"are interrupted by Stephano, a messenger. No sooner has Stephano informed them that Portia and Nerissa will soon arrive than Gobbo comes with the same news for Bassanio and Gratiano. They decide to await the arrivals in the gardens, and ask Stephano to fetch his instrument and play for them. Portia and Nerissa enter, followed shortly by Bassanio, Antonio, and Gratiano. After they are all reunited, Nerissa hands Lorenzo a deed of gift from Shylock, won in the trial, giving Jessica all of his wealth upon his death. The generally accepted sources for ""The Merchant of Venice"" are Giovanni Fiorentino's"
"a letter to Lorenzo. After Gobbo leaves, she muses to herself on what flaws are in her character that makes her ashamed to be her father's daughter, and that although she is related to him by blood she is alienated by his manners. She concludes the soliloquy determined to marry Lorenzo and converting to Christianity. In Act 2, Scene 4, Gobbo bears the letter, containing Jessica's plans to elope with Lorenzo and as much of her father's valuables as she can find, to Lorenzo. He is pleased by the letter and its contents, and bids Gobbo return to let her"
"thunderbolt. The ghosts fall on their knees."" The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including ""Richard III"", ""Hamlet"", ""Othello"", and ""King Lear"". The popular comic actor Will Kempe played the servant Peter in ""Romeo and Juliet"" and Dogberry in ""Much Ado About Nothing"", among other characters. He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in ""As You Like It"" and the fool in ""King Lear"". In 1613, Sir Henry Wotton"
"It."" The middle grouping of Shakespeare's plays begins in 1599 with ""Julius Caesar."" For the next few years, Shakespeare would produce his most famous dramas, including ""Macbeth,"" ""Hamlet,"" and ""King Lear."" The plays during this period are in many ways the darkest of Shakespeare's career and address issues such as betrayal, murder, lust, power and egoism. The final grouping of plays, called Shakespeare's late romances, include ""Pericles, Prince of Tyre"", ""Cymbeline"", ""The Winter's Tale"" and ""The Tempest"". The romances are so called because they bear similarities to medieval romance literature. Among the features of these plays are a redemptive plotline"
"remove. Lorenzo orders servants Pedringano and Serberine to kill Horatio. When Lorenzo thinks that he may be discovered by Hieronimo and Bel-imperia, he covers his tracks by ordering Pedringano to kill Serberine. At the end of the play, Lorenzo is cast alongside Balthazar and Bel-Imperia in a revenge play written by Hieronimo. Hieronimo kills Lorenzo, Bel-Imperia kills Balthazar, and all of Lorenzo's crimes are revealed to the audience. Lorenzo is a Machiavellian villain, a concept coined by Niccolò Machiavelli in the early 16th century. All of his actions are pitiless and self-advancing. Lorenzo is highly manipulative and plays on the"
"Sidney for a pivotal character in his epic prose work, ""The Countess of Pembroke's Arcadia""; Jessica, created by William Shakespeare in his play ""The Merchant of Venice""; Vanessa, created by Jonathan Swift; Fiona, a character from James Macpherson's spurious cycle of Ossian poems; Wendy, an obscure name popularised by J. M. Barrie in his play ""Peter Pan, or The Boy Who Wouldn't Grow Up""; and Madison, a character from the movie ""Splash"". Lara and Larissa were rare in America before the appearance of ""Doctor Zhivago,"" and have become fairly common since. Songs can influence the naming of children. Jude jumped"
"classify as tragedy, comedy, romance, or a combination of all three. The first three of its five acts are filled with intense psychological drama; the last two are lighthearted and comedic, concluding with a happy ending. It tells a complicated story of jealousy, loss, love, joy, redemption, forgiveness, and reconciliation. Shakespeare chose his title to signify to his audiences that the play was like a tale told in company gathered by a fireside on a winter's evening. A fictional invention—not true, but entertaining and morally instructive. Leontes, king of Sicilia, is possessed by a mad jealousy, believing that his pregnant"
"the Elizabethan belief in the four humours and the main characters of the play (for example, Tybalt as a choleric). Interpreting the text in the light of humours reduces the amount of plot attributed to chance by modern audiences. Still, other scholars see the play as a series of unlucky chances—many to such a degree that they do not see it as a tragedy at all, but an emotional melodrama. Ruth Nevo believes the high degree to which chance is stressed in the narrative makes ""Romeo and Juliet"" a ""lesser tragedy"" of happenstance, not of character. For example, Romeo's challenging"
