Which is the only one of Shakespeare's comedies in which 'Falstaff' appears?
"Forest (now part of Windsor Great Park). They then dress several of the local children as fairies and get them to pinch and burn Falstaff to punish him. The wives meet Falstaff, and almost immediately the ""fairies"" attack. After the chaos, the characters reveal their true identities to Falstaff. Although he is embarrassed, Falstaff takes the joke surprisingly well, as he sees it was what he deserved. Ford says he must pay back the 20 pounds 'Brook' gave him and takes the Knight's horses as recompense. Eventually they all leave together and Mistress Page even invites Falstaff to come with"
"Falstaff Sir John Falstaff is a fictional character who is mentioned in four plays by William Shakespeare and appears on stage in three of them. His significance as a fully developed character in Shakespeare is primarily formed in the plays ""Henry IV, Part 1"" and ""Part 2"", where he is a companion to Prince Hal, the future King Henry V. A notable eulogy for Falstaff is presented in Act II, Scene III of ""Henry V"", where Falstaff does not appear as a character on stage, as enacted by Mistress Quickly in terms that some scholars have ascribed to Plato's description"
"comedies or his romance plays, and extended into his histories as well. The character portrayed by Falstaff in the Henriad, or plays dealing with Henry IV, is representative of Shakespeare's exemplary use of the comic type of character in his history plays. Several of Shakespeare's comedies, such as ""Measure for Measure"" and ""All's Well That Ends Well,"" have an unusual tone with a difficult mix of humour and tragedy which has led them to be classified as problem plays. It is not clear whether the uneven nature of these dramas is due to an imperfect understanding of Elizabethan humour and"
"system, 3.1.55 means act 3, scene 1, line 55. Prologues, epilogues, scene directions, and other parts of the play that are not a part of character speech in a scene, are referenced using Folger Through Line Number: a separate line numbering scheme that includes every line of text in the play. Falstaff Sir John Falstaff is a fictional character who is mentioned in four plays by William Shakespeare and appears on stage in three of them. His significance as a fully developed character in Shakespeare is primarily formed in the plays ""Henry IV, Part 1"" and ""Part 2"", where he"
"The Comedy of Errors The Comedy of Errors is one of William Shakespeare's early plays. It is his shortest and one of his most farcical comedies, with a major part of the humour coming from slapstick and mistaken identity, in addition to puns and word play. ""The Comedy of Errors"" is, along with ""The Tempest"", one of only two Shakespearean plays to observe the Aristotelian principle of unity of time—that is, that the events of a play should occur over 24 hours. It has been adapted for opera, stage, screen and musical theatre numerous times worldwide. In the centuries following"
"Bardolph (Shakespeare character) Bardolph is a fictional character who appears in four plays by William Shakespeare. He is a thief who forms part of the entourage of Sir John Falstaff. His grossly inflamed nose and constantly flushed, carbuncle-covered face is a repeated subject for Falstaff's and Prince Hal's comic insults and word-play. Though his role in each play is minor, he often adds comic relief, and helps illustrate the personality change in Henry from Prince to King. In early published versions of ""Henry IV, Part 1"", the character is called Rossill or sir Iohn Russel. Shakespeare renamed the character to"
"alive. His heretical opinions and early friendship with Henry V created a traditional scandal which long continued. In the old play ""The Famous Victories of Henry V"", written before 1588, Oldcastle figures as the Prince's boon companion. When Shakespeare adapted that play in ""Henry IV, Part 1"", Oldcastle still appeared, but when the play was printed in 1598, the name was changed to Falstaff (modelled after John Fastolf), in deference to one of Oldcastle's descendants, Lord Cobham. Though the fat knight still remains ""my old lad of the Castle"", the stage character has nothing to do with the Lollard leader."
