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As You Like It
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S AS YOU LIKE IT By JEANNE M. McGLINN, Ph.D., AND JAMES E. McGLINN, Ed.D. SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s As You Like It 2 INTRODUCTION Shakespeare seems to be everywhere these days. Romeo and Juliet and Midsummer Night's Dream, starring contemporary movie stars, have been box office hits. The film Shakespeare in Love, depicting how the playwright's experiences inspired him to write Romeo and Juliet, won multiple Oscars at the 1999 Academy Awards. These popular films have made the plays more accessible to students by exposing them to Elizabethan language and the action that brings the words to life. So teachers can expect a certain amount of positive interest among students when they begin to read a Shakespearean play. As You Like It, although not well known by students, will certainly delight and build on students' positive expectations. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of Shakespeare's "marriage" comedies in which love's complications end in recognition of the true identity of the lovers and celebration in marriage. This is a pattern still followed in today's romantic comedies. This play can lead to discussions of the nature of true love versus romantic love. Other themes, which spin off from the duality between the real and unreal, include appearance versus reality, nature ver- sus fortune, and court life of sophisticated manners contrasted with the natural life. -
“To Mutiny Against This Servitude”: the Sophisticated Democracy of As You Like It
Angles New Perspectives on the Anglophone World 8 | 2019 Neoliberalism in the Anglophone World “To mutiny against this servitude”: The Sophisticated Democracy of As You Like It Ifig Cocoual Electronic version URL: http://journals.openedition.org/angles/665 DOI: 10.4000/angles.665 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Ifig Cocoual, « “To mutiny against this servitude”: The Sophisticated Democracy of As You Like It », Angles [Online], 8 | 2019, Online since 01 April 2019, connection on 28 July 2020. URL : http:// journals.openedition.org/angles/665 ; DOI : https://doi.org/10.4000/angles.665 This text was automatically generated on 28 July 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. “To mutiny against this servitude”: The Sophisticated Democracy of As You Lik... 1 “To mutiny against this servitude”: The Sophisticated Democracy of As You Like It Ifig Cocoual Poetry is a kind of popular oratory […]. [D]on’t you think poets are the rhetoricians of the theatre? (Plato, Gorgias: 502c-d) 1 “Form serves as a necessary bridge to new, still unknown content” (Bakhtin 1986: 165), Bakhtin tells us, and As You Like It’s dramatic and linguistic forms tell a political- philosophical story that is at odds with the conservative restoration plot in which hierarchy is reaffirmed (5.4.156-9)1 after the pastoral interval. Although the play may seem to be an innocuously apolitical or ultimately conservative pastoral-romantic comedy, this paper suggests that its rhetoric and poetics, as well as some easily overlooked plot points, may well make it radically democratic. -
The Winter's Tale by William Shakespeare
EDUCATION PACK The Winter’s Tale by William Shakespeare 1 Contents Page Synopsis 3 William Shakespeare 4 Assistant Directing 6 Cue Script Exercise 8 Cue Scripts 9-14 Source of the Story 15 Interview with Simon Scardifield 16 Doubling decisions 17 Propeller 18 2 Synopsis Leontes, the King of Sicilia, asks his dearest friend from childhood, Polixenes, the King of Bohemia, to extend his visit. Polixenes has not been home to his wife and young son for more than nine months but Leontes’ wife, Hermione, who is heavily pregnant, finally convinces her husband's friend to stay a bit longer. As they talk apart, Leontes thinks that he observes Hermione’s behaviour becoming too intimate with his friend, for as soon as they leave his sight he is imagining them "leaning cheek to cheek, meeting noses, kissing with inside lip." He orders one of his courtiers, Camillo, to stand as cupbearer to Polixenes and poison him as soon as he can. Camillo cannot believe that Hermione is unfaithful and informs Polixenes of the plot. He escapes with Polixenes to Bohemia. Leontes, discovering that they have fled, now believes that Camillo knew of the imagined affair and was plotting against him with Polixenes. He accuses Hermione of adultery, takes Mamillius, their son, from her and throws her in jail. He sends Cleomines and Dion to Apollo’s Oracle at Delphi, for an answer to his charges. While Hermione is in jail her daughter is born, and Paulina, her friend, takes the baby girl to Leontes in the hope that the sight of his infant daughter will soften his heart. -
Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected]
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference November 2014 Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Recommended Citation Taft, Ed (2008) "Leisure, Idleness, and Virtuous Activity in Shakespearean Drama," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 2 , Article 2. Available at: http://ideaexchange.uakron.edu/spovsc/vol2/iss2008/2 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Unhae Langis Leisure, Idleness, and Virtuous Activity in Shakespearean Drama by Unhae Langis The topoi leisure and idleness abound in Shakespearean drama in complex manifestations, replete with class and gender inflections. The privileged term, leisure, modeled after Greek skolé, refers to the “opportunity afforded by freedom from occupations” (OED 2a), as enjoyed by the nobles who, excused from sustenance labor, could ideally devote themselves to “the development of virtue and the performance of political duties” (Aristotle, Politics VII.9.1328b33-a2). -
Rome in Shakespeare's Tragedies
Chronotopos A Journal of Translation History Angela Tiziana Tarantini & Christian Griffiths Introduction to by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during Romethe Fascist in Shakespeare’s Period. Tragedies 2/2019 Abstract DOI: 10.25365/cts-2019-1-2-8 Herausgegeben am / Éditée au / What follows is a prefatory commentary and an English Edited at the: Zentrum für translation of the critical introduction to the text Roma Translationswissenschaft der nelle tragedie di Shakespear Universität Wien Tragedies) published in Italy in 1924. The book contains the translations of Julius Caesare (Rome and inCoriolanus Shakespeare’s, both ISSN: 2617-3441 carried out by Ada Salvatore, and an introductory essay written by Giuseppe De Lorenzo. Our aim in translating the introductory essay by De Lorenzo is to raise awareness among non-Italian speaking scholars of how Shakespearian material was appropriated through translation by translators and intellectuals during the Fascist era. Keywords: translation, Shakespeare, fascism, Italy Zum Zitieren des Artikels Tarantini, Angela Tiziana & Griffiths, Christian (2019): Introduction to by De Lorenzo. How Shakespearean/ Pour Material citer l’article was appropriate / To cite thed by article: Translators and Scholars during the Fascist Period, Chronotopos 2 (1), 144-177. DOI: 10.25365/cts-2019-1-2-8 Rome in Shakespeare’s Tragedies Angela Tiziani Tarantini & Christian Griffiths: Introduction to Rome in Shakespeare’s Tragedies by DeLorenzo. Angela Tiziana Tarantini & Christian Griffiths Introduction to Rome in Shakespeare’s Tragedies by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during the Fascist Period Abstract What follows is a prefatory commentary and an English translation of the critical introduction to the text Roma nelle tragedie di Shakespeare (Rome in Shakespeare’s Tragedies) published in Italy in 1924. -
Writing the Shakespeare Mask: the Novelist's Choices
Writing The Shakespeare Mask: The Novelist’s Choices Newton Frohlich *Corresponding Author: [email protected] Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The authorship of the works of Shakespeare by de Vere is depicted from when he was five to the time of his the glover from Stratford -on-Avon has been considered a tragic death, including his "favored," sexual relationship myth almost from its inception. No less than Charles Dickins, with the queen and his intimate relationship with Emilia Mark Twain, Henry and William James, Ralph Waldo Bassano, who is widely accepted as the "Dark Lady" of Emerson, Herman Melville, Walt Whitman, Royal Shake-speare's Sonnets. (There is no evidence of any Shakespeare Company actors John Gielgud, Derek Jacobi, relationship between the Stratford man and Emilia Bassano.) Jeremy Irons, and Michael York, British Prime Minister In short, while the documentary evidence of de Vere's -- or Benjamin Disraeli, five United States Supreme Court the Stratford man's -- authorship of the works of Shakespeare Justices, and thousands who signed a Declaration of Doubt is missing, the circumstantial evidence of de Vere's About Will circulating the World-Wide Web have attested to authorship is overwhelming. And as United States Supreme their doubts. In response to the request by his publisher, Court Justice John Paul Stevens puts it, "circumstantial author Newton Frohlich, commencing research connected evidence can be as persuasive as documentary evidence with a sequel to his novel about Columbus, came across especially where, as here, there's so much of it. -
