DOCSLIB.ORG

Original Material Copyright © Seattle Shakespeare Company 20112012 Seattle Shakespeare Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Original Material Copyright © Seattle Shakespeare Company 20112012 Seattle Shakespeare Company All original material copyright © Seattle Shakespeare Company 20112012 SEATTLE SHAKESPEARE COMPANY Dear Educator, The audiences of Queen Elizabeth’s day would be very familiar with troupes of traveling players making their way from town to town to perform. Growing out of the tradition of medieval minstrels and religious dramas that were often performed in makeshift stages on carts or the steps of the local church, secular dramas became increasing popular in the mid-1500s. Actors would set up playing spaces in the courtyards of the local inns. These yards would be located within the center of the inn, open to the air and surrounded in some cases by second story balconies. Patrons would pay for admittance to the court yard and stand to watch the play, or pay extra for balcony access. However, the increasingly bawdy nature of the plays and transient lifestyle of the players, lead some in the country to look upon actors with suspicion and denigration. These attitudes lead to a 1572 law that imposed harsh penalties to any traveling players without official patronage or license. The restrictions lead to certain troupes gaining patronage from the royalty and other nobles, and the building of the first permanent theaters. Built outside the city limits (theater and actors still being held in low esteem), these playhouses — The Theatre, The Rose, The Curtain and The Globe, among them — would house the great dramas of the English Renaissance. But the touring life was not finished. It is argued that one of the earliest published versions of Hamlet is a reconstruction from the memory of an actor in a touring production of the show, since it has some hallmarks of being abridged for time and a smaller cast well suited for a traveling show. Seattle Shakespeare Company is honored to be a part of this continuum. It is a testament to the populist spirit of theatre. Our art form is one that strives to reach out to as much of the greater community as possible. We are dedicated to bringing the theatre to the people if the people cannot come to the theatre. For ultimately, our art form is about bringing people together. ­­­­ George Mount Artistic Director, Seattle Shakespeare Company www.seattleshakespeare.org/education 206-733-8228 ext. 212 or [email protected] Sponsored by: STUDY GUIDE CONTENTS Hamlet synopsis and dramatis personae . 1 A summary of the plot and list of characters. (Hamlet) Romeo and Juliet synopsis and dramatis personae . 2 A summary of the plot and list of characters. (Romeo and Juliet) Who is William Shakespeare Anyway? . 3–4 A brief biography of Shakespeare’s life. Elizabeth’s England . 5 An overview of aspects of the Elizabethan world that influenced Shakespeare’s plays. Words, Words, Words . 6 This article gives context to the state of the English language during Shakespeare’s life and the significant contributions he made to it. Hamlet Quotations . 7 A look at famous quotes from Hamlet. (Hamlet) Which Shakespeare Play are We Seeing? . 8 An introduction to why students read Romeo and Juliet. (Romeo and Juliet) Hamlet: Themes and Background . 9–10 A collection of brief articles examining themes in Hamlet and background of the play. (Hamlet) Activity: Objectives, Tactics, and Actions . 11–12 Students use character objectives to see how a selection of text can be acted in different ways. Romeo and Juliet Introduction Activities . 13 This activity prompts students to think about the motives and internal experiences of characters in the play. (Romeo and Juliet) Activity: Cross the Line . 14 This fun activity is recommended as a springboard to your lesson plan. Activity: Living Scene . 15–16 This activity is recommended to be done when these scenes are reached by the class while reading the play. Activities in this study guide satisfy Washington State Arts Essential Academic Learning Requirements (EALRs) 1.1, 1.2, 2.1, 2.2, 2.3, 3.1, and 3.3 HAMLET SYNOPSIS Prince Hamlet has rushed home from schooling in Wittenberg to When Hamlet returns in secret, he and Horatio visit the graveyard attend the funeral of his father, the King, and the re-marriage of his where Ophelia is to be buried. They meet a gravedigger, who shows mother, Queen Gertrude, to his uncle, Claudius, the new King of Hamlet the skull of Yorick, a jester from Hamlet’s childhood. The Denmark. Hamlet criticizes the hastiness of his mother’s marriage. funeral procession arrives, and Hamlet and Horatio watch, unseen. Horatio, Hamlet’s best friend, informs Hamlet that he has seen the Stricken with grief over his sister’s death, Laertes jumps into Opelia’s ghost of the former king. That night, the Ghost appears to Hamlet grave. Hamlet reveals himself to profess his own love and grief for and reveals that he was murdered by Claudius who poured poison