DOCSLIB.ORG

Coleridge on Ariel and Cali

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Coleridge on Ariel and Cali - -0~ i - '&e r~ j n L.h kfI U ORn3 A. mu' , I A cn~r « YAR of nerve-shattering peril and expo* Kipling a edrops While Shakespeare Hence the magic. That a wizard sh t~es*w S,2|~tephlf~s.W*quor.x* L f control such an Island was demande the beliefs of the seafarer of that dat Plies Stephano W th Liquor Accept this theory and you will celve that " The Tempest" came to the n ager sanely and normlly i the cour to Get Iis Story his daily life. He may have been ca about for a new play; he miy have NE of the numerous Shakespeare tha n the hatter f a half-tipy or posed to vamp an old one-say "Au controversies lvolves the origin at a thatre Thus: ' ' ' and Isabella "; or he may have been me walting on his demon. But It is all ofO"The Tms." Wa. :hak-. P A stage manager who writes and vamps per's wealthi anst aliban's pig se fmiliar th the circum- plays, mong his audience, over that to him in a receptve hour, sen stances of the memorable wreck of Ad- hea a mariner diso to his neigh- Heaven, entered the orikinal Stepi mirpl Sir Geoge omers and his party or o a grievou wreck, and of the be- freh from the seas and half-sea ove. hn Stephano tells his tale, all In of Virgini ol onistaon the Bermuda bhvlor of the passgers, for whom all sailors have ever entertained a naural pie, a two hours' dscourse of most gO Islandi'-" the stllH vexed Betrmoothes "- contempt. Ee describes, with the wealth ous absurdlte pro ate abund in 1109, and was he acquainted with the of detail peculi to sai , mea of detail at' the beinning, when he stirrng accounts of that er written by taketo cw the ship off a lee sho, how more or less-sober, supplied and cu William Strachy and 81ivanus Jordan, both helm and sals weew orked, what the pa.- established the earth-bsis of the plai seer'did, accordance with the great law that a s members of the Sea Venture' company? and what h said. On puget phras to be e re ndlatereInto "What I to be truly miraculous must be balla And had he heard the tale of Carter, care these brawlere for the name of the with facts. His maunderings of Waters,and Chard, the three adventurers King-" strikes the naer's ear, and and incomprehensible ambushes when o elected to remain on the Isla de he standbe hind the talkers. was without resrvaon drunk (and is just the time when a lesser-minded I Denonos, assu s mariners called Prhaps ntyy one-tth of the earnetly delivered handon-shoulder sea talk was than Shakespeare would have paid B ua and uphold Brh sovereignty, actually used o all that waa automtically reckonng and turned him out) suge until setler could be sent out from Eng- and tncon .ouslysr by the Inand a to the manager the peculiar note c land? who I new* nland and craft. Now supernatural mechanism. Truly it was a dream, but that tl Washington Irlvng in "The Three King Is It tooifnciul to Imagne a balfturn to the econd listener as the marie, banning may be doubt of ts source or of his a o Bermuda and Their Treasure of Am- his luck, ai maine will, says there are gation Shakespeare ha also made bergr" sees Carter, Waters, and Chard those who will not give a dolt to a poor dreamer Immortal. typifid In Seb n Trinculo, and their' man while they will lay out ten to see a I am. Sir, &c., RUDYARD KIPIIN.- thy ompanon Caliban, and surmises raree-show-a dead Indian? Were he In foreign parts, ax now he. Is In England. he that the wreck of Sir eorge's ship Sea could show people something in the way of Venture and subsequent events on the strange fish. I t to consider too curiously lonely islad may have furnished Shake- to see a drink ensue on this hint (the man- ager dealtt ut little n b pere wit some of the play with the elements of his sea at fst hand and his Instinct for new dram. A Rudyard Kipling, who knows words wuld have ben wke by what he Bermuda alost well a he knows many h alreay caught) ad with tbe drink a I other parts at' the British Empire, has ilor's minute d ipion o hrow he ent written )n characterIstIc style that Sbake' acro through the trsttthe snd of ~ceu eI IO.d this caa r In rather, for there 4nIl J MiZA~ 4 k 'J spearewove his material from nothng more were many? Some ou could almot carry promising than the chatter of a half-tipsy away in our pocket They were sown 'ov ct@ n ci4,r PiPvkftt. 