"in a more favorable light, saying that Hippolyta was dead before he and Phaedra were wed, and this battle did not occur. Further complicating the narratives, a number of ancient writers say the Amazon in question was not Hippolyta at all, but her sister Antiope, Melanippe, or Glauce. Moreover, there are combined versions of the tale in which Heracles abducts and kills Hippolyta while Theseus, assisted by Sthenelus and Telamon, abducts and marries Antiope. There are also stories that Hippolyta or Antiope later bore Theseus a son, Hippolytus. In William Shakespeare's ""A Midsummer Night's Dream"", Hippolyta is engaged to Theseus,"
"the duke of Athens. In Act I, Scene 1 she and he discuss their fast-approaching wedding, which will take place under the new moon in four days (I.i.2). Theseus declares to Hippolyta that, although he ""wooed her with his sword,"" he will wed her ""with pomp, with triumph, and with revelling"" and promises to begin a celebration that will continue until the wedding (I.i.19). Although Hippolyta figures only marginally through the middle of the play, she resumes a strong role in Act V, scene I. There she and Theseus discuss some preceding events, namely the magical romantic confusions that the"
"Euripides in tragedy; Aristophanes in comedy). From Euripides, the ""Hippolytus"" and ""The Bacchae"" (together with ""The Frogs"" of Aristophanes; first edition, 1902); the ""Medea"", ""Trojan Women"", and ""Electra"" (1905–1907); ""Iphigenia in Tauris"" (1910); ""The Rhesus"" (1913) were presented at the Court Theatre, in London. In the United States Granville Barker and his wife Lillah McCarthy gave outdoor performances of ""The Trojan Women"" and ""Iphigenia in Tauris"" at various colleges (1915). The translation of ""Œdipus Rex"" was a commission from W. B. Yeats. Until 1912 this could not have been staged for a British audience. Murray was drawn into the public"
"interconnecting plots, connected by a celebration of the wedding of Duke Theseus of Athens and the Amazon queen, Hippolyta, which are set simultaneously in the woodland and in the realm of Fairyland, under the light of the moon. The play opens with Hermia, who is in love with Lysander, resistant to her father Egeus's demand that she wed Demetrius, whom he has arranged for her to marry. Helena, Hermia's best friend, pines unrequitedly for Demetrius, who broke up with her to be with Hermia. Enraged, Egeus invokes an ancient Athenian law before Duke Theseus, whereby a daughter needs to marry"
"(1590, 1596). The play has been noted for its abundant music and its use of fairies, and for a possible influence on John Fletcher's pastoral tragicomedy ""The Faithful Shepherdess"" (c. 1608). Several commentators (William J. Lawrence, Harold N. Hillebrand, Peter Saccio) have argued that ""The Maid's Metamorphosis"" was an ""occasional play,"" meaning that it was composed for a specific occasion — in this case a noble wedding, most likely the wedding of Henry Somerset, Lord Herbert (later Earl and Marquess of Worcester) and Anne Russell, which occurred on 16 June 1600. The play's opening scene immediately places the audience in"
"Kane described ""Phaedra's Love"" as ""My comedy"". The play opens Hippolytus cleaning semen and snot with socks that are lying about his room. He is described as 'fat' and his room is in disarray. Shortly thereafter Phaedra, his step-mother, is talking to a doctor about Hippolytus's wellbeing. The doctor deduces Phaedra's romantic affection for her step-son and warns her against consummating her affection. She confides in her daughter, Strophe, who likewise warns Phaedra against pursuing an affair with Hippolytus. Phaedra approaches Hippolytus, regardless of the warnings she has heard. Hippolytus openly speaks about his multiple sexual partners and reinforces how"
"The Two Noble Kinsmen The Two Noble Kinsmen is a Jacobean tragicomedy, first published in 1634 and attributed to John Fletcher and William Shakespeare. Its plot derives from ""The Knight's Tale"" in Geoffrey Chaucer's ""The Canterbury Tales"", which had already been dramatised at least twice before. Formerly a point of controversy, the dual attribution is now generally accepted by scholarly consensus. A prologue informs the audience that the play is based on a story from Chaucer. Three queens come to plead with Theseus and Hippolyta, rulers of Athens, to avenge the deaths of their husbands by the hand of the"
