DOCSLIB.ORG

Spring 2008 PSF Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spring 2008 PSF Newsletter The Pennsylvania Shakespeare Festival Newsletter • Spring 2008 Musical and Magical ������������ Twelfth Night, or What You Will � By Lisa Higgins Shakespeare’s use of the word “fancy” ������������������� can have dual meanings—like many of his Down by the seaside. Shakespeare words. “Fancy, a peculiarly places his romantic comedy Shakespearean word that Twelfth Night, or What You means sometimes Love, Will atat thisthis mostmost romanticromantic ������������ sometimes Imagination, and location, where the land often yokes both together, ���������������������� meets the sea, and he is... the special attribute endows this magical place of Twelfth Night.” 2 Love with the mellifluous name, and imagination, doubly Illyria. One of the most enchanting, may also reflect �������� musical of Shakespeare’s that Twelfth Night, or What plays, Twelfth Night opensopens ���������������������� You Will, is Shakespeare’sShakespeare’s with the lilting line, “If only play to receive a double music be the food of love, title. The Twelfth Night title play on!” Orsino, duke of Main Stage June 18 - July 6 refers to the twelfth night the seaside land Illyria, thus �������� of Christmas, when the play announces his love for love was presumably premiered, while “what you itself, and eventually for the ��������������� will” suggests the fantastical and even “any- beautiful Countess Olivia thing goes.” ��������������� (who wants nothing to do with him). Heard it in a love song ���������������� “There is a special dispensation being ����������������������������� at the shore,” says James J. Christy, who is Ultimately, it is music that “guides directing PSF’s production. “The atmosphere the play’s moods and rhythms,” accord- is lovely, relaxed. [The setting] will feel like a ing to The Essential Shakespeare Handbook. Mediterranean seaside resort, “though not in a The songs make the play unique among ����� realistic or literal way.” Shakespeare’s works, Christy says. “The lyr- ics to the songs are extremely beautiful and ����������� “The setting of Twelfth Night isis espe-espe- lend an autumnal mood. There is a sense of cially important to the play’s romantic the passing nature of joy,” he says, adding, by Edmund Rostand atmosphere,” according to Michael Best, “Rob Maggio (composer) has created beau- Translated and Adapted by writing in Internet Shakespeare Editions. tiful and evocative music for the songs that “‘Illyria’ refers to a place on the east coast bring this language to life.” Anthony Burgess of the Adriatic Sea (between what is now Greece and Albania), but in Shakespeare’s One of Shakespeare’s most familiar com- time the name may not have suggested a edies, Twelfth Night employsemploys a popular come-come- real country. Illyria may have been as fantas- dic plot device: twins separated by misfortune �������������� tical a place as Camelot.”1 (a shipwreck). Viola arrives on the shore, ����������������� thinking her brother has perished in the ���������������������� Inspired in part by a month-long visit storm. “But here the twins are brother and to Barcelona last fall, Christy was particu- sister, requiring the audience to accept the ������������������ larly enchanted by the turn-of-the-century improbable premise that Viola and Sebastian ����������������� architecture of Atoni Gaudi. “I fell in love could be mistaken for one another.” 3 with the creative exuberance of the shapes [of Gaudi’s buildings]; the style was extremely There is no mistaking Christy’s affection fantastical. It reminded me of the line in the for the characters and the play. Connected to ������������ Duke’s opening verse: ‘So full of shapes is the play as a performer and as a director— fancy that it alone is high fantastical.’” ����������������� continued on page 4 Notes from the 2008 Season Sponsor: Producing Artistic AmaranthAmaranth Foundation’sFoundation’s JoanJoan MoranMoran Director As poetic as though Shakespeare him- Moran. “It’s one thing to read Shakespeare, self wrote it, the dictionary defines ama- which is all I ever did as a student. It’s “It’s universal.” The ranth as “a flower that never fades.” The quite another to see a production. Both appeal of Shakespeare. description could just as easily describe the are important. People think they don’t like A cliché perhaps, so it’s work of the Amaranth Foundation and its Shakespeare, but once they see it on stage, worth exploring more trustee, Joan Moran. the characters make it believable; the stories deeply. When I analyze become clearer for the audience.” a Shakespeare play in A Lehigh Valley native and lifelong arts preparation for directing enthusiast, Moran sparkles when talking In advance of seeing a production of a it, I explore in layers. about literature in general, and Shakespeare Shakespeare play, Moran and her husband, Patrick Mulcahy in particular. “How could one