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For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
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 -
Actes Des Congrès De La Société Française Shakespeare
Actes des congrès de la Société française Shakespeare 36 | 2018 Shakespeare et la peur From fear to anxiety in Shakespeare’s Macbeth Christine Sukic Édition électronique URL : https://journals.openedition.org/shakespeare/4141 DOI : 10.4000/shakespeare.4141 ISSN : 2271-6424 Éditeur Société Française Shakespeare Référence électronique Christine Sukic, « From fear to anxiety in Shakespeare’s Macbeth », Actes des congrès de la Société française Shakespeare [En ligne], 36 | 2018, mis en ligne le 07 octobre 2019, consulté le 25 août 2021. URL : http://journals.openedition.org/shakespeare/4141 ; DOI : https://doi.org/10.4000/shakespeare. 4141 Ce document a été généré automatiquement le 25 août 2021. © SFS From fear to anxiety in Shakespeare’s Macbeth 1 From fear to anxiety in Shakespeare’s Macbeth Christine Sukic 1 In the early modern period, fear was either a necessary passion, as when Christians are said to live in the “fear of God”1, or an emotion that had to be suppressed or at least mitigated, when it concerned the “fear of death”. There are numerous books of ars moriendi that claim, in their titles, that they intend to “take away the feare of death”2 or will “comfort” Christians against that fear3. In a Christian context, fear was thus seen as a sort of natural passion, which was acceptable as long as it was “holy fear”, as Emilia calls it in Two Noble Kinsmen (5.1.149), but that had to be alleviated in order for Christians to “die well”, with as little fear as possible. In Measure for Measure, Claudio seems to have learned to “encounter darkness as a bride / And hug it in [his] arms” (3.1.83-4) until Isabella’s visit reminds him that “Death is a fearful thing” (3.1.115). -
Philippa of Hainaut, Queen of England
THE UNIVERSITY OF ILLINOIS LIBRARY VMS Digitized by the Internet Archive in 2013 http://archive.org/details/philippaofhainauOOwhit PHILIPPA OF HAINAUT, QUEEN OF ENGLAND BY LEILA OLIVE WHITE A. B. Rockford College, 1914. THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1915 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL ..%C+-7 ^ 19</ 1 HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY ftlil^ &&L^-^ J^B^L^T 0^ S^t ]J-CuJl^^-0<-^A- tjL_^jui^~ 6~^~~ ENTITLED ^Pt^^L^fifi f BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF CL^t* *~ In Charge of Major Work H ead of Department Recommendation concurred in: Committee on Final Examination CONTENTS Chapter I Philippa of Hainaut ---------------------- 1 Family and Birth Queen Isabella and Prince Edward at Valenciennes Marriage Arrangement -- Philippa in England The Wedding at York Coronation Philippa's Influence over Edward III -- Relations with the Papacy - - Her Popularity Hainauters in England. Chapter II Philippa and her Share in the Hundred Years' War ------- 15 English Alliances with Philippa's Relatives -- Emperor Louis -- Count of Hainaut Count of Juliers Vow of the Heron Philippa Goes to the Continent -- Stay at Antwerp -- Court at Louvain -- Philippa at Ghent Return to England Contest over the Hainaut Inherit- ance -- Battle of Neville's Cross -- Philippa at the Siege of Calais. Chapter III Philippa and her Court -------------------- 29 Brilliance of the English Court -- French Hostages King John of France Sir Engerraui de Coucy -- Dis- tinguished Visitors -- Foundation of the Round Table -- Amusements of the Court -- Tournaments -- Hunting The Black Death -- Extravagance of the Court -- Finan- cial Difficulties The Queen's Revenues -- Purveyance-- uiuc s Royal Manors « Philippa's Interest in the Clergy and in Religious Foundations — Hospital of St. -
Henry V Plays Richard II
Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king. -
Caerfallen, Ruthin LL15 1SN
