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An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
TRAUMA in EURIPIDES' HECUBA by Julia E. Paré
Falling on Deaf Ears: Trauma in Euripides' Hecuba Item Type text; Electronic Thesis Authors Pare, Julia Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:07:09 Link to Item http://hdl.handle.net/10150/641676 FALLING ON DEAF EARS: TRAUMA IN EURIPIDES’ HECUBA by Julia E. Paré ____________________________ Copyright © Julia Paré 2020 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfilment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN CLASSICS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by Julia E. Paré, titled “Falling on Deaf Ears: Trauma in Euripides’ Hecuba,” and recommend that it be accepted as fulfilling the dissertation requirement for the Master’s Degree. _________________________________________________________________ Date: ____________May 25, 2020 David Christenson _________________________________________________________________ Date: ____________May 25, 2020 Courtney Friesen _________________________________________________________________ Date: ____________May 25, 2020 Arum Park Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Tragic Excess in Hamlet JEFFREY WILSON Downloaded from by Harvard Library User on 14 August 2019
107 Tragic Excess in Hamlet JEFFREY WILSON Downloaded from https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 by Harvard Library user on 14 August 2019 August 14 on user Harvard Library by https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 from Downloaded “Be thou familiar, but by no means vulgar,” the aging Polonius councils his son Laertes in William Shakespeare’s Hamlet (1.3.60). Polonius proceeds with several additional “precepts” (1.3.57) which similarly promote the Aristotelian ideal of the golden mean, a cultural commonplace of the early-moden age which valorized the perfect middle ground between two extremes: Beware Of entrance to a quarrel; but being in, Bear’t that the opposed may beware of thee.... Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy. (1.3.64–70) Polonius goes on (and on), but the principle is clear. Don’t be too hot, but don’t be too cold. Don’t be too hard, but don’t be too soft. Don’t be too fast, but don’t be too slow. In each of these formulations, there is no substantive ethical good other than moderation. Virtue is thus fundamentally relational, determined by the extent to which it balances two extremes which, as extremes, are definitionally unethical. “It is no mean happiness, therefore, to be seated in the mean,” as Shakespeare wrote in The Merchant of Venice (1.2.6–7).1 More generally, in Hamlet,ShakespeareparalleledthesituationsofHamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamletmovestooslowly,Laertestooswiftly— and they both die at the end of the play—but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. -
List of Characters
Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information List of characters GHOST OF POLYDORUS son of Priam and Hecuba HECUBA widow of Priam, king of Troy CHORUS captured Trojan women, fellow slaves of Hecuba POLYXENA Hecuba’s daughter, a captured slave ODYSSEUS son of Laertes, lord of Ithaca, a prominent fighter at Troy TALTHYBIUS Greek herald SERVANT old Trojan woman, now a slave AGAMEMNON King of Argos/Mycenae, commander of the Greek army POLYMESTOR lord of the Thracian Chersonese 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information PROLOGUE (1–92) The Prologue is the part of a Greek play which preceded the entry of the Chorus. Some plays, especially those by Sophocles, begin with a dialogue. Euripides preferred, as here, to have a single character introduce himself or herself and explain the dramatic situation. Setting of the play The action takes place soon after the end of the Trojan War. See page vi and map, page vii. 3 Hades … Polydorus … Hecuba Hades is the god of the underworld. In classical ‘theology’, after the overthrow of Cronos and his fellow Titans power was shared between Zeus and his two brothers. Zeus became supreme ruler on Mount Olympus, Poseidon took control of the seas, and Hades ruled over the dead in the underworld. Polydorus, a ghost (see ‘Ghosts’, page 6) tells us (13–15) that he was too young to fight at Troy. In Homer’s Iliad (where his mother was Laothoe, not Hecuba), against his father Priam’s (4) wishes he ran impetuously into battle and was killed by Achilles (Iliad xx and xxii). -
Figurative Design in Hamlet the Significance of the Dumb Show
FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS $8.00 FIGURATIVE DESIGN IN HAMLET The Significance of the Dumb Show By Lee Sheridan Cox Critics have long debated the significance of the dumb show in Hamlet. There is a wide divergence of opinion on the matter of its importance: to one critic, it is ''only a mechanical necessity"; to another, "the keystone to the arch of the drama." In mod ern performances of Hamlet, it is frequently omitted, a decision vigorously protested by some critics as detrimental to the play scene. But the presence of the dumb show in the play scene has given rise to questions that evoke little unanimity of response even among its proponents. Why does the mime directly anticipate the subject matter of The Murder of Gonzago? Does Shakespeare preview Gonzago to provide necessary in formation? If not, is the dumb show then superfluous? And if superfluous, was the de vice forced on Shakespeare, or was it merely a politic catering to popular taste? Is the show foisted on Hamlet by the visiting players? If not, how does it serve his larger plan and purpose? What is its effect on the stage audience? Does Claudius see the pan tomimic prefiguring of Gonzago? What does his silence during and immediately alter the show signify? The search for answers to such questions is usually confined to the play scene. But Professor Cox maintains that the true na ture and function of the show can be ap FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS Copyright © 1973 by the Ohio State University Press All Rights Reserved Manufactured in the United States of America Library of Congress Cataloging in Publication Data Cox, Lee Sheridan Figurative design in Hamlet Includes bibliographical references. -
HECUBA by Euripides
HECUBA by Euripides translated by Jay Kardan and Laura-Gray Street POLYDORUS HECUBA CHORUS POLYXENA ODYSSEUS TALTHYBIUS THERAPAINA AGAMEMNON POLYMESTOR Script copyright Jay Kardan and Laura-Gray Street. Apply to the authors for performance permissions. Hecuba — translated by Kardan and Street — in Didaskalia 8 (2011) 32 POLYDORUS I come from bleakest darkness, where corpses lurk and Hades lives apart from other gods. I am Polydorus, youngest son of Hecuba and Priam. My father, worried Troy might fall to Greek offensives, sent me here, to Thrace, my mother’s father’s home and land of his friend Polymestor, who controls this rich plain of the Chersonese and its people with his spear. My father sent a large stash of gold with me, to insure that, if Ilium’s walls indeed (10) were toppled, I’d be provided for. He did all this because I was too young to wear armor, my arms too gangly to carry a lance. As long as the towers of Troy remained intact, and the stones that marked our boundaries stood upright, and my brother Hector was lucky with his spear, I thrived living here with my father’s Thracian friend, like some hapless sapling. (20) But once Troy was shattered—Hector dead, our home eviscerated, and my father himself slaughtered on Apollo’s altar by Achilles’ murderous son— then Polymester killed me. This “friend” tossed me dead into the ocean for the sake of gold, so he could keep Priam’s wealth for himself. My lifeless body washes ashore and washes back to sea with the waves’ endless ebb and flow, and remains unmourned, unburied. -
1 | Hudson Valley Shakespeare Festival
1 | HUDSON VALLEY SHAKESPEARE FESTIVAL TABLE OF CONTENTS OUR MISSION AND SUPPORTERS EDUCATION DIRECTOR’S STATEMENT PART ONE: SHAKESPEARE’S LIFE AND TIMES William Shakespeare Shakespeare’s England The Elizabethan and Jacobean Stage PART TWO: THE PLAY Plot Summary Who is Who: The Cast The Origins of the Play Themes A Genre Play: Revenge Tragedy or Tragedy? PART THREE: WORDS, WORDS, WORDS By the Numbers Shakespeare’s Language States, Syllables, Stress Feet + Metre = Scansion Metrical Stress vs. Natural Stress PART FOUR: HVSF PRODUCTION Note from the Director Doubling Hamlet: Full Text Vs. The HVSF Cut What to Watch For: Themes and Questions to Consider Theatre Etiquette PART FIVE: CLASSROOM ACTIVITIES Activities That Highlight Language Activities That Highlight Character Activities That Highlight Scene Work PART SIX: Hamlet RESOURCES 2 | HUDSON VALLEY SHAKESPEARE FESTIVAL HUDSON VALLEY SHAKESPEARE FESTIVAL OUR MISSION AND SUPPORTERS Founded in 1987, the Hudson Valley Shakespeare Festival's mission is to engage the widest possible audience in a fresh conversation about what is essential in Shakespeare’s plays. Both in production and in the classroom, our theater lives in the present moment, at the intersection of the virtuosity of the actor, the imagination of the audience, and the inspiration of the text. HVSF’s primary home is a spectacular open-air theater tent at Boscobel House and Gardens in Garrison, NY. Every summer, more than 35,000 patrons join us there for a twelve-week season of plays presented in repertory, with the natural beauty of the Hudson Highlands as our backdrop. HVSF has produced more than 50 classical works on our mainstage. -
