"Can you identify the play by William Shakespeare in which the following quote appears? ""The lady doth protest too much"""
"apparent ontological paradox by inspiring Shakespeare to borrow phrases that the Doctor quotes from his plays. Examples of this include the Doctor telling Shakespeare that ""all the world's a stage"" (from ""As You Like It"") and ""the play's the thing"" (from ""Hamlet""), as well as the name Sycorax from ""The Tempest"". However, when Shakespeare himself coins the phrase ""To be, or not to be"", the Doctor suggests he write it down, but Shakespeare considers it ""too pretentious"". In a different version of the joke, the Doctor exclaims ""Once more unto the breach"", and Shakespeare initially likes the phrase, before realising"
"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"
"his awakening. He hears harmonious sounds; presently he sees a white form, and a voice is heard. It is that of his muse, who reproaches him for his neglect and his threatened abandonment of her. The poet, instantly captivated by the apparition, soon perceives that his good genius is no other than a charming woman. He advances towards her, and Olivia, terrified by the situation in which the Queen has placed herself by impersonating the apparition, substitutes herself for her royal mistress. Latimer, an admirer of Olivia is nearby and having seen Shakespeare's responses, and despite the poet's protests, challenges"
"longer endure. The Young Woman has been executed, and hangs on a gibbet on stage. While Shakespeare sits alone, the Son and several local labourers eat lunch. The Son talks about the woman's sin, also making pointed comments about Shakespeare. The Son and his friend Wally look into the dead woman's face and engage in vehement prayer, jumping and shouting. When they leave, Shakespeare tells Judith about the violent scene of a bear-baiting that took place next to the theatre, saying ""When I go to my theatre I walk under sixteen severed heads on a gate. You hear bears in"
"""A Very Woman"" received a revival production in Oxford (1661). ""A Very Woman"" first appeared in print when it was included in an octavo volume titled ""Three New Plays"", issued by Humphrey Moseley in 1655; the volume also contained Massinger's plays ""The Guardian"" and ""The Bashful Lover."" (This 1655 volume appears to unite the final three surviving works of Massinger's dramatic career.) When Moseley entered the play into the Stationers' Register on 9 September 1653, he gave it a different subtitle, calling it ""A Very Woman, or The Woman's Plot."" This alternative subtitle is found nowhere else, and there is"
"the lady. The relationship is both ""purely sexual"" and ""utterly unromantic"". However, it can also be said that the speaker is not attracted to the woman because of her ""physical, intellectual, or moral excellence"". Instead, the attraction is portrayed as being ""self-generated, with no basis in 'reality'. Rowse feels that the woman discussed in the sonnet can be identified as the mistress, Emilia. Shakespeare is six years older, and is thus highly conscious of his age. Underneath all the hyprocrisies there is Shakespeare's ""honest candour."" In ""Shakespeare's Sonnets: The Problems Solved"", A. L. Rowse notes that Sonnet 138 shows the"
"Well to be a particularly ""pleasing"" play, though less as a comedy than as a serious dramatisation of an original tale by Boccaccio. Helena is a noble example of womanhood, and, in the comic part of the play, Hazlitt is especially amused by the character of Parolles, the ""parasite and hanger on of [Count] Bertram's whose ""folly, boasting, and cowardice [... and] false pretensions to bravery and honour"" are unmasked in ""a very amusing episode."" The source of Shakespeare's play leads Hazlitt to digress at length on the writing of Boccaccio, who had never had ""justice [...] done him by"
"Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris. Shakespeare saves his prose style most often for the common people in the play, though at times he uses it for other characters, such as Mercutio. Humour, also, is important: scholar Molly Mahood identifies at least 175 puns and wordplays in the text. Many of these jokes are sexual in nature, especially those involving Mercutio and the Nurse. Early psychoanalytic critics saw the problem of ""Romeo and Juliet"" in terms of Romeo's impulsiveness, deriving from ""ill-controlled, partially disguised aggression"", which leads both to Mercutio's death and to"
"powers, she finds the dispatches in Napoleon's coat. Napoleon says he's been outwitted by an Englishwoman, and makes a series of comments about the English ability to constantly have things both ways (""As the great champion of freedom and national independence, he conquers and annexes half the world, and calls it Colonization""). He gives the woman the letter unopened; she burns it. The play was written for Ellen Terry and Richard Mansfield, but was first performed, on 1 July 1897, at the Grand theatre, Croydon with Murray Carson and Florence West in the principal roles. The play was the first"
"The Lady's Trial The Lady's Trial or ""The Ladies Triall;""is a Caroline era stage play, a comedy by John Ford. Published in 1639, it was the last of Ford's plays to appear in print, and apparently the final work of Ford's dramatic career. A copy of the play can be found in the Henry E. Huntington Library and Art Gallery under the name ""The Ladies Triall. "" The play was licensed for performance by Sir Henry Herbert, the Master of the Revels, on 3 May 1638. The quarto edition of the following year was issued by the bookseller Henry Shepherd,"
"London, Shakespeare may have had affairs with different women. One anecdote along these lines is provided by a lawyer named John Manningham, who wrote in his diary that Shakespeare had a brief affair with a woman during a performance of ""Richard III."" Upon a time when Burbage played Richard the Third there was a citizen grew so far in liking with him, that before she went from the play she appointed him to come that night unto her by the name of Richard the Third. Shakespeare, overhearing their conclusion, went before, was entertained and at his game ere Burbage came."
