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Criminal Types in Shakespeare August Goll
Journal of Criminal Law and Criminology Volume 30 Article 4 Issue 1 May-June Summer 1939 Criminal Types in Shakespeare August Goll Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation August Goll, Criminal Types in Shakespeare, 30 Am. Inst. Crim. L. & Criminology 22 (1939-1940) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. CRIMINAL TYPES IN SHAKESPEARE JUDGE AUGUST GOLL Translated from the Danish by Julius Moritzen, 4003 Foster Ave., Brooklyn, N. Y. This is the third and concluding portion of Mr. Moritzen's translation. The first portion was published in No. 4 of this volume, November-December, 1938; the second in No. 5, January-February, 1939.-[Ed.] RICHARD III Herbert Spencer in his book on righteousness and justice de- clares their aim to be that state of society where each member, without relinquishing his individual liberty of action, nevertheless tolerates the bonds that the rights of others demand of him. In other words, the principle of mutual respect for the rights of others underlies the social formula to which he subscribes. The criminal denies by his acts this ideal. But none of the criminals so far discussed are directly opposed to the fundamentals of this ideal state when judged by their actions. -
ANNE MOWBRAY, DUCHESS of YORK: a 15Th-CENTURY CHILD BURIAL from the ABBEY of ST CLARE, in the LONDON BOROUGH of TOWER HAMLETS
London and Middlesex Archaeological Society Transactions, 67 (2016), 227—60 ANNE MOWBRAY, DUCHESS OF YORK: A 15th-CENTURY CHILD BURIAL FROM THE ABBEY OF ST CLARE, IN THE LONDON BOROUGH OF TOWER HAMLETS Bruce Watson and †William White With contributions by Barney Sloane, Dorothy M Thorn and Geoffrey Wheeler, and drawing on previous research by J P Doncaster, H C Harris, A W Holmes, C R Metcalfe, Rosemary Powers, Martin Rushton, †Brian Spencer and †Roger Warwick SUMMARY FOREWORD Dorothy M Thorn (written 2007) In 1964 during the redevelopment of the site of the church of the Abbey of St Clare in Tower Hamlets, a During the 1960s, my future husband, the masonry vault containing a small anthropomorphic late James Copland Thorn FSA, and I were lead coffin was discovered. The Latin inscription actively involved in London archaeology as attached to the top of the coffin identified its occupant part of Dr Francis Celoria’s digging team.1 as Anne Mowbray, Duchess of York. She was the child Naturally all the members of the group bride of Richard, Duke of York, the younger son of were very interested in such an important Edward IV. Anne died in November 1481, shortly discovery, and when Anne Mowbray was before her ninth birthday. As the opportunity to study identified we were all impressed (possibly scientifically a named individual from the medieval no-one more so than James). When the day period is extremely rare, the London Museum quickly came for Anne Mowbray to be reburied in organised a comprehensive programme of analysis, Westminster Abbey, the BBC wanted to which included the study of Anne’s life, her hair, teeth, interview Celoria, but he could not be found, skeletal remains and the metallurgy of her coffin. -
How Has Your Understanding of Ambition and Identity Been Informed by Exploring the Connections Between Richard III and Looking for Richard?