Caerfallen, Ruthin LL15 1SN Researched and written by Zoë Henderson Edited by Gill. Jones & Ann Morgan 2017 HOUSE HISTORY RESEARCH Written in the language chosen by the volunteers and researchers & including information so far discovered PLEASE NOTE ALL THE HOUSES IN THIS PROJECT ARE PRIVATE AND THERE IS NO ADMISSION TO ANY OF THE PROPERTIES ©Discovering Old Welsh Houses Group [North West Wales Dendrochronolgy Project] Contents page no. 1. The Name 2 2. Dendrochronology 2 3. The Site and Building Description 3 4. Background History 6 5. 16th Century 10 5a. The Building of Caerfallen 11 6. 17th Century 13 7. 18th Century 17 8. 19th Century 18 9. 20th Century 23 10. 21st Century 25 Appendices 1. The Royal House of Cunedda 29 2. The De Grey family pedigree 30 3. The Turbridge family pedigree 32 4. Will of John Turbridge 1557 33 5. The Myddleton family pedigree 35 6. The Family of Robert Davies 36 7. Will of Evan Davies 1741 37 8. The West family pedigree 38 9. Will of John Garner 1854 39 1 Caerfallen, Ruthin, Denbighshire Grade: II* OS Grid Reference SJ 12755 59618 CADW no. 818 Date listed: 16 May 1978 1. The Name Cae’rfallen was also a township which appears to have had an Isaf and Uchaf area which ran towards Llanrydd from Caerfallen. Possible meanings of the name 'Caerfallen' 1. Caerfallen has a number of references to connections with local mills. The 1324 Cayvelyn could be a corruption of Caevelyn Field of the mill or Mill field. 2. Cae’rafallen could derive from Cae yr Afallen Field of the apple tree. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk i UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES School of History The Wydeviles 1066-1503 A Re-assessment by Lynda J. Pidgeon Thesis for the degree of Doctor of Philosophy 15 December 2011 ii iii ABSTRACT Who were the Wydeviles? The family arrived with the Conqueror in 1066. As followers in the Conqueror’s army the Wydeviles rose through service with the Mowbray family. If we accept the definition given by Crouch and Turner for a brief period of time the Wydeviles qualified as barons in the twelfth century. This position was not maintained. By the thirteenth century the family had split into two distinct branches. The senior line settled in Yorkshire while the junior branch settled in Northamptonshire. The junior branch of the family gradually rose to prominence in the county through service as escheator, sheriff and knight of the shire. -
Kiils K Qffiel
KIilS k QffiEl FROM THE REIGN OF WILLIAM THE CONQUEROR R\ ^'Cl TTCtO VICTORIVTflTORTA THTTTtEf t?TDQFIRSTT . §J? <A V WILLIAM THE CONQUfciiOR. 3 PRINT E D ^ •b §M^W:&-'-:. H 1 S T 0 It Y OF THE KINGS & QUEENS OF ENGLAND, WILLIAM THE CONQUEROR Began to Born Reign 1024. Decern. 25, 1066. Died Scptem. 9, Reigned 1087. 21 Years. Surnamed Rufus, from his red hair and florid complexion, was the second surviving son to the Conqueror, and was by his father's will appointed his successor. The Norman barons being dis Was natural son of Robert, Duke of Normandy, pleased with this, and looking on his brother Robert and was called the Conqueror because he conquered as the proper owner, a powerful conspiracy was Harold the Dauntless, and overthrew the Saxon therefore formed against William by his uncle Odo. dynasty in thisliountry. He gave out that Edward William, sensible of his danger, was soon in the the Confessor left him the crown of England by field at the head of a powerful army. Robert will, and determining to assert his right to it, lost his opportunity by not assisting his friends, landed in England with an army of 60,000 men, who had taken fortresses on the hopes of his and gave battle at Hastings, where Harold was assurances, and who, when William appeared be killed, and his army defeated; after which William fore them, had to implore his mercy. He was became King of England. He was above eight accidentally shot through the heart with an arrow, feet high, strong built, and well proportioned. -
History of the Plantagenet Kings of England [email protected]
