Macbeth: Historical, Topical and Occasional Concepts
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6. the Tudors and Jacobethan England
6. The Tudors and Jacobethan England History Literature Click here for a Tudor timeline. The royal website includes a history of the Tudor Monarchs [and those prior and post this period]. Art This site will guide you to short articles on the Kings and Queens of the Tudor Music Dynasty. Another general guide to Tudor times can be found here. Architecture Click here for a fuller account of Elizabeth. One of the principle events of the reign of Elizabeth was the defeat of the Spanish Armada (here's the BBC Armada site). Elizabeth's famous (and short) speech before the battle can be found here. England's power grew mightily in this period, which is reflected in the lives and achievements of contemporary 'heroes' such as Sir Francis Drake, fearless fighter against the Spanish who circumnavigated the globe, and Sir Walter Raleigh (nowadays pronounced Rawley), one of those who established the first British colonies across the Atlantic (and who spelt his name in over 40 different ways...). Raleigh is generally 'credited' with the commercial introduction of tobacco into England .about 1778, and possibly of the potato. On a lighter note, information on Elizabethan costume is available here (including such items as farthingales and bumrolls). Literature Drama and the theatre The Elizabethan age is the golden age of English drama, for which the establishment of permanent theatres is not least responsible. As performances left the inn-yards and noble houses for permanent sites in London, the demand for drama increased enormously. While some of the smaller theatres were indoors, it is the purpose-built round/square/polygonal buildings such as The Theatre (the first, built in 1576), the Curtain (late 1570s?), the Rose (1587), the Swan (1595), the Fortune (1600) and of course the Globe (1599) that are most characteristic of the period. -
Warrior Queens in Holinshed's Woodcuts
Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 23 | 2012 Pour une poétique de l'exemplum courtois Warrior Queens in Holinshed’s Woodcuts Samantha Frénée Electronic version URL: http://journals.openedition.org/crm/12859 DOI: 10.4000/crm.12859 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 June 2012 Number of pages: 417-433 ISSN: 2115-6360 Electronic reference Samantha Frénée, « Warrior Queens in Holinshed’s Woodcuts », Cahiers de recherches médiévales et humanistes [Online], 23 | 2012, Online since 30 June 2015, connection on 15 October 2020. URL : http://journals.openedition.org/crm/12859 ; DOI : https://doi.org/10.4000/crm.12859 © Cahiers de recherches médiévales et humanistes Warrior Queens in Holinshed’s Woodcuts Abstract: One of the most under-investigated aspects of Raphael Holinshed’s Chronicles must be the study of the visual representations of British history that we find in the first edition of 1577. This article focuses on the woodcuts used in Holinshed’s Chronicles to illustrate the representation of warrior queens in England and surprisingly we find only two: Cordeilla and Boudica, from Britain’s prehistory and ancient history. It describes and analyses these images in order to demonstrate the historiographical and political objective of such works. This article also reviews the information known about the artist and tries to understand why these pictures were removed from the second edition of 1587. Résumé: Un des aspects les plus négligés des Chronicles de Raphael Holinshed est certainement l’étude des représentations visuelles de l’histoire britannique que nous trouvons dans la première édition de 1577. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605. -
Background Notes William Shakespeare’S the English Renaissance