person put all Bill Fenza, a retired lawyer, retired Lehigh First, the surface those words together to create so many dif- Valley theatre director, and sometime music layer. The plot, the events, the charac- ferent plays?” she marvels. Even after com- critic, listen to a recording. “We have a com- ters’ behaviors, and what they hint at pleting scholarly expeditions in English liter- plete set of recordings, and we’ll get out the underneath. ature as an undergraduate at Mount Holyoke text and follow along. We find we get more Then I ask myself about the “under- and receiving a masters degree from Lehigh out of the production that way.” neath,” the psychology at work that leads University, her joyful appreciation continues She’s read all of Shakespeare’s plays (and to these behaviors. How are these per- to blossom unabated. the sonnets, too.) While her favorite plays sonalities structured? How do they come “With computers, Blackberries, the include and , Moran together in relationships? How are they Romeo and Juliet Hamlet internet, there is so much in our society that is particularly looking forward to PSF’s pro- distinctive individually? In The Winter’s isn’t real. Shakespeare is real: it’s genuine and duction of King Lear, in part because it is the Tale, few of the characters behaved in authentic. There’s music in the language. first time the Festival will produce it. conventional, expected ways. They sur- prised us. That made them interesting. “People should know about Shakespeare. Although she can’t recall exactly when He’s the greatest dramatist and poet of all she started attending PSF, she readily cites But beneath that, I sense a third layer, time,” she says. “And that’s why the Festival Greg Wood, Christopher Patrick Mullen, the primal stuff: fundamental human needs is so important. Nobody else in the Valley is Jim Helsinger, and Grace Gonglewski as like belonging, safety, power, freedom. Not producing Shakespeare on a regular basis, and four of her favorite PSF actors. Favorite what makes us unique as individuals but it’s important for people to be able to see it.” PSF productions include what we all share. I think this is why we The Winter’s Tale last season, Helsinger’s direction of say Shakespeare is universal. His explora- The The transformative impact of seeing in tion of this third layer is so intuitive, so Compleat Wrks of Wllm Shkspr (Abridged) Shakespeare performed live is essential to 1999 and inin 2001.2001. SheShe creditscredits insightful, and connects with us before we Charley’s Aunt Fr. Gerard Schubert, OSFS, PSF’s founder, are even aware. Because he is telling our for launching the Festival and Patrick story, the human story, the mirror reflects Mulcahy, producing artistic director, for his our natures, where the collective and the artistic leadership. individual meet. And so he pushes our but- tons with those incredible words, probing “Joan’s panoramic appreciation of those tender places we’ve tucked away. Shakespeare combined with her profound belief in the value of live performance make I think there is also a fourth layer, the her an ideal board member,” Mulcahy says. atomic layer, perhaps, beyond “the matrix.” Moran has served as a member of PSF’s At this level, I felt Henry IV, Part 1 was board of directors for six years and is cur- about order and chaos. The Winter’s Tale? rently the board’s secretary. “We are blessed About healing separation, but beyond that to have her support.” third layer need for belonging, more about healing the separation started perhaps by PSF is one of a number of Lehigh the Big Bang. Hamlet? LifeLife andand death.death. Valley arts organizations and environ- For me, this fourth layer derives from a mental groups Moran supports through fundamental question: what basic forces of the Amaranth Foundation, including form and existence does this play illumi- the Allentown Symphony Association, nate, reflect, or reveal indirectly? The truly Allentown Art Museum, Bach Choir of universal, as in the forces of the universe Bethlehem, Community Music School, the filtering up through our every action. Da Vinci Science Center, and the Wildlands Conservancy. How Shakespeare was able to do all that I will never understand. But why Joan Moran and her dog Canio, named for a Truly, her generosity to the Lehigh Valley else would we still be at it, 400 years on? character in the opera, Pagliacci. community is a bouquet that never fades. ■ Because it’s universal. ■ 2 • The Quill, Spring 2008 610.282.will King Lear: “Not for an Age, But for all Time” By Patrick Mulcahy about the ne’er-do-well son of a leader “See better, Lear!” says Lear’s faithful Producing Artistic Director who had to break with his partying past servant and friend Kent. The need for lucidi- I bumped into Chris Mullen in our to step into the authority he inherited had ty in our view of the world, and its impact on parking lot the other day and he said: “You some topical resonance.
