الله يجزاكي الجنة اختي راضية
الله يسعدك لكن للاسف مو هذا الموقع
اذا فية احد من الاخوات يعرف الله يجزاة خير يدلنا لاني تعبتك معاي اختي راجية
واذا كان عندك مواقع كويسة مثل اللي اعطيتيني فاانا بانتظارك
مشكوووورة اختي راجية.
سميّة
•
الله يوفقك يا الغالية دوختك بالمواقع:)
لكن تصدقين الموضوع صار تحدي بالنسبة لي هههههههههههههههههه يعني لازم ألقى الموقع :)
نداء لأخواتي في واحة اللغة الإنجليزية ساعدو سميّة
:26:
لكن تصدقين الموضوع صار تحدي بالنسبة لي هههههههههههههههههه يعني لازم ألقى الموقع :)
نداء لأخواتي في واحة اللغة الإنجليزية ساعدو سميّة
:26:
سميّة
•
الله يجزاكي الفردووس ويرضى عليكي اختي راجية
ماقصرتي معاي
بالعكس افدتيني بالمواقع الثانية
لكن من ضمن الكلام اللي اخذتهم من الموقع هم
John Milton 00
John Milton (December 9, 1608 – November 8, 1674) was an English poet, most famous for his blank verse epic Paradise Lost.
His father, John Milton Sr., was a well-off scrivener, and his grandfather a wealthy landowner in Oxfordshire who, being a devout Roman Catholic, had disinherited Milton's father after finding an English Bible in his possession.
Milton's father—who contributed a collection of madrigals in honor of Elizabeth I—encouraged his ambitions; he was writing poetry by the age of nine. "When he was young," Christopher, his younger brother, recalled to an early biographer after John's death, "he studied very hard and sat up very late, commonly till twelve or one o'clock at night." He was educated at home under the tutelage of Thomas Young, at St Paul's School, London, and at Christ's College, Cambridge (1625-32). While still at Cambridge he wrote some fine poems, among them the "Ode on the Morning of Christ's Nativity" and the octosyllabics L'Allegro and Il Penseroso. While at Cambridge he developed a reputation for poetic skill and general erudition, although due to his hair, which he wore long, and his general delicacy of manner, he was known as the "Lady of Christ's", an epithet perhaps applied with some degree of scorn.
In 1638 and 1639 he traveled on the continent, coming into contact with such men as Grotius, Galileo, and Lucas Holete, but was recalled by a rumor of the outbreak of the English Civil War.
His incessant labours cost him his eyesight, forcing him to write through a scribe. Nevertheless, he retained his office until the Restoration, after which those who collaborated with Cromwell were sought. Despite being Cromwell's Secretary for Foreign Tongues and official propagandist, Milton was not at the top of the list. He was accidentally caught and was arrested in October 1659. He would have been executed had not several influential people spoken on his behalf, including Andrew Marvell, his first assistant. Charles II decided to spare Milton, and he was released from prison on December 15.
Milton then lived in retirement, devoting himself once more to poetical work, and publishing Paradise Lost in 1667, the epic by which he attained universal fame (blind and impoverished he sold the publishing rights to this work on April 27th that year for £10), to be followed by Paradise Regained, together with Samson Agonistes, a drama on the Greek model, in 1671.
Influences and Beliefs
John Milton was originally destined to a ministerial career, but his independent spirit led him to give up this career, and, as he said, to "prefer a blameless silence before the sacred office of speaking bought and begun with servitude and forswearing." He spent five quiet years at Horton, Berkshire a small village near Windsor where his family rented a house between 1632 and 1640, reading and writing. To this period belong "Arcades", "Comus", and "Lycidas", all breathing the lofty spirit of his religious convictions.
The next twenty years were devoted almost entirely to prose work in the service of the Puritan cause, although some of his beliefs were unconventional to the point of heresy. In 1641 and 1642 appeared his tractates Of Reformation touching Church Discipline in England, Of Prelatical Episcopacy, the two defenses of Smectymnuus (an organization of protestant divines named after their initials), and The Reason of Church Government Urged against Prelaty. With frequent passages of real eloquence lighting up the rough controversial style of the period, and with a wide knowledge of ecclesiastical antiquity, he struck weighty blows at the intolerant High-church party which seemed to dominate the Church of England.
His intercourse with Hartlib and Comenius led him to write in 1644 a short tract (On Education) urging a reform of the national universities; and in the same year appeared the most popular of his prose writings, Areopagitica, a Speech for the Liberty of Unlicensed Printing.
The Tenure of Kings and Magistrates (1649) announced his adhesion to the cause of the Commonwealth, to which he was made Latin secretary in March. As part of his duties in this post, he wrote his Eikonoklastes (1649) in reply to the Eikon Basilike popularly attributed to Charles I, the first Pro populo Anglicano defensio (1651) against Salmasius, and in 1654 his Defensio secunda and Pro se defensio; and his fine Latin style was of great avail for the drafting of the state papers which passed between Oliver Cromwell's government and the continent.
Milton's religious position, partially expressed in the treatises named above and in his Civil Power in Ecclesiastical Causes and Considerations touching the Likeliest Means to Remove Hirelings out of the Church (1659), is most clearly described in the posthumous and apparently unfinished De Doctrina Christiana, the manuscript of which, long lost, was discovered only in 1823. A number of recent Milton scholars believe De Doctrina Christiana was, like his Artis Logicae, a modification and revision of the writings of others, and since it was incomplete, they conclude "We cannot know what other changes, especially what deletions of doctrines to which he did not subscribe, Milton would have made in completing his task revision" (Campbell, 1996).
If, however, De Doctrina Christiana accurately represents Milton's opinions, we would find that his religious point of view is entirely subjective and individualistic; that is, his faith would be deduced from Scripture by the inner illumination of the Spirit, not tied to human traditions. It would, therefore, not be surprising to find him taking his own view on the Trinity, the divinity of Christ and the Holy Ghost, predestination, the creation of the world, etc., as also in regard to practical questions such as marriage, infant baptism, and the observance of the sabbath. What we find in the book is not a complete, scientific treatment of doctrine in the modern sense but an exposition of the clear and universally acceptable teaching of scripture.
In many points Milton is the prophet and herald of a new era, a Protestant individualist and idealist, as well as a typical figure for the revolutionary cause to which he devoted the best powers of his life.
Family Life
In June 1642, Milton married 16 year-old Mary Powell. A month later, she visited her family and didn't return. Over the next three years, Milton published a series of pamphlets arguing for the legality and morality of divorce, the first entitled The Doctrine and Discipline of Divorce, in which he attacked the English marriage law as it had been taken over almost unchanged from medieval Catholicism, sanctioning divorce on the ground of incompatibility or childlessness.
