The Influence of Shakspere's I and II Henry IV
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Henry Iv, Parts One &
HENRY IV, PARTS ONE & TWO by William Shakespeare Taken together, Shakespeare's major history plays cover the 30-year War of the Roses, a struggle between two great families, descended from King Edward III, for the throne of England. The division begins in “Richard II,” when that king, of the House of York, is deposed by Henry Bolingbroke of the House of Lancaster, who will become Henry IV. The two Henry IV plays take us through this king's reign, ending with the coronation of his ne'er-do-well son, Prince Hal, as Henry V. In subsequent plays, we follow the fortunes of these two families as first one, then the other, assumes the throne, culminating in “Richard III,” which ends with the victory of Henry VII, who ends the War of the Roses by combining both royal lines into the House of Tudor and ruthlessly killing off all claimants to the throne. What gives the Henry IV plays their great appeal is the presence of a fat, rascally knight named Falstaff, with whom Prince Hal spends his youth. Falstaff is one of Shakespeare's most memorable characters and his comedy tends to dominate the action. He was so popular with audiences that Shakespeare had to kill him off in “Henry V,” lest he detract from the heroism of young King Henry V. “Henry IV, Part One,” deals with a rebellion against King Henry by his former allies. The subplot concerns the idle life led by the heir to the throne, Prince Hal, who spends his time with London's riffraff, even going so far as to join them in robbery. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
The First Part of Sir John Oldcastle
(the un iversity or a bic ag o FOUNDID BY J OH N D. ROCKEFELLEB T H E FIRS T PA RT OF SIR JOH N OLDCA STLE A H IS TORICAL DRAM A BY MICH ON , TH Y M H THW Y AND AN ON A A , ROBERT WILSON E E DIT D WITH AN IN TROD UCTION , CRITICAL TEXT . AND NOTES A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE OF THE UNIVERS ITY OF CHICAGO IN CAN DIDACY FO R T H E D E G RE E O F DOCTOR OF PHILOSOPHY (DEPARTM EN T OF ENGLIS H ) JOHN ROBERTSON M ACARTHUR J J J J J CHICAGO S C T T F RES M AND C M P Y O , O AN O AN 1 907 E L! CONTENTS ACKNOWLEDGM ENTS HIS TORY OF T H E TEXT AND ITS EDIT IONS ’ Recor ds in Henslowe . Records in the Stationers Re r . E i s : B . R giste d tion A , , C , D , etc elations of ° A B . r E i . r , , C , D Othe d tions The Second Pa t of Sir John Oldcastle . SOURCES AND GROWT H OF T H E PLAY ' The Rea l Sir John Oldcastle . Immediate Sources — h Holinshed . Causes w ich led to the Wr iting of Sir John Oldcastle : Oldcastle and Falsta ff ; Influence of r r r s Foxe ; G owth of the Oldcastle Sto y in two fo m , Catholic and Protestant ; Wr iting of Sir John Old ’ cas tle ; Wee ver s Poem ; Influence of Henry IV and V ’ — on Oldcastle ; Influence of Peele s Edward I Rela ’ tions in detail ; Relation to Gr eene s Pin ner of Wake R rr E field ; elation to the Me y Devil of dmonton . -
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. -
Alison Saar | Breach Sept. 17–Dec. 17, 2016
Alison Saar | Breach Sept. 17–Dec. 17, 2016 Alison Saar explores issues of gender, race, racism, and the African diaspora. She mines mythology, ritual, history, music, and her biracial heritage as sources for her work. During a 2013 residency at the Joan Mitchell Center in New Orleans, Saar was dismayed to see how little had been done to rebuild African American communities devastated by Hurricane Katrina eight years earlier. Upon her return to Los Angeles, she began researching the histories of American floods and the effect on African Americans.The Great Mississippi River Flood of 1927, described as one of the worst natural river disasters in U.S. history, piqued her interest. Heavy rains resulted in the river breaching levees, creating a historic catastrophe that had a profound impact on the life of African Americans living in the Mississippi Delta. The flood exposed the conditions of poor African American sharecroppers and tenant farmers and their relationship with cotton plantation owners. The flood also resulted in social, cultural, federal policy, and political changes. With water imagery woven throughout, Breach is the culmination of Saar’s creative research on American rivers and their historical relationship to the lives of African Americans. Through mixed media sculpture, paintings, and works on paper, she explores floods not only as natural phenomena; but also the complex interaction of social, cultural, and political factors associated with flooding and its aftermath. galleries.lafayette.edu [email protected] 610 330 5361 1. Breach, 2016 wood, ceiling tin, found trunks, washtubs and misc objects 155 x 60 x 51 in. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Henry IV, Part 2, Continues the Story of Henry IV, Part I