Galloping Onto the Throne: Queen Elizabeth I and the Symbolism of the Horse
Heidegger 1 Galloping onto the Throne: Queen Elizabeth I and the Symbolism of the Horse University of California, San Diego, Department of History, Undergraduate Honors Thesis By: Hannah von Heidegger Advisor: Ulrike Strasser, Ph.D. April 2019 Heidegger 2 Introduction As she prepared for the impending attack of the Spanish Armada, Queen Elizabeth I of England purportedly proclaimed proudly while on horseback to her troops, “I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England too.”1 This line superbly captures the two identities that Elizabeth had to balance as a queen in the early modern period: the limitations imposed by her sex and her position as the leader of England. Viewed through the lens of stereotypical gender expectations in the early modern period, these two roles appear incompatible. Yet, Elizabeth I successfully managed the unique path of a female monarch with no male counterpart. Elizabeth was Queen of England from the 17th of November 1558, when her half-sister Queen Mary passed away, until her own death from sickness on March 24th, 1603, making her one of England’s longest reigning monarchs. She deliberately avoided several marriages, including high-profile unions with Philip II of Spain, King Eric of Sweden, and the Archduke Charles of Austria. Elizabeth’s position in her early years as ruler was uncertain due to several factors: a strong backlash to the rise of female rulers at the time; her cousin Mary Queen of Scots’ Catholic hereditary claim; and her being labeled a bastard by her father, Henry VIII. -
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. -
Contents. the Tragedy of Cleopatra by Samuel Daniel. Edited by Lucy Knight Editing a Renaissance Play Module Code: 14-7139-00S
Contents. The tragedy of Cleopatra By Samuel Daniel. Edited by Lucy Knight Editing a Renaissance Play Module Code: 14-7139-00S Submitted towards MA English Studies January 11th, 2011. 1 | P a g e The Tragedy of Cleopatra Front matter Aetas prima canat veneres, postrema tumultus.1 To the most noble Lady, the Lady Mary Countess of Pembroke.2 Behold the work which once thou didst impose3, Great sister of the Muses,4 glorious star5 Of female worth, who didst at first disclose Unto our times what noble powers there are In women’s hearts,6 and sent example far, 5 To call up others to like studious thoughts And me at first from out my low repose7 Didst raise to sing of state and tragic notes8, Whilst I contented with a humble song Made music to myself that pleased me best, 10 And only told of Delia9 and her wrong And praised her eyes, and plain’d10 mine own unrest, A text from whence [my]11 Muse had not digressed Had I not seen12 thy well graced Antony, Adorned by thy sweet style in our fair tongue 15 1 ‘Let first youth sing of Venus, last of civil strife’ (Propertius, 2.10.7). This quote is a reference to the Classical ‘Cursus,’ which state that you graduate from writing poetry to writing tragedy. Daniel is saying he wrote love poetry in his youth but now Mary Sidney has given him the courage to aspire to greater things, i.e. tragedy. 2 Mary Sidney. See Introduction, ‘Introductory dedication: Mary Sidney and family’. -
Child Actors, Royalist Publicity, and the Space of the Nation in the Queen’S Men’S True Tragedy of Richard the Third