"in 1597, after which controversy over the original naming of Falstaff (he was originally the historic Sir John Oldcastle, which presumably did not please Oldcastle's descendants) forced Shakespeare to rename the character. It appears that the joke in V,v,85–90 is that Oldcastle/Falstaff incriminates himself by calling out the first letter of his name, ""O, O, O!,"" when his fingertips are singed with candles—which of course works for ""Oldcastle"" but not ""Falstaff."" There is also the ""castle"" reference in IV,v,6. 18 January 1602 was the date the play was entered into the Register of the Stationers Company. The first quarto was"
"as created by Shakespeare. More recently the critic Harold Bloom, in a book devoted entirely to Falstaff, approvingly noted Hazlitt's appreciative commentary on the character, quoting Hazlitt's observation that Falstaff ""lives in a perpetual holiday and open house, and we live with him in a round of invitations to a rump and dozen."" Falstaff's appearance in ""The Merry Wives of Windsor"" is far less significant; although he found things to admire in this play, to Hazlitt, ""Falstaff in the ""Merry Wives of Windsor"" is not the man he was in the two parts of ""Henry IV""."" Though at times Hazlitt"
"his histories. It is not clear, however, if Shakespeare characterised Falstaff as he did for dramatic purposes, or because of a specific desire to satirise Oldcastle or the Cobhams. Cobham was a common butt of veiled satire in Elizabethan popular literature; he figures in Ben Jonson's ""Every Man in His Humour"" and may have been part of the reason ""The Isle of Dogs"" was suppressed. Shakespeare's desire to burlesque a hero of early English Protestantism could indicate Roman Catholic sympathies, but Henry Brooke, 11th Baron Cobham was sufficiently sympathetic to Catholicism that in 1603, he was imprisoned as part of"
"well known commentator on Shakespeare in the 18th century, who took the common view at the time that Shakespeare's plays were only acceptable to modern audiences in heavily adapted versions. ""Falstaff's Wedding"" contains very little directly derived from Shakespeare apart from a few phrases and the characters themselves. The ending of the second version, however, is a pastiche of the final scene of ""The Merry Wives of Windsor"". The play was one of several adaptations of Shakespeare centring on the character of Falstaff, but is ""the most remarkable"" of them according to critic Adam Hansen. Hansen describes the first version"
"Upon his arrival, the rascally Falstaff woos the wives of two wealthy and pre-occupied cattle ranchers in order to gain their husbands' land and money. But the ladies are wise to Falstaff's scheme. The cast recording for the Off-Broadway production is available through PS Classics. Lone Star Love Lone Star Love, or, The Merry Wives of Windsor, Texas is a musical based on Shakespeare's ""The Merry Wives of Windsor"". The score is by Jack Herrick (of the Red Clay Ramblers), and the book is by John L. Haber and Robert Horn. The setting of the piece has been moved to"
"The Merry Wives of Windsor The Merry Wives of Windsor is a comedy by William Shakespeare first published in 1602, though believed to have been written in or before 1597. The Windsor of the play's title is a reference to the town of Windsor, also the location of Windsor Castle, in Berkshire, England. Though nominally set in the reign of Henry IV, the play makes no pretense to exist outside contemporary Elizabethan era English middle class life. It features the character Sir John Falstaff, the fat knight who had previously been featured in ""Henry IV, Part 1"" and ""Part 2""."
"to the king's noble companion before Agincourt. In the 1989 Kenneth Branagh version of ""Henry V"" he was played by Richard Briers, in a scene in which his execution occurred on screen. In the 2012 series ""The Hollow Crown"" he was portrayed by Tom Georgeson. His death is again depicted on screen. Bardolph (Shakespeare character) Bardolph is a fictional character who appears in four plays by William Shakespeare. He is a thief who forms part of the entourage of Sir John Falstaff. His grossly inflamed nose and constantly flushed, carbuncle-covered face is a repeated subject for Falstaff's and Prince Hal's"
"since the contemporary literature contains many allusions and references to ""Hamlet"" (only Falstaff is mentioned more, from Shakespeare), the play was surely performed with a frequency that the historical record misses. All theatres were closed down by the Puritan government during the Interregnum. Even during this time, however, playlets known as ""drolls"" were often performed illegally, including one called ""The Grave-Makers"" based on Act 5, Scene 1 of ""Hamlet"". The play was revived early in the Restoration. When the existing stock of pre-civil war plays was divided between the two newly created patent theatre companies, ""Hamlet"" was the only Shakespearean"
"Ben Jonson's ""Every Man in His Humour"". Falstaff is a more ambiguous case. Though Falstaff presents some features of an Elizabethan dramatic clown, his character is higher in class and more complex than the other roles with which Kempe is associated. In 2008, comedian Tim FitzHigham re-enacted Kemp's Nine Day's Wonder by Morris dancing from London to Norwich, forming the basis of his play The Bard's Fool, performed at the Edinburgh Fringe. William Kempe William Kempe (died 1603), commonly referred to as Will Kemp, was an English actor and dancer specialising in comic roles and best known for having been"