AP® Latin Teaching the Aeneid
Professional Development AP® Latin Teaching The Aeneid Curriculum Module The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.org. © 2011 The College Board. College Board, Advanced Placement Program, AP, AP Central, SAT, and the acorn logo are registered trademarks of the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.org. Contents Introduction................................................................................................. 1 Jill Crooker Minor Characters in The Aeneid...........................................................3 Donald Connor Integrating Multiple-Choice Questions into AP® Latin Instruction.................................................................... -
Chapter 7.3: Classical Greek Tragedy (Euripides)
Chapter 7.3: Euripides Life and Career • wrote something around 90 plays – i.e. 20+ entries at the Dionysia • younger than Sophocles by ca. 10 years – and died a few months before him – thus, they must have competed against each other on several occasions – but the specific years when they produced at the same time are not known Chapter 7.3: Euripides Life and Career • won his first victory in 441 BCE but went on to claim only three more victories during his lifetime – and one more posthumously (Bacchae) • but 19 of Euripides’ plays have survived – vs. 7 for Sophocles/Aeschylus each (14 total) • why so many more for Euripides? – his drama was far more popular in later ages! Chapter 7.3: Euripides Life and Career • select vs. alphabetic plays – 10 select plays: Alcestis, Andromache, Bacchae, Hecuba, Hippolytus, Medea, Orestes, Phoenician Women, Rhesus and Trojan Women – 9 alphabetic plays: Electra, Helen, Heracles, Heracles’ Children, Hiketes (Suppliants), Ion, Iphigenia in Aulis, Iphigenia among the Taurians and Kyklops (Cyclops) • from Volume 2(?) of a complete Euripides Chapter 7.3: Euripides Life and Career • the alphabetic plays show a wider range of drama than the rest of classical tragedies – especially melodramas and rescue plays – with happy endings and comic scenes • and many “red herrings” – cf. Helen • Helen never went to Troy, but Egypt instead • was rescued by her husband Menelaus • n.b. comic scene with Menelaus and old woman • fantastical “rescue” vs. the disaster in Sicily Chapter 7.3: Euripides Life and Career • what do we know about Euripides himself? – reasonably well-off • but his mother was a “green-grocer” –was “surly and unconvivial”? – deeply involved and interested in the new philosophical thinking of the day (sophists) – brilliant at agons •cf. -
Touring Spring 2020 Across the State of Washington by William Shakespeare | Directed by Ana María Campoy
Touring Spring 2020 Across The State of Washington By William Shakespeare | Directed by Ana María Campoy All original material copyright © 2020 Seattle Shakespeare Company CONTENT HAMLET Welcome Letter..........................................................................1 Plot and Characters...................................................................2 Articles Why Bilingual Shakespeare?................................................................3 About William Shakespeare.................................................................4 Theater Audiences: Then and Now.....................................................5 Educator Resource Guide Resource Educator At a Glance Modern Shakespeare Adaptations......................................................7 About the Play.......................................................................................8 Themes in Hamlet.................................................................................9 Soliloquies....................................................................................11 Our Production Director’s Notes..................................................................................12 Central Components of a Día de los Muertos Ofrenda/Altar............14 Activities Cross the Line: Quotes........................................................................15 Compliments and Insults...................................................................16 Cross the Line: Themes......................................................................17