"is the predominant feeling of the mind."" A focal point of Hazlitt's account of ""Troilus and Cressida"" is a comparison of the characterisation in this play and that in Chaucer's poem ""Troilus and Criseyde"" (one of Shakespeare's sources). Chaucer's characters are full and well developed; but Chaucer unfolded each character in itself, one at a time. Shakespeare displayed characters as they see themselves as well as how others see them, and showed the effects each has on the others. Shakespeare's characters were so distinctive that it is as if each were expressed by a distinct ""faculty"" of his mind; and,"
"means act 3, scene 1, line 55. References to the First Quarto and First Folio are marked ""Hamlet ""Q1"""" and ""Hamlet ""F1"""", respectively, and are taken from the Arden Shakespeare ""Hamlet: the texts of 1603 and 1623"" (Thompson and Taylor, 2006b). Their referencing system for ""Q1"" has no act breaks, so 7.115 means scene 7, line 115. Characters in Hamlet What follows is an overview of the main characters in William Shakespeare's ""Hamlet"", followed by a list and summary of the minor characters from the play. Three different early versions of the play survive: known as the First Quarto (""Q1""),"
"Characters in Hamlet What follows is an overview of the main characters in William Shakespeare's ""Hamlet"", followed by a list and summary of the minor characters from the play. Three different early versions of the play survive: known as the First Quarto (""Q1""), Second Quarto (""Q2""), and First Folio (""F1""), each has lines—and even scenes—missing in the others, and some character names vary. Marcellus, Bernardo (or Barnardo) and Francisco are sentries at Elsinore. Francisco gives up his watch to Bernardo in the opening of the play, and it is Bernardo and Marcellus, who first alert Horatio to the appearance of"
"Characters in Romeo and Juliet William Shakespeare's play ""Romeo and Juliet"" contains a diverse cast of characters. In addition to the play's eponymous protagonists, Romeo Montague and Juliet Capulet, the play contains roles for members of their respective families and households; Prince Escalus, the city's ruler, and his kinsman, Count Paris; and various unaffiliated characters such as Friar Laurence and the Chorus. In addition the play contains two ghost characters (Petruchio and Valentine) and an unseen character (Rosaline). Prince Escalus, the Prince of Verona, is the desperate resolver of the feuding families. He is based on the actual Scaligeri family"
"History of Romeus and Juliet"", which Shakespeare later used to create ""Romeo and Juliet"". Brooke's version made Mercutio a rival for Juliet's love. Shakespeare's addition of Valentine as Mercutio's brother diffuses this rivalry. Thus, because the first time we hear of Mercutio he is associated with Valentine, rather than Juliet, he is changed from a rival to a friend and brotherly figure of Romeo. Characters in Romeo and Juliet William Shakespeare's play ""Romeo and Juliet"" contains a diverse cast of characters. In addition to the play's eponymous protagonists, Romeo Montague and Juliet Capulet, the play contains roles for members of"
"mightst repossess the crown in peace/And of our labours thou shalt reap the gain"" (this is a truncated version of ll. 1-20). Apart from the omission of some lines, the most noticeable departure from the text of 5.7 is the inclusion of two characters who do not appear in the play; the Duke of Buckingham (played by Ralph Richardson) and Jane Shore (played by Pamela Brown). Buckingham is a major character throughout ""Richard III"", where he is Richard's closest ally for a time. Jane Shore is mentioned several times in ""Richard III"", and although she never features as a character,"
"of England, which Shakespeare had previously brought to the stage in a trilogy of plays: ""Henry VI Part 1"", ""Henry VI Part 2"", and ""Henry VI Part 3"". As in many of Shakespeare's history and tragedy plays, a number of minor comic characters appear, contrasting with and sometimes commenting on the main plot. In this case, they are mostly common soldiers in Henry's army, and they include Pistol, Nym, and Bardolph from the ""Henry IV"" plays. The army also includes a Scot, an Irishman, and an Englishman, and Fluellen, a comically stereotyped Welsh soldier whose name is phonetically close to"
"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"
"role. The epic comedy-drama is noted as among the most heterodox of classic American comedies — it broke nearly every established theatrical convention. The phrase used as the title comes from the King James Bible, Job 19:20: ""My bone cleaveth to my skin and to my flesh, and I am escaped with the skin of my teeth."" The main characters of the play are George and Maggie Antrobus (from (anthropos), ""human"" or ""person""), their two children, Henry and Gladys, and Sabina, who appears as the family's maid in the first and third acts, and as a beauty queen temptress in"