"Falstaff's Wedding Falstaff's Wedding (1760 and 1766) is a play by William Kenrick. It is a sequel to Shakespeare's plays ""Henry IV, Part 2"" and ""The Merry Wives of Windsor"". Most of the characters are carried over from the two Shakespeare plays. The play was first staged in 1766, but was not a success. It was infrequently revived thereafter. The play exists in two quite different versions. The first version, published in 1760, is written in verse. Its main storyline involves an embittered Falstaff being drawn into a plot to kill Henry V of England. The second version, staged in"
"Falstaff (Elgar) Falstaff – Symphonic Study in C minor, Op. 68, is an orchestral work by the English composer Edward Elgar. Though not so designated by the composer, it is a symphonic poem in the tradition of Franz Liszt and Richard Strauss. It portrays Sir John Falstaff, the ""fat knight"" of William Shakespeare's ""Henry IV"" Parts 1 and 2. The work was well received at its première in 1913, but did not inspire the great enthusiasm aroused by some of Elgar's earlier works. The composer thought it his finest orchestral piece, and many Elgar admirers agree, but it has not"
"them: ""let us every one go home, and laugh this sport o'er by a country fire; Sir John and all"". Shakespeare originally named Falstaff ""John Oldcastle"". Lord Cobham, a descendant of the historical John Oldcastle, complained, forcing Shakespeare to change the name. Shakespeare's ""Henry IV"" plays and ""Henry V"" adapted and developed the material in an earlier play called ""The Famous Victories of Henry V"", in which Sir John ""Jockey"" Oldcastle appears as a dissolute companion of the young Henry. In the published version of ""Henry IV, Part 1"", Falstaff's name is always unmetrical, suggesting a name change after the"
"principal fictional character is Sir John Falstaff, though he was originally given the name of the historical Sir John Oldcastle. His followers Bardolph, Nym and Pistol also recur, along with Mistress Quickly, the hostess of the Boar's Head Inn, where they meet. Hal's friend Ned Poins appears in both ""Henry IV"" plays. Minor characters such as petty-criminal Peto and bartender Francis also recur. Henriad Henriad is a common title used by scholars for Shakespeare's second historical tetralogy, comprising ""Richard II""; ""Henry IV, Part 1""; ""Henry IV, Part 2""; and ""Henry V"". The plays depict the destabilising effects of the violation"
"quaintness of the character [of Falstaff] was lost by being sunk in modern wit"", a defect supposedly avoided in White's book. Falstaff's Wedding Falstaff's Wedding (1760 and 1766) is a play by William Kenrick. It is a sequel to Shakespeare's plays ""Henry IV, Part 2"" and ""The Merry Wives of Windsor"". Most of the characters are carried over from the two Shakespeare plays. The play was first staged in 1766, but was not a success. It was infrequently revived thereafter. The play exists in two quite different versions. The first version, published in 1760, is written in verse. Its main"
"the time. Furness interprets this a little differently, saying that Shakespeare may not have originally intended both roles to be played by the same person, but that directors combined the roles to save money. Act V, scene 1 is the only scene in which both men are present at the same time. Philostrate, as the less-important one, would thus probably have been stricken out, while Egeus would have filled both roles. This change in staging would reveal an alteration from Shakespeare's original text. Egeus Egeus is a character in ""A Midsummer Night's Dream"", the comedy by William Shakespeare. He is"
"poisoned, and drowned key characters. By the end of ""Hamlet"", Horatio is the only main figure left alive. A previous, satirical play of a similar nature named ""Rosencrantz and Guildenstern"" was written by W. S. Gilbert in 1874 and performed in 1891. The play concerns the misadventures and musings of Rosencrantz and Guildenstern, two minor characters from William Shakespeare's ""Hamlet"" who are childhood friends of the prince, focusing on their actions with the events of ""Hamlet"" as background. ""Rosencrantz and Guildenstern Are Dead"" is structured as the inverse of ""Hamlet""; the title characters are the leads, not supporting players, and"
"briefly. The tone of much of the play is elegiac, focusing on Falstaff's age and his closeness to death, which parallels that of the increasingly sick king. Falstaff is still drinking and engaging in petty criminality in the London underworld. He first appears, followed by a new character, a young page whom Prince Hal has assigned him as a joke. Falstaff enquires what the doctor has said about the analysis of his urine, and the page cryptically informs him that the urine is healthier than the patient. Falstaff delivers one of his most characteristic lines: ""I am not only witty"