"cousin, when Lady Capulet arrives at the scene where Tybalt lies dead, and cries ""Tybalt, my cousin, O my brother's child!"" (III.I) John W. Draper points out the parallels between the Elizabethan belief in the four humours and the main characters of the play (for example, Tybalt is a choleric). Interpreting the text in the light of humours reduces the amount of plot attributed to chance by modern audiences. Tybalt Tybalt is the main antagonist in William Shakespeare's play ""Romeo and Juliet"". He is the son of Lady Capulet's brother, Juliet's short-tempered first cousin, and Romeo's rival. Tybalt shares the"
"updated the setting to the 1930s but changed none of Shakespeare's dialogue. Shakespeare in performance Thousands (perhaps even millions) of performances of William Shakespeare's plays have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the Lord Chamberlain's Men and King's Men acting companies at the Globe and Blackfriars Theatres. Among the actors of these original performances were Richard Burbage (who played the title role in the first performances of ""Hamlet"", ""Othello"", ""Richard III"" and ""King Lear""), Richard Cowley, and William Kempe. Shakespeare's plays continued to be staged"
"introduce groups of characters in longer narrative sequences. Jennings retained more of Shakespeare's poetry for the young lovers than any of his big-screen successors. Several scenes are interpolated, including three sequences featuring Friar John in Mantua. In contrast, the role of Friar Laurence (an important character in the play) is much reduced. A number of scenes are expanded as opportunities for visual spectacle, including the opening brawl (set against the backdrop of a religious procession), the wedding and Juliet's funeral. The party scene, choreographed by Agnes de Mille, includes Rosaline (an unseen character in Shakespeare's script) who rebuffs Romeo. The"
"top 100 most commonly used names for baby girls in England and Wales in 1934. The oldest written record of the name Jessica is in Shakespeare's play ""The Merchant of Venice"", where it belongs to the daughter of Shylock. Jessica is the seventh most popular name for baby girls in England and Wales in 2015. First appearing in 13th century England, Olivia was popularised by Shakespeare's character in the ""Twelfth Night"" (1602). Vanessa was created by Jonathan Swift in his poem ""Cadenus and Vanessa"" (1713). While it first appeared in late 16th century England, Pamela was popularised after Samuel Richardson"
"Shakespeare. Most of Shakespeare's romance plays appeared late in his life and include plays such as ""The Tempest"" and ""Cymbeline"". ""Comedy"", in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. Patterns in the comedies include movement to a ""green world"", both internal and external conflicts, and a tension between Apollonian and Dionysian values. Shakespeare's use of comedy and characters of comedic value was not limited to his"
"Tybalt Tybalt is the main antagonist in William Shakespeare's play ""Romeo and Juliet"". He is the son of Lady Capulet's brother, Juliet's short-tempered first cousin, and Romeo's rival. Tybalt shares the same name as the character Tibert/Tybalt the ""Prince of Cats"" in ""Reynard the Fox"", a point of mockery in the play. Mercutio repeatedly calls Tybalt ""Prince of Cats"" (perhaps referring not only to Reynard but to the Italian word cazzo as well). Luigi da Porto adapted the story as ""Giulietta e Romeo"" and included it in his ""Historia novellamente ritrovata di due Nobili Amanti"" published in 1530. Da Porto"
"as the female leads in the original play. Their surname is Stratford, a nod to Shakespeare's birthplace. Patrick's surname Verona references the home of his relative character Petruchio. The characters attend Padua High School, named after where the play is set. Cameron (Lucentio, who disguises himself as a tutor named Cambio) tutors Bianca in French and slips in a line from play while obsessing over her: """"I burn, I pine, I perish"""". Patrick's character reflects the outlandish behavior of Petruchio, and Michael coerces Patrick into the marching band incident with the words from Sonnet 56: """"Sweet love, renew thy force""""."