Ophelia, and the two grapple in her grave. The brawl is broken up, in his ear. The Ghost demands that Hamlet avenge him. Hamlet and Claudius assures Laertes of his chance for revenge. agrees, and resolves to confirm the truth of his father’s death. Later, a courtier brings Laertes’ challenge to Hamlet, inviting him to Hamlet begins to act strangely and feigns madness. Claudius and a fencing match. Hamlet accepts, and meets Laertes for the duel. Gertrude call on two of Hamlet’s student friends, Rosencrantz and Claudius has poisoned the tip of Laertes’ sword and also brought a Guildenstern, to try and discover the cause of Hamlet’s apparent poisoned drink to offer to Hamlet as a back-up plan. After a successful madness. Hamlet quickly discerns that they have been sent by hit, Gertrude toasts to Hamlet and drinks the poisoned cup. During Claudius to spy on him and reveals nothing. the duel, Laertes wounds Hamlet with his poisoned blade. Hamlet and Laertes scuffle, exchange swords, and Hamlet fatally wounds Polonius is Claudius’ trusted advisor, and father to Laertes and Laertes. Gertrude faints and says that she has been poisoned by the Ophelia. Ophelia has been courted by Hamlet, and looks to her drink. As he dies, Laertes reveals that Claudius plotted to poison both father and brother for advice. Before Laertes leaves Denmark for the sword and the drink, and makes peace with Hamlet. Incensed, France, he advises Ophelia to reject Hamlet’s affections. Polonius Hamlet kills Claudius with the poisoned sword. Hamlet feels his own asks her to report on Hamlet’s actions, and suggests to Claudius death approaching, and asks Horatio to tell his story. and Gertrude that the loss of Ophelia’s love drove Hamlet mad. The arrival of a troupe of actors to the castle gives Hamlet an opportunity to find out the truth about his father’s death. He requests DRAMATIS PERSONAE that the players perform a scene re-enacting the Ghost’s version of his father’s death. Hamlet will watch Claudius’ reaction to the play. When PRINce HAMLET the murder is presented, Claudius stops the play and storms out, which Prince of Denmark, son of King Hamlet and Gertrude Hamlet sees as proof of his guilt. Hamlet resolves to murder Claudius. HORATIO Gertrude summons Hamlet to her room to demand an explanation A student friend of Hamlet of his madness. On his way there, Hamlet passes Claudius in prayer. Hamlet wants to kill him but worries that if Claudius is killed while GHOST praying, his soul will go to heaven. Polonius is with Gertrude in her The ghost of Prince Hamlet’s dead father room and hides behind a wall hanging before Hamlet arrives in order KING CLAUDIUS to spy on the conversation. Hamlet and Gertrude argue about her King of Denmark, King Hamlet’s brother marriage to Claudius. Fearing that Hamlet will kill her, she calls for help. Polonius responds from his hiding place,and Hamlet stabs the GERTRUDE wall hanging, hoping that the unseen person is Claudius. The Ghost King Hamlet’s widow and Claudius’ wife appears and reminds Hamlet of his promise to kill Claudius. Gertrude POLONIUS witnesses this conversation but unable to see or hear the Ghost, is A Lord, father of Laertes and Ophelia further convinced of Hamlet’s madness. Hamlet leaves his mother, taking Polonius’ body and hiding it. LAERTES Polonius’ son, Ophelia’s brother Fearing that Hamlet is a threat, Claudius sends him to England with Rosencrantz and Guildenstern and a secret letter that instructs the OPHELIA English king to kill Hamlet upon his arrival. Hamlet replaces this letter Polonius’ daughter, Laertes’ sister with one that instructs the king to kill Rosencrantz and Guildenstern upon their arrival, then escapes back to Denmark. REYNALDO Polonius’ servant While Hamlet is away, Ophelia goes insane. Laertes arrives back from France, furious to find out that his father has been killed and ROSENCRANTZ and GUILDENSTERN Old friends of Prince Hamlet his sister has gone mad. When Claudius finds out that Hamlet is on his way back from England, he decides to use Laertes’ anger against CLOWN the prince. He encourages Laertes to challenge Hamlet to a duel, A gravedigger and they plot to give Laertes a poisoned foil to be sure that Hamlet is killed in the fight. Gertrude interrupts their conversation to tell PLAYERS An acting troupe performing for the court of Denmark them that Ophelia has drowned while picking flowers near a river. Laertes is devastated, and agrees to challenge Hamlet. 1 ROMEO AND JULIET SYNOPSIS DRAMATIS PERSONAE The play opens with a brawl between servants of the feuding The Montagues Capulet and Montague families. The Prince of Verona breaks Romeo up the fight and threatens death for anyone “who disturbs our Son of Lord and Lady Montague streets” again.
Load more

Recommended publications
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
    The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers.
    [Show full text]
  • Hamlet on the Screen Prof
    Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting.