How has your understanding of ambition and identity been informed by exploring the connections between Richard III and Looking for Richard? Ambition and identity are two contextually transcendent facets of the human condition. This becomes apparent through the comparison of Shakespeare’s King Richard III (RIII) and Al Pacino’s “Looking For Richard” (LFR) as both texts explore the dynamics of ego, villainy, self-identity and representation of gender, yet are structurally, technically and contextually unalike. RIII is an English play from the late sixteenth century written for the stage, whereas LFR takes the form of an American docudrama which reshapes these core values of RIII in a modern setting. My understanding of RIII is also supported by Dr. Ian Frederick Moulton’s paper “‘A Monster Great Deformed’: The Unruly Masculinity of RIII.” One aspect of identity employed by Richard to achieve his ambitions is gender identity. Richard’s own masculinity is exhibited as he indulges in a hubristic soliloquy after ‘winning’ Lady Anne: “Was ever woman in this humour wooed? Was ever woman in this humour won?” Anaphora and rhetorical questioning emphasises Richard’s growing ego and hypermasculine disregard of women. Richard further displays his masculine identity by feigning feminine vulnerability – using gender identity and the personification of ‘beauty’ as a means of manipulation: “Nay, do not pause, for I did kill King Henry, but ‘twas thy beauty that provokèd me.” Moulton expands on this, “By offering Anne his sword, [Richard] stages a calculated (and illusory) gender reversal”. In LFR, director Al Pacino deliberately selects specific scenes from RIII to assess the relevance of Shakespeare in twenty first century America. -
Bulletin N U M B E R 2 9 7 November/December 1995
Registered Charity No: 272098 ISSN 0585-9980 SURREY ARCHAEOLOGICAL SOCIETY CASTLE ARCH, GUILDFORD GU1 3SX Guildford 32454 Bulletin N u m b e r 2 9 7 November/December 1995 COUNCIL NEWS SAS Annual General Meeting. A Reminder! 3rd December 1995 at Brooklands Museum. (See Bulletin 295 for details) South Park Medieval Moated Site An Artist's Impression The Moated Site as it may have appeared ca 1350 AD The moat and adjacent area of woodland was donated in 1991 to the Surrey Archaeological Society by Mrs D M Fedoruk, the owner of South Park Farm, so that the site could be researched, partly restored and opened to the public. As members will have read in previous issues of the Bulletin a dedicated band of volunteers' led by Greta Turner, cleared the site and restored the moat, whjch was formally opened in 1994 (see Bulletin 284). The stewardship of this site represents an exciting venture and challenge for the Society. It is intended to be a focus for long term archaeological and documentary research of the site itself and its influence on and relationship to the surrounding area. The moat, which is a scheduled ancient monument in recognition of its archaeological importance, will be of particular interest to schools as it illustrates aspects of archaeology and man's use of the landscape. A teaching pack has been prepared to interpret the archaeology and natural history of the site, copies of which are available from the Society at Castle Arch, price £4.60 including postage and packing. History The identity of this medieval homestead is obscure. -
The Beaufort Family
FRIENDS OF WOKING PALACE The Beaufort Family The Beauforts were the children of John of Gaunt and his mistress, Katherine Swynford. Although the children were born whilst John was married to Constance, Queen of Castile, the line was legitimised by Papal Bull and Act of Parliament and became the House of Tudor in 1485 when Henry VII defeated Richard III at the Battle of Bosworth Field. The connection of the Beauforts with Woking house began when John Beaufort married Margaret Holland the sister and coheir of the childless Edmund Holland, Earl of Kent. John Beaufort, (c1371-16 March 1409/10) illegitimate son of John of Gaunt and Katherine Swynford created Earl of Somerset 9 February 1396/7 and Marquess of Dorset and Marquess of Somerset 29 September 1397, married before 28 September 1397, Margaret Holland, daughter, Thomas, Earl of Kent John died 16 March 1409/10 in the hospital of St Catherine by the Tower of London and was buried in St Michael's chapel in Canterbury Cathedral. His widow married secondly Thomas, Duke of Clarence (1387-1421) see later. TCP John, Duke of Somerset son of above died 27 May 1444 married Margaret Beauchamp of Bletso in or about 1442, widow of Sir Oliver St John, sister and heir of John, Lord Beauchamp, created Earl of Kendal and Duke of Somerset 28 August 1443. After the death of John, Duke of Somerset, his wife married Leo Welles who was slain at Towton 29 March 1461. She died at a great age shortly before 3 June 1482. The only child and heir of this marriage was Lady Margaret Beaufort born 31 May 1443. -
Shakespeare's