6y osh Wle"Jht* sailor at a theatre; broadcast like-like nutshells onthe stage The mn, Kpling's opinion, almost forgotten among there. " Mny Ilands in truth." ss the refeshed with more drink. There I no other cave for some two mile* price were probably described as tools. He manager, patiently, and afterward hi Se- then d . geoahy of the lnd- "Here's neither bush nor shrub," one is e was the oly or mao n n the company. his writin, is found an a letter to the bastian sys to his :Antoio: I think he ingw plae-the spot where Trnculoe mak posed to the wrath of " yond' same bla So0 they went inla, farin badly as they editor of The Lndon Spectator published will carry n d home In. s pocket and his first appearance. e nsists and re- cloud," and here the current strand wreck- staggered up and down thi petilet coun- on July 2, 188. He rote give It to his on or an apple." To which Inslts on detal which to him at one time age. It was so well done that af two try, They were pricked with palmettos, Antonio answers: "And sowing the ker- ant ie or death, and the ma er fol hundred year a stray tripper, and no iaz the cedar branches sped their faes nels of t In the sa bring. forth more lows attentively. He cn give his ,adi- Shakespere scholar, recog d n a fah Then they found and stole some of their Ruya Kiplng'a Letter ence no more than a few hanings and a that old first set of all. oftcers' clothes which were hanging up to To the Sdtor of The Spetator: "But wht was the land like?" says the placard for scenery, but that his lines shall So far good. Up to this point the ma- dry. But presently they fell into a swamp, manager. The sailor tr to explain. "It lift them beyond that bare show to the ager has gained little except some uggew- and, what as worse, into the hands of iIR: Your article on "andscape and w was green, with yellow In It; a. tawny col- place he would have them, the manager tlons for his opening scene, and some nq- their offrs; and the great exediton iterature " n The Spectator of June ored country "-the color, that Is to say, of needs for himself the clearest possibleMu- ion of an uncanny island. The mariner ended in muck and mire. 18 has the following, among other the coral beached, cedar-coverd Bermuda sadg-the mot ample detail- e (one cannot believe that Shak ea wa Truly an sland bewitched. Else why sugge stiv -"But whence came of today-"and the air made one sleepy, must see the scene in the round-solid- meanIn .he theelittle thIns) Is dio to their cramp and sickness? Sack never and the place was full of noises "-the mut- he peoples it Much, doubtless, he dscarded, a deeper drunkenness. Suddenly h made a man more than reasonably drunk. the vision of the ench a nd ' The tering and the roaring of the sea among but so closely did he keep to his original launches Int a epo rus tale of him, He was prepared for urlimited acek: but Tempest'? It hd no existenc In Shale- the lands and, between the reef-" and Informations thatthoe wh go tot a self and h ellos flung ashore, sep what befell his stomach and head was the speare's world, tut was woven out of such there was a sou'west wind that blistered certain beach some two miles from Ham- o their .offcers, horribly afraid o the purest magic that honest man ever met. stff a dream are made of" one all over," The Ellsabethan mariner ilton will find the stage set for Act II., devil-haunted beach of noses, with their A drunken sailor of today, wandering would not dsltingish finely between blis- Scene 2. of lThe Tempest "-a bare beach, heads full of the fumes of broached liquor. about Bermuda, would probably sympathise May I take Mlone's sugetlon connect- ters and prickly heat, but the Bermudlan withthheo wind singig through the scrub One castaway was found hiding under the with him; and today, as then, if one takes ing the play ith the casting away of Sir of today 'ill tell that the sou'west, or at the and' dge, a gap in the reefs wide ribs of a dead whale, which smelt abom- the easlest Inland road from Trtnculo' George omers on the sland of Bermuda Lighthouse, wind in Summer bring that enough for the passage of Stephan's butt inably.