    [Show full text]
  • Poison and Revenge in Seventeenth Century English Drama
    "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease.
    [Show full text]
  • High School Lesson Plan
    Student Name: ___ _______________________ Date: Class Period: Teacher’s Four Humors in Hamlet Given your knowledge of the four humors, what is the significance of these allusions to the four humors in Hamlet? What are we able to glean about their temperaments, personalities, and concerns? Act III, scene 2 Hamlet: [Speaking of Horatio] And blessed are those Whose blood and judgment are so well commingled, That they are not a pipe for Fortune’s finger To sound what stop she please. Give me that man That is not passion’s slave, and I will wear him In my heart’s core, ay, in my heart of heart, As I do thee. Hamlet talks about his reasons for admiring and trusting Horatio here, noting specifically the balance of his humors: blood and phlegm noted as “judgment.” He goes on to talk about how a person with balanced humors is not “a pipe for Fortune’s finger,” nor is he “passion’s slave.” This characterization suggests that one whose humors are not in balance does not have self-control, and is rather vulnerable to others. … Guildenstern: The king, sir-- Hamlet: Ay, sir, what of him? Guildenstern: Is, in his retirement, marvellous distempered. Hamlet: With drink, sir? Guildenstern: No, my lord; rather with choler. Hamlet: Your wisdom should show itself more richer to signify this to the doctor; for me to put him to his purgation would perhaps plunge him into far more choler. http://www.nlm.nih.gov/shakespeare Page | 1 Student Name: ___ _______________________ Date: Class Period: Hamlet’s instructions to Guildenstern to go to the doctor with his concerns about the King’s choleric temper provides evidence that, in Shakespeare’s time, the temper or a mental state was caused by imbalance of the humors (four bodily fluids), therefore was a medical concern.
    [Show full text]
  • Tragic Excess in Hamlet JEFFREY WILSON Downloaded from by Harvard Library User on 14 August 2019
    107 Tragic Excess in Hamlet JEFFREY WILSON Downloaded from https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 by Harvard Library user on 14 August 2019 August 14 on user Harvard Library by https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 from Downloaded “Be thou familiar, but by no means vulgar,” the aging Polonius councils his son Laertes in William Shakespeare’s Hamlet (1.3.60). Polonius proceeds with several additional “precepts” (1.3.57) which similarly promote the Aristotelian ideal of the golden mean, a cultural commonplace of the early-moden age which valorized the perfect middle ground between two extremes: Beware Of entrance to a quarrel; but being in, Bear’t that the opposed may beware of thee.... Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy. (1.3.64–70) Polonius goes on (and on), but the principle is clear. Don’t be too hot, but don’t be too cold. Don’t be too hard, but don’t be too soft. Don’t be too fast, but don’t be too slow. In each of these formulations, there is no substantive ethical good other than moderation. Virtue is thus fundamentally relational, determined by the extent to which it balances two extremes which, as extremes, are definitionally unethical. “It is no mean happiness, therefore, to be seated in the mean,” as Shakespeare wrote in The Merchant of Venice (1.2.6–7).1 More generally, in Hamlet,ShakespeareparalleledthesituationsofHamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamletmovestooslowly,Laertestooswiftly— and they both die at the end of the play—but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes.
    [Show full text]
  • Hamlet - Spring Tour Study Guide
    Kentucky Shakespeare Presents Hamlet - Spring Tour Study Guide Grades 6th - 12th Hear it. See it. Do it! Kentucky Shakespeare 323 West Broadway, Suite 401 Louisville, KY 40202 Dear Educator, Office 502-574-9900 Thank you for choosing Kentucky Shakespeare to enrich Fax 502-566-9200 your students’ lives with Art Education! We know that [email protected] the arts are essential to a child’s educational experience www.kyshakespeare.com Table of Contents and development. It is our object to keep the arts alive and thriving in our schools and communities. This comprehensive Study Guide includes essential •Synopsis………………………….…Page 3 background information on the Bard and his life, his written works, pre/post performance activities, and a list •William Shakespeare................Page 4 of applicable Academic Standards that are met with this performance. •Shakespeare’s Plays..................Page 5 While giving additional arts related experiences, these •Theatre Vocabulary...................Page 6 teacher-led activities are intended to broaden students’ understanding of the play as well as how Shakespeare can •Plot...........................................……Page 7 relate to our own lives. We hope that you and your students enjoy this 90 minute performance •Director’sHamlet............ Questions.................Page 8 Please contact us with any questions or need for further •About ...................Page 10 assistance. Thank you for supporting the Commonwealth’s largest in-school arts provider and the United States’ oldest, •Characters.....................................Page
    [Show full text]