Load more

Recommended publications
  • The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies.
    [Show full text]
  • Cyrano De Bergerac
    DOSSIER PÉDAGOGIQUE saison 2017-2018 CYRANO DE BERGERAC DE EDMOND ROSTAND PAR JEAN LIERMIER anthéa, théâtre d’Antibes 260, avenue Jules Grec 06600 Antibes • 04 83 76 13 00 [email protected] • www.anthea-antibes.fr Cher.e enseignant.e, Vos élèves et vous-même assisterez dans quelques semaines à un spectacle à anthéa, théâtre d’Antibes. L'expérience qu'auront les élèves du spectacle dépendra, en partie, de la préparation qui en sera faite. Ce dossier pédagogique a pour objectif de vous aider à préparer les jeunes RECOMMANDATIONS spectateurs dans la découverte de l’œuvre en vous apportant des informations et des • Le spectacle débute à l’heure pistes pédagogiques exploitables en classe, précise. Il est donc impératif d’arriver en amont de la représentation. Ainsi, le spectacle pourra être pleinement vécu. au moins 30 minutes à l’avance, D’autres activités et pistes de travail vous les portes sont fermées dès le début permettront de prolonger l’expérience de du spectacle. Afi n de gagner du spectateur après que le rideau soit retombé. temps, les élèves doivent laisser Cela permettra aux élèves de faire un retour en leurs sacs dans l’établissement. classe sur leurs ressentis et leurs émotions. • Pendant la représentation, il est demandé aux enseignants de veiller à ce que les élèves Au plaisir de vous demeurent silencieux. Il est interdit accueillir à anthéa ! de manger et de boire dans la salle, de prendre des photos ou d’enregistrer. Les téléphones portables doivent être éteints. Toute sortie de la salle sera défi nitive. • Nous rappelons aux enseignants et accompagnateurs que les élèves restent sous leur entière responsabilité pendant toute la durée de leur présence à anthéa et nous vous remercions de bien vouloir faire preuve d’autorité si nécessaire.
    [Show full text]
  • Shakespeare on Travel in As You Like It and Othello
    Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 4 2020 Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers Capital University, [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 Summers, David (2020) "Knowing the World: Shakespeare on Travel in As You Like It and Othello," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 4. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/4 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]. Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers, Capital University etting to know the world through personal travel, particularly by means of the “semester abroad,” seems to G me to be one of the least controversial planks in the Humanities professors’ manifesto. However, reading Shakespeare with an eye toward determining his attitude toward travel creates a disjuncture between our conviction that travel generally, and studying abroad in particular, is an enriching experience, and Shakespeare’s tendency to hold the benefits of travel suspect.
    [Show full text]
  • Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
    Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court.
    [Show full text]
  • Shakespeare and Paul in Illyria
    6 Shakespeare and Paul in Illyria In his lectures on Twelfth Night Emrys Jones insisted that ‘the whole play drives toward the moment of the twins’ reunion’. Indeed, reunion – better yet, resurrection – is (to use Molly Mahood’s choice words) the principal ‘governing idea’ of the play. I will show that there is a link between reunion-resurrection, Candlemas, and William Shakespeare’s own real-life drama that has been overlooked by his commentators and is key to appreciat- ing his play. Twelfth Night begins with Viola convinced that her brother, Sebastian, is dead; with practically her first breath she tells us ‘My brother he is in Elysium’ (1.1.4). So what we will be confronted with in 5.1 is not merely a family reunion but something of a resur- rection. We must bear this in mind when we consider the personal significance for William Shakespeare of his play’s performance on Candlemas. Though we know Sebastian is alive, to Viola he is so convincingly dead that she has turned herself into his image. When she looks into her mirror she sees not herself but Sebastian. I my brother know Yet living in my glass; even such and so In favour was my brother, and he went Still in this fashion, colour, ornament, For him I imitate. (3.4.376–80, my emphasis) This echoes Constance’s (and Shakespeare’s) lament for a lost son in King John: ‘Grief fills the room up of my absent child … Puts on his pretty looks … Stuffs out his vacant garments’ (3.4.93–8, my emphasis).
