"it is one of his own from ""Henry V"", which was probably written in early 1599. When questioning Shakespeare about witches, Martha remarks that he has written about witches; a reference to ""Macbeth"", which Shakespeare denies. At the time in which the episode is set, Shakespeare had yet to write ""Macbeth"" or ""Hamlet"", which prominently feature the paranormal, such as witches and ghosts. There are numerous other allusions to Shakespeare's plays. Just before the Doctor steps out of the TARDIS, he exclaims ""Brave new world"", from Act V Scene I of ""The Tempest"". In an early scene a sign is"
"of the play, Prospero intends to drown his book and renounce magic. In the view of the audience, this may have been required to make the ending unambiguously happy, as magic was associated with diabolical works; he will drown his books for the same reason that Doctor Faust, in an earlier play by Christopher Marlowe, promised in vain to burn his books. ""The Tempest"" is believed to be the last play Shakespeare wrote alone. In this play there are two candidate soliloquies by Prospero, which critics have taken to be Shakespeare's own ""retirement speech"". One person's speech is the ""Cloud-capp'd"
"Dylan later responded: ""Shakespeare's last play was called ""The Tempest"". It wasn't called just plain ""Tempest"". The name of my record is just plain ""Tempest"". It's two different titles."" However, no new songs have been forthcoming since. The cover art for ""Tempest"" incorporates a dark red duotone photograph of a statue located at the base of the Pallas-Athene Fountain in front of the Austrian Parliament Building in Vienna. The statue is one of four figures on the intermediate platform of the fountain bowl personifying the main rivers of Austria-Hungary: the Danube, the Inn, the Elbe, and the Moldau. The figure"
"and ""usage"". Shakespeare also uses the legal term, ""quietus"" (final settlement), in Sonnet 134, the last Fair Youth sonnet. Regarding Oxford's knowledge of court life, which Oxfordians believe is reflected throughout the plays, mainstream scholars say that any special knowledge of the aristocracy appearing in the plays can be more easily explained by Shakespeare's life-time of performances before nobility and royalty, and possibly, as Gibson theorises, ""by visits to his patron's house, as Marlowe visited Walsingham."" Some of Oxford's lyric works have survived. Steven W. May, an authority on Oxford's poetry, attributes sixteen poems definitely, and four possibly, to Oxford"
"door, leaving his wife with the other four men in the house. The final tableau vivant (96–98) depicts Ruth sitting, """"relaxed in her chair"","" as if on a throne. Sam lies motionless on the floor; Joey, who has walked over to Ruth, places his head in her lap; and Lenny, stands looking on. After repeatedly insisting that he is not an old man, and getting no reply from Ruth, who remains silent, Max beseeches her, ""Kiss me"" – the final words of the play. Ruth sits and """"continues to touch"" JOEY's ""head, lightly"","" while Lenny still """"stands, watching"""" (98). In"
"peaceful man ill-suited to the crown. He spends most of his time in contemplation of the Bible and expressing his wish to be anyone other than a king. Shakespeare's Henry is weak-willed and easily influenced allowing his policies to be led by Margaret and her allies, and being unable to defend himself against York's claim to the throne. He only takes an act of his own volition just before his death when he curses Richard of Gloucester just before he is murdered. In screen adaptations of these plays he has been portrayed by: James Berry in the 1911 silent short"
"Shakespeare's late romances The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising ""Pericles, Prince of Tyre""; ""Cymbeline""; ""The Winter's Tale""; and ""The Tempest"". ""The Two Noble Kinsmen"", of which Shakespeare was co-author, is sometimes also included in the grouping. The term ""romances"" was first used for these late works in Edward Dowden's ""Shakespeare: A Critical Study of His Mind and Art"" (1875). Later writers have generally been content to adopt Dowden's term. Shakespeare's plays cannot be precisely dated, but it is generally agreed that these comedies followed a series of tragedies including"
"most, four characters betray an uncertainty of technique suggestive of inexperience."" This uncertainty can be seen in how Shakespeare handles the distribution of dialogue in such scenes. Whenever there are more than three characters on stage, at least one of those characters tends to fall silent. For example, Speed is silent for almost all of Act 2, Scene 4, as are Thurio, Silvia and Julia for most of the last half of the final scene. It has also been suggested that the handling of the final scene in general, in which the faithful lover seemingly offers his beloved as a"
