...Comic plays by William Shakespeare. Famous Comic Plays: As You Like It Comedy Of Errors Much Ado About Nothing Loves’ Labour’s Lost Merchant of Venice Two Gentle Men of Verona Taming of Shrew Tempest Twelfth Night Measure of Measure “Professional entertainment consisting of jokes and satirical sketches, intended to make an audience laugh”. Synonyms: light entertainment, comic theater, frace , situation comedy, satire, pantomime ,comic, opera “A movie, play, or broadcast program intended to make an audience laugh.” plural noun: comedies The Tragic and the Comic fade into each other by almost insensible gradations, and the greatest beauty of a poetical work often consists in the harmonious blending of these two elements. Not only in the same drama may both exist in perfect unison, but even in the same character. Great actors generally have a similar quality, and frequently it is hard to tell whether their impersonations be more humorous or more pathetic. Shakespeare seems to have taken a special delight in its employment. No principle of his procedure is better known or more fully appreciated. His tragedies never fail of having their comic interludes; his comedies have, in nearly every case, a serious thread, and sometimes a background with a tragic outlook. Life is not all gloom or all delight; the cloud will...
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...However, it is possible to find the deception behind each personality within a book if one analyzes the character's beyond their superficial facade. Since the beginning of time, humans have always stumbled on a boarder between appearance and reality, using deception to mask weaknesses and obscure the harsh eye of society. By examining A Street Car Named Desire by Tennessee Williams, Shakespeare's Much Ado About Nothing, and The Unabridged Journals Of Sylvia Plath by Sylvia Plath the deception humans use in order to appear stronger in society are revealed. In the play, A Streetcar Named Desire by Tennessee Williams, there is a dominant theme of deception portrayed by the three main characters in the play. Stella Kowalski, Stanley Kowalski, and Blanche DuBois all have simple personalities that are extremely skewed by the end of the book. Stella states "I'm not in anything I want to get out of," (Williams, 74). This gives Blanche a huge reality check, because someone she adores has accepted such an average life, and has given up in her pursue for perfection, even if most of it is imaginary. This deception also plays a huge role in Much Ado About Nothing by Shakespeare, through a continuos series of twists throughout the book and hidden motifs, that cannot be seen by the reader until the characters themselves accept the truth or the meaning behind it. The character traits that seem to define the characters in this play, are also their largest deceptions. "CLAUDIO -Can...
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...William Shakespeare is typically known for his comedies, histories, and tragedies. For example, his most famous tragedies would be Romeo and Juliet. In this case the story is a romantic comedy called, Much Ado About Nothing. This story consists of two love stories, one between Hero and claudio, and another between Beatrice and Benedick. The plot thickens when the Don John, Brother of Don Pedro, attempts to intervene. Trickery and deceit are central themes and somehow leads to love and romance. Trickery is a large theme in this story. Trickery meaning the practice of deception. Trickery can come in multiple types of form. Whether the intent is in a good or bad manner. In this case Don Pedro and Claudio come up with a plan. The plan was to trick Benedick into falling for Beatrice and vice versa for Beatrice. This act is suppose to be difficult, because Benedick is the type of guy who doesn't believe in marriage and is a bachelor. Coincidentally Beatrice has a similar mind set on marriage. Don Pedro and Claudio were able to achieve this by using leonarto as bait. For example, Then Benedick says, “ I should think this a gull but that the white-bearded fellow speaks it. Knavery cannot, sure, hide himself in such reverence” (2.3.126-128). This quote means if the...
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...HOW DO YOU EXPRESS LOVE? William Shakespeare expresses his love and other themes in many different ways. The play Much Ado About Nothing was written by Shakespeare uses language and dramatic elements such as puns, mistaken identify, allusions and comedic language to convey key themes and characterisation. Act 2 scene 1 explores and challenges the themes of love, deception, and loyalty. The themes of love, deception, and loyalty are emphasised in this play and can clearly be seen in Act 2 scene 1. The theme of love is evident between Hero and Claudio in this scene, as they come together in the presence of Hero’s family and friends as they are conjoined together and plan to get married. “Silence is a perfect herald of joy. I was but little happy if I could say how much. - Lady, as you are mine, I am yours. I give myself for you and dote upon the exchange”. This extract of the play portrays Claudio’s happiness that he will be marrying Hero. Hero indeed conveys her joy too as she whispers into Claudio’s ear, “My cousin tells him in his ear that he is...
