"where Claudio and Hero are a homosexual couple, Claudia and Hana. Much Ado About Nothing Much Ado About Nothing is a comedy by William Shakespeare thought to have been written in 1598 and 1599, as Shakespeare was approaching the middle of his career. The play was included in the ""First Folio"", published in 1623. By means of ""noting"" (which, in Shakespeare's day, sounded similar to ""nothing"" as in the play's title, and which means gossip, rumour, and overhearing), Benedick and Beatrice are tricked into confessing their love for each other, and Claudio is tricked into rejecting Hero at the altar"
"All for Love (play) All for Love or, the World Well Lost, is a heroic drama by John Dryden written in 1677. Today, it is Dryden's best-known and most performed play. It is a tragedy written in blank verse and is an attempt on Dryden's part to reinvigorate serious drama. It is an acknowledged imitation of Shakespeare’s ""Antony and Cleopatra"", and focuses on the last hours of the lives of its hero and heroine. Dryden deals with the same subject as that of Shakespeare's Antony and Cleopatra. Whereas Shakespeare ""diffused the action of his play over Italy, Greece, and Egypt,"""
"otherwise specified, are taken from the Arden Shakespeare second edition (Gibbons, 1980) based on the Q2 text of 1599, with elements from Q1 of 1597. Under its referencing system, which uses Roman numerals, II.ii.33 means act 2, scene 2, line 33, and a 0 in place of a scene number refers to the prologue to the act. Romeo and Juliet Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare's most popular plays during his lifetime and along with ""Hamlet"","
"distaff; and I hope to see a housewife take thee between her legs and spin it off""; the Nurse in ""Romeo and Juliet"" says that her husband had told Juliet when she was learning to walk that ""Yea, dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit""; or is told the time by Mercutio: ""for the bawdy hand of the dial is now upon the prick of noon""; and in ""Hamlet"", Hamlet publicly torments Ophelia with a series of sexual puns, including ""country matters"" (similar to ""cunt""). The title of Shakespeare's play ""Much Ado"
"as Handel's ""Rinaldo"" (1711), based on a magical interlude in Tasso's ""Gerusalemme liberata"". In the Renaissance, also, the romance genre was bitterly attacked as barbarous and silly by the humanists, who exalted Greek and Latin classics and classical forms, an attack that was not in that century very effective among the common readers. In England, romances continued; heavily rhetorical, they often had complex plots and high sentiment, such as in Robert Greene's ""Pandosto"" (the source for William Shakespeare's ""The Winter's Tale"") and Thomas Lodge's ""Rosalynde"" (based on the medieval romance ""Gamelyn"" and the source for ""As You Like It""), ""Robert"
"Love's Labours Lost, Love Labours Won, Midsummer Night's Dream"", and ""Merchant of Venice""; ""Tragedy"": ""Richard II, Richard III, Henry the IV, King John, Titus Andronicus"", and"" Romeo and Juliet""), establishing their composition before 1598. This passage has sometimes been taken to indicate that only those Shakespeare plays had been written by 1598. However, there is no way of knowing how complete Meres' knowledge of the published plays actually was or whether he even intended to produce a comprehensive list of all the plays; at the very least, it is generally agreed that Meres neglects ""The Taming of the Shrew"" (1590–91),"
"Romeo and Juliet Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare's most popular plays during his lifetime and along with ""Hamlet"", is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. ""Romeo and Juliet"" belongs to a tradition of tragic romances stretching back to antiquity. The plot is based on an Italian tale translated into verse as ""The Tragical History of Romeus and Juliet"" by Arthur Brooke in 1562 and"
"play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy. Though first published in quarto in 1598, the play's title page suggests a revision of an earlier version of the play. While there are no obvious sources for the play's plot, the four main characters are loosely based on historical figures. The use of apostrophes in the play's title varies in early editions, though it is most commonly given as ""Love's Labour's Lost"". The historical personages portrayed and the political situation in Europe relating to the setting and action of the play were familiar"
"the lyrical ""Richard II"", written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, ""Henry IV, parts 1"" and ""2"", and ""Henry V"". His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work. This period begins and ends with two tragedies: ""Romeo and Juliet"", the famous romantic tragedy of sexually charged adolescence, love, and death; and ""Julius Caesar""—based on Sir Thomas North's 1579 translation of Plutarch's ""Parallel Lives""—which introduced a new kind of drama. According to"