"Rosencrantz and Guildenstern Rosencrantz and Guildenstern are characters in William Shakespeare's tragedy ""Hamlet"". They are childhood friends of Hamlet, summoned by King Claudius to distract the prince from his apparent madness and if possible to ascertain the cause of it. The characters were revived in W. S. Gilbert's satire, ""Rosencrantz and Guildenstern"", and as the alienated heroes of Tom Stoppard's absurdist play, ""Rosencrantz and Guildenstern Are Dead"", which was adapted into a film. ""Rosencrantz"" (""rosary"") and ""Gyldenstjerne/Gyllenstierna"" (""golden star"") were names of Danish (and Norwegian, and Swedish) noble families of the 16th century; records of the Danish royal coronation of"
"lines: Signor de Montfort, Earl of Leicester (l. 40, S.D.), Charles de Montfort (l. 40, S.D.), a nonexistent brother, Potter (l. 2247, S.D.), and Mary, Duchess of Lancaster (l. 1453, S.D.), another non-existent historical figure. All references to Shakespeare's plays, unless otherwise specified, are taken from the Folger Shakespeare Library's ""Folger Digital Editions"" texts edited by Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Under their referencing system, 3.1.55 means act 3, scene 1, line 55. Prologues, epilogues, stage directions, and other parts of the play that are not a part of character speech in a scene, are referenced"
"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"
"Mary Shelley, the two main characters—Dr. Frankenstein and his ""creature""—are both together literary foils, functioning to compare one to the other. In Jane Austen's ""Pride and Prejudice"", Mary's absorption in her studies places her as a foil to her sister Lydia Bennet's lively and distracted nature. Similarly, in Shakespeare's play ""Julius Caesar"", the character Brutus has foils in the two characters, Cassius and Mark Antony. In the play ""Romeo and Juliet"", Romeo and Mercutio serve as character foils for one another, as well as Macbeth and Banquo in his play ""Macbeth"". In William Shakespeare's tragedy ""Hamlet"", a foil is created"
"of people in love. The highlight of the play is considered by some to be Launce, the clownish servant of Proteus, and his dog Crab, to whom ""the most scene-stealing non-speaking role in the canon"" has been attributed. ""Two Gentlemen"" is often regarded as one of Shakespeare's weakest plays. It has the smallest named cast of any play by Shakespeare. As the play begins, Valentine is preparing to leave Verona for Milan so as to broaden his horizons. He begs his best friend, Proteus, to come with him, but Proteus is in love with Julia, and refuses to leave. Disappointed,"
"2005), provides two different versions of the play, each with respectable authority. The problem exists with at least four other Shakespearian plays (""Henry IV, part 1"", ""Hamlet"", ""Troilus and Cressida"", and ""Othello""). During Shakespeare's lifetime, many of his greatest plays were staged at the Globe Theatre and the Blackfriars Theatre. Shakespeare's fellow members of the Lord Chamberlain's Men acted in his plays. Among these actors were Richard Burbage (who played the title role in the first performances of many of Shakespeare's plays, including ""Hamlet"", ""Othello"", ""Richard III"" and ""King Lear""), Richard Cowley (who played Verges in ""Much Ado About Nothing""),"
"play is based on various accounts of the semi-legendary Brythonic figure Leir of Britain, whose name has been linked by some scholars to the Brythonic god Lir/Llŷr, though in actuality the names are not etymologically related. Shakespeare's most important source is probably the second edition of ""The Chronicles of England, Scotlande, and Irelande"" by Raphael Holinshed, published in 1587. Holinshed himself found the story in the earlier ""Historia Regum Britanniae"" by Geoffrey of Monmouth, which was written in the 12th century. Edmund Spenser's ""The Faerie Queene"", published 1590, also contains a character named Cordelia, who also dies from hanging, as"
"a play by William Shakespeare, while some are named after characters from ""Robinson Crusoe"", ""Moby Dick"" and others after general nautical or island-based literature. The name of Beatrice, Snicket's dedicatee, may be an allusion to the poem ""La Beatrice"" by Charles Baudelaire. The poem references an ""actor without a job,"" like the actor Count Olaf. The poem also begins with the line ""In a burnt, ash-grey land without vegetation,"" similar to the Baudelaire mansion burning down at the beginning of the series. The name Beatrice could also be an allusion to Italian poet Dante. Dante dedicated all of his works"
"be inconsistent about what they call characters, but Puck's is a particularly awkward case. Both the Quarto and the First Folio call the character ""Robin Goodfellow"" on the first entrance, but ""Puck"" later in the same scene, and they remain inconsistent. The Arden Shakespeare calls the character ""Puck,"" and amends all stage directions (but not actual dialogue) that refer to the character as ""Robin"" or ""Robin Goodfellow"". Puck (A Midsummer Night's Dream) Puck, also known as Robin Goodfellow, is a character in William Shakespeare's play ""A Midsummer Night's Dream"", based on the ancient figure of Puck found in English mythology."