    [Show full text]
  • Proposed Core Literature Titles Twelfth Night, Or, What You Will
    Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will ​ ​ Author: William Shakespeare ​ First Published: 2002 ​ Lexile Level: 1140 ​ Proposed Grade Level: 8 ​ California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but ​ unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: ​ Original Copyright: 1600 ​ Grade Level Span: 9-12 ​ Genre: Drama ​ Classification: Classic ​ Topic: English-Language Arts/General ​ Discipline: English Language Arts/Vocabulary; Visual and Performing Arts ​ Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother.
    [Show full text]
  • Study Guide 2017
    SHAKESPEARE IN THE SCHOOLS presents WILLIAM SHAKESPEARE’S TWELFTH NIGHT STUDY GUIDE 2017 Sidney E. Frank Foundation Montana Shakespeare in the Schools Montana Shakespeare in the Schools’ is an educational outreach program of production/program is part of Montana State University-Bozeman Shakespeare in American Communities, FOR MORE INFORMATION, PLEASE GO TO: a program of the National Endowment for the Arts in partnership with Arts Midwest. www.shakespeareintheparks.org TABLETABLE OF OF CONTENTS CONTENTS Table of Contents ............................................................................2 Welcome Letter (from Kevin) ...................................................................3 Director’s Notes .............................................................................4 About the Play ...............................................................................5 Characters ................................................................................6 Synopsis .................................................................................7 Seeing the Play: Before and After ...............................................................8 What You Will, or What Will You... By Gretchen Minton, Ph.D. ........................................9 Themes and Questions to Explore Love...Is complicated. 11 Identity, Disguise and Stereotypes ...........................................................12 Righting Perceived Wrongs. 14 How SIS Meets Montana’s Common Core .......................................................15
    [Show full text]
  • Twelfth Night Edited by Rex Gibson Excerpt More Information
    Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information List of characters Illyria The Duke’s court The Countess’s household Orsino, Duke of Illyria Olivia, a countess Valentine, a courtier Sir Toby Belch, her uncle Curio, a courtier Malvolio, her steward Musicians Feste, her fool Lords Maria, her gentlewoman Officers Fabian, a servant APriest ASea Captain The visitors Viola, later called Cesario Sebastian, her twin brother Sir Andrew Aguecheek, suitor to Olivia Antonio, a friend to Sebastian Sailors The action of the play takes place in Illyria 1 © Cambridge University Press www.cambridge.org Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information Twelfth Night Orsino calls for music to feed his hunger for love. He reflects that love is like the sea, absorbing and devaluing every other experience. He claims to be completely obsessed by his love for Olivia. 1 Orsino: in love or infatuated? (in groups of three) The best approach to Scene 1 is to take parts as Orsino, Curio and Valentine, and read it through. Then change roles and read through again. Don’t worry about unfamiliar words in these read-throughs, but afterwards work on the following activities: a Love or infatuation? The opening lines suggest the play will be much about love. But what sort of love? You will find various expressions of love throughout Twelfth Night. Many people believe Orsino is not truly in love, but is just infatuated, and wallows in his emotions. To discover your own views, speak lines 1–15 in different ways (e.g.
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things.