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Induction Scene 1 ACT 1 Scene 2 Scene 3 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 ACT 3 Scene 2 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 Epilogue From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
King Henry IV: Part 2 Free
FREE KING HENRY IV: PART 2 PDF William Shakespeare,James C. Bulman | 576 pages | 28 Jul 2016 | Bloomsbury Publishing PLC | 9781904271376 | English | London, United Kingdom Henry IV, Part 2 | Folger Shakespeare Library Henry IV, Part 2chronicle play in five acts by William Shakespearewritten in —98 and published in a corrupt text based in part on memorial reconstruction in a quarto edition in A better text, printed in the main from an authorial manuscript, appeared in the First Folio of and is generally the more reliable version. The swaggering Falstaff has become even more corpulent and outrageous, sponging King Henry IV: Part 2 his hostess, Mistress Quickly, abusing the Lord Chief Justicepreening for the admiring Doll Tearsheet, and taking advantage of everyone, especially his ensign, Pistoland his old friends Justice Shallow and Justice Silence. News comes that Prince John has settled the war through a perfidious betrayal of promises made to the enemy leaders as a condition of their disbanding their forces. Henry talks, yet again, about a pilgrimage so that he can die in the Holy Land. The wily Henry advises Hal to avoid internal King Henry IV: Part 2 during his own reign by seeking foreign quarrels. Hal prepares to become king, setting aside his previous frivolous image and reassuring his brothers of his loyalty to them and his genuine grief at their mutual loss. Falstaff arrives with his entourage, expecting a lively and King Henry IV: Part 2 welcome from his old friend. Instead, Hal, now King Henry V, denounces Falstaff, orders him and his cronies to repent their profligate ways, and has the Lord Chief Justice take them to the Fleet prison until they have reformed. -
Twelve Steps of Adult Children Workbook
Twelve Steps of Adult Children Workbook On the Cover: The front cover of the ACA workbook depicts the Laundry List Tree, which represents the traits of an adult child. The tree also shows the distinction between the traits which are learned in childhood and the dejects of character that develop later in lifo. The Laundry List Traits represent the limbs while the character dejects are the fruit. The back cover depicts the Recovery Tree and the possible results to be realized by working through the ACA Twelve Steps. With recovery, we integrate many of the Laundry List traits while removing many of the dejects of character. Approved by the 2008 ACA Annual Business Conference Copyright© 2007 by Adult Children ofAlcoholics World Service Organization Post Office Box 3216 Torrance, CA 90510 www.adultchildren.org All rights reserved. Twelve Steps of Adult Children Workbook ISBN 978-0-9789797-1-3 Printed in the United States of America 13 14 15 14 '~dult Child" What is an Adult Child? "The concept of Adult Child came from the Alateens who began the Hope for Adult Children ofAlcoholics meeting. The original members of our fellowship, who were over eighteen years old, were adults; but as children they grew up in alcoholic homes. Adult Child also means that when confronted, we regress to a stage in our childhood." ACA History-an interview with Tony A., 1992. Editor's Note: More than a decade has passed since one of our primary founders, Tony A., was interviewed on the topic of the fellowship that he helpedfound with Alateen members in late 1977 and 1978. -
Las Vegas Daily Gazette, 05-24-1884 J