192 Issues in Review 21 Pietro Aretino, La Talanta, in Giovanna Rabitti, Carmine Boccia, and Enrico Gara- velli (eds), Teatro, Vol. 2 (Il Marescalco, Lo Ipocrito, Talanta) (Roma, 2010): 417 (my translation). 22 Castiglione, The Book of the Courtier, 66. 23 Ibid, 369. 24 For an interesting speculation on the action of Marescalco and the carnivalesque aspect of this ducal manipulation, see Deanna Shemek, ‘Aretino’s Marescalco: Mar- riage Woes and the Duke of Mantua’, Renaissance Studies 16.3 (2002), 366–80. 25 Di Maria, The Italian Tragedy in the Renaissance. Di Maria devotes an interesting and significant discussion to the specific role of sound in the theatre and one work that he examines in detail is Aretino’s tragedy, Orazio. ‘What makes thou upon a stage?’: Child Actors, Royalist Publicity, and the Space of the Nation in the Queen’s Men’s True Tragedy of Richard the Third At the opening of one of their signature histories, The True Tragedy of Richard the Third, the Queen’s Men go out of their way to reassure their audience that what follows will not be a pretentious, inscrutable art play. Yes, a shield- bearing ghost has just crossed the stage crying out for revenge in Senecan Latin,1 and yes, a pair of precocious boys in allegorical women’s clothing now claim our attention.2 Children of some elitist chapel, perhaps? Students from some privileged school? These were tropes that were current not only in London, but also in venues along the Queen’s Men’s provincial touring routes where local nobility patronized choirboys as well as adult compan- ies, and schools taught public speaking through play-making. -
As You Like It First Folio
1 As You Like It: TEACHER AND STUDENT RESOURCE GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and characters contained in classic texts and to discover the connection between classic theatre and our modern Who’s Who 4 perceptions. We hope that this First Folio: Teacher and Student Resource Guide will prove useful to you while preparing to Close Reading Questions 5 attend As You Like It. Into the Woods: The Forest of 6 This guide provides information and activities to help students Arden and Pastoral Tradition form a personal connection to the play before attending the production. It contains material about the playwrights, their Nature vs. Fortune 7 world and their works. Also included are approaches to explore Primogeniture 8 the plays and productions in the classroom before and after the performance. Shakespeare’s Language 9 The First Folio guide is designed as a resource both for teachers and students. All activities meet the “Vocabulary Classroom Activities 13 Acquisition and Use” and “Knowledge of Language” Theatre Etiquette 15 requirements for the grades 8-12 Common Core English Language Arts Standards. We encourage you to photocopy Resource List 16 these articles and activities and use them as supplemental material to the text. Enjoy the show! Founding Sponsors The First Folio Teacher and Student Resource Guide for Miles Gilburne and Nina Zolt the 2014-2015 Season was developed by the Shakespeare Theatre Company Education Department: Leadership Support Director of Education Samantha K. -
Peter Saccio
William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Peter Saccio THE TEACHING COMPANY ® Peter Saccio, Ph.D. Leon D. Black Professor of Shakespearean Studies Dartmouth College Peter Saccio has taught at Dartmouth College since 1966. He chaired the English department from 1984 to 1988; in addition, he has won Dartmouth’s J. Kenneth Huntington Memorial Award for Outstanding Teaching. He has served as visiting professor at Wesleyan University and at University College in London. He received a B.A. from Yale University and a Ph.D. from Princeton. He is the author of The Court Comedies of John Lyly (1969) and Shakespeare's English Kings (1977), the latter a classic in its field. He edited Middleton’s comedy A Mad World, My Masters for the Oxford Complete Works of Thomas Middleton (1996). He has published or delivered at conferences more than twenty papers on Shakespeare and other dramatists. Professor Saccio has directed productions of Twelfth Night, Macbeth, and Cymbeline. He has devised and directed several programs of scenes from Shakespeare and from modern British drama, and he served as dramaturg for the productions of his Dartmouth colleagues. He has acted the Shakespearean roles of Casca, Angelo, Bassanio, and Henry IV as well as various parts in the ancient plays of Plautus and the modern plays of Harold Pinter, Tom Stoppard, and Peter Shaffer. ©1999 The Teaching Company Limited Partnership i Table of Contents William Shakespeare: Comedies, Histories, and Tragedies Part I Professor Biography ........................................................................................... i Foreword .......... ................................................................................................. 1 Lecture One Shakespeare Then and Now...................................... 3 Lecture Two The Nature of Shakespeare’s Plays..........................