of lyric? Alice Reading In Sonnet 31 of Sir Philip Sidney’s Astrophil and Stella (1591), Sonnet 147 of William Shakespeare’s Shakespeare’s Sonnets (1609), and Sonnet 14 of John Donne’s Holy Sonnets (1633), a dominant feeling of lack, rather than loss, is presented. Depicting a lack of amatory and divine love, these sonnets corroborate and complicate Catherine Bates’ three figurations of lack: as an anticipatory space, as a state of privation, and as a physical wound.1 Written around 1582, Sidney’s sequence of songs and sonnets describing Astrophil’s love for Stella seem to be inspired by Sidney’s own unrequited love for Lady Penelope Devereux, while Shakespeare’s sonnets, written sometime between 1590 and 1605, seem addressed to a young man and The Dark Lady. Donne’s Holy Sonnets, many of which are thought to be composed around 1609, uses the same model of Petrarchan lovers to present spiritual desires – a lack of connection not with the individual but with the divine. Sidney’s sonnet, beginning ‘With how sad steps, O Moon’, displays Astrophil’s lack of love through a dialogue with the personified moon onto which he projects his loneliness. Opening with an image of isolation, the moon is seen alone in ‘the skies’.2 Retreating with ‘sad steps’, the moon moves further into the empty skies in a way that reflects Bates’ first figuration of lack as ‘an anticipatory or pregnant space, waiting to be filled […] often featured as an existential emptiness’.3 Moving into an empty space, the moon reflects the unrequited lover’s move into an emotional emptiness (a space void of intimacy).
    [Show full text]
  • Annihilation of the Self in the Sonnet
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 5-2009 Annihilation of the Self in the Sonnet Jessica Noel Gilles University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Gilles, Jessica Noel, "Annihilation of the Self in the Sonnet" (2009). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1276 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Annihilation of the Self in the Sonnet: Shakespeare’s Mastery of the Relationship between Love and Death Jessica Gilles April 20, 2009 Chancellor’s Honors Program: Senior Project Undergraduate English Honors Thesis Gilles 1 I Introduction By the Lord, this love is as mad as Ajax, it kills sheep, it kills me, I a sheep— well proved again o’ my side. I will not love. If I do, hang me; I’ faith, I will not. O, but her eye! By this light, but for her eye I would not love her. Yes, for her two eyes. Well, I do nothing in the world but lie, and lie in my throat. By heaven, I do love, and it hath taught me to rhyme and to be melancholy, and here [showing a paper] is part of my rhyme, and here [touching his breast] my melancholy.
    [Show full text]
  • GETTING EXCITED ABOUT SHAKESPEAREAN SONNETS! 10 Ideas for Stage 4 Or 5 Students Kate Eliza O’Connor, St Scholastica’S College
    GETTING EXCITED ABOUT SHAKESPEAREAN SONNETS! 10 ideas for Stage 4 or 5 students Kate Eliza O’Connor, St Scholastica’s College was initially apprehensive about introducing head”) — while this poem does not specifically refer to Shakespeare’s sonnets to my Year 8 mixed-ability the Dark Lady, it discusses the author’s inability to see I English class. Would the language barrier be too his beloved as the rest of the world does and the sense great? Were the emotions that Shakespeare describes of confusion created by his mistaken views. too distant or adult for students to relate to? We were in Since I teach a mixed-ability class, I tend to see group the middle of studying Susan Cooper’s King of shadows work as an opportunity to use differentiated tasks and (1999), a time-travel novel set in Shakespeare’s London generally allocate groups according to either ability in 1599. I had been inspired by watching a recent level or preferred learning style. !e following activities episode of Doctor Who (‘!e Shakespeare code’) , in mostly relate to Sonnet 147 and can be completed in which the Doctor’s travelling companion is transported small groups. Sonnet 147 deals with the intense and all- to Elizabethan England, wooed by Shakespeare through consuming passion of the author for an elusive lady who fleeting references to the Dark Lady and farewelled in is described as being “black as hell”. !e author is seen as the form of Sonnet 18 . Although the sonnets are thought being “frantic mad” with passion and devoid of all reason to have been composed between 1592 and 1597, and as a result of his frenzied, feverish obsession: King of shadows thus before the period covered in , I My love is as a fever, longing still thought they could be used as bite-sized examples of For that which longer nurseth the disease, Shakespeare’s work for my students to enjoy and respond Feeding on that which doth preserve the ill, to in different ways.
    [Show full text]
  • A POST-STRUCTURALIST ANALYSIS of SHAKESPEARE•S SONNETS by JANE ALLAN BELL, B.A
    POTIONS OF EISEL: A POST-STRUCTURALIST ANALYSIS OF SHAKESPEARE•s SONNETS by JANE ALLAN BELL, B.A. A THESIS IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of HASTER OF ARTS Approved Accepted December, 1991 ACKNOWLEDGMENTS I am deeply grateful to Donald Rude for his direction of this thesis and to Leon Higdon for his helpful criticism. I must also thank Philip Marshall for his patience and encouragement. 11 CONlENTS ACKNOWLEDGMENTS ............................................................................................ 11 CHAPTER I. INTRODUCTION ....................................................................................... Notes ................................................................................................... 6 II. THE PHAEDRUS, THE PHARMAKON. AND THE FAIR YOUNG MAN .................................................................................................... 7 Notes ................................................................................................... 3 I I I I. ABSENCE, SACRIFICE, AND DEATH ................................................... 3 3 Notes ................................................................................................... 52 IV. PERJURED PEN .......................................................................................... 5 4 Notes ................................................................................................... 8 3 BIBLIOGRAPHY ......................................................................................................
    [Show full text]