In 1645, Mary finally returned. In 1646, her family, having been ejected from Oxford for supporting Charles I in the Civil War, moved in with the couple. They had 4 children: Anne, Mary, John, and Deborah. Mary died on May 5, 1652 from complications following Deborah's birth on May 2, which may have affected Milton deeply, as evidenced by his 23rd sonnet. In June, John died at age 15 months; it is not known if Anne or Deborah survived to adulthood. However, Mary is known to have survived to adulthood. Though the date of her death is not known, it is known that she married one John Maugridge. They became the parents of a daughter, Mary Milton Maugridge in 1669. This grandaughter of John Milton died on February 2, 1740 in Berks County, Pennsylvania. She was the wife of George Boone III. They had nine children, all born in England. The three oldest children came to America, acquired land and established a homestead. On October 10, 1717, George Boone III, his wife, Mary Milton Maugridge Boone, and their six younger children arrived in Philadelphia. In 1720, one of their sons, Squire Boone, was married to Sarah Morgan. They had eleven children, including American frontiersman, Daniel Boone. John Milton was the great great grandfather of Daniel Boone. ("Compass: A Newsletter for Descendants, Genealogists, and Historians;" The Boone Society, Inc.; Vol. 9 Issue 2, April 2005; Pg 17.)
On November 12, 1656, Milton married Katherine Woodcock. She died on February 3, 1658, less than 4 months after giving birth to their daughter, Katherine, who died on March 17.
On February 24, 1663, Milton married Elizabeth Minshull, who cared for him until his death.
Works
• Twenty-three sonnets, written throughout his life.
• Arcades
• Comus
• Lycidas
• On the Morning of Christ's Nativity
• Paradise Lost
• Paradise Regained
• Samson Agonistes
• Various prose tracts and polemics.
• Areopagitica, (1644)
• Eikonoklastes, (1649)
Legacy
The John Milton Society for the Blind was founded in 1928 by Helen Keller to develop an interdenominational ministry that would bring spiritual guidance and religious literature to deaf and blind persons
William Shakespeare00
William Shakespeare (April 1564; baptised April 26, 1564 (O.S.); – April 23, 1616 (O.S.), May 3, 1616 (N.S.)), English poet and playwright, has a reputation as the greatest of all writers in the English language, as well as one of the world's pre-eminent dramatists.
Shakespeare's literary achievement is not confined to his mastery of the poetic and dramatic form; his ability to capture and convey the most profound aspects of human nature is considered by many scholars to be unequalled, due to his understanding of the range and depth of human emotions. A colossal figure in world literature, Shakespeare's legacy and influence continues to be felt in all parts of the globe. He has been translated into every major living language, and his plays are continually performed all around the world. Shakespeare was among the very few playwrights who have excelled in both tragedy and comedy.
Shakespeare wrote his works between 1588 and 1616, although the exact dates and chronology of the plays attributed to him are often uncertain. His prolific output is especially impressive in light of the fact that he lived only 52 years.
Shakespeare's influence on the English-speaking world shows in the widespread use of quotations from Shakespearean plays, the titles of works based on Shakespearean phrases, and the many adaptations of his works.
Biography
Most historians agree that William Shakespeare—actor, playwright and poet—was one individual whose life can be clearly mapped out through the study of considerable historical evidence.
Shakespeare was born in Stratford-upon-Avon, England, in April 1564, the son of John Shakespeare, a glove-maker, and of Mary Arden, a gentry daughter. His baptismal record dates to April 26 of that year. Because baptisms were performed within a few days of birth, tradition has settled on April 23 as his birthday. It provides a convenient symmetry: he died on that day in 1616, and, perhaps appropriately for a playwright commonly considered to be England's greatest, it is also the Feast Day of Saint George, patron saint of England.Shakespeare's father, prosperous at the time of William's birth, was prosecuted for participating in the black market in wool, and later lost his position as an alderman. Some evidence exists that both sides of the family had Roman Catholic sympathies.
As the son of a prominent town official, William Shakespeare probably attended the Stratford grammar school, which may have provided an intensive education in Latin grammar and literature. The quality of Elizabethian era grammar schools was uneven. It is presumed that the young Shakespeare attended this school, since he was entitled to, although this cannot be confirmed because the school's records have not survived. There is no evidence that his formal education extended beyond grammar school.
Shakespeare married Anne Hathaway, eight years his senior, on November 28, 1582 at Temple Grafton, near Stratford. Two neighbors of Anne, Fulk Sandalls and John Richardson, posted bond that there were no impediments to the marriage. There appears to have been some haste in arranging the ceremony: Anne was three months pregnant. After his marriage, William Shakespeare left few traces in the historical record until he appeared on the London literary scene.
On May 26, 1583 Shakespeare's first child, Susanna, was baptised at Stratford. A son, Hamnet, and a daughter, Judith, were baptized soon after on February 2, 1585.
By 1592 Shakespeare had enough of a reputation for Robert Greene to denounce him as "an upstart Crow, beautified with our feathers, that with his Tygers hart wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and beeing an absolute Johannes factotum, is in his owne conceit the onely Shake-scene in a countrey." (The italicised line parodies the phrase, "Oh, tiger's heart wrapped in a woman's hide" which Shakespeare used in Henry VI, part 3.)
In 1596 Hamnet died; he was buried on August 11, 1596. Because of the similarities of their names, some suspect that his death was part of the inspiration behind The Tragical History of Hamlet, Prince of Denmark (c.1601), a reworking of an older, lost play.
By 1598 Shakespeare had moved to the parish of St. Helen's, Bishopsgate, and appeared at the top of a list of actors in Every man in his Humour written by Ben Jonson.Shakespeare became an actor, writer and finally part-owner of a playing company, known as The Lord Chamberlain's Men — the company took its name, like others of the period, from its aristocratic sponsor, the Lord Chamberlain. The group became popular enough that after the death of Elizabeth I and the coronation of James I (1603), the new monarch adopted the company and it became known as the King's Men.
In 1604, Shakespeare acted as a matchmaker for his landlord's daughter. Legal documents from 1612, when the case was brought to trial, show that in 1604, Shakespeare was a tenant of Christopher Mountjoy, a Huguenot tire-maker (a maker of ornamental headdresses) in the northwest of London. Mountjoy's apprentice Stephen Belott wanted to marry Mountjoy's daughter. Shakespeare was enlisted as a go-between, to help negotiate the details of the dowry. On Shakespeare's assurances, the couple married. Eight years later, Belott sued his father-in-law for delivering only part of the dowry. Shakespeare was called to testify, but remembered little of the circumstances. Various documents recording legal affairs and commercial transactions show that Shakespeare grew rich enough during his stay in London years to buy a property in Blackfriars, London and own the second-largest house in Stratford, New Place.
In 1609 his sonnets were published, love poems variously addressed: most to a youth (or 'fair lord'); the remainder to a 'dark lady'. Some regard the former set as being homoerotic, but that characterization remains in debate.