University of New Mexico UNM Digital Repository Las Vegas Gazette, 1880-1886 New Mexico Historical Newspapers 5-24-1884 Las Vegas Daily Gazette, 05-24-1884 J. H. Koogler Follow this and additional works at: https://digitalrepository.unm.edu/lv_gazette_news Recommended Citation Koogler, J. H.. "Las Vegas Daily Gazette, 05-24-1884." (1884). https://digitalrepository.unm.edu/lv_gazette_news/676 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Las Vegas Gazette, 1880-1886 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. VOL. 5.-- --NO. 340. LAS VEGAS, NEW MEXICOj SATURDAY MOKNTIN(i, MAY 24, 1884. PRICE 5 CENTS- - JAS. A. LOCKHAUT. W. F. COOKS, HENRY. O CO0R5 a well-inform- ed gentleman of this J. J. FITZQERRELL, OVER THE WIRES. itv Ttlnrpo. tho flamnffl to railroad THE ONLY EXCLUSIVE property as high as half a million of ICE! ICE! ICE! - THE LIVK aouars. inis However memoes pro- LOCKHART- & CO. bably the decrease in agricultural Wholesale and Retail Dealers In REAL ESTATE AGENT. The actual, immediate 2,000 Tons of BANK EMBEZZLEMENT. Sroducts.is placed at two millions, NOTARY PUBLIC besides several hundred miles of sub- merged track in spots which require TaiiS AND reparing. Hundreds of culverts, Pure fiilCll' Ic The Oil Tanks of the Atlantic small bridges and trestle work have llllllillll House Furnishing Goods, XI, been carried away or loosened. IN j. OONVEYANOH Refining Company STORE Large quantities of freight aro ac- 7 17 Carpets, Oil Cloths and Mattings. -
Shakespeare's Widows of a Certain
Working Papers in the Humanities Shakespeare’s Widows of a Certain Age: Celibacy and Economics Dorothea Faith Kehler San Diego State University Abstract Often more honoured in the breach than the observance, the prevailing discourse of early modern England encouraged widows to live as celibates, to epitomize piety, and to devote themselves to safeguarding their children’s interests. Of these injunctions, celibacy was crucial. Among Shakespeare’s elderly widows, all but Mistress Quickly remain single, a condition most vehemently prescribed by Catholic writers, who reluctantly exempted only the youngest widows— prejudged as concupiscent by virtue of their nubility and gender. In print, if not practice, Catholics and Protestants alike appeared to regard celibacy as the only suitable state for older widows. My paper briefly considers five widows of a certain age: Mistress Quickly, who violates the injunction when, between Henry IV, Part 2 and Henry V, she weds Ancient Pistol; Paulina of The Winter’s Tale who, by the end of Act V, has not formally accepted Camillo as a substitute for Antigonus; and the celibate, child-focused widows of Coriolanus and All’s Well That Ends Well, ‘widows indeed’. Whether these characters remarry or remain celibate depends, to a significant extent, on their financial situations, those with greater economic needs remarrying if they can. Although neglected as a category, widows are prominent in Shakespeare’s plays, appearing in every genre. Including ‘seeming widows’—wives uncertain of their marital status like -
Early Settler Deaths Book One: Pre-1925
INDEX 2. INDEX 1828 .... 10 1861 .....3 1894 .....2 1927 ......7 1960.13 1993 ...... 6 1796 Reference ....13 1829 ._.S 1862.4 1895.3 1928 ......8 Calendar 1961 _..1 1994 .....7 1797.....1 1830.......5 1663......5 1896....11 1929...._3 1962 .2 1995......1 1798 .2 1831.7 1864....13 1897.6 1930.4 1963.3 1996,_...9 COURTESY 1799 3 1832......8 1865 1898 71931 1 ......5 1964....11 1997......4 1796-2025 1800 4 1833 ......3 1866 ......2 1896 1 1932 ....13 1965 6 1998 5 1801 5 1834 ...._3 1967 3 1900 .....2 1932 1 1966 7 1999 6 1802 ..... 5 1835 .._..5 1888 ... 1901 ..... 1934 ......2 ...... .... of USWEST 11 3 1967 1 2000 14 DIRECTIONS FOR USE: 1803 .....7 1836 ....13 1869 6 1902 .....4 1935 ......3 1968 9 2001 ._...2 1804 .......6 1837 ...._1 1876 ......7 1903 ......5 1936 .11 1969 4 2002 .....3 Look for the year you want in the table at the left. 1805 ......3 1835 .....2 1671 ....13 1 1904 1937 5 1970 ......5 2903 4 The 1806 ......4 1639 .....3 1872 9 1905 ......1 1938 ......7 1971 6 2004 ....12 number opposite eaca year is the number of 1807 ......5 1540 ....11 1873 _..4 1906 ._2 1939 1 1972 ....14 2005 ._...7 the calendar to use for that year. 1808....13 1841 ......6 1874 5 1907......3 1940 9 1973 2 2006 1 1809 1 1842 .....7 1875 ......5 1908 ... 11 1941 4 1974 3 2007 ......2 1810 1843......1 2 1676....14 1909......6 1942......5 1975._...4 2005....10 1 2 1811 ._3 1844......3 1877 2 1910.....7 1943.....5 1975....12 2009......5 1812 ....11 1845 4 1876 3 1911 .....