"Shakespeare"" adaptation. Here, Margaret uses her speech to vent her intense emotions, not to contain them. The far ranging metaphors and classical allusions are her way of letting go of her pent up rage and emotion, her disdain for Henry and her inherent passion. In Terry Hands' 1977 production for the Royal Shakespeare Company, Margaret (played by Helen Mirren) tried to bring Henry back from the brink of madness by engaging his mind in an elaborate, difficult to follow verbal dance. Henry's preceding speech to Suffolk, where he demands Suffolk not look at him, and then immediately demands that he"
"The Lady of May The Lady of May is a one-act play by the English Renaissance poet Sir Philip Sidney. The play, which draws upon the literary tradition of pastoral, is notable for its allegorical content relating to Queen Elizabeth I, for whom the first production was performed at the Earl of Leicester's country estate at Wanstead. Queen Elizabeth was asked to mediate the outcome of the masque itself. A woman approaches the queen whilst walking in Wanstead Garden as a supplicant, saying that her daughter - the Lady of May - has two suitors, and that she would like"
"Shakespeare's Romeo to an enthralled audience. Master Tilney arrives to arrest everyone for indecency due to Viola's presence, but the Queen reveals herself having been in attendance and restrains Tilney, instead asserting that Kent's resemblance to a woman is, indeed, remarkable. However, even a queen is powerless to end a lawful marriage, and she orders Kent to ""fetch"" Viola because she must sail with Wessex to the Colony of Virginia. The Queen also tells Wessex, who followed Viola to the theatre, that ""Romeo and Juliet"" has won the bet for Shakespeare, and has Kent deliver his £50 with instructions to"
"lines, the scene is entirely in prose with Lady Macbeth being the only major character in Shakespearean tragedy to make a last appearance ""denied the dignity of verse."" According to Bradley, Shakespeare generally assigned prose to characters exhibiting abnormal states of mind or abnormal conditions such as somnambulism, with the regular rhythm of verse being inappropriate to characters having lost their balance of mind or subject to images or impressions with no rational connection. Lady Macbeth's recollections – the blood on her hand, the striking of the clock, her husband's reluctance – are brought forth from her disordered mind in"
"an obedient wife. Shakespeare chose his title to signify to his audiences that the play was about the marriage of a man to an ill-tempered woman given to scolding, nagging, and aggression. Such a woman, especially a wife, was known in the sixteenth century as a shrew, so called after a tiny rodent with a notoriously hostile and unpleasant nature. A woman convicted in court for being a shrew was often punished in Shakespeare's day by being confined to stocks on the village green or repeatedly dunked in a nearby pond or lake. The setting is Padua, a city in"
"plus negotiations. Maggie leads a revolt against this agreement, and a huge crowd at Woodhouse Moor shouts down Gridley. Maggie claims that shop stewards are undermining the strike, and the crowd votes to continue striking. After a few days of discussions, the committee agrees to end the strike. Mollie later slaps Joe for referring to politics as ""the art of the attainable"". Shortly afterwards, many of the workers are made redundant. Gridley is given a large amount of compensation, but Peggy is given just £5 after 26 years of work. The play's accuracy was challenged by employers and unions. The"
"our troops and conquers as she lists"" (1.6.19–22); some of Mortimer's monologue prior to the arrival of Richard (2.5.22–32); Richard's ""Plantagenet, I see, must hold his tongue,/Lest it be said, 'Speak, sirrah, when you should:/Must your bold verdict enter talk with lords?'/Else would I have a fling at Winchester"" (3.1.61–64); Exeter's soliloquy at the end of Act 3, Scene 1 (ll.190–203); Exeter's soliloquy at the end of Act 4, Scene 1 (ll.182–194); most of the dialogue between Suffolk and Margaret as they ignore one another (5.4.16–64); and Suffolk's soliloquy, which closes the play (5.6.102–109). Also to-camera is Joan's ""Poor market"