Shakespeare retired in about 1611. His retirement was not entirely without controversy. He was drawn into a legal quarrel regarding the enclosure of common lands. (Enclosure enabled land to be converted to pasture for sheep, but removed it as a resource for the poor.) Shakespeare had a financial interest in the land, and to the chagrin of some, he took a neutral position, making sure only that his own income from the land was protected.
In the last few weeks of Shakespeare's life, the man who was to marry his younger daughter Judith - a tavern-keeper named Thomas Quiney - was charged in the local church court with "fornication." A woman named Margaret Wheeler had given birth to a child and claimed it was Quiney's; she and the child both died soon after. Quiney was disgraced, and Shakespeare revised his will to ensure that Judith's interest in his estate was protected from possible malfeasance on Quiney's part.
Shakespeare died in 1616, on April 23. He remained married to Anne until his death and was survived by his two daughters Susannah and Judith. Susannah married Dr John Hall, and later became the subject of a court case.
Shakespeare is buried in the chancel of Holy Trinity Church in Stratford-upon-Avon. He was granted the honor of burial in the chancel not on account of his fame as a playwright, but for purchasing a share of the tithe of the church for £440 (a considerable sum of money at the time). A bust of him placed by his family on the wall nearest his grave shows him posed as writing. Each year on his claimed birthday, a new quill pen is placed in the writing hand of the bust. It was common in his time for graves in the chancel of the church to later be emptied with the contents removed to a nearby charnel house as room in the chancel was required. As a result, his grave carries a well-known epitaph:
Good friend, for Jesus' sake forbear,
To dig the dust enclosed here.
Blest be the man that spares these stones,
But cursed be he that moves my bones.
Popular legend claims that unpublished works by Shakespeare may lie inside his tomb, but no-one has ever verified these claims, perhaps for fear of the curse included in the quoted epitaph.
Reputation
Main articles: Shakespeare's reputation, Timeline of Shakespeare criticism
Shakespeare's reputation has grown higher and higher since his own time, as illustrated in a timeline of Shakespeare criticism from the 17th to 20th century.
During his lifetime and shortly after his death, Shakespeare was well-regarded, but not considered the supreme poet of his age. He was included in some contemporary lists of leading poets, but he lacked the stature of Edmund Spenser or Philip Sidney. It is more difficult to assess his contemporary reputation as a playwright: plays were considered ephemeral and even somewhat disreputable entertainments rather than serious literature. The fact that his plays were collected in an expensively produced folio in 1623 (the only precedent being Ben Jonson's Workes of 1616) and the fact that that folio went into another edition within nine years, indicate that he was held in unusually high regard for a playwright.
After the Interregnum stage ban of 1642—1660, the new Restoration theatre companies had the previous generation of playwrights as the mainstay of their repertory, most of all the phenomenally popular Beaumont and Fletcher team, but also Ben Jonson and Shakespeare. Old plays were often adapted for the Restoration stage, and where Shakespeare is concerned, this undertaking has seemed shockingly respectless to posterity. A notorious example is Nahum Tate's happy-ending King Lear of 1681, which held the stage until 1838. In the early 18th century, Shakespeare took over the lead on the English stage from Beaumont and Fletcher, never to relinquish it again.
In literary criticism, by contrast, Shakespeare held a unique position from the start. The unbending French neo-classical "rules" and the three unities of time, place, and action were never strictly followed in England, and practically all critics gave the more "correct" Ben Jonson second place to "the incomparable Shakespeare" (John Dryden, 1668), the follower of nature, the untaught genius, the great realist of human character. The long-lived myth that the Romantics were the first generation to truly appreciate Shakespeare and to prefer him to Ben Jonson is contradicted by accolades from Restoration and 18th-century writers such as John Dryden, Joseph Addison, Alexander Pope, and Samuel Johnson. The 18th century is also largely responsible for setting the text of Shakespeare's plays. Nicholas Rowe created the first truly scholarly text for the plays in 1709, and Edmund Malone's Variorum Edition (published posthumously in 1821) is still the basis of modern editions of the plays.
At the beginning of the 19th century, Romantic critics such as Samuel Taylor Coleridge raised admiration for Shakespeare to adulation or bardolatry, in line with the Romantic reverence for the poet as prophet and genius.
Identity and authorship
Main article: Shakespearean authorship
As noted above, there is considerable historical evidence of the existence of a William Shakespeare who lived in both Stratford-upon-Avon and London. The vast majority of academics identify this Shakespeare as the Shakespeare. Over the years however, such figures as Walt Whitman, Mark Twain, Henry James, and Sigmund Freud have expressed disbelief that the man from Stratford-upon-Avon, christened William Shaksper or Shakspere, actually produced the works attributed to him. This scepticism is variously grounded: the lack of a single book to be found in his otherwise detailed will, the circumscribed social, education and travel opportunities available to the young author that could have served to prepare him, the language of the works itself. Mainstream scholars consider all these supposed mysteries to be explicable.
Many attribute this debate to the scarcity and ambiguity of many of the historical records of this period. Even the painting in the National Portrait Gallery, London (illustration above) may not depict Shakespeare after all, and the well-known "Flower Portrait" at Stratford-upon-Avon was demonstrated (by analyzing pigment and discovering chrome yellow) to be an early 19th-century forgery http://news.bbc.co.uk/2/hi/entertainment/4471515.stm. Various fringe scholars have suggested writers such as Sir Francis Bacon, Christopher Marlowe and even Queen Elizabeth I as alternative authors or co-authors for some or all of "Shakespeare's" work. Some of these claims necessarily rely on conspiracy theories to explain the lack of direct historical evidence for them, although advocates of alternative authors point to evidentiary gaps in the orthodox history.
Edward de Vere, the 17th Earl of Oxford, an English nobleman and intimate of Queen Elizabeth, became the most prominent alternative candidate for authorship of the Shakespeare canon, after having been identified in the 1920s. Oxford partisans note the similaries between the Earl's life, and events and sentiments depicted in the plays and sonnets. Oxford was also contemporaneously identified as a poet and writer of some talent, and had the documented education, travel and life experience that one would ordinarily associate with works both as broad and detailed as Shakespeare.
A related question in mainstream academia addresses whether Shakespeare himself wrote every word of his commonly-accepted plays, given that collaboration between dramatists routinely occurred in the Elizabethan theatre. Serious academic work continues to attempt to ascertain the authorship of plays and poems of the time, both those attributed to Shakespeare and others. See academic Shakespearean authorship debates.
Word Coinage
Shakespeare provided the first print citations for many of the words (ode, addiction, alligator) and phrases ("my mind's eye," "one fell swoop") that have become household words in our time.
See: Partial List of Shakespeare's Coinages National Geographic Article About Shakespeare's Coinages
Works
Canonical works
The plays and their categories
Shakespeare's plays first appeared in print as a series of folios and quartos, and scholars, actors and directors continue to study and perform them extensively. They form an established part of the Western canon of literature.
