Thou hadst but power over his [the dead king's] mortal body, His soul thou canst not have; therefore be gone. In thy foul throat thou liest: Queen Margaret saw Thy murderous falchion smoking in his blood; The which thou once didst bend against her breast, But that thy brothers beat aside the point. I am unfit for state and majesty; I do beseech you, take it not amiss; I cannot nor I will not yield to you. The tyrannous and bloody act is done. The most arch of piteous massacre That ever yet this land was guilty of.
The king enacts more wonders than a man, Daring an opposite to every danger: His horse is slain, and all on foot he fights, Seeking for Richmond in the throat of death. Supplies for Teachers. Was stabb'd with bloody daggers: God, I pray him, That none of you may live your natural age, But by some unlook'd accident cut off! Lord, Lord! No sleep close up that deadly eye of thine, Unless it be whilst some tormenting dream Affrights thee with a hell of ugly devils!
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Thou elvish-mark'd, abortive, rooting hog! Thou that wast seal'd in thy nativity The slave of nature and the son of hell! I, that was wash'd to death with fulsome wine, Poor Clarence, by thy guile betrayed to death!
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To-morrow in the battle think on me, And fall thy edgeless sword: despair, and die! ANNE: Thou mayst be damned for that wicked deed! Plots have I laid, inductions dangerous, By drunken prophecies, libels and dreams, To set my brother Clarence and the king In deadly hate the one against the other. Go, tread the path that thou shalt ne'er return. Simple, plain Clarence! I do love thee so, That I will shortly send thy soul to heaven, If heaven will take the present at our hands. Hath she forgot already that brave prince, Edward, her lord, whom I, some three months since, Stabb'd in my angry mood at Tewksbury?
A sweeter and a lovelier gentleman, Framed in the prodigality of nature, Young, valiant, wise, and, no doubt, right royal, The spacious world cannot again afford And will she yet debase her eyes on me, That cropp'd the golden prime of this sweet prince, And made her widow to a woeful bed? On me, whose all not equals Edward's moiety? I do the wrong, and first begin to brawl. The secret mischiefs that I set abroach I lay unto the grievous charge of others.
Clarence, whom I, indeed, have laid in darkness, I do beweep to many simple gulls Namely, to Hastings, Derby, Buckingham; And say it is the queen and her allies That stir the king against the duke my brother. Now, they believe it; and withal whet me To be revenged on Rivers, Vaughan, Grey: But then I sigh; and, with a piece of scripture, Tell them that God bids us do good for evil: And thus I clothe my naked villainy With old odd ends stolen out of holy writ; And seem a saint, when most I play the devil.
In writing [history plays], Shakespeare had nothing to help him except the standard history books of his day. The art of the historian was not very advanced in this period, and no serious attempt was made to get at the exact truth about a king and his reign. Instead, the general idea was that any nation which opposed England was wrong, and that any Englishman who opposed the winning side in the civil war was wrong also.
An Anthology of Shakespearean Quotations
Since Shakespeare had no other sources, the slant that appears in the history books appears also in his plays. Richard III fought against the first of the Tudor monarchs and was therefore labeled in the Tudor histories as a vicious usurper, and he duly appears in Shakespeare's plays as a murdering monster.
Stories From Shakespeare.
Eau Claire, Wis. Hale, page Alliteration : Repetition of the same consonant sound at the beginning of words or syllables Examples:. Poor k ey- c old figure of a holy k ing! F or th ou h ast made th e h appy earth th y h ell. Anaphora : Repetition of a word or group of words at the beginning of a phrase, clause, or sentence Examples:.
Back to School with Shakespeare - Blogging Shakespeare
Our bruised arms hung up for monuments; Our stern alarums changed to merry meetings; Our dreadful marches to delightful measures. In a dramatic production, the director, and perhaps others, will decide how to interpret the play for the audience. There are several forms of irony. Verbal irony is when a writer or speaker says one thing and means something else often the opposite of what is said.
When the audience perceives something that a character does not know, that is dramatic irony. Situational irony can be described as a discrepancy between expected results and the actual results. Kabuki: the popular theater of Japan which developed out of Noh theater in the 17th century.
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In Kabuki theater, actors use exaggerated and stylized makeup, costumes, gestures, speech, and special effects to portray traditional character roles and story lines. Also, to mask a set is to use flats or drapes to block the sightlines of the audience so they cannot see behind the set. Medieval drama: Classical drama ended with the fall of Rome, but drama was reborn during the Medieval period AD , growing out of religious ceremony. Medieval drama instructed in Christian faith, appealed to emotions, and stressed the importance of religion.
Morality plays, such as Everyman, are an example. Melodramas tend to feature action more than motivation, stock characters, and a strict view of morality in which good triumphs over evil. The genre developed in Medieval England. A mummer is an actor. These plays grew up in Medieval times or even earlier , and many historians believe that this drama is a celebration of the death of the year and its resurrection in the spring.
Key characters include a regional hero such as Saint George, a comical quack doctor, adversaries, and a variable number of extras whose main purpose is to ask the audience for money, food, and drink at the end of the performance. Neo-Classicism: style in music that reacted to the excesses of the monarchy and returned to order, reason, and clarity; in theater, satire flowered during this period.
Noh: Japanese drama that began as a religious ceremony in the 14th century; plays are highly stylized and depend upon music, lavish costumes, mime, and masks.source site
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Traditionally Noh was the theater of the upper classes. The proscenium opening was of particular importance to the Realistic playwrights of the 19th century, such as Ibsen and Shaw, for whom it was a picture frame or an imaginary fourth wall through which the audience experienced the illusion of spying on characters. A puppet is a figure as of a person or animal , generally operated by hand, although there are many kinds of puppets. Plays from this period from to seek the truth, find beauty in the commonplace, and focus on the conditions of the working class.