"which are mentioned multiple times throughout the play, especially during the first act; the play's opening line is Saturninus' address to ""Noble patricians, patrons of my right"" (l.1). In the second speech of the play, Bassianus states ""And suffer not dishonour to approach/The imperial seat, to virtue consecrate,/To justice, continence and nobility;/But let desert in pure election shine"" (ll.13–16). From this point onwards, the concept of nobility is at the heart of everything that happens. H.B. Charlton argues of this opening Act that ""the standard of moral currency most in use is honour."" When Marcus announces Titus' imminent arrival, he"
"redeem Cupid from his history of provoking adultery and sordid liaisons. Jupiter's word is solemnized with a wedding banquet. With its happy marriage and resolution of conflicts, the tale ends in the manner of classic comedy or Greek romances such as ""Daphnis and Chloe"". The child born to the couple will be Voluptas (Greek Hedone ‘Ηδονή), ""Pleasure."" The assembly of the gods has been a popular subject for both visual and performing arts, with the wedding banquet of Cupid and Psyche a particularly rich occasion. With the wedding of Peleus and Thetis, this is the most common setting for a"
"are arguing whether men or women get most pleasure in sex. Called to be judge Tiresias declares that women do, and Hera angrily blinds him, but Zeus bestows the gift of prophecy on Tiresias and he departs. The first broadcast performance of ""Tiresias"", using the score edited by John Abbott, took place on 8 November 1995 with the BBC Concert Orchestra conducted by Barry Wordsworth. In April 1998 a recording of the score was made by the English Northern Philharmonia conducted by David Lloyd-Jones, and issued by Hyperion Records the following year on CD, coupled with the ""Pomona"" ballet music"
"play uses the principle of ""discordia concors"" in several of its key scenes. Theseus and Hippolyta represent marriage and, symbolically, the reconciliation of the natural seasons or the phases of time. Hippolyta's story arc is that she must submit to Theseus and become a matron. Titania has to give up her motherly obsession with the changeling boy and passes through a symbolic death, and Oberon has to once again woo and win his wife. Kehler notes that Zimbardo took for granted the female subordination within the obligatory marriage, social views that were already challenged in the 1960s. In 1971, James"
"up the largest subsection known as the Fair Youth Sonnets (1-126). The other three internal sequences of note are the Procreation sequence (1-17), the Rival Poet sequence (78-86) and the Dark Lady sequence (127-154). The two most likely candidates for the Fair Youth are Henry Wriothesley, 3rd Earl of Southampton, an early patron of Shakespeare, and William Herbert, 3rd Earl of Pembroke, a later patron. Duncan-Jones argues that Pembroke is the more likely candidate. She also suggests that John Davies of Hereford, Samuel Daniel, George Chapman, and Ben Jonson are all plausible candidates for the role of Rival Poet in"
"motifs, and ""evokes the hero's tormented mind as well as the cold ramparts of Elsinore."" Scene 1 ""A hall in the castle of Elsinore"" (set designed by Auguste-Alfred Rubé and Philippe Chaperon)""."" 1. Introduction, march and chorus. The court celebrates the Coronation of Gertrude, widow of King Hamlet; and her marriage to his brother, Claudius (Courtiers: ""Que nos chants montent jusqu'aux cieux"" – ""Let our songs rise to the skies""). The new king, Claudius, stands before his throne on a dais, surrounded by the nobles of the court. His court chancellor, Polonius, is nearby. Queen Gertrude enters, approaches the dais,"
"have offended Athenian audiences when he fictionally speculated that shamaness Medea killed her own children instead of their being killed by other Corinthians after her departure, and whose play ""Hippolytus"", narratively introduced by Aphrodite, Goddess of Love in person, is suspected to have displeased his contemporary audiences because he portrayed Phaedra as too lusty. In historiography, what is now called speculative fiction has previously been termed ""historical invention"", ""historical fiction"", and similar names. It is extensively noted in literary criticism of the works of William Shakespeare as when he co-locates Athenian Duke Theseus and Amazonian Queen Hippolyta, English fairy Puck,"
"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"
"Phaedra. The second aspect is what the play refers to as sophrosyne, which is represented by Artemis and personified by Hippolytus. Sophrosyne can be defined in part as being chaste, pure, clear-headed and untainted by sexual desire. Hippolytus (play) Hippolytus (, ""Hippolytos"") is an Ancient Greek tragedy by Euripides, based on the myth of Hippolytus, son of Theseus. The play was first produced for the City Dionysia of Athens in 428 BC and won first prize as part of a trilogy. Euripides first treated the myth in a previous play, ""Hippolytos Kalyptomenos"" ( – ""Hippolytus Veiled""), which is now lost;"