  • TEACHING IMAGE PATTERNS in HAMLET HILARY SEMPLE, Former Lecturer at the University of the Witwatersrand
    TEACHING IMAGE PATTERNS IN HAMLET HILARY SEMPLE, former lecturer at the University of the Witwatersrand (originally published in CRUX, May 1993) In her fascinating study of Shakespeare’s imagery Caroline Spurgeon writes: The greater and richer the work the more valuable and suggestive become the images, so that in the case of Shakespeare I believe one can scarcely overrate the possibilities of what may be discovered through a systematic examination of them.' A systematic examination involving complete coverage is not possible in class or tutorial room, but many of the difficulties experienced by pupils or students in the study of Hamlet may be resolved by an analysis of some or the main image patterns in the play. First, the question, ‘what is an image?’ needs to be addressed, and the answer need not be one of great sophistication or subtlety. Many literary glossaries give the teacher a variety of definitions with which to work. The students need to grasp the fundamental idea that the dramatist creates many ‘mental pictures’ 2 in order to present ideas and concepts descriptively"3. After the group has agreed on a few working definitions of the image, pupils or students should be invited to create their own mental picture — to visualize a train travelling rapidly, kept on track, and given direction by its rails. This is to be kept in mind as a rough analogy for the movement of the play, which is kept ‘on track‘ and given direction by the image patterns created by the dramatist. In other words, the image patterns support and accompany the play’s action and plot like the rails do a train.
    [Show full text]
  • Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
    Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood.
    [Show full text]
  • Figurative Design in Hamlet the Significance of the Dumb Show
    FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS $8.00 FIGURATIVE DESIGN IN HAMLET The Significance of the Dumb Show By Lee Sheridan Cox Critics have long debated the significance of the dumb show in Hamlet. There is a wide divergence of opinion on the matter of its importance: to one critic, it is ''only a mechanical necessity"; to another, "the keystone to the arch of the drama." In mod­ ern performances of Hamlet, it is frequently omitted, a decision vigorously protested by some critics as detrimental to the play scene. But the presence of the dumb show in the play scene has given rise to questions that evoke little unanimity of response even among its proponents. Why does the mime directly anticipate the subject matter of The Murder of Gonzago? Does Shakespeare preview Gonzago to provide necessary in­ formation? If not, is the dumb show then superfluous? And if superfluous, was the de­ vice forced on Shakespeare, or was it merely a politic catering to popular taste? Is the show foisted on Hamlet by the visiting players? If not, how does it serve his larger plan and purpose? What is its effect on the stage audience? Does Claudius see the pan­ tomimic prefiguring of Gonzago? What does his silence during and immediately alter the show signify? The search for answers to such questions is usually confined to the play scene. But Professor Cox maintains that the true na­ ture and function of the show can be ap­ FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS Copyright © 1973 by the Ohio State University Press All Rights Reserved Manufactured in the United States of America Library of Congress Cataloging in Publication Data Cox, Lee Sheridan Figurative design in Hamlet Includes bibliographical references.
    [Show full text]
  • Shakespeare, Madness, and Music
    45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • Shakespearean Tragedy.Pdf
    Shakespearean Tragedy For B.A. Honours Part- 1 Paper – 1 Submitted by- Dr. Amritendu Ghosal Assistant Professor Department of English Anugrah Memorial College Gaya. Email- [email protected] A Shakespearean tragedy is a play penned by Shakespeare himself, or a play written in the style of Shakespeare by a different author. Shakespearean tragedy has got its own specific features, which distinguish it from other kinds of tragedies. It must be kept in mind that Shakespeare is mostly indebted to Aristotle’s theory of tragedy in his works. The elements of a Shakespearean tragedy are discussed below. Shakespeare’s tragedies: Titus Andronicus (1594) Romeo and Juliet (1596) Julius Caesar (1599) Hamlet ( 1600) Othello (1604) Timon of Athens (1607) King Lear (1606) Macbeth ( 1606) Antony and Cleopatra (1607) Cordelia’s death scene from King Lear (image from thoughtco.com) What Is a Tragedy? The word tragedy was derived from the Greek word tragoidia, which means ‘the song of the goat.’ It is called "the song of the goat" because in ancient Greece the theatre performers used to wear goatskin costumes to represent satyrs. Today in theatre and literature a tragedy is a work that has an unhappy ending. The ending must include the main character's downfall. 1. The Tragic Hero A tragic hero is one of the most significant elements of a Shakespearean tragedy. This type of tragedy is essentially a one-man show. It is a story about one, or sometimes two, characters. The hero may be either male or female and he or she must suffer because of some flaw of character, because of inevitable fate, or both.
    [Show full text]