"but the dying prince implores Horatio not to drink from the cup and bids his friend to live and help put things right in Denmark; ""If thou didst ever hold me in thy heart, / Absent thee from felicity a while, / And in this harsh world draw thy breath in pain / To tell my story."" Hamlet's last request creates a parallel between the name ""Horatio"" and the Latin ""orator"", meaning ""speaker"". Horatio is present through most of the major scenes of the play, but Hamlet is usually the only person to acknowledge that he is present; when other"
"""Sycorax"" to Shakespeare, Shakespeare says that he will use the name (the joke is that the name in fact derives from Caliban's mother in Shakespeare's play ""The Tempest"".) Other sequences include subtle references to much earlier episodes. One of the putative lines of ""Love's Labour's Won"", ""the eye should have contentment where it rests"", is taken from episode three of the 1965 serial ""The Crusade"" — a story consciously written in Shakespearean style. The episode concerns the ""lost"" Shakespeare play ""Love's Labour's Won"", which is referred to in more than one historical document, but which may be just an alternative"
"second line is composed only of one-syllable words. Some scholars attribute the monosyllable closing line of the poem as a tribute to 16th century poet, George Gascoigne. Gascoigne is quoted as saying, ""The more monosyllables that you use, the truer Englishman you shall seemed, and the less you shall smell of the Inkhorn"". It is in this final quatrain and the concluding couplet we see one final change. The couplet of the poem describes the seemingly selfish nature of the beloved (Shakespeare chooses to rhyme ""be"" and ""thee"" here). By making the choice to not procreate, Shakespeare describes how the"
"tone quieter, so the walking gets slower. When she begins to walk, there's a small hesitation, as though she were unsure if she should walk or not. ""Beckett pointed out that on her last walk along the strip of light, her energy runs out after three paces and she has to wait there until enough vitality returns to drag herself to the end of the light."" ""As the play ends, Mrs Winter speaks to Amy the very words spoken to May by her mother: 'Will you never have done … revolving it all?'"" Up until this point May has identified"
"1, Scene 4; Warwick's pause to get his breath during the Battle of Barnet (2.3.1–5); all of Act 2, Scene 5 (including dialogue from Henry, the father and the son) up to the entry of Prince Edward at line 125; all of Henry's monologue in Act 3, Scene 1, prior to his arrest (ll.13–54); Richard's entire soliloquy in Act 3, Scene 2 (ll.124–195); Margaret's ""Ay, now begins a second storm to rise,/For this is he that moves both wind and tide"" (3.3.47–48); Warwick's soliloquy at the end of the Act 3, Scene 3 (ll.257–268); Richard's ""I hear, yet say not"
"is a man, / If his chief good and market of his time / Be but to sleep and feed? A beast, no more."" Tennyson's ""How dull it is to pause, to make an end, / To rust unburnish’d, not to shine in use!"" (22–23) recalls Shakespeare's Ulysses in ""Troilus and Cressida"" (c. 1602): <poem> </poem> The last movement of ""Ulysses"", which is among the most familiar passages in nineteenth-century English-language poetry, presents decisive evidence of the influence of Dante. Ulysses turns his attention from himself and his kingdom and speaks of ports, seas, and his mariners. The strains of"
"words of Molly's reverie, and the very last words of the book, are: Joyce noted in a 1921 letter to Frank Budgen that ""[t]he last word (human, all too human) is left to Penelope."" The episode both begins and ends with ""yes"", a word that Joyce described as ""the female word"" and that he said indicated ""acquiescence, self-abandon, relaxation, the end of all resistance."" This last, clear ""yes"" stands in sharp contrast to her unintelligible first spoken line in the fourth chapter of the novel. Molly's soliloquy consists of eight enormous ""sentences"", The concluding period following the final words of"
"howling in anguish. Kent tries to tell Lear how he served him in disguise, but Lear is unable to comprehend this, and has thoughts only for his dead daughter — ""I might have saved her; now she's gone for ever."" His heart breaks and he dies. Albany says that Kent and Edgar will rule in the Kingdom, but Kent hints at his own approaching death. Tate's version omits the King of France, and adds a romance between Cordelia and Edgar, who never address each other in Shakespeare's original. Cordelia explains in an aside that her motive for remaining silent when"