"Hippolytus (play) Hippolytus (, ""Hippolytos"") is an Ancient Greek tragedy by Euripides, based on the myth of Hippolytus, son of Theseus. The play was first produced for the City Dionysia of Athens in 428 BC and won first prize as part of a trilogy. Euripides first treated the myth in a previous play, ""Hippolytos Kalyptomenos"" ( – ""Hippolytus Veiled""), which is now lost; what is known of it is based on echoes found in other ancient writings. The earlier play, and the one that has survived are both titled ""Hippolytus"", but in order to distinguish the two they have traditionally"
"his marriage, while in the other an elderly miser plans to disinherit a nephew who laughed at him. The ""coup de théâtre"" of Epicœne's unveiling, while traditionally viewed as derived from the ""Casina"" of Plautus, is closer both in spirit and in execution to ""Il Marescalco"" of Aretino. Finally, the comic duel between La Foole and Daw is usually seen as an echo of the mock-duel between Viola and Aguecheek in Shakespeare's ""Twelfth Night"". Some more local details are also borrowed from the classical misogynistic tradition. Truewit's speeches condemning marriage borrow from Ovid's ""Ars Amatoria"" and Juvenal's Satire VI. John"
"it is badly rehearsed: <poem> I have heard it over, And it is nothing, nothing in the world, Unless you can find sport in their [The Mechanicals'] intents, Extremely stretched, & conned [learnt] with cruel pain, To do you service. </poem> Theseus, eager to please his fiancee, Hippolyta, and the rest of his court, chooses ""Pyramus and Thisbe"" despite Philostrate's efforts. Because of its amateurishness, the play turns out to be humorous. Shakespeare is known for borrowing plots and characters from other stories, but the source of ""A Midsummer Night's Dream"" has proved difficult to trace. There is no clear"
"are at odds, and Antipholus and Luciana have not yet met. At the end, all the couples are happily together. By writing his comedies in a combination of Elizabethan and Plautine styles, Shakespeare helps to create his own brand of comedy, one that uses both styles. Also, Shakespeare uses the same kind of opening monologue so common in Plautus's plays. He even uses a ""villain"" in ""The Comedy of Errors"" of the same type as the one in ""Menaechmi,"" switching the character from a doctor to a teacher but keeping the character a shrewd, educated man. Watt also notes that"
"Beauford and Gratiana, Haver and Jane, and the repentant Marwood and Lucibel. The Wedding (1629 play) The Wedding is a Caroline era stage play, a comedy written by James Shirley. Published in 1629, it was the first of Shirley's plays to appear in print. An early comedy of manners, it is set in the fashionable world of genteel London society in Shirley's day. The play is thought to date from c. 1626. It was published in quarto in 1629, printed by Nicholas Okes for the bookseller John Grove. This first edition contained commendatory verses, including one by John Ford; the"
"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"
"she has found a husband for the girl, but Aricie is inconsolable until the goddess reveals Hippolyte, alive and well. The opera ends with general rejoicing. The opera was parodied twice at the Comédie-Italienne, Paris, once by François Riccoboni and Jean-Antoine Romagnesi (premiered 30 November 1733) and then, during the 1742 revival, by Charles-Simon Favart (11 October 1742). Both parodies went under the title ""Hippolyte et Aricie"". Carlo Innocenzo Frugoni provided an Italian version of the libretto for Tommaso Traetta, a composer who experimented with mixing French and Italian operatic styles. Traetta's ""Ippolito ed Aricia"" was first performed at the"
"the troupe. Diana is fed up with the roving life and wants a change, but Jupiter reminds them that down the centuries they have known many hardships and must stick together. Hector enters and stands them all wine, and when Lavatte comes in they offer to perform their ‘Comedy of Olympus’. Lavatte drives a hard bargain with them before leaving, but refuses to allow Hector to come to the party. The players become animated and jubilant, while Hector declares his love for Madeleine, and Madame Bardeau complains about all the noise. ""A large courtyard outside Lavatte’s house, the moon rising."