Shakespeare’s Henry IV: s m a r t The Shadow of Succession SHARING MASTERWORKS OF ART April 2007 These study materials are produced for use with the AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Classic Players production of Henry IV: The Shadow of Succession. The historical period The Shadow of Succession takes into account is 1402 to 1413. The plot focuses on the Prince of Wales’ preparation An Introduction to to assume the solemn responsibilities of kingship even while Henry IV regards his unruly son’s prospects for succession as disastrous. The Shadow of When the action of the play begins, the prince, also known as Hal, finds himself straddling two worlds: the cold, aristocratic world of his Succession father’s court, which he prefers to avoid, and the disreputable world of Falstaff, which offers him amusement and camaraderie. Like the plays from which it was adapted, The Shadow of Succession offers audiences a rich theatrical experience based on Shakespeare’s While Henry IV regards Falstaff with his circle of common laborers broad vision of characters, events and language. The play incorporates a and petty criminals as worthless, Hal observes as much human failure masterful blend of history and comedy, of heroism and horseplay, of the in the palace, where politics reign supreme, as in the Boar’s Head serious and the farcical. Tavern. Introduction, from page 1 Like Hotspur, Falstaff lacks the self-control necessary to be a produc- tive member of society. After surviving at Shrewsbury, he continues to Grieved over his son’s absence from court at a time of political turmoil, squander his time in childish pleasures. -
The Third Part of King Henry the Sixth. Edited by H.C. Hart
THE ARDEN SHAKESPEARE GENERAL : W. EDITOR J. CRAIG 1899-1906: R. H. CASE, 1909 THE THIRD PART OF KING HENRY THE SIXTH THE WORKS OF SHAKESPEARE THE THIRD PART OF KING HENRY THE SIXTH EDITED BY H. C. HART I METHUEN k Co., Ltd. 36 ESSEX STREET W.C. LONDON uuPR First Published in igio FEB 11955 ry r.F T 957820 CONTENTS PAGE Introduction vii The Third Part of King Henry the Sixth . i — INTRODUCTION [It is greatly to be regretted that owing to the lamented death of the Editor, the three Parts of Henry VI. had not the advan- tage of being printed under his own supervision. But his work has been preserved with all the fidelity permitted by its comparatively rough though otherwise complete condition. In preparing the plays for the press, I have confined my correc- tions to matters of fact, and where I differed from the Editor in matters of opinion, I did not feel justified in altering his words. While I have emended or ascertained the accuracy of nearly every quotation and reference, a very few remain which must be taken on his authority. In the third part I have had the great advantage of advice and help from the General Editor, Professor R. H. Case. C. K. Pooler] The text of j Henry VI. is from the Folio 1623. As was the case with Part II., it receives a few slight emendations from the Quarto (Q i, of which it is an expanded form) known as The True Tragedy (and forming the second part of The Whole Contention) which was first printed in 1595 with this title : The true tragedie of Richard Duke Yorke, and | of the death good King Henrie the Sixt, with the zuholc of | \ contentio?i hetweene the two Houses Lancaster and Yorke, \ | as it was sundrie times acted by the Right Honoura- ble | | the Earle of brooke his seruants. -
HENRY VI, Part 1 by William Shakespeare
HENRY VI, part 1 by William Shakespeare THE AUTHOR William Shakespeare (1564-1616) was born into the family of a prosperous tradesman in Stratford-upon-Avon, England. While in his mid-teens, he was forced to leave school because his family fell into a period of poverty, so that he had only a rudimentary education. In 1582, he married Anne Hathaway, eight years his senior and already three months pregnant. The marriage produced three children in three years, but in 1585, Shakespeare left Stratford to go to London to seek his fortune in the big city. In London, he embarked upon a career on the stage, becoming a popular actor by the early fifteen nineties. In 1591, he penned his first play, Love’s Labour’s Lost. His early plays were comedies, and show nothing of the depth that characterized his later works. His plots were borrowed from a variety of sources, both ancient and contemporary. During his career, he wrote 37 plays, three narrative poems, and 154 sonnets. His writing brought him fame and popularity, but he continued to act as well as write (critics love to speculate about which of the characters in his plays would have been played by the author). He eventually became a shareholder in the Lord Chamberlain’s Men (later the King’s Men when James I ascended the throne). Most of his plays were performed at local theaters like the Rose, the Globe, and the indoor Blackfriars. When the Globe burned to the ground in 1613 (a cannon misfired during a performance of Henry VIII), Shakespeare retired, and died in Stratford three years later on his fifty-second birthday. -
King Richard Iii/Looking for Richard