The plays are traditionally divided into tragedies, comedies and histories, following the logic of the original publications; however, modern criticism has labelled some of them "problem plays" as they elude easy categorization, or perhaps purposefully break generic conventions. In addition, Shakespeare's later comedies are commonly known as "romances".
The following list gives the plays in the order and categorization of the 1623 First Folio (the first collected edition of the plays). A single asterisk indicates a play commonly classified as a 'romance' today; two asterisks indicates those generally accepted as 'problem plays' - though other comedies still occasion critical dispute. To see the plays in the order in which they were written, see Chronology of Shakespeare plays.
• Comedies
o The Tempest *
o The Two Gentlemen of Verona
o The Merry Wives of Windsor
o Measure for Measure **
o The Comedy of Errors
o Much Ado About Nothing
o Love's Labour's Lost
o A Midsummer Night's Dream
o The Merchant of Venice **
o As You Like It
o Taming of the Shrew
o All's Well That Ends Well
o Twelfth Night or What You Will
o The Winter's Tale *
o Pericles, Prince of Tyre * (not included in the First Folio)
o The Two Noble Kinsmen * (not included in the First Folio)
• Histories
o King John
o Richard II
o Henry IV, part 1
o Henry IV, part 2
o Henry V
o Henry VI, part 1
o Henry VI, part 2
o Henry VI, part 3
o Richard III
o Henry VIII
• Tragedies
o Troilus and Cressida **
o Coriolanus
o Titus Andronicus
o Romeo and Juliet
o Timon of Athens
o Julius Caesar
o Macbeth
o Hamlet
o King Lear
o Othello
o Antony and Cleopatra
o Cymbeline * (normally classed as a comedy today)
Dramatic collaborations
Like most playwrights of his period, Shakespeare did not always write alone and a number of his plays were collaborative, although the exact number is open to debate. Some of the following attributions, such as for The Two Noble Kinsmen, have well-attested contemporary documentation; others, such as for Titus Andronicus, remain more controversial, and are dependant on linguistic analysis by modern scholars.
• Cardenio, a lost play; contemporary reports say that Shakespeare collaborated on it with John Fletcher.
• Henry VI, part 1, possibly the work of a team of playwrights, whose identities we can only guess at. Some scholars argue that Shakespeare wrote less than 20% of the text.
• Henry VIII, generally considered a collaboration between Shakespeare and John Fletcher.
• Macbeth: Thomas Middleton may have revised this tragedy in 1615 to incorporate extra musical sequences.
• Measure for Measure may have undergone a light revision by Thomas Middleton at some point after its original composition.
• Pericles Prince of Tyre may include the work of George Wilkins, either as collaborator, reviser, or revisee.
• Timon of Athens may result from collaboration between Shakespeare and Thomas Middleton; this might explain its incoherent plot and unusually cynical tone.
• Titus Andronicus may be a collaboration with, or revision of, George Peele.
• The Two Noble Kinsmen, published in quarto in 1654 and attributed to John Fletcher and William Shakespeare; each playwright appears to have written about half of the text.
Lost plays by Shakespeare
• Love's Labour's Won A late sixteenth-century writer, Francis Meres, and a scrap of paper (apparently from a bookseller), both list this title among Shakespeare's recent works, but no play of this title has survived. It may have become lost, or it may represent an alternate title of one of the plays listed above, such as Much Ado About Nothing or All's Well That Ends Well.
• Cardenio, a late play by Shakespeare and Fletcher, referred to in several documents, has not survived. It re-worked a tale in Cervantes' Don Quixote. In 1727, Lewis Theobald produced a play he called Double Falshood, which he claimed to have adapted from three manuscripts of a lost play by Shakespeare that he did not name. Double Falshood does re-work the Cardenio story, and modern scholarship generally agrees that Double Falshood represents all we have of the lost play.
Poems
Shakespeare's other literary works include:
• Shakespeare's Sonnets.
• Longer poems:
o Venus and Adonis
o The Rape of Lucrece
o The Passionate Pilgrim
o The Phoenix and the Turtle
o A Lover's Complaint
Apocrypha
Plays possibly by Shakespeare
Note: For a comprehensive account of plays possibly by Shakespeare, see the separate entry on the Shakespeare Apocrypha.
• Edward III Some scholars have recently chosen to attribute this play to Shakespeare, based on the style of its verse. Others refuse to accept it, citing, among other reasons, the mediocre quality of the characters. If Shakespeare had involvement, he probably worked as a collaborator.
• Sir Thomas More, a collaborative work by several playwrights, possibly including Shakespeare. That Shakespeare had any part in this play remains uncertain.
Other works possibly by Shakespeare
• A Funeral Elegy by W.S. (?). For a period many believed, on the basis of stylistic evidence researched by Donald Foster, that Shakespeare wrote a Funeral Elegy for William Peter. However most scholars, including Foster, now conclude that this evidence was flawed and that Shakespeare did not write the Elegy, which is more likely from the pen of John Ford.
• The King James Version of the Bible Some people claim that Shakespeare assisted in the translation of the King James Bible, rewording or rewriting certain sections to make them more poetic; they argue that the poetic sensibility of certain sections of the King James Bible is very similar to the style of Shakespeare, and cite Psalm 46, where the word "shake" appears 46 words from the beginning, and "spear" 46 words from the end. This is a controversial notion and is not accepted by mainstream scholarship.
The Complete Works of William Shakespeare (Abridged)
The Complete Works of William Shakespeare (Abridged) is a parody of the plays written by William Shakespeare with all of them being performed (in shortened form) during the show. The play is unique in that only three actors are involved in it. Typically, the actors use their real names and play themselves rather than certain characters. The fourth wall is nonexistent in the performance with the actors speaking directly to the audience during much of the play, and some scenes involve audience participation. The director and stage crew also may be directly involved in the performance and become characters themselves.
Although there is a script, improv plays a heavy role in the performance. It is normal for the actors to deviate from the script and have spontaneous conversations about the material to each other or to the audience. It is also common for them to make references to pop culture or to talk about local people and places in the area where performance is done. As a result, each performance can be vastly different from another, even with the same cast.
Plot summary
The three actors first introduce themselves to the audience and begin with a parody of Romeo and Juliet. Next, they do a parody of Titus Andronicus, portraying it as a cooking show. Following it is Othello, which is done through a rap song. The rest of the first act demonstrates most of the other plays with all of the comedies being combined into one convoluted reading and all of the histories being acted out through an American football game. At the end of the act, the characters are about to finish when they realize that they forgot to perform Hamlet, Shakespeare's greatest work. One of the actors becomes nervous about this and runs out of the theater with another actor chasing him. The final actor is left to entertain the audience by himself, which he does by telling jokes and calling for the intermission.