    [Show full text]
  • Twelfth Night
    SHAKESPEAREONFILM TWELFTH NIGHT Teachers’ Notes This ‘Twelfth Night’ study guide is aimed at students of GCSE Media Studies and English and A’ Level English. The series aims to provide teachers with a resource which will be invaluable to the teaching of Shakespeare throughout the English curriculum. Areas covered in ‘Twelfth Night’ include: the setting of the film; the language of the text; filming comedy; filming images; themes and images of the language and the plot of the play; the opening and the end of the film. There will be an accompanyi ng wall chart which uses stills from the film to help explain the complicated series of changing relationships within the text of ‘Twelfth Night’. Synopsis ‘Twelfth Night’ was written about 1600. A ship carrying identical twins, Viola and Sebastian, is shipwrecked off the coast of Illyria (nominally a country on the Dalmatian coast, but really a place born of Shakespeare’s imagination). Washed ashore, Viola supposes that her twin is dead. She hears that she is not far from the house of Olivia, a noblewoman who has lately lost both her father and her brother. Olivia now lives with her maid Maria and her uncle Sir Toby Belch. Olivia has resolved tomourn for seven years, and is rejecting the advances of Orsino, Duke of Illyria. Viola disguises herself as a boy and enters the service of Orsino, becoming the go-between in his wooing of Olivia. Both lord and lady develop jealous passions for Cesario, as Viola styles herself. Sir Toby Belch en courages his friend Sir Andrew Aguecheek to woo Olivia while plotting, Malvolio’s humiliation.
    [Show full text]
  • Nashe and Harvey in Illyria
    7 Nashe and Harvey in Illyria I’ve suggested that in As You Like It Shakespeare etched into Touchstone an effigy of Thomas Nashe. I will show that in Twelfth Night Shakespeare produced another, more highly developed por- trait of Nashe as Feste – and thrust him back into conflict with his real-life nemesis Gabriel Harvey, whom Shakespeare cast as Malvolio – ‘He who wishes evil’ – the pretentious, over-ambitious steward. We will find that Shakespeare has drawn a Pauline Feste- Nashe with an adroitness and sophistication which leaves one quite awestruck, and that he derived his caricature of Malvolio-Harvey (and the letter-plot that precipitates his downfall) from accounts of Harvey’s follies published by Nashe. By so doing, Shakespeare enabled the departed Nashe to continue to persecute and torment his bête noire. I will also show that Shakespeare blended Nashe and Paul to create an extraordinary fool whose humour, gravitas, and ultimate pathos surpass anything in Touchstone – and did so by exploiting the Epistles to the Corinthians. A Pauline Feste Circa AD 5, the theologian we know as St Paul was born Saul, a Jew and Roman citizen, in Tarsus, south-central Turkey, a dozen miles from the sea; in Antony and Cleopatra Shakespeare remembers that illustrious couple’s fateful meeting on Tarsus’s River Cydnus. Saul was a compulsive wanderer who was to scour Asia Minor preach- ing the faith of Jesus. But he began his travels in his youth and was raised a Pharisee in Jerusalem, where he studied with Rabbi Gamaliel, so he was predisposed to believe in the resurrection of the dead.1 Young Saul deplored Christians and became an enthusiastic persecutor of the sect.
    [Show full text]
  • Shakespeare and the Carnivalesque
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 Shakespeare and the Carnivalesque Darcy Hughes Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Recommended Citation Hughes, Darcy, "Shakespeare and the Carnivalesque". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/720 TRINITY COLLEGE Senior Thesis SHAKESPEARE AND THE CARNIVALESQUE Submitted by DARCY BISHOP HUGHES 2018 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Dr. Milla Riggio Reader: Dr. Chloe Wheatley Reader: Dr. Sarah Bilston Acknowledgments For Milla Riggio. Thank you so much for your tireless support throughout this year long process. You are the fairy god mother of thesis advisors. More than once you brought me food when I had too much work to leave your office and stayed up with me until the wee hours of morning when I needed to make a deadline. Thank you for helping me turn a chaos of ideas into a paper, and for always encouraging me even when I felt hopeless. My time at Trinity College would not have been the same without you. From Guided Studies, to Trinidad, to Rome, and back again, I am honored to be your final student after 46 years of teaching. You have taught me so much about Shakespeare, about writing, and about life. For the English teachers at the Ethel Walker School who first inspired my love of Shakespeare. For the Trinity College English department: I cannot remember all the books I’ve read any more than the papers I have written; even so, they have made me.
    [Show full text]