BACKGROUND NOTES WILLIAM SHAKESPEARE’S THE ENGLISH RENAISSANCE A. General Background 1. 1485-1660 2. Renaissance began in Italy 1. Shift away from medieval focus on religion and moved toward a focus on life here on earth 2. Growth of cities and towns; focus on international trade , not manor farms and villages 3. Focus on art, literature, nature and human impulses GENERAL BACKGROUND CONTINUED 4. Looked back on “pagan,”Greek and Roman texts and philosophies to base their achievements on 5. Emphasis on the individual and full development of human potential GENERAL BACKGROUND CONTINUED 3. Renaissance in England 1. Began in 1485 , after the War of the Roses 2. Henry VIII and Tudor family took the English throne B. THE ELIZABETHAN ERA 1. Queen Elizabeth the daughter of Henry VIII and Anne Boleyn 2. During her reign the Renaissance came into full swing. England enjoyed unprecedented prosperity and prestige 3. Greatest accomplishment-defeated Spanish Armada II. WILLIAM SHAKESPEARE A. Very little is known about his life 1. Born around April 26, 1564 in Stratford-Upon-Avon; died 1616 2. Did not go to university. This causes some of the debate over authorship of his works. 3. Married Anne Hathaway and had three children B. LITERARY ACCOMPLISHMENTS 1. Member of the Lord Chamberlain’s Men (later The King’s Men) 2. Queen Elizabeth herself came to see his plays 3. Early masterpieces include Richard III, Comedy of Errors, The Taming of the Shrew, Romeo and Juliet 4. Success allowed him to become part owner of Globe Theatre III. BACKGROUND ON MACBETH • A. -
Twelfth Night (C
Twelfth Night (c. 1602) Contextual information Quotes from Twelfth Night The earliest reference to Twelfth Night is in the diary of a law student, John Manningham. He saw the play performed on 2 February 1602 in Middle Temple Hall, in the legal Inns of Court in London at the Christian feast of Candelmas. The candle- lit hall in winter might have highlighted the play’s themes of darkness and illumination. View a photograph of Middle Temple Hall, the location for the first recorded performance of Twelfth Night The play’s title refers to a Christian festival twelve days after Christmas on January 5– 6. Before Henry VIII’s reforms to the English church, ‘twelfth night’ was celebrated with a period of carnival. Social hierarchies were temporarily re-arranged to become ‘topsy-turvy’ and a ‘Lord of Misrule’ was appointed. This 1559 painting by Pieter Bruegel the Elder represents the opposing forces of View The Fight between Carnival and Lent Carnival and Lent – raucous excess and religious restraint – which some see reflected in Twelfth Night. John Manningham compared Twelfth Night to other plays involving confusion between twins, including Shakespeare’s Comedy of Errors and an Italian drama called Gl’ Ingannati (1531) or ‘The Deceived’. In both Twelfth Night and Gl’Ingannati the twins are boy/girl pairs. But on the Italian stage, women were played by female actors, while in Shakespeare’s England they were played by men. Shakespeare had twins, Hamnet and Judith, born in 1585. Hamnet died in 1596, five years before Twelfth Night was first performed. Explore Gl’Ingannati, an Italian play about twins and mistaken identity The British Library | www.bl.uk/shakespeare 1 In his Symposium, the ancient Greek philosopher Plato, includes a fable explaining the origins of love, gender and sexuality: Humans were originally two joined creatures, but we grew overconfident, and Zeus punished us by splitting us down the middle. -
Shakespeare's Cymbeline and the Mystical
International Journal of Transpersonal Studies Volume 32 | Issue 2 Article 13 7-1-2013 Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sofia University Follow this and additional works at: https://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, Religion Commons, and the Sociology Commons Recommended Citation Schavrien, J. (2013). Schavrien, J. (2013). Shakespeare’s Cymbeline and the mystical particular: Redemption, then and now, for a disassembled world. International Journal of Transpersonal Studies, 32(2), 122–140.. International Journal of Transpersonal Studies, 32 (2). http://dx.doi.org/10.24972/ijts.2013.32.2.122 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Special Topic Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sophia University Palo Alto, CA, USA Cymbeline reflected Shakespeare’s late-in-life aspirations for a world redeemed. Those in baroque England, past the first burgeoning of Renaissance vision, were nevertheless making a literal New World abroad. Likewise, Shakespeare arrived at a vision both post-innocent and post-tragic. As they compared to tragic heroes, he down-sized the late play characters; still, he granted them a gentler end. -