"themes help to give the play something closer to a modern-day view than is often found in Shakespeare's plays. The play is centred on the class prejudices of middle-class England. The lower class is represented by characters such as Bardolph, Nym, and Pistol (Falstaff's followers), and the upper class is represented by Sir John Falstaff and Master Fenton. Shakespeare uses both Latin and misused English to represent the attitudes and differences of the people of this era. For example, much humor is derived from the exaggerated accents of Dr. Caius and Sir Hugh Evans. For example, Caius speaks in an"
"still much originality, building on the strengths which Verdi had already demonstrated; the powerful storm which opens the opera ""in medias res"", the recollection of the love duet of Act I in Otello's dying words (more an aspect of ""tinta"" than ""leitmotif""), imaginative touches of harmony in Iago's ""Era la notte"" (Act II). Finally, six years later, appeared ""Falstaff"", Verdi's only comedy apart from the early, ill-fated ""Un giorno di regno"". In this work Roger Parker writes that: Although Verdi's operas brought him a popular following, not all contemporary critics approved of his work. The English critic Henry Chorley allowed"
"some of these elements appear in many of his works, such as ""Twelfth Night"" or ""A Midsummer Night's Dream"", and had a deep impact on Shakespeare's writing. Later playwrights also borrowed Plautus's stock characters. One of the most important echoes of Plautus is the stock character of the parasite. Certainly the best example of this is Falstaff, Shakespeare's portly and cowardly knight. As J. W. Draper notes, the gluttonous Falstaff shares many characteristics with a parasite such as Artotrogus from ""Miles Gloriosus."" Both characters seem fixated on food and where their next meal is coming from. But they also rely"
"although there is no evidence that he acted with cowardice, he was temporarily stripped of his knighthood. Fastolf appears in ""Henry VI, Part 1"" in which he is portrayed as an abject coward. In the"" First Folio ""his name is spelled ""Falstaffe"", so Shakespeare may have directly appropriated the spelling of the name he used in the earlier play. In a further comic double meaning, the name implies impotence. It has been suggested that the dissolute writer Robert Greene may also have been an inspiration for the character of Falstaff. This theory was first proposed in 1930 and has recently"
"that Shakespeare never intended to write a sequel, and that he was hampered by a lack of remaining historical material with the result that the comic scenes come across as mere ""filler"". However, the scenes involving Falstaff and Justice Shallow are admired for their touching elegiac comedy, and the scene of Falstaff's rejection can be extremely powerful onstage. The critic Harold Bloom has suggested the two parts of Henry IV along with the Hostess' elegy for Sir John in Henry V may be Shakespeare's greatest achievement. There have been three BBC television films of ""Henry IV, Part 2"". In the"
"and Bristol indicate that at least some of the company toured that summer. The character of Falstaff, though immensely popular from the start, aroused the ire of Lord Cobham, who objected to the use of the character's original name (Oldcastle), which derived from a member of Cobham's family. In the last years of the century, the company continued to stage Shakespeare's new plays, including ""Julius Caesar"" and ""Henry V"", which may have opened the Globe, and ""Hamlet"", which may well have appeared first at the Curtain. Among non-Shakespearean drama, ""A Warning for Fair Women"" was certainly performed, as was the"
"on flattery in order to gain these gifts, and both characters are willing to bury their patrons in empty praise. Of course, Draper notes that Falstaff is also something of a boastful military man, but notes, ""Falstaff is so complex a character that he may well be, in effect, a combination of interlocking types."" As well as appearing in Shakespearean comedy, the Plautine parasite appears in one of the first English comedies. In ""Ralph Roister Doister,"" the character of Matthew Merrygreeke follows in the tradition of both Plautine Parasite and Plautine slave, as he both searches and grovels for food"
"funnier than unhappiness … it's the most comical thing in the world"". Esslin cites William Shakespeare as an influence on this aspect of the ""Absurd drama."" Shakespeare's influence is acknowledged directly in the titles of Ionesco's ""Macbett"" and Stoppard's ""Rosencrantz and Guildenstern Are Dead"". Friedrich Dürrenmatt says in his essay ""Problems of the Theatre"", ""Comedy alone is suitable for us … But the tragic is still possible even if pure tragedy is not. We can achieve the tragic out of comedy. We can bring it forth as a frightening moment, as an abyss that opens suddenly; indeed, many of Shakespeare's"
"John Falstaff"" was published in 1777. It belonged to a genre of criticism, well-established at the time, that defended a Shakespeare character against charges of immorality. In this character study, Morgann contradicted Dr Johnson's view of Falstaff as a drunken coward unworthy of admiration. Morgann argued that it was Shakespeare's intention to gain sympathy from the audience for Falstaff at the expense of Prince Hal. Falstaff was in reality a good-natured man of true courage and a coward only in appearance. When he is robbed at Gads Hill, for example, Falstaff does not flee ""until he had been deserted by"