"Sonnet 154 As the last in the famed collection of sonnets written by English poet and playwright William Shakespeare from 1592 to 1598, Sonnet 154 is most often thought of in a pair with the previous sonnet, number 153. As A. L. Rowse states in ""Shakespeare's Sonnets: The Problems Solved"", Sonnets 153 and 154 ""are not unsuitably placed as a kind of coda to the Dark Lady Sonnets, to which they relate."" Rowse calls attention to the fact that Sonnets 153 and 154 ""serve quite well to round off the affair Shakespeare had with Emilia, the woman characterized as the"
"the president's visit to the defeated city, he was assassinated by John Wilkes Booth, a Shakespearean actor known for playing both Richard and Richmond. Booth's notorious, final words from the stage were """"Sic semper tyrannis"""". The 2010 film, ""The King's Speech"", features a scene where the king's speech therapist Lionel Logue, as played by Geoffrey Rush, auditions for the role by reciting the lines, ""Now is the winter of our discontent / Made glorious summer by this sun [or son] of York"". Shakespeare critic Keith Jones believes that the film in general sets up its main character as a kind"
"he could have stopped the series of events that has brought him to this point. He disappears as well. The final scene features the last few lines from Shakespeare's ""Hamlet"", as the Ambassador from England announces that Rosencrantz and Guildenstern are dead. Metatheatre is a central structural element of ""Rosencrantz and Guildenstern Are Dead"". Scenes that are staged as plays, dumb shows, or commentaries on dramatic theory and practice, are prominent in both Stoppard's play and Shakespeare's original tragedy ""Hamlet"". In ""Hamlet"", metatheatrical elements include the Player's speech (2.2), Hamlet's advice to the Players (3.2), and the meta-play ""The Mousetrap"""
"of Shakespeare using metrical expectations to highlight shades of meaning. Sonnet 71 through Sonnet 74 group together as a sequence due to their dark, brooding tone, and the poet's obsession with his own mortality and legacy. The sequence begins in Sonnet 71 with ""No longer mourn for me when I am dead"" and ends with ""And that is this, and this with thee remains"" in Sonnet 74. Sonnet 72 is one of 126 Sonnets coined ""The Fair Youth Sequence"". The identity of said ""Fair Youth"" remains a mystery. Several scholars point, in particular to Henry Wriothesley, 3rd Earl of Southampton"
"Books"" (1991) starring John Gielgud – which is not so much an adaptation as a reading of the play, combining film, dance, opera, and animation; and a 2010 version with Prospero recast as Prospera, played by Helen Mirren. Shakespeare's late romances The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising ""Pericles, Prince of Tyre""; ""Cymbeline""; ""The Winter's Tale""; and ""The Tempest"". ""The Two Noble Kinsmen"", of which Shakespeare was co-author, is sometimes also included in the grouping. The term ""romances"" was first used for these late works in Edward Dowden's ""Shakespeare: A"
"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"
"hence all Rudeness, Wilfulness, and Noise,<br> And be our future Lives one gentle Stream<br> Of mutual Love, Compliance and Regard. Petruchio claims that his 'taming' was just a temporary act to establish the terms of his and Catharine's relationship, and promises not to mistreat her. However, he does conclude the play with the lines: How shameful 'tis when women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy, and sway, Where bound to love, to honor, and obey. Finally, while Shakespeare's ""The Shrew"" allows other characters to comment on Katharine's speech and"
"searching for acrostics in Shakespeare. His search fruitless, he falls asleep and awakens to find everything seemingly in order. He scoffs at the ""disappointing"" show, and the final paragraph reads: At one point, the narrator alludes to a ""novel or short story (by some contemporary writer, I believe) in which, unknown to the author, the first letters of the words in its last paragraph formed, as deciphered by Cynthia, a message from his dead mother."" When the final paragraph of the story is subjected to this technique, the result is as follows: ""Icicles by Cynthia. Meter from me Sybil."" The"
"Harewood reads it for the 2002 compilation album, ""When Love Speaks"" (EMI Classics) Sonnet 19 Sonnet 19 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It is considered by some to be the final sonnet of the initial procreation sequence. The sonnet addresses time directly, as it allows time it's great power to destroy all things in nature, but the poem forbids time to erode the young man's fair appearance. The poem casts time in the role of a poet holding an “antique pen”. The theme is redemption, through poetry, of time's"
