Richard III by William Shakespeare
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Criminal Types in Shakespeare August Goll
Journal of Criminal Law and Criminology Volume 30 Article 4 Issue 1 May-June Summer 1939 Criminal Types in Shakespeare August Goll Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation August Goll, Criminal Types in Shakespeare, 30 Am. Inst. Crim. L. & Criminology 22 (1939-1940) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. CRIMINAL TYPES IN SHAKESPEARE JUDGE AUGUST GOLL Translated from the Danish by Julius Moritzen, 4003 Foster Ave., Brooklyn, N. Y. This is the third and concluding portion of Mr. Moritzen's translation. The first portion was published in No. 4 of this volume, November-December, 1938; the second in No. 5, January-February, 1939.-[Ed.] RICHARD III Herbert Spencer in his book on righteousness and justice de- clares their aim to be that state of society where each member, without relinquishing his individual liberty of action, nevertheless tolerates the bonds that the rights of others demand of him. In other words, the principle of mutual respect for the rights of others underlies the social formula to which he subscribes. The criminal denies by his acts this ideal. But none of the criminals so far discussed are directly opposed to the fundamentals of this ideal state when judged by their actions. -
The Child's Two Bodies: Shakespeare, Sovereignty, and the End Of
7KH&KLOGV7ZR%RGLHV6KDNHVSHDUH6RYHUHLJQW\ DQGWKH(QGRI6XFFHVVLRQ Joseph Campana ELH, Volume 81, Number 3, Fall 2014, pp. 811-839 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/elh.2014.0034 For additional information about this article http://muse.jhu.edu/journals/elh/summary/v081/81.3.campana.html Access provided by Fondren Library, Rice University (29 Oct 2014 14:35 GMT) THE CHild’s Two Bodies: SHAKESPEARE, SOVEREIGNTY, AND THE END OF SUCCESSION BY JOSEPH CAMPANA The king is dead. Long live the child? In a dramatic canon full of the ghosts of dead fathers, William Shakespeare offers up tragic protagonists haunted by children. Desperate for assurances about his precarious political future, the monarch-murdering usurper Macbeth seeks out a second encounter with the infamous witches who prophesied his unexpected assump- tion of sovereignty. Macbeth meets Hecate herself and experiences visions of a crowned child, an armed head, a bloody babe, and a glorious future line of Scottish kings culminating in King James VI and I of Scotland and England.1 Pivotal to Macbeth is the question of what central characters do, or do not, see: gruesome witches, killing instruments, guilt-stained hands, ambulatory trees, and prophetic visions. In act 2, scene 1, Macbeth imagines or witnesses the weapon he will later use to slay King Duncan. “Is this a dagger which I see before me,” he famously asks, “The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still” (2.1.1–3). Macbeth’s mysterious dagger, Lady Macbeth’s blood-soaked hands, Hecate’s visions of a bloody babe, a crowned child, an armed head, and a line of seven kings: the famous images that flicker in and out of sight in Shakespeare’s Scottish tragedy I will describe as apparitions not of a state of mind but of the state itself. -
How Has Your Understanding of Ambition and Identity Been Informed by Exploring the Connections Between Richard III and Looking for Richard?
How has your understanding of ambition and identity been informed by exploring the connections between Richard III and Looking for Richard? Ambition and identity are two contextually transcendent facets of the human condition. This becomes apparent through the comparison of Shakespeare’s King Richard III (RIII) and Al Pacino’s “Looking For Richard” (LFR) as both texts explore the dynamics of ego, villainy, self-identity and representation of gender, yet are structurally, technically and contextually unalike. RIII is an English play from the late sixteenth century written for the stage, whereas LFR takes the form of an American docudrama which reshapes these core values of RIII in a modern setting. My understanding of RIII is also supported by Dr. Ian Frederick Moulton’s paper “‘A Monster Great Deformed’: The Unruly Masculinity of RIII.” One aspect of identity employed by Richard to achieve his ambitions is gender identity. Richard’s own masculinity is exhibited as he indulges in a hubristic soliloquy after ‘winning’ Lady Anne: “Was ever woman in this humour wooed? Was ever woman in this humour won?” Anaphora and rhetorical questioning emphasises Richard’s growing ego and hypermasculine disregard of women. Richard further displays his masculine identity by feigning feminine vulnerability – using gender identity and the personification of ‘beauty’ as a means of manipulation: “Nay, do not pause, for I did kill King Henry, but ‘twas thy beauty that provokèd me.” Moulton expands on this, “By offering Anne his sword, [Richard] stages a calculated (and illusory) gender reversal”. In LFR, director Al Pacino deliberately selects specific scenes from RIII to assess the relevance of Shakespeare in twenty first century America. -
Richard II First Folio
FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students. -
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. -
The Tragedy of King Richard the Third. Edited by A. Hamilton Thompson
Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/3edtragedyofking00shakuoft OFC 1 5 iqo? THE ARDEN SHAKESPEARE W. GENERAL EDITOR: J. CRAIG 1899-1906: R. H. CASE, 1909 THE TRAGEDY OF KING RICHARD THE THIRD *^ ^*^ THE WORKS OF SHAKESPEARE THE TRAGEDY OF KING RICHARD THE THIRD EDITED BY A. HAMILTON THOMPSON . ? ^^ METHUEN AND CO. LTD. 86 ESSEX STREET: STRAND LONDON Thircf Edition First Published . August 22nd igoy Second Edition . August ^9^7 Third Edition . igi8 CONTENTS PAGB Introduction vii The Tragedy of King Richard the Third ... 7 Appendix I. 211 Appendix II 213 Appendix III. ......... 215 Appendix IV 220 " INTRODUCTION Six quarto editions of The Life and Death of Richard III. were published before the appearance of the folio of 1623. The title of the first quarto is : TRAGEDY OF King Richard THE | the third. Containing, His treacherous Plots against his | | brother Clarence: the pittiefull murther of his innocent | nephewes : his tyrannicall vsurpation : with the whole course | | of his detested life, and most deserued death. As it hath beene | lately the Right honourable the Chamber- Acted by | Lord | laine his seruants. [Prijnted by Valentine Sims, | At LONDON | for Wise, dwelling in Paules Chuch-yard \sic\ at Andrew | Signe of the Angell. the | 1597. I In the title of the second quarto (i 598), printed for Wise by Thomas Creede, the words " By William Shake-speare " occupy a new line after " seruants." The fourth, fifth, and sixth quartos also spell the author's name with a hyphen. The third quarto (1602), also printed by Creede, gives it as "Shakespeare," and adds, in a line above, the words " Newly augmented followed by a comma, which appear in the titles of the re- maining quartos. -
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 -
Shakespeare's Warrior Kings
Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Shakespeare’s Warrior Kings HENRY V MACBETH RICHARD III 1 Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Concept: Perceptions & Cross Curricular Outcomes Representation Literacy ICT A student: 1. responds to and composes increasingly Shakespeare’s Warrior Language modes sophisticated and sustained texts for Kings Reading/writing/speaking/listening/ understanding, interpretation, critical analysis viewing & representing and pleasure. Deep knowledge: Texts 2. uses and critically assesses a range of How context shapes Extracts from Shakespeare’s plays: processes for responding to and composing. perspectives and Macbeth 5.transfers understanding of language concepts representations Richard III into new and different contexts. Henry V 9. demonstrates understanding of the ways texts An appreciation of others’ As well as: reflect personal and public worlds. perspectives The documentary In Search of The power of language and Shakespeare images & K. Yager’s CD rom Rationale This stage 5 unit is designed as an introductory unit to Shakespeare focusing on his representation of the warrior kings. Students begin by exploring Shakespeare’s context through a web quest, a CD-Rom and the documentary In Search of Shakespeare. The students will closely examine some of the key extracts from the plays to appreciate the textual details and features, rhythm and the perspective. The students will explore others’ perspectives of the kings and how ideas and information can be constructed. As a lawyer representing the family of the king the students will research the historical version of the king and compare their findings with Shakespeare’s representation or create a visual representation for the Power House Museum that explores different perspectives. -
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. -
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. -
God's Own Country Is Francis’ First Feature Film Project
GOD’S OWN COUNTRY A film by Francis Lee UK • 104 min. • 2017 OFFICIAL SELECTION: Sundance Film Festival 2017 Berlin International Film Festival 2017 San Francisco International Film Festival 2017 Provincetown International Film Festival 2017 Outfest Los Angeles 2017 (Opening Night) Distribution Contacts: Samuel Goldwyn Films Ryan Boring, [email protected] New York Publicity Contacts: Cinetic Marketing Ryan Werner, [email protected] Courtney Ott, [email protected] Bingham Bryant, [email protected] God’s Own Country Production Notes Logline Francis Lee’s feature film debut is a contemporary tale of self-discovery and emotional-awakening set on the sheep farming hills of rural England. Synopsis Johnny Saxby works long hours in brutal isolation on his family’s remote farm in the north of England. He numbs the daily frustration of his lonely existence with nightly binge-drinking at the local pub and casual sex. When a handsome Romanian migrant worker arrives to take up temporary work on the family farm, Johnny suddenly finds himself having to deal with emotions he has never felt before. An intense relationship forms between the two which could change Johnny’s life forever. Long Synopsis Spring. Yorkshire. Johnny Saxby (24) carries the weight of his family’s dilapidating sheep farm alone. His formidable grandmother Deirdre (70) is now too old to work the land, whilst his father Martin (50), once a capable farmer, struggles in the aftermath of a stroke. Socially and geographically isolated and overwhelmed by the responsibility, yet too proud to accept any help, Johnny numbs his frustration with drink, dope and casual sex. -
RICHARD III by William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High Sparks of Honor in Thee Have I Seen
RICHARD III By William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High sparks of honor in thee have I seen. - Richard II Sponsors Funders Mayor Catherine E. Pugh & the City of Baltimore This production has been funded by Mayor Catherine E. Pugh and the Baltimore Office of Promotion and The Arts The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Media Partners 2 RICHARD III Richard’s Revival A Note from the Founding Artistic Director Richard III is a remarkable play. The history in it is not very good. Shakespeare compresses events at will. The idea of who the protagonist and antago- Ian Gallanar. Photo by Theatre nists are in this play might not match the historical record. Consultants Collaborative Inc. The play is not as deeply moving or profound as King Lear or Hamlet. Instead, what makes this play great are Shakespeare’s craftsmanship and innovation. Richard, Duke of Gloucester is one of the greatest anti-heroes in the theater. Shakespeare prac- tically invents for the stage the notion that our main fi gure can be villainous and yet, somehow, likable. Why? Because he’s entertaining, he’s funny, he’s wicked, and he speaks to us directly. The anti-hero is a creation that has stood the test of time. My favorite period of Shake- speare in performance is the era in which troupes of actors toured the California gold rush towns. Their productions were deeply important to these guys in the middle of nowhere trying to strike it rich.