"Spanish Tragedy"" (1893), which he followed with ""A Book of Song"" (1894). Among his poems, three were set to music by Hubert Parry, an old friend from Eton days: ""Sleep"" (""Beautiful up from the deeps of the solemn sea""), ""Through the ivory gate"" (""I had a dream last night""), and ""Whence"". In 1901, Sturgis wrote the libretto for Charles Villiers Stanford's opera, """"Much Ado About Nothing"""", based on the play by Shakespeare. Sturgis's text was exceptionally faithful to Shakespeare's original. ""The Manchester Guardian"" commented, ""Not even in the ""Falstaff"" of Arrigo Boito and Giuseppe Verdi have the characteristic charm, the"
"seduce another woman. She tells The Lady not to trust The Man, as he is a mere actor. She then recognises that The Lady is Queen Elizabeth. The Man reveals that he is William Shakespeare. The Queen demands that he should apologise to her, but Shakespeare insists that his family is more respectable than hers, and that she only has her job by accident of birth. The Dark Lady is shocked by Shakespeare's frankness, but the queen forgives him. Shakespeare complains that his worst plays, ""As You Like It"" and ""Much Ado About Nothing"", are the most popular, but is"
"arts: Shakespeare also alludes to the story in ""Much Ado About Nothing"", both when Benedick states that Leander was ""never so truly turned over and over as my poor self in love"" and in the name of the character Hero, who, despite accusations to the contrary, remains chaste before her marriage; and in ""A Midsummer Night's Dream"" in the form of a malapropism accidentally using the names Helen and Limander in the place of Hero and Leander, as well as in Edward III (Act II, Scene II), Othello (Act III, Scene III), and Romeo and Juliet (Act II, Scene IV)."
"Philip Sidney deplored in his complaint against the ""mungrell Tragy-comedie"" of the 1580s, and of which Shakespeare's Polonius offers famous testimony: ""The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individuable, or poem unlimited: Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men."" Some aspects of this romantic impulse remain even in the work of more sophisticated playwrights: Shakespeare's last plays, which may well be called tragicomedies, have often been called romances. By the early Stuart period, some English"
"being the first poem dedicated to Burghley's ward, the 17-year-old Earl of Southampton, the next being Shakespeare's erotic narrative Venus and Adonis (1593), The Rape of Lucrece (1594) and, according to some, Shakespeare's Sonnets, which also address the ""Sin of self-love"". Although it is thought likely that Burghley prompted Clapham to write ""Narcissus"" for Southampton because of his reluctance to marry, commentators are not agreed about whether the poem itself argues in favour of marriage; likewise, some read the presentation of Narcissus (like Shakespeare's Adonis) as a ""compliment"" to its dedicatee, others as a ""rebuke"" and a ""taunt"". Clapham also"
"literary career, his book ""Utopia"", or the dispute between Henry VIII and the Pope in Rome. Also the life of More is at times expanded beyond what actually occurred and beyond the sources that were used, in order to suit the drama. What the play is about has been debated, but the issues revolve around obedience to the crown and rule of law, particularly when a populace becomes stirred up in an anti-alien fervor. Even More must obey; when he does not he loses his life. There are three primary actions in the drama: First is the uprising of 1517"
"Sonnet 98 Sonnet 98 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It's a member of the Fair Youth sequence, in which the persona expresses his love towards a young man. It is the second of a group of three sonnets (97 to 99) to treat a separation of the speaker from his beloved. We were apart during the spring, when everything feels young, even aged Saturn; however, none of the beauty I saw around me could bring me into sympathy with my surroundings. I could not admire the lily or the rose, since"
"verse and little variation in rhythm. However, after the plague forced Shakespeare and his company of actors to leave London for periods between 1592 and 1594, Shakespeare began to use rhymed couplets in his plays, along with more dramatic dialogue. These elements showed up in ""The Taming of the Shrew"" and ""A Midsummer Night's Dream."" Almost all of the plays written after the plague hit London are comedies, perhaps reflecting the public's desire at the time for light-hearted fare. Other comedies from Shakespeare during this period include ""Much Ado About Nothing,"" ""The Merry Wives of Windsor"" and ""As You Like"