"known tragedies, including ""Macbeth"" and ""King Lear"". In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays, including ""The Tempest"". Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors. After Shakespeare's death, the poet and dramatist Ben Jonson (1572–1637) was the leading literary figure of the Jacobean era. Jonson's aesthetics hark back to the Middle Ages and his characters embody the theory of humours, which was based on contemporary medical theory. Jonson's comedies"
"weakness of other characters. Lorenzo (The Spanish Tragedy) Lorenzo is a fictional character in Thomas Kyd's ""The Spanish Tragedy"". He is the son of the Duke of Castile and brother to Bel-imperia. Lorenzo plays the role of a Machiavellian villain. Lorenzo makes an appearance early in the play in Act I, Scene III, alongside the Portuguese Prince Balthazar and Horatio, best friend of Don Andrea. The King of Spain asks Horatio and Lorenzo who should be credited for the capture of Balthazar. Lorenzo says ""this hand first took his courser by the reins."" Balthazar recognizes that both Lorenzo and Horatio"
"The first four that Shakespeare wrote are sometimes called the ""minor tetralogy"", and the second the major tetralogy. While it is not known whether Shakespeare conceived of the plays as a cycle, these plays are often interpreted and performed in relation to each other, since they represent a continuous period of English history using recurring characters and including direct references to previous plays. While ""Julius Caesar"" and ""Antony and Cleopatra"" also contain recurring characters (the members of the Second Triumvirate), the two plays are very different in style and are believed to have been written a decade apart. In contrast,"
"Characters in Hamlet What follows is an overview of the main characters in William Shakespeare's ""Hamlet"", followed by a list and summary of the minor characters from the play. Three different early versions of the play survive: known as the First Quarto (""Q1""), Second Quarto (""Q2""), and First Folio (""F1""), each has lines—and even scenes—missing in the others, and some character names vary. Marcellus, Bernardo (or Barnardo) and Francisco are sentries at Elsinore. Francisco gives up his watch to Bernardo in the opening of the play, and it is Bernardo and Marcellus, who first alert Horatio to the appearance of"
"the play's ""twin themes of love and the total breakdown of understanding between two generations"" had contemporary relevance. Recent performances often set the play in the contemporary world. For example, in 1986, the Royal Shakespeare Company set the play in modern Verona. Switchblades replaced swords, feasts and balls became drug-laden rock parties, and Romeo committed suicide by hypodermic needle. In 1997, the Folger Shakespeare Theatre produced a version set in a typical suburban world. Romeo sneaks into the Capulet barbecue to meet Juliet, and Juliet discovers Tybalt's death while in class at school. The play is sometimes given a historical"
"2005), provides two different versions of the play, each with respectable authority. The problem exists with at least four other Shakespearian plays (""Henry IV, part 1"", ""Hamlet"", ""Troilus and Cressida"", and ""Othello""). During Shakespeare's lifetime, many of his greatest plays were staged at the Globe Theatre and the Blackfriars Theatre. Shakespeare's fellow members of the Lord Chamberlain's Men acted in his plays. Among these actors were Richard Burbage (who played the title role in the first performances of many of Shakespeare's plays, including ""Hamlet"", ""Othello"", ""Richard III"" and ""King Lear""), Richard Cowley (who played Verges in ""Much Ado About Nothing""),"
"actions amount to abandoning her father and betraying him to his enemies. By the last half of the 20th century this ""sentimentally sympathetic reading"" was starting to be rejected, but without a corresponding reassessment of Jessica. She was still viewed as inhabiting primarily negative values, in contrast with the positive values associated with Portia, Bassanio, and Antonio. Writing in 1977, Raymond B. Waddington thinks that: Slights contradicts this view, pointing out that it conflicts with ""a natural audience response"" and argues that ""we must question judgments that deny the most obvious emotional force of Shakespearean plots and characters."" Shakespeare's plays"
"will be staged at the Teatro Massimo Bellini in Catania in October. Other performances to be given include Fabio Biondi conducting his ensemble Europa Galante on period instruments at Teatro Flavio Vespasiano in Rieti. ""In this version of the story the Capuleti and Montecchi are rival political factions (Guelph and Ghibelline respectively) rather than Shakespeare's ""two households, both alike in dignity"". Capellio is the father of Giulietta (Juliet) and the leader of the Capuleti. Giulietta is betrothed to Tebaldo (Tybalt), however she has already met and fallen in love with Romeo, leader of the Montecchi (Montagues). This is a secret"
"to share any more of her secrets with the Nurse. The Nurse discovers Juliet under the spell of Friar Laurence's potion in act four, scene five, and the grief of her death as seriously as she mourned Tybalt. She is, finally, present at the real deathbed of Romeo, Juliet, and Paris, though speechless. Indeed, she loses perhaps the dearest friends of anyone, having suffered through the deaths of her husband, Susan, Tybalt, Romeo, and Juliet. The nurse has the third largest number of lines in the original play; only the eponymous characters have more lines. In 2014, Simon & Schuster"