Load more

Recommended publications
  • SHAKESPEARE and RODO'': RECURRING THEMES and CHARACTERS by WENDELL AYCOCK, B.A» a THESIS in ENGLISH Submitted to the Graduate F
    SHAKESPEARE AND RODO'': RECURRING THEMES AND CHARACTERS by WENDELL AYCOCK, B.A» A THESIS IN ENGLISH Submitted to the Graduate Faculty of Texas Technological College in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Accepted 79^5 ACKNOWLEDGMENTS I am deeply indebted to Professor Joseph T. McCullen for his direction of this thesis• ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii I. INTRODUCTION 1 II. ARIEL AND THE TEMPEST: A SURVEY ^ Rode'''s Life and Reputation 5 Ariel 8 The Tempest 29 III. ARIEL AND THE TEMPEST: A COMPARISON .... 3^ Introduction • . • 5^ The Societies of Shakespeare and Rodo*^ ... 35 The Conflict of Spiritual and Material Interests ^ Ariel, Caliban, and Prosper© 42 IV. CONCLUSION 54 BIBLIOGRAPHY 56 ill CHAPTER I INTRODUCTION One of the important aspects of a study of literature is relativity. In trying to understand the universality of literature, scholars aj?e continually discovering and relating recurring themes, literary techniques, and characters. By studying recurring themes, scholars can understand the ideas and problems which have interested authors of many eras. By studying recurring literary techniques, they can see the value of techniques which have been useful throughout history. And, by studying reciorring characters (or types of characters), they can L-"' / understand the qualities of human nature which are un- ^^ changing. Possibly the most interesting consideration of this type of relativity is the comparison of recurring char­ acters. Authors sometimes choose, as subjects for their own literary works, characters that have been created by another author. When such a choice is made, and when the recreated characters are not renamed, the student of literature becomes especially interested in trying to compare the two works and the characters that are used in both works.
    [Show full text]
  • — 1 — 1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, Private Collection) the Tempest (1611) Is the Last P
    1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, private collection) The Tempest (1611) is the last play which Shakespeare wrote alone. It has been described as the most musical of his works, on account of the number of songs in the text, the interpolated masque in the last act, and because it works less through cause and effect than through enchantment, an intrinsically musical quality. It is the only play for which we have any of the original stage music. And according to Wikipedia, it has inspired over four dozen operatic or musical settings. As early as the mid-seventeenth century, managements were adapting the play as a kind of masque, rather than performing the original. 3. Ariel’s Tempest in Columbia I’m also somewhat familiar with it myself. I directed the first performance of The Tempest by American composer Lee Hoiby in the late 1980s, and wrote my own adaptation in 2011 for composer Douglas Allan Buchanan, a 60-minute condensation that we toured to young audiences all over Maryland. 4. Round table discussion at the Met But the version we are watching today is the work of the two people in the middle of this picture: composer/conductor Thomas Adès (b.1971) and the Australian playwright Meredith Oakes (b.1946), seen here with Met General Manager Peter Gelb and stage director Robert Lepage. The picture comes from an intermission feature in the Met’s 2012 Live-in-HD transmission of the opera; I thought of playing it, but it is hard to hear and rather light on information.
    [Show full text]
  • The History of the Jamestown Colony: Seventeenth-Century and Modern Interpretations
    The History of the Jamestown Colony: Seventeenth-Century and Modern Interpretations A Senior Honors Thesis Presented in Partial Fulfillment of the Requirements for graduation with research distinction in History in the undergraduate colleges of the Ohio State University By Sarah McBee The Ohio State University at Mansfield June 2009 Project Advisor: Professor Heather Tanner, Department of History Introduction Reevaluating Jamestown On an unexceptional day in December about four hundred years ago, three small ships embarked from an English dock and began the long and treacherous voyage across the Atlantic. The passengers on board envisioned their goals – wealth and discovery, glory and destiny. The promise of a new life hung tantalizingly ahead of them. When they arrived in their new world in May of the next year, they did not know that they were to begin the journey of a nation that would eventually become the United States of America. This summary sounds almost ridiculously idealistic – dream-driven achievers setting out to start over and build for themselves a better world. To the average American citizen, this story appears to be the classic description of the Pilgrims coming to the new world in 1620 seeking religious freedom. But what would the same average American citizen say to the fact that this deceptively idealistic story actually took place almost fourteen years earlier at Jamestown, Virginia? The unfortunate truth is that most people do not know the story of the Jamestown colony, established in 1607.1 Even when people have heard of Jamestown, often it is with a negative connotation. Common knowledge marginally recognizes Jamestown as the colony that predates the Separatists in New England by more than a dozen years, and as the first permanent English settlement in America.