"one of Shakespeare's ""most pleasing"" plays. In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play. Actor and playwright David Garrick's 1748 adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless. Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was and that this was the reason for his tragic end. Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of"
"whirlwind. This legend inspired the Renaissance drama ""Dido, Queen of Carthage"" by Christopher Marlowe. Also from the 17th century is a ballad inspired by the relationship between Dido and Aeneas. The ballad, often printed on a broadside, is called ""The Wandering Prince of Troy,"" and it alters the end of the relationship between the two lovers, rethinking Dido's final sentiment for Aeneas and rewriting Aeneas's visit to the underworld as Dido's choice to haunt him. The story of Dido and Aeneas remained popular throughout the post-Renaissance era and was the basis for many operas, including: William Shakespeare refers to Dido"
"makes several references to various plays by Shakespeare, both real and fictional. Some existing plays, such as ""Hamlet"" and ""As You Like It"", are given new names (""The Prince of Denmark"" and ""If You Like It""), and presumably different content. Another play mentioned, ""Love's Labour's Won"", is the title of an actual lost play by Shakespeare, presumed to be a sequel to the existing ""Love's Labour's Lost"". Christopher Marlowe, who historically died in 1593, lives until October or November 1598 in the novel. As well as his known plays, the novel creates two imaginary Marlowe plays, ""Catiline"" and"" Cambyses, King"
"twelve times in his plays: four times in ""The Tempest"", albeit all in one dialogue, twice in ""Titus Andronicus"", and also in ""Henry VI Part 2"", ""Antony and Cleopatra"", ""Hamlet"", ""Romeo and Juliet, A Midsummer Night's Dream,"" and most famously in ""The Merchant of Venice"", in Lorenzo's and Jessica's mutual wooing: In 1794 Germany, Charlotte von Stein wrote her own drama named ""Dido"", with an autobiographical element - as von Stein had been forsaken by her own lover, the famous Goethe, in a manner which she found reminiscent of Aeneas. Even today, Dido appears in Sid Meier's strategy games ""Civilization"
"Goethe ended with his sudden departure to Italy without even telling her he wanted to go. Not until after 1800 did their relationship begin to normalize and even then it never became as close as before. After her husband had died in 1793 Charlotte retired from society and became more and more lonely. In 1794 she wrote the drama ""Dido""— a literary self-portrait that also depicted her disappointment about Goethe's behavior. It reflected the years from 1770 to 1790 and the situation in Weimar at that time. As depicted by Virgil, Dido (Queen of Carthage) was forsaken by her lover"
"of love as sham and pretense. Critics have seen an obvious influence from Shakespeare's ""Othello"" in Ford's play. D'Avolos is a version of Iago; Bianca champions the cause of a courtier named Roselli, as Desdemona champions Cassio. The poet Richard Crashaw refers to two of Ford's plays in a couplet in his ""Delights of the Muses"" (1646): Love's Sacrifice Love's Sacrifice is a Caroline era stage play, a tragedy written by John Ford, and first published in 1633. It is one of Ford's three surviving solo tragedies, the others being ""The Broken Heart"" and ""'Tis Pity She's a Whore"". The"
"The subject of Platonic love was highly fashionable in the court of Charles I, especially with Queen Henrietta Maria, her ladies in waiting, and their coterie of courtier poets and dramatists, like Sir John Suckling. It is not surprising that Ford would choose the subject for dramatic treatment. The treatment he gave the subject, however, was roundly condemned for its ""coarseness"" and ""prurience"" by more straightlaced later critics, especially those of the Victorian era. The play relies heavily on the spectre of virtue and chastity tested by false accusations and suspicions and tricks — that strange obsession of English Renaissance"
"vertiginous moment of coitus, are the same man. All men who repeat a line from Shakespeare ""are"" William Shakespeare."" Shakespeare himself was knowledgeable of this idea: lines ""I will live in thy heart, die in thy lap, and be buried in thy eyes"" and ""I will die bravely, like a smug bridegroom"", said respectively by Benedick in ""Much Ado About Nothing"" and by King Lear in the play of that ilk, are interpreted as ""to die in a woman's lap"" = ""to experience a sexual orgasm"". Sigmund Freud with his psychoanalytic projects, in ""The Ego and the Id"" (1923), speculates"