"involving the five guests from the Royal Shakespeare Company...a unique venture."" Stasio added, ""Everybody at the opening night party, including such members of the theatrical community as Milo O'Shea, Barnard Hughes and Gloria Foster, seemed to want to a regular event of the unprecedented project."" In the evenings, the five actor also performed a ""five-hander"" version of Shakespeare ""The Merchant of Venice"", Dylan Thomas' ""Under Milk Wood"", and the New York premiere of D. H. Lawrence's ""The Tarnished Phoenix"". The week-long residency drew sell-out crowds at its two venues, the All Angels Episcopal Church at Lincoln Center, and The Shakespeare"
"Jane Howell, the play was presented as the first part of the tetralogy (all four adaptations directed by Howell) with linked casting. Henry was played by Peter Benson, Margaret by Julia Foster, Talbot by Trevor Peacock and Joan by Brenda Blethyn. Howell's presentation of the complete first historical tetralogy was one of the most lauded achievements of the entire BBC series, and prompted Stanley Wells to argue that the productions were ""probably purer than any version given in the theatre since Shakespeare's time."" Michael Mannheim was similarly impressed, calling the tetralogy ""a fascinating, fast-paced and surprisingly tight-knit study in political"
"Christians (who do). Lorenzo joins them and Jessica recounts their conversation, leading to further banter between Lorenzo and Gobbo, until Gobbo leaves to prepare for dinner. In response to questioning by Lorenzo, Jessica praises Portia as great and peerless. Act 5, Scene 1—the final scene of the play, and following on from the courtroom scene in Act 4—opens with Jessica and Lorenzo strolling in the gardens of Belmont. They exchange romantic metaphors, invoking in turn characters from classical literature: ""Troilus and Criseyde"", Pyramus and Thisbē, Aeneas and Dido, Jason and Medea, and finally themselves in the same mode, until they"
"and happiness. For the Jessica–Shylock relationship, John Drakakis, the editor of The Arden Shakespeare's third series edition, highlights the verbal connection between ""The Merchant of Venice"" and ""The Jew of Malta"" with Barabas's words when Abigail rescues his gold and Shylock's at Jessica's theft of his Ducats. Another version of the play's plot can be found in Anthony Munday's ""Zelauto: The Fountain of Fame Erected in an Orchard of Amorous Adventures"" (1580). In this version it is Munday's Jessica analogue, Brisana, who pleads the case first in the courtroom scene, followed by Cornelia, the Portia analogue. But the Jessica–Lorenzo plot"
"role of Peter is enlarged, and played by Andy Devine as a faint-hearted bully. He speaks lines which Shakespeare gave to other Capulet servants, making him the instigator of the opening brawl. The film includes two songs drawn from other plays by Shakespeare: ""Come Away Death"" from ""Twelfth Night"" and ""Honour, Riches, Marriage, Blessing"" from ""The Tempest"". Clusters of images are used to define the central characters: Romeo is first sighted leaning against a ruined building in an arcadian scene, complete with a pipe-playing shepherd and his dog; the livelier Juliet is associated with Capulet's formal garden, with its decorative"
"History of Romeus and Juliet"", which Shakespeare later used to create ""Romeo and Juliet"". Brooke's version made Mercutio a rival for Juliet's love. Shakespeare's addition of Valentine as Mercutio's brother diffuses this rivalry. Thus, because the first time we hear of Mercutio he is associated with Valentine, rather than Juliet, he is changed from a rival to a friend and brotherly figure of Romeo. Characters in Romeo and Juliet William Shakespeare's play ""Romeo and Juliet"" contains a diverse cast of characters. In addition to the play's eponymous protagonists, Romeo Montague and Juliet Capulet, the play contains roles for members of"
"Characters in Romeo and Juliet William Shakespeare's play ""Romeo and Juliet"" contains a diverse cast of characters. In addition to the play's eponymous protagonists, Romeo Montague and Juliet Capulet, the play contains roles for members of their respective families and households; Prince Escalus, the city's ruler, and his kinsman, Count Paris; and various unaffiliated characters such as Friar Laurence and the Chorus. In addition the play contains two ghost characters (Petruchio and Valentine) and an unseen character (Rosaline). Prince Escalus, the Prince of Verona, is the desperate resolver of the feuding families. He is based on the actual Scaligeri family"
"Valentine's role is based on Romeus'. Thus, when adapting the ""Mercutio—Juliet—Romeus"" constellation from Brooke, by changing Mercutio from an amorous rival into a friend—brother to Romeo and a ""scoffer at love"", Shakespeare also rearranged the relationships into ""Mercutio—Romeo—Juliet"", making Romeo the focus and removing Mercutio as a threat to his courtship of Juliet. Four characters in John Webster's ""The White Devil"", Christophero, Farnese, Guid-Antonio, and Little Jaques the Moor, have sometimes been referred to as ghost characters because they have no lines in the play. George Peele's ""Edward I"" includes four characters mentioned in stage directions but not given any"
"arrives on the Prospero's island with Alonso, Ferdinand, Sebastian, Antonio, Stefano, and Trinculo during a storm while returning from the wedding of Alonso’s daughter. During their time on the island, Gonzalo repeatedly attempts to lighten the mood by discussing the beauty of the island. An old, honest lord, he speaks cheerfully on the miracle of the reconciliation of the lords. Many often see Gonzalo as the mouthpiece of the play, who mirrors Shakespeare's relativist beliefs. The role was portrayed by many of the renowned actors. His heart was of a good man and he did all he could for his"