After the intermission, the two actors who left return, with the nervous one being convinced to do the performance. The entire second act is the performance of Hamlet. The audience gets involved during this segment when one audience member (usually someone that has been planted by the director) is asked to portray Ophelia. The rest of the audience makes up Ophelia's subconscious, with three sections that each reperesent her ego, superego, and id. After the portrayal of Hamlet is over, the actors play it out several more times, each one faster than the last. They finish by performing it in reverse and saying goodbye to the audience.
هذا من ضمن الكلام اللي في الموقع
ماقصرتي معاي
بالعكس افدتيني بالمواقع الثانية
لكن من ضمن الكلام اللي اخذتهم من الموقع هم
John Milton 00
John Milton (December 9, 1608 – November 8, 1674) was an English poet, most famous for his blank verse epic Paradise Lost.
His father, John Milton Sr., was a well-off scrivener, and his grandfather a wealthy landowner in Oxfordshire who, being a devout Roman Catholic, had disinherited Milton's father after finding an English Bible in his possession.
Milton's father—who contributed a collection of madrigals in honor of Elizabeth I—encouraged his ambitions; he was writing poetry by the age of nine. "When he was young," Christopher, his younger brother, recalled to an early biographer after John's death, "he studied very hard and sat up very late, commonly till twelve or one o'clock at night." He was educated at home under the tutelage of Thomas Young, at St Paul's School, London, and at Christ's College, Cambridge (1625-32). While still at Cambridge he wrote some fine poems, among them the "Ode on the Morning of Christ's Nativity" and the octosyllabics L'Allegro and Il Penseroso. While at Cambridge he developed a reputation for poetic skill and general erudition, although due to his hair, which he wore long, and his general delicacy of manner, he was known as the "Lady of Christ's", an epithet perhaps applied with some degree of scorn.
In 1638 and 1639 he traveled on the continent, coming into contact with such men as Grotius, Galileo, and Lucas Holete, but was recalled by a rumor of the outbreak of the English Civil War.
His incessant labours cost him his eyesight, forcing him to write through a scribe. Nevertheless, he retained his office until the Restoration, after which those who collaborated with Cromwell were sought. Despite being Cromwell's Secretary for Foreign Tongues and official propagandist, Milton was not at the top of the list. He was accidentally caught and was arrested in October 1659. He would have been executed had not several influential people spoken on his behalf, including Andrew Marvell, his first assistant. Charles II decided to spare Milton, and he was released from prison on December 15.
Milton then lived in retirement, devoting himself once more to poetical work, and publishing Paradise Lost in 1667, the epic by which he attained universal fame (blind and impoverished he sold the publishing rights to this work on April 27th that year for £10), to be followed by Paradise Regained, together with Samson Agonistes, a drama on the Greek model, in 1671.
Influences and Beliefs
John Milton was originally destined to a ministerial career, but his independent spirit led him to give up this career, and, as he said, to "prefer a blameless silence before the sacred office of speaking bought and begun with servitude and forswearing." He spent five quiet years at Horton, Berkshire a small village near Windsor where his family rented a house between 1632 and 1640, reading and writing. To this period belong "Arcades", "Comus", and "Lycidas", all breathing the lofty spirit of his religious convictions.
The next twenty years were devoted almost entirely to prose work in the service of the Puritan cause, although some of his beliefs were unconventional to the point of heresy. In 1641 and 1642 appeared his tractates Of Reformation touching Church Discipline in England, Of Prelatical Episcopacy, the two defenses of Smectymnuus (an organization of protestant divines named after their initials), and The Reason of Church Government Urged against Prelaty. With frequent passages of real eloquence lighting up the rough controversial style of the period, and with a wide knowledge of ecclesiastical antiquity, he struck weighty blows at the intolerant High-church party which seemed to dominate the Church of England.
His intercourse with Hartlib and Comenius led him to write in 1644 a short tract (On Education) urging a reform of the national universities; and in the same year appeared the most popular of his prose writings, Areopagitica, a Speech for the Liberty of Unlicensed Printing.
The Tenure of Kings and Magistrates (1649) announced his adhesion to the cause of the Commonwealth, to which he was made Latin secretary in March. As part of his duties in this post, he wrote his Eikonoklastes (1649) in reply to the Eikon Basilike popularly attributed to Charles I, the first Pro populo Anglicano defensio (1651) against Salmasius, and in 1654 his Defensio secunda and Pro se defensio; and his fine Latin style was of great avail for the drafting of the state papers which passed between Oliver Cromwell's government and the continent.
Milton's religious position, partially expressed in the treatises named above and in his Civil Power in Ecclesiastical Causes and Considerations touching the Likeliest Means to Remove Hirelings out of the Church (1659), is most clearly described in the posthumous and apparently unfinished De Doctrina Christiana, the manuscript of which, long lost, was discovered only in 1823. A number of recent Milton scholars believe De Doctrina Christiana was, like his Artis Logicae, a modification and revision of the writings of others, and since it was incomplete, they conclude "We cannot know what other changes, especially what deletions of doctrines to which he did not subscribe, Milton would have made in completing his task revision" (Campbell, 1996).
If, however, De Doctrina Christiana accurately represents Milton's opinions, we would find that his religious point of view is entirely subjective and individualistic; that is, his faith would be deduced from Scripture by the inner illumination of the Spirit, not tied to human traditions. It would, therefore, not be surprising to find him taking his own view on the Trinity, the divinity of Christ and the Holy Ghost, predestination, the creation of the world, etc., as also in regard to practical questions such as marriage, infant baptism, and the observance of the sabbath. What we find in the book is not a complete, scientific treatment of doctrine in the modern sense but an exposition of the clear and universally acceptable teaching of scripture.
In many points Milton is the prophet and herald of a new era, a Protestant individualist and idealist, as well as a typical figure for the revolutionary cause to which he devoted the best powers of his life.
Family Life
In June 1642, Milton married 16 year-old Mary Powell. A month later, she visited her family and didn't return. Over the next three years, Milton published a series of pamphlets arguing for the legality and morality of divorce, the first entitled The Doctrine and Discipline of Divorce, in which he attacked the English marriage law as it had been taken over almost unchanged from medieval Catholicism, sanctioning divorce on the ground of incompatibility or childlessness.