"near Wilmington before an audience of bizarre creatures from Faerie, including the very characters who appear in the play: Titania, Auberon, Peaseblossom, and Robin Goodfellow (Puck). Puck greatly enjoys the play and repeats the theme of the story that while the play does not directly reflect history or even some of the personalities of the characters it is still considered a true reflection of ""reality""; toward the end of the play, he disables the actor representing himself, and represents himself on stage. Meanwhile, Titania takes an interest in Shakespeare's son Hamnet, who plays a small role in the play. The"
"On St. Stephen's Day, 26 December 1622, The King's Men acted another Fletcher/Massinger play, ""The Spanish Curate,"" at Court. 1623: The First Folio gives a list of names of the 26 ""principal actors"" in Shakespeare's plays, providing a fairly comprehensive roster of important members of the Lord Chamberlain's/King's Men through the previous thirty years. In addition to eight men on the original 1603 royal patent (Shakespeare, Burbage, Heminges, Condell, Phillips, Cowley, Sly, and Armin), the list includes William Kempe, Thomas Pope, George Bryan, John Lowin, Samuel Crosse, Alexander Cooke, Samuel Gilburne, William Ostler, Nathan Field, John Underwood, Nicholas Tooley, William"
"Valentine's role is based on Romeus'. Thus, when adapting the ""Mercutio—Juliet—Romeus"" constellation from Brooke, by changing Mercutio from an amorous rival into a friend—brother to Romeo and a ""scoffer at love"", Shakespeare also rearranged the relationships into ""Mercutio—Romeo—Juliet"", making Romeo the focus and removing Mercutio as a threat to his courtship of Juliet. Four characters in John Webster's ""The White Devil"", Christophero, Farnese, Guid-Antonio, and Little Jaques the Moor, have sometimes been referred to as ghost characters because they have no lines in the play. George Peele's ""Edward I"" includes four characters mentioned in stage directions but not given any"
"characters fixed to the tree move on and cease to have to wait for Godot. Much of the play is steeped in scriptural allusion. The boy from Act One mentions that he and his brother mind Godot's sheep and goats. Much can be read into Beckett's inclusion of the story of the two thieves from Luke 23:39–43 and the ensuing discussion of repentance. It is easy to see the solitary tree as representative of the Christian cross or the tree of life. Some see God and Godot as one and the same. Vladimir's ""Christ have mercy upon us!"" could be"
"thunderbolt. The ghosts fall on their knees."" The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including ""Richard III"", ""Hamlet"", ""Othello"", and ""King Lear"". The popular comic actor Will Kempe played the servant Peter in ""Romeo and Juliet"" and Dogberry in ""Much Ado About Nothing"", among other characters. He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in ""As You Like It"" and the fool in ""King Lear"". In 1613, Sir Henry Wotton"
"Gertrude) refer to them frequently by the wrong names. Because of the play's similarity to ""Waiting for Godot"", Rosencrantz is sometimes compared to Estragon (one of the tramps who wait for Godot), and who shares his dim perception of reality, while Guildenstern parallels Vladimir, who shares his analytical perception. Rosencrantz and Guildenstern Rosencrantz and Guildenstern are characters in William Shakespeare's tragedy ""Hamlet"". They are childhood friends of Hamlet, summoned by King Claudius to distract the prince from his apparent madness and if possible to ascertain the cause of it. The characters were revived in W. S. Gilbert's satire, ""Rosencrantz and"
"Robert Davenport, Thomas Jordan, Thomas Rawlins, and others. It is one of the few plays of the period that have a cast list: it includes William Cartwright senior (Claudius), John Robinson (Saufellus), Christopher Goad (Silius), John Barret (Messalina), and Thomas Jordan (Lepida). Some verses by Richards were prefixed to Thomas Middleton's ""Women Beware Women"". Nathanael Richards Nathanael Richards (fl. 1630–1654) was an English dramatist and poet, perhaps from Kent. He should not be confused with Nathaniel Richards (1611–1660), a cleric. A possible relative, Gabriel Richards, is mentioned in William Hammond's letters as a ""cousin"". Some unresolved issues remain about the"