ENGLISH: KING RICHARD III/LOOKING FOR RICHARD Wherefore art thou Richard? There is no doubt that William Shakespeare’s King Richard III is relevant to twentieth century society; however, with changing contexts and values, its accessibility has been somewhat hindered. So, how do we solve this? Maise Smith explores this classic play in a contemporary environment. In his latest film, notable actor and director Al Pacino embarks on a quest in search of Richard, made famous as the Machiavellian of literary genius William Shakespeare’s King Richard III. Don’t know it? Read on. Looking for Richard follows Pacino as he questions the misunderstanding and disinterest surrounding Shakespeare’s collective work, and attempts to find contemporary meaning within King Richard III. It combines the general public’s opinion; experts conversing on Shakespeare’s context, meaning and use of techniques; and a filmic enactment of the original play. To understand the connections between the two texts, we must first look into Pacino’s purpose for creating a contemporary insight into such a classic play. The voxpops entwined throughout the movie depict the views of the American public, the overwhelming majority of whom possess a negative and ignorant perspective on his accessibility, and therefore relevance. Pacino takes it upon himself to counter this; to make Shakespeare accessible, and therefore relevant, aptly adopting the more prevalent medium of film to reflect his ideas. So, the question now evolves from “what are the connections between King Richard III and Looking for Richard?” to “what are the connections between King Richard III and the average, contemporary American viewer?” Answering the second aspect of the question invites a discussion of Pacino’s filmic choices. -
Public Image and Political Influence of Princess Charlotte and Queen Adelaide
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2003 Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide Eileen Robin Hintz College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the European History Commons, and the Women's Studies Commons Recommended Citation Hintz, Eileen Robin, "Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide" (2003). Dissertations, Theses, and Masters Projects. Paper 1539626412. https://dx.doi.org/doi:10.21220/s2-ehge-1b89 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. REFORM, RADICALISM, AND ROYALTY: Public Image and Political Influence of Princess Charlotte and Queen Adelaide A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Eileen Hintz 2003 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Eileen Hintz Approved by the Committee, December 2003 _ ___ James McCord Chandos Brown ff — Gilbert McArthur TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF ILLUSTRATIONS v ABSTRACT vi INTRODUCTION 2 CHAPTER I. THE DEATH OF PRINCESS CHARLOTTE [NOVEMBER 1817] 6 CHAPTER II. -
RICHARD III by William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High Sparks of Honor in Thee Have I Seen
RICHARD III By William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High sparks of honor in thee have I seen. - Richard II Sponsors Funders Mayor Catherine E. Pugh & the City of Baltimore This production has been funded by Mayor Catherine E. Pugh and the Baltimore Office of Promotion and The Arts The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Media Partners 2 RICHARD III Richard’s Revival A Note from the Founding Artistic Director Richard III is a remarkable play. The history in it is not very good. Shakespeare compresses events at will. The idea of who the protagonist and antago- Ian Gallanar. Photo by Theatre nists are in this play might not match the historical record. Consultants Collaborative Inc. The play is not as deeply moving or profound as King Lear or Hamlet. Instead, what makes this play great are Shakespeare’s craftsmanship and innovation. Richard, Duke of Gloucester is one of the greatest anti-heroes in the theater. Shakespeare prac- tically invents for the stage the notion that our main fi gure can be villainous and yet, somehow, likable. Why? Because he’s entertaining, he’s funny, he’s wicked, and he speaks to us directly. The anti-hero is a creation that has stood the test of time. My favorite period of Shake- speare in performance is the era in which troupes of actors toured the California gold rush towns. Their productions were deeply important to these guys in the middle of nowhere trying to strike it rich. -
The Tragedy of King Richard III by William Shakespeare
1 Shakespeare – live The Tragedy of King Richard III by William Shakespeare Historical background The real-life Richard III was born in1485. He was Edward IV’s brother and Richard, Duke of York’s third son. Upon Edward’s death in 1483 he imprisoned his nephews in the Tower of London, announced that they had died there and proclaimed himself King of England. In 1485 Richard III was killed during the Battle of Bosworth Field, at the hand of Henry Tudor (Earl of 5 Richmond) who was later to become Henry VII. In the period after his death Richard was often portrayed negatively, attacked or defamed in literary and historical accounts, particularly Thomas More’s ‘History of Richard III’, which was also a source for Shakespeare’s play. Later historians have attempted to clear his name to some degree, notably Horace Walpole in his 10 ‘Historic Doubts on the Life and Death of Richard III’. However, Richard III remains one of the most controversial figures in English history. The play The Tragedy of King Richard III is considered a historical tragedy. After Hamlet, it is Shakespeare’s second longest drama and yet it is one of his most often performed plays. There are at least half a dozen film versions of the play, in which some of the stage’s best actors have played major roles. 15 The drama unfolds in five acts, beginning with the exposition and the complication of the plot within the first two acts. Typically, the climax comes at the end of Act III. The dénouement and the finale follow in the remaining two acts.