In 1645, Mary finally returned. In 1646, her family, having been ejected from Oxford for supporting Charles I in the Civil War, moved in with the couple. They had 4 children: Anne, Mary, John, and Deborah. Mary died on May 5, 1652 from complications following Deborah's birth on May 2, which may have affected Milton deeply, as evidenced by his 23rd sonnet. In June, John died at age 15 months; it is not known if Anne or Deborah survived to adulthood. However, Mary is known to have survived to adulthood. Though the date of her death is not known, it is known that she married one John Maugridge. They became the parents of a daughter, Mary Milton Maugridge in 1669. This grandaughter of John Milton died on February 2, 1740 in Berks County, Pennsylvania. She was the wife of George Boone III. They had nine children, all born in England. The three oldest children came to America, acquired land and established a homestead. On October 10, 1717, George Boone III, his wife, Mary Milton Maugridge Boone, and their six younger children arrived in Philadelphia. In 1720, one of their sons, Squire Boone, was married to Sarah Morgan. They had eleven children, including American frontiersman, Daniel Boone. John Milton was the great great grandfather of Daniel Boone. ("Compass: A Newsletter for Descendants, Genealogists, and Historians;" The Boone Society, Inc.; Vol. 9 Issue 2, April 2005; Pg 17.)
On November 12, 1656, Milton married Katherine Woodcock. She died on February 3, 1658, less than 4 months after giving birth to their daughter, Katherine, who died on March 17.
On February 24, 1663, Milton married Elizabeth Minshull, who cared for him until his death.
Works
• Twenty-three sonnets, written throughout his life.
• Arcades
• Comus
• Lycidas
• On the Morning of Christ's Nativity
• Paradise Lost
• Paradise Regained
• Samson Agonistes
• Various prose tracts and polemics.
• Areopagitica, (1644)
• Eikonoklastes, (1649)
Legacy
The John Milton Society for the Blind was founded in 1928 by Helen Keller to develop an interdenominational ministry that would bring spiritual guidance and religious literature to deaf and blind persons
William Shakespeare00
William Shakespeare (April 1564; baptised April 26, 1564 (O.S.); – April 23, 1616 (O.S.), May 3, 1616 (N.S.)), English poet and playwright, has a reputation as the greatest of all writers in the English language, as well as one of the world's pre-eminent dramatists.
Shakespeare's literary achievement is not confined to his mastery of the poetic and dramatic form; his ability to capture and convey the most profound aspects of human nature is considered by many scholars to be unequalled, due to his understanding of the range and depth of human emotions. A colossal figure in world literature, Shakespeare's legacy and influence continues to be felt in all parts of the globe. He has been translated into every major living language, and his plays are continually performed all around the world. Shakespeare was among the very few playwrights who have excelled in both tragedy and comedy.
Shakespeare wrote his works between 1588 and 1616, although the exact dates and chronology of the plays attributed to him are often uncertain. His prolific output is especially impressive in light of the fact that he lived only 52 years.
Shakespeare's influence on the English-speaking world shows in the widespread use of quotations from Shakespearean plays, the titles of works based on Shakespearean phrases, and the many adaptations of his works.
Biography
Most historians agree that William Shakespeare—actor, playwright and poet—was one individual whose life can be clearly mapped out through the study of considerable historical evidence.
Shakespeare was born in Stratford-upon-Avon, England, in April 1564, the son of John Shakespeare, a glove-maker, and of Mary Arden, a gentry daughter. His baptismal record dates to April 26 of that year. Because baptisms were performed within a few days of birth, tradition has settled on April 23 as his birthday. It provides a convenient symmetry: he died on that day in 1616, and, perhaps appropriately for a playwright commonly considered to be England's greatest, it is also the Feast Day of Saint George, patron saint of England.Shakespeare's father, prosperous at the time of William's birth, was prosecuted for participating in the black market in wool, and later lost his position as an alderman. Some evidence exists that both sides of the family had Roman Catholic sympathies.
As the son of a prominent town official, William Shakespeare probably attended the Stratford grammar school, which may have provided an intensive education in Latin grammar and literature. The quality of Elizabethian era grammar schools was uneven. It is presumed that the young Shakespeare attended this school, since he was entitled to, although this cannot be confirmed because the school's records have not survived. There is no evidence that his formal education extended beyond grammar school.
Shakespeare married Anne Hathaway, eight years his senior, on November 28, 1582 at Temple Grafton, near Stratford. Two neighbors of Anne, Fulk Sandalls and John Richardson, posted bond that there were no impediments to the marriage. There appears to have been some haste in arranging the ceremony: Anne was three months pregnant. After his marriage, William Shakespeare left few traces in the historical record until he appeared on the London literary scene.
On May 26, 1583 Shakespeare's first child, Susanna, was baptised at Stratford. A son, Hamnet, and a daughter, Judith, were baptized soon after on February 2, 1585.
By 1592 Shakespeare had enough of a reputation for Robert Greene to denounce him as "an upstart Crow, beautified with our feathers, that with his Tygers hart wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and beeing an absolute Johannes factotum, is in his owne conceit the onely Shake-scene in a countrey." (The italicised line parodies the phrase, "Oh, tiger's heart wrapped in a woman's hide" which Shakespeare used in Henry VI, part 3.)
In 1596 Hamnet died; he was buried on August 11, 1596. Because of the similarities of their names, some suspect that his death was part of the inspiration behind The Tragical History of Hamlet, Prince of Denmark (c.1601), a reworking of an older, lost play.
By 1598 Shakespeare had moved to the parish of St. Helen's, Bishopsgate, and appeared at the top of a list of actors in Every man in his Humour written by Ben Jonson.Shakespeare became an actor, writer and finally part-owner of a playing company, known as The Lord Chamberlain's Men — the company took its name, like others of the period, from its aristocratic sponsor, the Lord Chamberlain. The group became popular enough that after the death of Elizabeth I and the coronation of James I (1603), the new monarch adopted the company and it became known as the King's Men.
In 1604, Shakespeare acted as a matchmaker for his landlord's daughter. Legal documents from 1612, when the case was brought to trial, show that in 1604, Shakespeare was a tenant of Christopher Mountjoy, a Huguenot tire-maker (a maker of ornamental headdresses) in the northwest of London. Mountjoy's apprentice Stephen Belott wanted to marry Mountjoy's daughter. Shakespeare was enlisted as a go-between, to help negotiate the details of the dowry. On Shakespeare's assurances, the couple married. Eight years later, Belott sued his father-in-law for delivering only part of the dowry. Shakespeare was called to testify, but remembered little of the circumstances. Various documents recording legal affairs and commercial transactions show that Shakespeare grew rich enough during his stay in London years to buy a property in Blackfriars, London and own the second-largest house in Stratford, New Place.
In 1609 his sonnets were published, love poems variously addressed: most to a youth (or 'fair lord'); the remainder to a 'dark lady'. Some regard the former set as being homoerotic, but that characterization remains in debate.
Shakespeare retired in about 1611. His retirement was not entirely without controversy. He was drawn into a legal quarrel regarding the enclosure of common lands. (Enclosure enabled land to be converted to pasture for sheep, but removed it as a resource for the poor.) Shakespeare had a financial interest in the land, and to the chagrin of some, he took a neutral position, making sure only that his own income from the land was protected.