CIS530 Homework 3: Vector Space Models
CIS530 Homework 3: Vector Space Models Maria Kustikova (mkust) and Devanshu Jain (devjain) Due Date: January 31, 2018 1 Testing In order to ensure that the implementation of functions (create term document matrix, create term context matrix, create PPMI matrix, compute tf idf matrix, compute cosine similarity, compute jaccard similarity, compute dice similarity, rank plays, rank words) is valid we have written unit tests for each of the required functions that follow examples from Chapter 15 of the textbook [4]. Please note that the unit tests are included in the submission under the name of tests.py. Figure 1 displays the outcome of running 17 unit tests. Figure 1: The result of running unit test for required functions 2 Rank Plays For ranking of plays, we used term-document and tf-idf matrices and experimented with three similarity measure. 2.1 Term-Document Matrix The 10 most similar plays to `Hamlet' using three similarity measures can be seen in Table 1. As can be seen from Table 1 dice and jaccard similarity measures give the same ranking (at least in the top 10). This may be justified due to almost similar formulae used to compute the similarity. The Cosine similarity measure, on the other hand, is quite different to dice and jaccard similarities. For instance, `Henry VII' is ranked 1 as number 1 based on the cosine similarity, but is ranked as 8 for dice and jacard similarities. Moreover, `Othello' is ranked as number 1 based on the dice and jacard similarities, but `Othello' is not even present in the too 10 of the Cosine similarity However, we can see all the three measures have 6 plays that are the same although the order is a little different. -
Macbeth by William Shakespeare
CC 4 Semester II British Poetry and Drama:14th to 17th Centuries Macbeth by William Shakespeare A Short Analysis Macbeth is, along with the character of Iago in Othello and his earlier portrayal of Richard III, William Shakespeare’s most powerful exploration and analysis of evil. Although we can find precursors to Macbeth in the murderer-turned-conscience-stricken-men of Shakespeare’s earlier plays – notably the conspirator Brutus in Julius Caesar and Claudius in Hamlet – Macbeth provides us with a closer and more complex examination of how a brave man with everything going for him might be corrupted by ambition and goading into committing an act of murder. It’s worth examining how Shakespeare creates such a powerful depiction of one man persuaded to do evil and then wracked by his conscience for doing so. The sources for Shakespeare’s Macbeth Macbeth was a real Scottish king, although he was somewhat different from the ambitious, murderous creation of William Shakespeare. His wife was real too, but Lady Macbeth’s real name was Gruoch and Macbeth’s real name was Mac Bethad mac Findlaích. The real Macbeth killed Duncan in battle in 1040 and Macbeth (or Mac Bethad) actually went on to rule for 17 years, until he was killed and Macbeth’s stepson, known as Lulach the Idiot, became king (though he only ruled for less than a year – then Malcolm, as Malcolm III, took the crown). Where did Shakespeare get the story from, then, and what did he change? The plot of Shakespeare’s Macbeth is a combination of two stories: the story of Macbeth and the story of the murder of King Duffe by Donwald and his wife, which Shakespeare read about in Raphael Holinshed’s Chronicles. -
Othello and the Green-Eyed Monster of Jealousy
Othello and the Green-Eyed Monster of Jealousy by Richard M. Waugaman his article studies jealousy in Shakespeare’s Othello, showing that knowledge of the true author’s life experiences with the extremes of pathological jeal- Tousy will deepen our understanding and appreciation of this unsettling play. This essay builds on the previous Oxfordian study of Othello by A. Bronson Feld- man, the first psychoanalyst to take up Freud’s call that we re-examine Shakespeare’s works with a revised understanding of who wrote them. Freud cited Othello in his 1922 explanation that “projected jealousy” defends against guilt about one’s actual or fantasized infidelity by attributing unfaithfulness to one’s partner. In Hamlet, Shake- speare anticipates Freud’s formulation when Gertrude says, “So full of artless jealou- sy is