"Guildenstern tell the Queen that they will have Hamlet play a leading part in some court theatricals to distract him. Hamlet enters, and she begs them to prevent him from soliloquising. Hamlet begins, ""To be – or not to be,"" but they interrupt him, turning the soliloquy into a trio, and urging him to commit suicide. Hamlet responds: ""It must be patent to the merest dunce/Three persons can't soliloquize at once!"" Ophelia is terrified by the ghosts from ""five thousand plays"" that haunt her father's study, ""chattering forth the scenes [that her] poor father wisely had cut out."" But she"
"Lady Macbeth has control over her husband's action at the beginning while Lady Macduff did not have control as Macduff just left Lady Macduff without her consultation. Later playwrights have found the parallels between Ladies Macduff and Macbeth fascinating and expanded Lady Macduff’s role in the play to directly contrast with Lady Macbeth and her actions. Sir William Davenant inaugurated this strategy in his adaptation of 1674, as part of his larger effort to educate the English populace on the proper discipline of human emotions. Davenant greatly expanded Lady Macduff’s role, having her appear in four new scenes: “the first"
"longer valid. Lilli leaves—without Howell—as Fred unsuccessfully tries to convince her to stay (""So in Love"" (Reprise)). The gangsters get caught on stage and improvise a tribute to Shakespeare in which they explain that knowing Shakespeare is the key to romance (""Brush Up Your Shakespeare""). The company prepares for the conclusion of the play, the wedding of Bianca and Lucentio, even though they are now missing one of the main characters. However, just in time for Katherine's final speech, Lilli arrives onstage (""I Am Ashamed That Women Are So Simple""). Fred and Lilli wordlessly reconcile on stage, and the play"
"Hamlet's confused feelings about female sexuality. Hamlet's soliloquies have also captured the attention of scholars. Hamlet interrupts himself, vocalising either disgust or agreement with himself, and embellishing his own words. He has difficulty expressing himself directly and instead blunts the thrust of his thought with wordplay. It is not until late in the play, after his experience with the pirates, that Hamlet is able to articulate his feelings freely. Written at a time of religious upheaval, and in the wake of the English Reformation, the play is alternately Catholic (or piously medieval) and Protestant (or consciously modern). The ghost describes"
"would erect to this supremacy."" The play offers an alternative to the feudal-Machiavellian polarity, an alternative foreshadowed in France's speech (I.1.245–256), in Lear and Gloucester's prayers (III.4. 28–36; IV.1.61–66), and in the figure of Cordelia. Until the decent society is achieved, we are meant to take as role-model (though qualified by Shakespearean ironies) Edgar, ""the machiavel of goodness"", endurance, courage and ""ripeness"". The play also contains references to disputes between King James I and Parliament. In the 1604 elections to the House of Commons, Sir John Fortescue, the Chancellor of the Exchequer, was defeated by a member of the Buckinghamshire"
"considered questionable sources of humour. Borachia is an alcoholic, who turns aggressive and caustic when drunk; one of the slaves is an Englishman who has lived in France and absorbed French manners, a source of amusement for the play's original audience. On the more serious side, the drama displays Massinger's strong interest in medical and psychiatric matters and especially in the subject of clinical depression and its treatment. Samuel Taylor Coleridge reportedly once called the piece ""one of the most perfect plays we have"" — an extreme of enthusiasm that no other commentator has matched. A Very Woman A Very"
"and is taken from the acclamation at the Coronation Service. The first act contrasts the personalities of the two monarchs, as they engage in a battle of wiles. Elizabeth is portrayed as a woman who has given up on love and family in order to maintain a firm grasp on power, while Mary is portrayed as a reckless, impulsive woman ready to risk power for love. The second act concentrates on Mary's term as a prisoner of Elizabeth, during which time she reflected on her own pending execution. Eileen Atkins played Elizabeth in the play's British and American debuts. Bolt's"