    [Show full text]
  • Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1991 "In the Hollow Lotus-Land": Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623 Matthew R. Laird College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the History Commons Recommended Citation Laird, Matthew R., ""In the Hollow Lotus-Land": Discord, Order, and the Emergence of Stability in Early Bermuda, 1609-1623" (1991). Dissertations, Theses, and Masters Projects. Paper 1539625691. https://dx.doi.org/doi:10.21220/s2-dbem-8k64 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]. •'IN THE HOLLOW LOTOS-LAND": DISCORD, ORDER, AND THE EMERGENCE OF STABILITY IN EARLY BERMUDA, 1609-1623 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 Matthew R. Laird 1991 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Matthew R. Laird Approved, July 1991 -Acmy James Axtell Thaddeus W. Tate TABLE OP CONTENTS Page ACKNOWLEDGMENTS....................................... iv ABSTRACT...............................................v HARBINGERS....... ,.................................... 2 CHAPTER I. MUTINY AND STARVATION, 1609-1615............. 11 CHAPTER II. ORDER IMPOSED, 1615-1619................... 39 CHAPTER III. THE FOUNDATIONS OF STABILITY, 1619-1623......60 A PATTERN EMERGES....................................
    [Show full text]
  • The Tempest by William Shake Peare an SFA School Ofnleau-E Production W
    Stephen F. Austin State University College of Fine Arts and School of Theatre present TilE TEMEST ~ ?()~cS~ Produced by the SFA School of Theatre Nov. 15-19, 2005, 7:30 p.m. W.M. Turner Auditorium Sponsored in part by MAKE THE ROAD YOUR CANVAS. THE DRIVE, YOUR WORK OF ART. The University Series 2005-2006 The Hottest Ticket in Town! The Art Center and Griffith Gallery are open Tuesday through Sunday, 12:30-5 p.m. All performance at 7:30 p.m. September 9 - October 16 SFA FacuLt)' Exhibitioll The AJt Center eptember 16 - October 16 Barry Alldersoll: Epic Escapism & Suspellsion Griffith Gallely and chool ofAJt Gallely o lober 15 Stars alld Stripes Forel1er: A Patriotic Review featUJ;ng the FA A Cappella Choir W. M. Tumer AuditOl;um October 27 Betty BuckLey: Deep ill the Heart W. M. TUl11er Auditorium November 15 -19 The Tempest by William Shake peare an SFA School ofnleau-e Production W. M. TumerAuditOl;UJll November 29 The Salzburg Mariollettes pl-esenting Tile Magic Flute by W. A. MOZm1 W. M. Tumer AuditOl;um January 31 Ballet Hispallico W. M. TumerAuditorium February 8 - March 26 III the Path ofthe Blaue Reiter Gemlan Expressionist Portfolios. l1;nts and Books Griffith Gallery February 21 - 25 The ight ofthe Igualla by Tennes ee Williams an SFA chool ofTheau'e Production W. M. Tumer Auditorium March 6 Salzburg Chamber Soloists with Piallist Alldreas Kleill W. M. TumerAuditorium March 23 Los Hombres Calielltes W. M. Tumer Auditorium April 6 - 8 SFA Opera an SFA School of Music and School ofTheau'e l1'oduction W.
