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History of william shakespeare 5 pages
History plays of Shakespeare
Shakespeare's historical plays essay
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Prologue to King Lear - The Enigma of Shakespeare
Only a small percentage of the plays (some seven hundred) written during the Golden Age of Elizabethan drama (1590-1610) survive into print (Nolan 30). Popular drama in the 1580s existed as no more than the street professions of clowns and jugglers performing the occasional dramatic interlude (Nolan 35). As with the "bohemian" and "hippie" youth movements in New York City, Los Angeles, San Francisco and other American cities during the sixties, bands of reckless youth with working-class and college educations invaded the London urban underworld and street culture in the latter half of the sixteenth century, living mostly by their own wits and talents. In their early careers, they wrote for local actors of street plays, much like the early Beatles, Roy Orbison, Willie Nelson and Buddy Holly wrote material for other more popular performers in Liverpool and Nashville before they received their big break in the business (Rinehart). Employing the vagabond actors and performers living in the poorer back streets of London, they kindled an age of dramatic art that blazed for one single twenty-year episode, leaving only a few names like Shakespeare etched in the minds of middle-class London merchants and consumers of that age ("Elizabethan London").
As Elizabethan drama blazed only briefly, few intellectuals paid specific attention to the plays during the years of their performance (Folgeroy); the critics of the time scoffed at them (Hall 2: 126). Future scholars of drama appreciated the Elizabethan era only as they were raking over the ashes of a vanished art form (Ardath, "Searching"). Even Shakespeare had no candid biographer to chronicle the impor...
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Mute Cybelines: Shakespeare's Women. Narr. Diana Riggs. Dir. Anthony Hale.
2 episodes. PBS. WEBA, Boston. 26-27 Oct. 1985.
Nolan, Paul. "The Nature of Elizabethan Drama." Shakespeare Quarterly
14.3-4 (1986): 29-45.
Riggs, Diana, narr. Mute Cybelines: Shakespeare's Women. Dir. Anthony Hale. 2 episodes. PBS. WEBA, Boston. 26-27 Oct. 1985.
Rinehart, Thomas. Personal interview. 27 Feb. 1990.
Recome, Robert. "Re: Biography: Shakespeare." Online posting. 6 July 1999. shak-L. Shaksper: The Global Electronic Conference. 27 June 1999. http://www.arts.ubc.ca/english/iemls/shak/shak-L.html
Smith, Logan Pearsall. "On Reading Shakespeare." New York Times 20 Feb. 1989, natl. ed.: C23.
Who was Shakespeare? New York: Folger Library, [1974].
In circle three of Inferno, Dante conjures a despairing tone by use of vivid imagery and extensive detail to display the harrowing effects of gluttony. This is best exemplified through the weather patterns and general landscape of this circle, the Poets’ encounter with Cerberus, and Dante’s conversation with Ciacco, the Hog. These devices also allow for the conveying of ideas embedded within the text.
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
Moreover, Dante, the narrator of the Inferno, has succeeded in not only telling the frightening story of the Inferno, but also pointing out the importance of the relationship between human’s sins and God’s retribution, using the monsters as the symbols for each kind of sin and its punishment throughout the progress of the story, which teaches his readers to be well aware of their sins through the literature – a part of humanities; the disciplines that teach a man to be a human.
Dante Alighieri, The Divine Comedy I: Hell, trans. Dorothy Sayers. New York: Penguin Books, 1949
Dominic, C. Catherine. Shakespeare's Characters for Students. Detroit - New York -Toronto - London: Gale Research, 1997.
Alighieri, Dante. Inferno A New Verse Translation, Backgrounds and Contexts, Criticism (Norton Critical Editions). Boston: W. W. Norton & Company, 2006. Print
Inferno is the first and most famous of a three part series by Dante Alighieri known as the Divine Comedy that describes his journey to God through the levels of Hell, Purgatory, and Paradise written in the early fourteenth century. Scholars spanning over nearly seven centuries have praised its beauty and complexity, unmatched by any other medieval poem. Patrick Hunt’s review, “On the Inferno,” states, “Dante’s extensive use of symbolism and prolific use of allegory— even in incredible anatomical detail—have been often plumbed as scholars have explored the gamut of his work’s classical, biblical, historical, and contemporary political significance” (9). In the story, each of the three main characters, Dante, Virgil, and Beatrice, represent
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Riverside Shakespeare, 2nd ed. Boston: Houghton Mifflin Co., 1997. 366-398. Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.”
In the Inferno, Dante gives his audience the clear view as to what he believes as a Christian follower, that hell has to offer. He shows that worldly sin every single sin has a fair punishment. An example in Dante would be when Cocytus was frozen because he committed the cold crime of fraud. The deeper that Virgil and Dante go into hell, the greater volume of sin is committed. In each level of hell, the criminals are punished equally depending on what their crime was. Dante learns that God's punishment is just and that his power is divine. He sets forth one of the most fully developed Christian understanding of justice on this earth. He describes this justice as what we do as human beings will determine what happens to us when it is our time to go based on Gods judgment. An example of this divine power would be when the Furies will not let Dante and Virgil get past the Gate of Dis.
The Divine Comedy is a poetic Italian masterpiece by Dante Alighieri composed of three parts which he called respectively: The Inferno, The Purgatorio, and The Paradiso. As this edition’s translator, John Ciardi puts it, originally Dante simply entitled his works as The Comedy, however, in later years, it was renamed The Divine Comedy for the connections that the public saw it had with human behavior and morality (Ciardi, 2003). For the goals and purposes of this review, we will focus specifically on the portion of the book called The Inferno. At a time when religious and secular concerns were at their peak in fourteenth century Italy, a tone of conflict broke out between the church and the government. Beyond the commonalities of corruption
Among the followers of Christianity, questions arise in order to find the righteous path to Heaven’s gate. On the contrary, there are those who seek answers for what is forsaken. Dante Alighieri fully expresses himself on this dilemma in his written work, The Divine Comedy. The first part of the epic poem is Inferno; Dante defines and constructs Hell, based on the morals and judgments set by common beliefs during his time. Dante also uses Aristotle’s philosophical work to shape the structure of Hell. Undergoing a journey through Hell as himself, Dante places famous literary icons to assist in questioning the acts of justice. Dante builds and contrast between the sinners who are innocent, and those who deliberately perform evil deeds. Virgil, a fellow poet and pagan, exemplifies wisdom and clarity that which Dante must learn through his endeavor. Virgil’s guidance will provide contrast and the necessary guidance to reach Paradise. The change of character Dante experience, is dreadful; pity and remorse must be exempted to honor retribution for the sinners’ defiance against God. All the answers regarding Hell, lies upon meeting the primal sinner, Lucifer, the Fallen Angel. Dante’s journey unfolds a critical analysis in which portrays the human struggle in every individual. There are several implications of the four functions of myth that can be derived from Dante’s Inferno. Dante divides Hell into three dispositions: incontinence, malice and brutality. (Alighieri, Dante, and Longfellow 6.79-82)
Print. Honan, Park. Shakespeare: A Life. New York: Oxford University Press, 1998. Print.
The name most associated with excellence in theatre is William Shakespeare. His plays, more than any other playwright, resonate through the ages. It may be safe to say that he has influenced more actors, directors, and playwrights than any thespian in the history of the stage. But what were his influences? During the Middle Ages theatre was dominated by morality, miracle, and mystery plays that were often staged by the church as a means to teach the illiterate masses about Christianity. It wasn’t until the early sixteenth century that Greek tragedy experienced a revival, in turn, inspiring a generation of renaissance playwrights.