In the last few weeks of Shakespeare's life, the man who was to marry his younger daughter Judith - a tavern-keeper named Thomas Quiney - was charged in the local church court with "fornication." A woman named Margaret Wheeler had given birth to a child and claimed it was Quiney's; she and the child both died soon after. Quiney was disgraced, and Shakespeare revised his will to ensure that Judith's interest in his estate was protected from possible malfeasance on Quiney's part.
Shakespeare died in 1616, on April 23. He remained married to Anne until his death and was survived by his two daughters Susannah and Judith. Susannah married Dr John Hall, and later became the subject of a court case.
Shakespeare is buried in the chancel of Holy Trinity Church in Stratford-upon-Avon. He was granted the honor of burial in the chancel not on account of his fame as a playwright, but for purchasing a share of the tithe of the church for £440 (a considerable sum of money at the time). A bust of him placed by his family on the wall nearest his grave shows him posed as writing. Each year on his claimed birthday, a new quill pen is placed in the writing hand of the bust. It was common in his time for graves in the chancel of the church to later be emptied with the contents removed to a nearby charnel house as room in the chancel was required. As a result, his grave carries a well-known epitaph:
Good friend, for Jesus' sake forbear,
To dig the dust enclosed here.
Blest be the man that spares these stones,
But cursed be he that moves my bones.
Popular legend claims that unpublished works by Shakespeare may lie inside his tomb, but no-one has ever verified these claims, perhaps for fear of the curse included in the quoted epitaph.
Reputation
Main articles: Shakespeare's reputation, Timeline of Shakespeare criticism
Shakespeare's reputation has grown higher and higher since his own time, as illustrated in a timeline of Shakespeare criticism from the 17th to 20th century.
During his lifetime and shortly after his death, Shakespeare was well-regarded, but not considered the supreme poet of his age. He was included in some contemporary lists of leading poets, but he lacked the stature of Edmund Spenser or Philip Sidney. It is more difficult to assess his contemporary reputation as a playwright: plays were considered ephemeral and even somewhat disreputable entertainments rather than serious literature. The fact that his plays were collected in an expensively produced folio in 1623 (the only precedent being Ben Jonson's Workes of 1616) and the fact that that folio went into another edition within nine years, indicate that he was held in unusually high regard for a playwright.
After the Interregnum stage ban of 1642—1660, the new Restoration theatre companies had the previous generation of playwrights as the mainstay of their repertory, most of all the phenomenally popular Beaumont and Fletcher team, but also Ben Jonson and Shakespeare. Old plays were often adapted for the Restoration stage, and where Shakespeare is concerned, this undertaking has seemed shockingly respectless to posterity. A notorious example is Nahum Tate's happy-ending King Lear of 1681, which held the stage until 1838. In the early 18th century, Shakespeare took over the lead on the English stage from Beaumont and Fletcher, never to relinquish it again.
In literary criticism, by contrast, Shakespeare held a unique position from the start. The unbending French neo-classical "rules" and the three unities of time, place, and action were never strictly followed in England, and practically all critics gave the more "correct" Ben Jonson second place to "the incomparable Shakespeare" (John Dryden, 1668), the follower of nature, the untaught genius, the great realist of human character. The long-lived myth that the Romantics were the first generation to truly appreciate Shakespeare and to prefer him to Ben Jonson is contradicted by accolades from Restoration and 18th-century writers such as John Dryden, Joseph Addison, Alexander Pope, and Samuel Johnson. The 18th century is also largely responsible for setting the text of Shakespeare's plays. Nicholas Rowe created the first truly scholarly text for the plays in 1709, and Edmund Malone's Variorum Edition (published posthumously in 1821) is still the basis of modern editions of the plays.
At the beginning of the 19th century, Romantic critics such as Samuel Taylor Coleridge raised admiration for Shakespeare to adulation or bardolatry, in line with the Romantic reverence for the poet as prophet and genius.
Identity and authorship
Main article: Shakespearean authorship
As noted above, there is considerable historical evidence of the existence of a William Shakespeare who lived in both Stratford-upon-Avon and London. The vast majority of academics identify this Shakespeare as the Shakespeare. Over the years however, such figures as Walt Whitman, Mark Twain, Henry James, and Sigmund Freud have expressed disbelief that the man from Stratford-upon-Avon, christened William Shaksper or Shakspere, actually produced the works attributed to him. This scepticism is variously grounded: the lack of a single book to be found in his otherwise detailed will, the circumscribed social, education and travel opportunities available to the young author that could have served to prepare him, the language of the works itself. Mainstream scholars consider all these supposed mysteries to be explicable.
Many attribute this debate to the scarcity and ambiguity of many of the historical records of this period. Even the painting in the National Portrait Gallery, London (illustration above) may not depict Shakespeare after all, and the well-known "Flower Portrait" at Stratford-upon-Avon was demonstrated (by analyzing pigment and discovering chrome yellow) to be an early 19th-century forgery http://news.bbc.co.uk/2/hi/entertainment/4471515.stm. Various fringe scholars have suggested writers such as Sir Francis Bacon, Christopher Marlowe and even Queen Elizabeth I as alternative authors or co-authors for some or all of "Shakespeare's" work. Some of these claims necessarily rely on conspiracy theories to explain the lack of direct historical evidence for them, although advocates of alternative authors point to evidentiary gaps in the orthodox history.
Edward de Vere, the 17th Earl of Oxford, an English nobleman and intimate of Queen Elizabeth, became the most prominent alternative candidate for authorship of the Shakespeare canon, after having been identified in the 1920s. Oxford partisans note the similaries between the Earl's life, and events and sentiments depicted in the plays and sonnets. Oxford was also contemporaneously identified as a poet and writer of some talent, and had the documented education, travel and life experience that one would ordinarily associate with works both as broad and detailed as Shakespeare.
A related question in mainstream academia addresses whether Shakespeare himself wrote every word of his commonly-accepted plays, given that collaboration between dramatists routinely occurred in the Elizabethan theatre. Serious academic work continues to attempt to ascertain the authorship of plays and poems of the time, both those attributed to Shakespeare and others. See academic Shakespearean authorship debates.
Word Coinage
Shakespeare provided the first print citations for many of the words (ode, addiction, alligator) and phrases ("my mind's eye," "one fell swoop") that have become household words in our time.
See: Partial List of Shakespeare's Coinages National Geographic Article About Shakespeare's Coinages
Works
Canonical works
The plays and their categories
Shakespeare's plays first appeared in print as a series of folios and quartos, and scholars, actors and directors continue to study and perform them extensively. They form an established part of the Western canon of literature.
The plays are traditionally divided into tragedies, comedies and histories, following the logic of the original publications; however, modern criticism has labelled some of them "problem plays" as they elude easy categorization, or perhaps purposefully break generic conventions. In addition, Shakespeare's later comedies are commonly known as "romances".