    [Show full text]
  • And Margaret Atwood's Novel Hag-Seed
    The textual conversation between William Shakespeare’s play The Tempest (1611) and Margaret Atwood’s novel Hag-Seed (2016) positions readers to realise how individuals must move on from the past in order to achieve fulfilment. Readers recognise how introspection and accepting the past is necessary in order to reconcile with loss and how to achieve freedom, individuals must overcome their restrictive, seemingly predestined capacities. Atwood’s appropriation of The Tempest allows contemporary audiences to gain true insight into the timeless values of self-reflection, reconciliation and challenging one’s destiny. The textual conversation between The Tempest and Hag-Seed facilitates readers’ appreciation of how introspection and accepting the past is necessary in order to reconcile with loss. In The Tempest, Shakespeare advocates how Prospero’s introspection as he moves on from his preoccupation with revenge, prompts compassion and forgiveness. Shakespeare responds to the rise of Renaissance Humanism during the Jacobean Era, celebrating human control over one’s fate and display of virtues such as empathy and self-enquiry. Shakespeare characterises exiled Duke of Milan Prospero as unwilling to acknowledge how his usurpation by his brother Antonio resulted from preoccupations with magic as he accuses Antonio of being the metaphorical "ivy which had hid my princely trunk” to emphasise his loss and victimise himself. Shakespeare establishes Prospero’s anger towards his past betrayal in the supernatural stage directions [Enter several strange shapes, bringing in a banquet…] and [...the banquet vanishes], revealing how he uses magic to humiliate and punish the shipwrecked Royal Court. However, Shakespeare exposes how Prospero’s belief that revenge is justified is challenged by spirit Ariel in “if you now beheld them, your affections would become tender….
    [Show full text]
  • “From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage
    “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jeffrey Knapp, Chair Professor Oliver Arnold Professor David Landreth Professor Timothy Hampton Summer 2018 “From strange to stranger”: The Problem of Romance on the Shakespearean Stage © 2018 by Aileen Young Liu 1 Abstract “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu Doctor of Philosophy in English Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Jeffrey Knapp, Chair Long scorned for their strange inconsistencies and implausibilities, Shakespeare’s romance plays have enjoyed a robust critical reconsideration in the twentieth and twenty-first centuries. But in the course of reclaiming Pericles, The Winter’s Tale, Cymbeline, and The Tempest as significant works of art, this revisionary critical tradition has effaced the very qualities that make these plays so important to our understanding of Shakespeare’s career and to the development of English Renaissance drama: their belatedness and their overt strangeness. While Shakespeare’s earlier plays take pains to integrate and subsume their narrative romance sources into dramatic form, his late romance plays take exactly the opposite approach: they foreground, even exacerbate, the tension between romance and drama. Verisimilitude is a challenge endemic to theater as an embodied medium, but Shakespeare’s romance plays brazenly alert their audiences to the incredible.
    [Show full text]
  • A Jungian Interpretation of the Tempest
    University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1978 A Jungian interpretation of The Tempest Tana Smith University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Literature in English, British Isles Commons Recommended Citation Smith, Tana. (1978). A Jungian interpretation of The Tempest. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/1989 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. A JUNGil-..~~ INTERPllliTATION OF THE 'rEHPES'r by Tana Smit!1 An Essay Presented to the Faculty of the Graduate School Univers ity of the Pac ific In Pa rtial Fulfillment of the Requireme nts for the Degree Maste r of Arts Hay 1978 The following psychological interpretation of Shakespeare's 1 The Tempest is unique to articles on the ·same subject which have appeared in literary journals because it applies a purely Jungian reading to the characters in the play. Here each character is shown to represent one of the archetypes which Jung described in his book Archetypes ~ the Collective Unconscious. In giving the play a psychological interpretation, the action must be seen to occur inside Prospera's own unconscious mind. He is experiencing a psychic transformation or what Jung called the individuation process, where a person becomes "a separate, indivisible unity or 2 whole" and where the conscious and unconscious are united.