History of the Plantagenet Kings of England [email protected] http://newsummer.com/presentations/Plantagenet Introduction Plantagenet: Pronunciation & Usage Salic Law: "of Salic land no portion of the inheritance shall come to a woman: but the whole inheritance of the land shall come to the male sex." Primogeniture: inheritance moves from eldest son to youngest, with variations Shakespeare's Plantagenet plays The Life and Death of King John Edward III (probably wrote part of it) Richard II Henry IV, Part 1 Henry IV, Part 2 Henry V Henry VI, Part 1 Henry VI, Part 2 Henry VI, Part 3 Richard III Brief assessments The greatest among them: Henry II, Edward I, Edward III The unfulfilled: Richard I, Henry V The worst: John, Edward II, Richard II, Richard III The tragic: Henry VI The Queens Matilda of Scotland, c10801118 (Henry I) Empress Matilda, 11021167 (Geoffrey Plantagent) Eleanor of Aquitaine, c11221204 (Henry II) Isabella of France, c12951348 (Edward II) Margaret of Anjou, 14301482 (Henry VI) Other key notables Richard de Clare "Strongbow," 11301176 William the Marshal, 1st Earl of Pembroke, 11471219 Simon de Montfort, 6th Earl of Leicester, c12081265 Roger Mortimer, Earl of March, 12871330 Henry "Hotspur" Percy, 13641403 Richard Neville "The Kingmaker," 14281471 Some of the important Battles Hastings (Wm I, 1066): Conquest Lincoln (Stephen, 1141): King Stephen captured Arsuf (Richard I, 1191): Richard defeats Salidin Bouvines (John, 1214): Normandy lost to the French Lincoln, 2nd (Henry III, 1217): Pembroke defeats -
Open Finalthesis Weber Pdf.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF HISTORY AND RELIGIOUS STUDIES FRACTURED POLITICS: DIPLOMACY, MARRIAGE, AND THE LAST PHASE OF THE HUNDRED YEARS WAR ARIEL WEBER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Medieval Studies with honors in Medieval Studies Reviewed and approved* by the following: Benjamin T. Hudson Professor of History and Medieval Studies Thesis Supervisor/Honors Adviser Robert Edwards Professor of English and Comparative Literature Thesis Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT The beginning of the Hundred Years War came about from relentless conflict between France and England, with roots that can be traced the whole way to the 11th century, following the Norman invasion of England. These periods of engagement were the result of English nobles both living in and possessing land in northwest France. In their efforts to prevent further bloodshed, the monarchs began to engage in marriage diplomacy; by sending a young princess to a rival country, the hope would be that her native people would be unwilling to wage war on a royal family that carried their own blood. While this method temporarily succeeded, the tradition would create serious issues of inheritance, and the beginning of the last phase of the Hundred Years War, and the last act of success on the part of the English, the Treaty of Troyes, is the culmination of the efforts of the French kings of the early 14th century to pacify their English neighbors, cousins, and nephews. ii TABLE OF CONTENTS Chapter 1 Plantagenet Claim to France................................................................................... -
Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2018 “Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College Recommended Citation Singh, Bandana, "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad" (2018). Scripps Senior Theses. 1140. http://scholarship.claremont.edu/scripps_theses/1140 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “YOUR UNTHOUGHT OF HARRY”: POLITICAL LEGITIMACY AND THE ECONOMY OF HONOR IN SHAKESPEARE’S HENRIAD by BANDANA SINGH SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR PRAKAS PROFESSOR KOENIGS 6 DECEMBER, 2017 !1 Shakespeare’s Henriad delves into questions of divine authority, political legitimacy, and kingly identity.1 While it is unknown whether Shakespeare meant for the plays to be understood as a tetralogy, each play sets up the political climate for the subsequent one. However, the Henriad also tracks a pivotal transition in the understanding and composition of kingship. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s incompetency as a ruler is highlighted by two major offenses: killing his uncle Gloucester, and disinheriting his cousin, Henry Bolingbroke, who eventually leads a rebellion against the corrupted king. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility and highlights two conflicting viewpoints on the office of kingship in relation to political theology. -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608.