"Juliet"". Obviously Shakespeare's source for ""Romeo and Juliet"", it features a character called Friar Laurence, as does ""Two Gentlemen"", and a scene where a young man attempts to outwit his lover's father by means of a corded ladder (as Valentine does in ""Two Gentlemen""). Philip Sidney's ""The Countess of Pembroke's Arcadia"" may also have influenced Shakespeare insofar as it contains a character who follows her betrothed, dressed as his page, and later on, one of the main characters becomes captain of a group of Helots. The exact date of composition of ""The Two Gentlemen of Verona"" is unknown, but it"
"character from the books that is in the musical is Robertson Ay, the houseboy, who did not appear in the film. In the books, Jane and Michael have twin siblings, John and Barbara, and a baby sister Annabel, that do not appear in the stage or screen versions. A number of musical sequences have been modified from their purpose in the film. These are: The following is the song list of the original London production. Subsequent productions have different songs or rearranged their order. <nowiki>*</nowiki>Not included in the Original London Cast recording.<br> <nowiki>^</nowiki>""Playing the Game"" replaced ""Temper, Temper"" in 2009."
"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"
"updated the setting to the 1930s but changed none of Shakespeare's dialogue. Shakespeare in performance Thousands (perhaps even millions) of performances of William Shakespeare's plays have been staged since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the Lord Chamberlain's Men and King's Men acting companies at the Globe and Blackfriars Theatres. Among the actors of these original performances were Richard Burbage (who played the title role in the first performances of ""Hamlet"", ""Othello"", ""Richard III"" and ""King Lear""), Richard Cowley, and William Kempe. Shakespeare's plays continued to be staged"
"play. Structurally, the play resembles a typical English Ballad-opera. The plot of the play can be seen as a blending of a comedy of racial and cultural stereotypes with a love story and an historical drama. Barker borrows heavily from Shakespearean comedy, as can be seen most blatantly in the gender disguises employed by the characters of Kate and Geraldine. The use of verse writing for higher class characters and prose for those of lesser status also borrows from the Shakespearean tradition. It is of note that Pocahontas switches from prose to verse after falling in love with Rolfe. ""The"
"William Shakespeare's play ""King Lear"" is based on material taken secondhand (through Raphael Holinshed) from Geoffrey of Monmouth's mythical king King Leir, who has often been connected, but is likely unrelated, to Llŷr. <br> <br> (*) Unbordered names are figures not in Llŷr's line of descent, though perhaps members of the extended family.<br> (*) This stemma is subject to further elaboration. If the Beli above is to be equated with Beli Mawr then Caswallawn stands as Penarddun's sibling. But Bromwich observes that Penarddun should be emended to being the sister of Beli, which would bring consistency with statement elsewhere that"
"two other works by Angela Carter: ""The Bloody Chamber"" and ""Nights at the Circus"". Throughout the novel, there are numerous references to the works and impact of William Shakespeare. At the beginning of the novel there are three quotations, two of which allude to Shakespeare: """"Brush Up on Your Shakespeare"""", a song title from the musical ""Kiss Me, Kate"" based on Shakespeare's ""The Taming of the Shrew"", and the quote ""How many times Shakespeare draws fathers and daughters, never mothers and daughters"" by Ellen Terry, an English stage actress. In an interview on the subject of ""Wise Children"", Angela Carter"
"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"