    [Show full text]
  • ISC Program 16 Web Version+One
    RICHARD GRIFFITH PARK FREE SHAKESPEARE FESTIVAL JUNE 25 - SEPT 4 the TEMPEST INDEPENDENT SHAKESPEARE CO. SHAKESPEARE SET FREE INDEPENDENT SHAKESPEARE CO. / GRIFFITH PARK FREE SHAKESPEARE FESTIVAL Recently, a long time audience member, Frank Lopes, shared a celebrates Shakespeare’s stories and language, the natural beauty sonnet that he wrote about a tree. of the park, and the communion between the audience and the players that takes place night after night. It’s a lovely tree--in fact, you can see it right now, from where you It is a gift to create theater for the Los Angeles community, and our are sitting. If you’re looking towards the Festival stage, it’ s just to efforts are reciprocated tenfold. You really are the engine that pow- the left. Before a performance, you’ll often find actors and audi- ers the Festival. Your financial donations keep the Festival running. ence members sitting under it, enjoying the shade: Your generosity of spirit when we meet you after performances (or Into the sky towards providence do reach onstage at intermission) is deeply moving. We love taking pictures The wise and solemn bows of mighty tree. with you, chatting with you season after season--and in some And when night’s air of summer words do breech, cases, watching you grow up! Those magic words of past set people free. Oh,Tree! What beauty hast thou witnessed here? Every so often a pizza is delivered to us backstage, or a plate of Of lives, of loves, of kingdoms lost to dust, cookies, or a bottle of champagne.
    [Show full text]
  • A Study of the Value of the Tempest for Audiences and Readers- Elizabeth and Modern
    Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1960 A Study of the Value of The Tempest for Audiences and Readers- Elizabeth and Modern Blanche Garren Icenogle Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Icenogle, Blanche Garren, "A Study of the Value of The Tempest for Audiences and Readers- Elizabeth and Modern" (1960). Plan B Papers. 62. https://thekeep.eiu.edu/plan_b/62 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. A STUDY OF THE VALUES OF THE TEMPEST FOR AUDIENCES AND READE.RS ELIZABE'riilli .AND MODERN (TITLE) BY BLANCHE GARREN ICENOGLE PLAN B PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE ELIZABETH.AN DRAlV.A # 45? IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. A STUDY OF '11EE VALUES OF TEE TEMPEST FOR AUDIENCES Al\JD READERS ._. ELIZABETH.AN AND MODERN The greatness of Shakespeare's works is a seldom- disputed fact. Goethe speaks of him thus: "Shakespeare gives us golden apples in silver dishes. We get indeed, the silver dishes by studying his works; but, fortunately, we have only potatoes to put in them.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • Shakespeare Uncovered Viewing Guide
    © 2013 WNET. All rights reserved. Teaching Colleagues, Shakespeare Uncovered, a six-part series airing on PBS beginning on January 25 th , is a teacher’s dream come true. Each episode gives us something that we teachers almost never get: a compelling, lively, totally accessible journey through and around a Shakespeare play, guided by brilliant and plain-spoken experts--all within one hour. I’m not given to endorsements, but oh, I love this series. Why will we teachers love it and why do we need it? • Because, as we learned from the very start of the Folger Library’s Teaching Shakespeare Institute, teachers tend to be more confident, better teachers if they have greater and deeper knowledge of the plays themselves. • Because no matter what our relationship with the plays – we love them, we struggle with them, we’re tired of teaching the same ones, we’re afraid of some of them – we almost never have the time to learn more about them. We are teachers, after all: always under a deadline, we’re reading, grading, prepping, mindful of the next deadline. (And then there’s the rest of our lives . ) Shakespeare Uncovered is your chance to take a deep, pleasurable dive into a handful of plays—ones you know well, others that may be less familiar to you. In six episodes, Shakespeare Uncovered takes on eight plays: Macbeth, Hamlet, The Tempest, Richard II, Twelfth Night and As You Like It, Henry IV, Part I, and Henry V . The host of each episode has plenty of Shakespeare cred--Ethan Hawke, Jeremy Irons, Joely Richardson and her mom, Vanessa Redgrave, for example--but each wants to learn more about the play.
    [Show full text]