The following list gives the plays in the order and categorization of the 1623 First Folio (the first collected edition of the plays). A single asterisk indicates a play commonly classified as a 'romance' today; two asterisks indicates those generally accepted as 'problem plays' - though other comedies still occasion critical dispute. To see the plays in the order in which they were written, see Chronology of Shakespeare plays.
• Comedies
o The Tempest *
o The Two Gentlemen of Verona
o The Merry Wives of Windsor
o Measure for Measure **
o The Comedy of Errors
o Much Ado About Nothing
o Love's Labour's Lost
o A Midsummer Night's Dream
o The Merchant of Venice **
o As You Like It
o Taming of the Shrew
o All's Well That Ends Well
o Twelfth Night or What You Will
o The Winter's Tale *
o Pericles, Prince of Tyre * (not included in the First Folio)
o The Two Noble Kinsmen * (not included in the First Folio)
• Histories
o King John
o Richard II
o Henry IV, part 1
o Henry IV, part 2
o Henry V
o Henry VI, part 1
o Henry VI, part 2
o Henry VI, part 3
o Richard III
o Henry VIII
• Tragedies
o Troilus and Cressida **
o Coriolanus
o Titus Andronicus
o Romeo and Juliet
o Timon of Athens
o Julius Caesar
o Macbeth
o Hamlet
o King Lear
o Othello
o Antony and Cleopatra
o Cymbeline * (normally classed as a comedy today)
Dramatic collaborations
Like most playwrights of his period, Shakespeare did not always write alone and a number of his plays were collaborative, although the exact number is open to debate. Some of the following attributions, such as for The Two Noble Kinsmen, have well-attested contemporary documentation; others, such as for Titus Andronicus, remain more controversial, and are dependant on linguistic analysis by modern scholars.
• Cardenio, a lost play; contemporary reports say that Shakespeare collaborated on it with John Fletcher.
• Henry VI, part 1, possibly the work of a team of playwrights, whose identities we can only guess at. Some scholars argue that Shakespeare wrote less than 20% of the text.
• Henry VIII, generally considered a collaboration between Shakespeare and John Fletcher.
• Macbeth: Thomas Middleton may have revised this tragedy in 1615 to incorporate extra musical sequences.
• Measure for Measure may have undergone a light revision by Thomas Middleton at some point after its original composition.
• Pericles Prince of Tyre may include the work of George Wilkins, either as collaborator, reviser, or revisee.
• Timon of Athens may result from collaboration between Shakespeare and Thomas Middleton; this might explain its incoherent plot and unusually cynical tone.
• Titus Andronicus may be a collaboration with, or revision of, George Peele.
• The Two Noble Kinsmen, published in quarto in 1654 and attributed to John Fletcher and William Shakespeare; each playwright appears to have written about half of the text.
Lost plays by Shakespeare
• Love's Labour's Won A late sixteenth-century writer, Francis Meres, and a scrap of paper (apparently from a bookseller), both list this title among Shakespeare's recent works, but no play of this title has survived. It may have become lost, or it may represent an alternate title of one of the plays listed above, such as Much Ado About Nothing or All's Well That Ends Well.
• Cardenio, a late play by Shakespeare and Fletcher, referred to in several documents, has not survived. It re-worked a tale in Cervantes' Don Quixote. In 1727, Lewis Theobald produced a play he called Double Falshood, which he claimed to have adapted from three manuscripts of a lost play by Shakespeare that he did not name. Double Falshood does re-work the Cardenio story, and modern scholarship generally agrees that Double Falshood represents all we have of the lost play.
Poems
Shakespeare's other literary works include:
• Shakespeare's Sonnets.
• Longer poems:
o Venus and Adonis
o The Rape of Lucrece
o The Passionate Pilgrim
o The Phoenix and the Turtle
o A Lover's Complaint
Apocrypha
Plays possibly by Shakespeare
Note: For a comprehensive account of plays possibly by Shakespeare, see the separate entry on the Shakespeare Apocrypha.
• Edward III Some scholars have recently chosen to attribute this play to Shakespeare, based on the style of its verse. Others refuse to accept it, citing, among other reasons, the mediocre quality of the characters. If Shakespeare had involvement, he probably worked as a collaborator.
• Sir Thomas More, a collaborative work by several playwrights, possibly including Shakespeare. That Shakespeare had any part in this play remains uncertain.
Other works possibly by Shakespeare
• A Funeral Elegy by W.S. (?). For a period many believed, on the basis of stylistic evidence researched by Donald Foster, that Shakespeare wrote a Funeral Elegy for William Peter. However most scholars, including Foster, now conclude that this evidence was flawed and that Shakespeare did not write the Elegy, which is more likely from the pen of John Ford.
• The King James Version of the Bible Some people claim that Shakespeare assisted in the translation of the King James Bible, rewording or rewriting certain sections to make them more poetic; they argue that the poetic sensibility of certain sections of the King James Bible is very similar to the style of Shakespeare, and cite Psalm 46, where the word "shake" appears 46 words from the beginning, and "spear" 46 words from the end. This is a controversial notion and is not accepted by mainstream scholarship.
The Complete Works of William Shakespeare (Abridged)
The Complete Works of William Shakespeare (Abridged) is a parody of the plays written by William Shakespeare with all of them being performed (in shortened form) during the show. The play is unique in that only three actors are involved in it. Typically, the actors use their real names and play themselves rather than certain characters. The fourth wall is nonexistent in the performance with the actors speaking directly to the audience during much of the play, and some scenes involve audience participation. The director and stage crew also may be directly involved in the performance and become characters themselves.
Although there is a script, improv plays a heavy role in the performance. It is normal for the actors to deviate from the script and have spontaneous conversations about the material to each other or to the audience. It is also common for them to make references to pop culture or to talk about local people and places in the area where performance is done. As a result, each performance can be vastly different from another, even with the same cast.
Plot summary
The three actors first introduce themselves to the audience and begin with a parody of Romeo and Juliet. Next, they do a parody of Titus Andronicus, portraying it as a cooking show. Following it is Othello, which is done through a rap song. The rest of the first act demonstrates most of the other plays with all of the comedies being combined into one convoluted reading and all of the histories being acted out through an American football game. At the end of the act, the characters are about to finish when they realize that they forgot to perform Hamlet, Shakespeare's greatest work. One of the actors becomes nervous about this and runs out of the theater with another actor chasing him. The final actor is left to entertain the audience by himself, which he does by telling jokes and calling for the intermission.
After the intermission, the two actors who left return, with the nervous one being convinced to do the performance. The entire second act is the performance of Hamlet. The audience gets involved during this segment when one audience member (usually someone that has been planted by the director) is asked to portray Ophelia. The rest of the audience makes up Ophelia's subconscious, with three sections that each reperesent her ego, superego, and id. After the portrayal of Hamlet is over, the actors play it out several more times, each one faster than the last. They finish by performing it in reverse and saying goodbye to the audience.
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William Wordsworth
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:26: :26: :26: :)