guilt” (4.5.21). Freud wrote to Arnold Zweig in 1937 that he was “almost irritated” that Zweig still believed Shakspere of Stratford simply relied on his imagination to write the great plays. Freud explained, “I do not know what still attracts you to the man from Stratford. He seems to have nothing at all to justify his claim [to authorship of the canon], whereas Oxford has almost everything. It is quite inconceivable to me that Shakespeare should have got everything secondhand – Hamlet’s neurosis, Lear’s madness…Othello’s jealousy, etc.” (Freud, Zweig Letters, 140; see also Waugaman, 2017). When Shakespeare scholars acknowledge Freud’s Oxfordian opinions at all, they attack his motives, overlooking Freud’s expectation that Shakespeare’s life experiences would bear a significant relationship to his plays and poetry. -
Introduction: Why Attend to Earlier Tudor Drama? Erin E
Issues in Review Erin E. Kelly (Contributing Editor), Maura Giles-Watson, Jennifer Ailles, Laura Estill, and Brett D. Hirsch New Approaches to Earlier Tudor Drama Introduction: Why Attend to Earlier Tudor Drama? Erin E. Kelly Early Theatre 16.2 (2013), 165–170 DOI: http://dx.doi.org/10.12745/et.16.2.9 While the past two decades have seen the publication of excellent new scholarship about and resources for the study of earlier Tudor drama, much of this work con- tinues to stress the historical and performance contexts for plays from the first half of the sixteenth century. The four essays in this Issues in Review demonstrate and call for new approaches to such material by featuring repertory studies, ecocritical readings, manuscript studies, and digital humanities approaches. We have arguably reached the point where it is no longer possible to say that Tudor drama receives little critical attention. Recent publication of signifi- cant essay collections and reference works suggest growing scholarly interest in plays performed and printed while Henry VII, Henry VIII, Edward VI, and Mary I ruled as well as during the first decade of the reign of Elizabeth I. Essays in Thomas Betteridge and Greg Walker’s 2012 Oxford Handbook of Tudor Drama, chapters on drama in Mike Pincombe and Cathy Shrank’s 2009 Oxford Handbook of Tudor Literature, and Kent Cartwright’s 2010 Companion to Tudor Literature, as well as nearly half of the contents of Lloyd Edward Kermode, Jason Scott-Warren, and Martine Van Elk’s Tudor Drama before Shakespeare, 1485–1590, encourage readers to revisit a wide range of these earlier plays, including so-called medieval cycles, morality plays, court Erin E. -
Macbeth Navigator: Excerpts from Holinshed's Chronicles, Volume V
Macbeth Navigator: Excerpts from Holinshed's Chronicles, Volume V: Scotland [Shakespeare's primary source for Macbeth was Raphael Holinshed's Chronicles of England, Scotland and Ireland, first published in 1577. The outlines of Shakespeare's story are derived from Holinshed's account of Kings Duncan and Macbeth. In addition, Shakespeare seems to have taken many particulars from Holinshed's account of King Duffe, who died eighty years before Macbeth did.] Source of these excerpts: Holinshed, Raphael. Holinshed's Chronicles of England, Scotland, and Ireland, 5. London: J. Johnson, et al, 1808. Index: King Duncan and King Macbeth: • from page 264: Duncan's ascension to the throne of Scotland. | The kinship between Duncan and Macbeth. • page 265: The characters of Duncan and Macbeth compared. | The defeat of Macdonwald by Banquo and Macbeth. • from page 266: Macbeth's cruelty to Macdonwald. | The arrival in Scotland of Sweno. • from page 267: Sweno defeated by Duncan's trick. • from page 268: Macbeth and Banquo repel an invasion by King Canute of England, who pays them "a great summe of gold" to be allowed to bury his dead at "saint Colmes Inch." | Macbeth and Banquo encounter "thrée women in strange and wild apparell." • page 269: Macbeth becomes Thane of Cawdor | Duncan proclaims Malcom Prince of Cumberland | Macbeth and Banquo slay King Duncan, and Macbeth ascends the throne. | Malcolm and Donalbain flee. | Macbeth sets the kingdom to rights, punishing evildoers. • from page 270: Macbeth's good deeds as king. • from page 271: Macbeth has Banquo murdered, but Fleance escapes. | How Fleance's descendants become Kings of Scotland.