"women and the solicitations of men. One such man is the libertine Valentine Askal, who plans on the seduction of Hannah Camelion. (When people address him as ""Mr. Askal,"" it sounds like ""Master Rascal."") His friend and companion Erasmus is, in contrast, the play's voice of reason and responsibility. Hannah seems to encourage Valentine's intention: she gives him money, ten and twenty pounds at a time. Lady Nestlecock is being courted by Sir Swithin Whimlby, an elderly knight who frequently weeps over the loss of his first wife. The plan is that the knight will marry the lady and that"
"to capture Shakespeare’s ghost.” The play takes place in an Oxford College garden where Don Sancho conjures Shakespeare's ghost. Although ""Don Sancho"" was never performed it was given a reading in the green room of Drury Lane Theatre. In the play Boyd also expresses the Ladies’ Club's goal of seeing Shakespeare's plays replace Restoration comedies with inappropriate content: “And once again let Shakespear bless the Stage; / Soul-Soothing Shade, rouz’d by a Woman’s Pen, To Check the impious Rage of lawless Men.” The Mary Cowper who was a member of the Shakespeare Ladies’ Club was the daughter of William Cowper,"
"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"
"prepared to accept her treatment without protest and, in Act 3 Scene 2, engages a poet to propagandise on her behalf. His refusal, on the grounds of self-preservation is denounced in striking terms when she accuses poets generally of being 'apt to lash / Almost to death poor wretches not worth striking / but fawn with slavish flattery on damned vices / so great men act them'. The effective conclusion of her involvement as early as the end of 3.2 impoverishes the rest of the play. The Queen's less admirable character is highlighted by the way she is prepared to"
"of speaking. This is most noticeable in his adoption of the 'royal we', using phrases such as ""our jurisdiction regal"" (4.7.24), and ""we charge and command"" (4.7.116). The longest speech in the play is Margaret's lament to Henry after they have found Gloucester's dead body. This lengthy speech is full of classical allusions, elaborate metaphors and verbosity as Margaret moves through a litany of topics in an effort to make her point: <poem> Be woe for me, more wretched than he is. What, dost thou turn away and hide thy face? I am no loathsome leper, look on me. What,"
"his influences are different: """"The Queen's Exchange"" is much more reminiscent of Shakespeare than any other of Brome's plays,"" with links to ""King Lear"" and ""Macbeth"". The play also shows apparent or possible borrowings from works by Philip Massinger and John Ford; it has been described as a ""virtual pastiche"" of earlier works in the tragicomic form. In Act II, scene i of ""The Queen's Exchange"", the character Theodrick states that ""I have known women oft marry one another."" It is a surprising line in the context of the prevailing morality of the seventeenth century – though other Brome plays,"
"to Lord Wessex. Shakespeare accompanies her, disguised as her female cousin. There, he persuades Wessex to wager £50 that a play can capture the true nature of love, the exact amount Shakespeare requires to buy a share in the Chamberlain's Men. Queen Elizabeth I declares that she will judge the matter when the occasion arises. When Burbage finds out that Shakespeare has both seduced Rosaline and cheated him out of the money he was paid for the play, he goes to the Rose Theatre with his Curtain Theatre Company and starts a brawl. The Rose Theatre company drives Burbage and"
"Matilda emerges and throws herself between them. The Queen condemns Norfolk to death, and, in the aria, ""Bell'alme generose"", pardons Leicester and the Scottish prisoners. Notes Sources Elisabetta, regina d'Inghilterra Elisabetta, regina d'Inghilterra (; Elizabeth, Queen of England) is a ""dramma per musica"" or opera in two acts by Gioachino Rossini to a libretto by Giovanni Schmidt, from the play ""Il paggio di Leicester"" (""Leicester's Page"") by Carlo Federici, which itself ""was derived from a novel ""The Recess"" (1785) by Sophia Lee."" It was premiered at the Teatro San Carlo in Naples on 4 October 1815 and was the first"