"is the only person left who has not heard the news. The book also ends with Rottcodd as he looks out the window at the entire population of the castle returning from Titus' Earling. Everyone had been invited except for him, as he had been forgotten. Pentecost: Pentecost was one of the Outer Dwellers once, but worked himself up to become the head gardener of the palace. The Poet: Known only by his professional name, the Poet holds a relatively important function of ritual in the castle. He is described as having a wedge-shaped head and a voice ""as strange"
"adaptations of this play, Edward V has been portrayed by the following actors: Edward V is also featured as a mute role in another of Shakespeare's plays, ""Henry VI, Part 3"", where he appears as a newborn baby in the final scene. His father Edward IV addresses his own brothers thus: ""Clarence, and Gloster, love my lovely queen, And kiss your princely nephew, brothers both."" Gloster, the future Richard III, is at the close of this play already encompassing his nephew's demise, as he mutters in an aside, ""To say the truth, so Judas kiss'd his master, And cried –"
"this but allows the tape to play on until the final curtain. ""Krapp’s spool of life is almost wound, and the silent tape is both the time it has left to run and the silence into which he must pass."" Whereas the younger Krapp talks about the ""fire in me"" the tired old man who sits listening is simply ""burning to be gone."" The title of the play seems obvious, that what we have witnessed is the recording of Krapp’s final tape, ""yet there is an ambiguity: 'last' can mean 'most recent' as well as 'ultimate'. The speaker in Browning's"
"line upon finishing a reading of the letter was ""That's all there is—there isn't any more."" Barrymore would use the line after the play to quiet the thunderous applause beckoning her to do a curtain call. The phrase, which typified Ethel's blunt humor and distaste for attention, became a part of the national language. Ethel herself would parody it in a 1949 Christmas broadcast on Bing Crosby's radio show, though she couldn't finish the line reading without erupting into laughter. Ethel Barrymore's last words were reportedly ""Is everybody happy? I know I'm happy. That's all there is, there isn't any"
"king lapses into Berenger’s normal sentimentality and eventually accepts that he is going to die. The characters disappear one by one, eventually leaving the king, now speechless, alone with Marguerite who prepares him for the end. Marguerite and then the king disappear into darkness as the play ends. The play is simpler than it first appears: The King is each of us. The Queens are Death, who is logical and matter-of-fact, and Life, who is hopeful to the end and does not want to let us go. The guard is our ego. The doctor is our combination of science and"
"Sonnet 19 Sonnet 19 is one of 154 sonnets published by the English playwright and poet William Shakespeare in 1609. It is considered by some to be the final sonnet of the initial procreation sequence. The sonnet addresses time directly, as it allows time it's great power to destroy all things in nature, but the poem forbids time to erode the young man's fair appearance. The poem casts time in the role of a poet holding an “antique pen”. The theme is redemption, through poetry, of time's inevitable decay. Though there is compunction in the implication that the young man"
"ghost is only Shakespearean. Hamlet spends most of the novel's time offstage, as it were: a young child shunted off to nursemaids, a boy left to mischief with the disorderly Yorick, or a seemingly perpetual student living in Wittenberg. He never speaks for himself, and is seen very briefly only twice. But as the story ends he is finally back home at Elsinore, and Claudius feels that the resentful young man can be trained up into a properly domesticated prince and, matched with Ophelia (presented as a pretty but rather vacant young woman), reliably produce heirs to extend this benign"
"to hang her, and Edgar and Albany arrive with a reprieve. Albany resigns the crown to Lear, and Lear announces that ""Cordelia shall be Queen."" Lear gives Cordelia to Edgar — ""I wrong'd Him too, but here's the fair Amends."" Lear, Kent, and Gloster will retire ""to some cool Cell."" The overjoyed Edgar declares that ""Truth and Virtue shall at last succeed."" Tate's version is about 800 lines shorter than Shakespeare's. Some of Shakespeare's original lines are left intact; some are modified slightly, or given to different speakers. In the words of Stanley Wells, Tate ""rather asked for trouble by"