"and Alceste, attacks the Amazons and captures Martesia, daughter of the queen. The Amazons then capture Theseus and, as soon as Queen Antiope swears to sacrifice him, Hippolyte falls in love with him. In the end, the goddess Diana decrees the marriage of Hippolyte with Theseus, prince of Athens, and of Martesia with Alceste, king of Sparta. Notes Sources Ercole su'l Termodonte Ercole su'l Termodonte (; ""Hercules in Thermodon"") is a baroque Italian opera in three acts. In 1723, it became the sixteenth opera set to music by Antonio Vivaldi. Its catalogue number is RV 710. The libretto was written"
"silly business of preparing for the marriage provides much opportunity for satire on the laughable lust of an old man for a young woman, in a clever parallel to Euclio’s lust for his gold. Again, Megadorus is eventually shown as sensible and kind-hearted enough to abandon his foolish dream. Plautus’ frequent theme of clever servants outwitting their supposed superiors finds its place in this play too. Not only does Lyconides’ slave manage to filch Euclio’s beloved gold, but also Euclio’s housemaid Staphyla is shown as intelligent and kind in her attitude toward the unfortunately pregnant Phaedria. Another play, ""Querolus seu"
"servant, and who convinces him that he (Mercury) is the real servant; but in ""Geta"", this trickery is aided by sophistical arguments, which serve to ridicule sophists in general who style themselves philosophers. Geta (comedy) Geta, a twelfth-century elegiac comedy by Vitalis of Blois, is a loose adaptation of Plautus’ play, ""Amphitryon"". Both tell the story of how Jupiter, transforming himself to look like Amphitryon, sleeps with Amphitryon’s wife, Alcmena. But in ""Geta"", Amphitryon is not a Greek military leader but a philosopher, and Hercules, the child who is born from the union of the god and Alcmena, is not"
"him. Afterwards, when Theseus sees the corpses, he realizes that it was Strophe who he had just raped and killed and expresses regret before cutting his own throat. The play ends as a vulture flies down to consume the corpse of Hippolytus. Phaedra's Love Phaedra's Love is a play by British playwright Sarah Kane. It was first performed in 1996 at London's Gate Theatre, directed by the author. The play is a modern adaptation of Seneca's ""Phaedra"". The play explores the brutal nature of love, social relations, nihilism and belief through the example of an affair between a queen and"
"causing Oedipus to praise Theseus and offer him the gift of his burial site, which will ensure victory in a future conflict with Thebes. Theseus protests, saying that the two cities are friendly, and Oedipus responds with what is perhaps the most famous speech in the play. ""Oh Theseus, dear friend, only the gods can never age, the gods can never die. All else in the world almighty Time obliterates, crushes all to nothing..."" Theseus makes Oedipus a citizen of Athens, and leaves the chorus to guard him as he departs. The chorus sings about the glory and beauty of"
"""Cruelle mère des amours"" which Girdlestone praises as a ""magnificent solo"" in spite of its ""terribly flat"" words. There follows a violent confrontation between Phèdre and Hippolyte then a scene in which Phèdre's confidante Oenone suggests to the king that Hippolyte has attempted to seduce his wife. In a scene of ""grim irony"", Thésée is forced to suppress his rage while he watches a ""divertissement"" of sailors thanking Neptune for his safe return home. The entertainment consists of two rigaudons, two danced airs and the chorus ""Que ce rivage rétentisse"". The festivities over, Thésée finally has the chance to call"
"the Bridal March is still used in weddings – and Ralph Vaughan Williams as composer of incidental music to ""The Wasps"", also by Aristophanes (1909). More recently, actor Tom Hiddleston played Orestes in Sophocles' Electra in 2001. The Cambridge Greek Play is now hosted in the historic Cambridge Arts Theatre. Cambridge Greek Play The Cambridge Greek Play is a play performed in Ancient Greek by students and alumni of the University of Cambridge, England. The event is held once every three years and is a tradition which started in 1882 with the ""Ajax"" of Sophocles. The history of the early"
"couples Demetrius and Polidora, and Sophia and Lisimachus, have their misunderstandings resolved and are happily united once again. The Coronation (play) The Coronation is a Caroline era stage play, a tragicomedy written by James Shirley, and notable for the tug-of-war of authorship claims in which it was involved in the middle seventeenth century. The play was licensed by the Master of the Revels on 6 February 1635, and was probably written in the previous year or so. In May 1636, however, the London theatres shut down for one of their longest and most severe closures due to bubonic plague. Shirley"
"the King’s Theatre in 1766. David Garrick of the Drury Lane Theatre engaged him to compose music to Garrick’s two-act farcical burletta based on the Orpheus myth, which premiered in 1768. In the same year, Barthélemon also premiered ""Oithona"", a three-act dramatic operatic poem; ""La fleuve Scamandre"" (""The Scamander River""), a French-style comic opera based on a Greek myth; and ""The Judgment of Paris"", another two-act burletta. Further engagements lead him to decide to stay in England, where he wed soprano and composer Polly Young and raised a family. He is well known for his tune 'Morning Hymn' to Thomas"