"in works such as ""Either/Or"" and ""Stages on Life's Way"": In ""How to Make Good Decisions and Be Right All the Time"", British writer Iain King tried to establish rules for romance applicable across most cultures. He concluded on six rules, including: The ""tragic"" contradiction between romance and society is most forcibly portrayed in literature, in Tolstoy's ""Anna Karenina"", in Flaubert's ""Madame Bovary"", and William Shakespeare's ""Romeo and Juliet"". The female protagonists in such stories are driven to suicide as if dying for a cause of freedom from various oppressions of marriage. Even after sexual revolutions, on the other hand,"
"own romantic situation to that of Philomela's plight and claims that he has more reason to be sad. However, recent literary criticism has labelled this claim as sexist and an unfortunate marginalization of the traumatic rape of Philomela. Sydney argues that the rape was an ""excess of love"" and less severe than being deprived of love as attested by the line, ""Since wanting is more woe than too much having."" Playwright and poet William Shakespeare (1564–1616) makes frequent use of the Philomela myth—most notably in his tragedy ""Titus Andronicus"" (c. 1588–1593) where characters directly reference Tereus and Philomela in commenting"
"know not why I am so sad"" – and utter devotion to Bassanio has led some critics to theorise that he is suffering from unrequited love for Bassanio and is depressed because Bassanio is coming to an age where he will marry a woman. In his plays and poetry Shakespeare often depicted strong male bonds of varying homosociality, which has led some critics to infer that Bassanio returns Antonio's affections despite his obligation to marry: In his essay ""Brothers and Others"", published in ""The Dyer's Hand,"" W. H. Auden describes Antonio as ""a man whose emotional life, though his conduct"
"words, Shakespeare ""invented the formula that the sexual becomes the erotic when crossed by the shadow of death"". Of Shakespeare's works, ""Romeo and Juliet"" has generated the most—and the most varied—adaptations, including prose and verse narratives, drama, opera, orchestral and choral music, ballet, film, television, and painting. The word ""Romeo"" has even become synonymous with ""male lover"" in English. ""Romeo and Juliet"" was parodied in Shakespeare's own lifetime: Henry Porter's ""Two Angry Women of Abingdon"" (1598) and Thomas Dekker's ""Blurt, Master Constable"" (1607) both contain balcony scenes in which a virginal heroine engages in bawdy wordplay. The play directly influenced"
"Howard's ""The English Mounsieur"" (1663/1674), George Etherege's ""Comical Revenge: or, Love in a Tub"" (1664), John Dryden's ""An Evening's Love: or, The Mock Astrologer"" (1667), and William Wycherley's ""Love in a Wood"" (1671). Although tragicomedies generally do not feature heroic characters in epic-like situations, they uphold class distinctions, social hierarchies, and aristocratic values in the high plots. In ""The Mulberry-Garden"", Sedley created a heroic high plot in which the two couples are facing a sea of troubles hindering their love, and the marriages of Althea and Eugenio and Diana and Philander are finally brought about only by the device of"
"a crime of passion in ""Othello"". The play ""Antony and Cleopatra"" ends with five suicides, including the deaths of both Antony and Cleopatra. Ophelia commits suicide in ""Hamlet"" following the death of her father. The subject of suicide itself is controversial. While the act of suicide can be symbolic in literature, the act itself still possesses the ability to cause controversy in the real world. Kate Chopin's novel, ""The Awakening"", was extremely controversial when it was released in 1899. Some authors who have created characters that commit suicide have committed suicide themselves. Ernest Hemingway shot himself in 1961; Some of"
"the plot concerning the lovers, the theme of death appears several times. Of course, there is the false death of Clindor which plunges the play into the atmosphere of tragedy; like Pridamant, the spectator is faced with emotions of terror and pity which are the two great theatrical sentiments according to Aristotle. However, the two passages that are the most classical in nature are the monologues of Isabelle (Act IV, scene 1) and of Clindor (Act IV, scene 7. Devastated by the judgment against her lover, Isabelle imagines her own death like the heroine of a tragedy. Moreover, she is"
"eve of the First World War, is followed by ""Much Ado About Nothing"" (re-titled ""Love's Labour's Won""). Dominic Cavendish of the ""Telegraph"" called it ""the most blissfully entertaining and emotionally involving RSC offering I’ve seen in ages"" and remarked that ""Parallels between the two works – the sparring wit, the sex-war skirmishes, the shift from showy linguistic evasion to heart-felt earnestness – become persuasively apparent."" Alfred Tennyson's poem ""The Princess"" (and, by extension, Gilbert and Sullivan's comic opera ""Princess Ida"") is speculated by Gerhard Joseph to have been inspired by ""Love's Labour's Lost"". Thomas Mann in his novel ""Doctor Faustus"""