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...Comedy William Shakespeare is one of the first people we think of when theater comes to mind. He made a name for himself in the world by becoming a playwright and writing comedies as well as tragedies for people’s entertainment that are still used today. However, Shakespeare is not one of the names that immediately come to mind when we consider the world of theology and religion. Yet the basic themes of Christianity play a foundational role in many of the classic scenes found in Shakespeare’s most famous works. We can examine this through the Shakespearian element of redemption, a view of taking kindness on humanity that academics believe was his own. Shakespeare’s plays still have relevance today because of his redemptive view of the world and of human experiences, particularly in the comedies The Merchant of Venice, Much Ado About Nothing, and All’s Well That Ends Well. Much has been made of Shakespeare’s religious and theological grounding. The issues have been centered primarily on whether Shakespeare was Protestant or Catholic. Many prominent Roman Catholic scholars, including the Rev. David Beauregard, have gone to great lengths to assert that Shakespeare was in fact Roman Catholic. Beauregard says a now-lost eighteenth-century document suggested that Shakespeare’s father, John, was a devout Catholics and his mother, Mary, was a member of the staunchly Catholic Arden family of Park Hall. Beauregard points to very Catholic theological concepts found in Shakespeare’s plays...
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...A Shakespeare Merry-Go-Round What makes a Shakespeare play a comedy? There are many plays today that involve Tragedies, Comedies, and Histories. Nothing quite as unique as those of William Shakespeare. He paved his own path by merging duality into one. His free spirited nature is seen in the action parts of these plays and are often filled with disguise, mistaken identity, and creative chaos. The plot is extremely important as it evolves. It becomes twisted and confusing, and especially hard to follow. Some earlier plays like Measure for Measure, and All’s Well that Ends Well, contain scenes of such darkness that it seems wrong to view them as any idea of comedy labeling them as "problem plays" (Mullan). Shakespeare's overall composition of comedy is so contrived and convoluted making it necessary for them to have sub-categories. Disguise...
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...Romantic comedy is a popular genre that depicts burgeoning romance in humorous terms and focuses on the foibles of those who are falling in love Title page of the first quarto of Shakespeare's Midsummer Night's Dream (1600) "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.[13] Comedy (from the Greek: κωμῳδία, kōmōidía), in the contemporary meaning of the term, is any discourse or work generally intended to be humorous or to amuse by inducing laughter, especially in theatre, television, film and stand-up comedy. This sense of the term must be carefully distinguished from its academic one, namely the comic theatre, whose Western origins are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters.[1] The theatrical genre can be simply described as a dramatic performance which pits two societies against each other in an amusing agon or conflict. Northrop Frye famously depicted these two opposing sides as a "Society of Youth" and a "Society of the Old",[2] but this dichotomy is seldom described as an entirely satisfactory explanation. A later view characterizes the essential agon of comedy as a struggle between a relatively powerless youth...
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...Throughout several of William Shakespeare’s plays, he has a character or characters that dissemble, which according to the Oxford English Dictionary is defined as “to alter or disguise the semblance of (one’s character, a feeling, design, or action) so as to conceal, or deceive as to, its real nature: to give false or feigned semblance to; to cloak or disguise by feigned appearance.” By dissembling or disguising, it allows one to be someone they are not and do things they don’t normally do. In plays such as Twelfth Night, Much Ado About Nothing, Hamlet, and The Merchant of Venice are just some of Shakespeare’s works in which he utilizes the concept of disguise. Shakespeare uses disguise of behavior and dress in his plays Hamlet and The Merchant of Venice. In Hamlet, Hamlet himself feigns madness in order to seek the truth of...
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...strong connection between a couple represent the love involved in a relationship. However, in the plays Much Ado About Nothing and Antony and Cleopatra, Shakespeare shows that either man uses love to achieve his own goals (like Claudio who wants to marry Hero as she is the perfect Elizabethan woman) or love is influenced in man by other people (like Beatrice and Benedick) or the intensity of love even brings about the death of lovers (as in Antony and Cleopatra). In addition, some characters explain their actions by professing or implying that they did them out of love (or heart-break due to lost love) when that is not actually the case. A key scene in Much Ado About Nothing occurs when Claudio publicly declares Hero to be sexually promiscuous just because he apparently saw her speaking to a man outside her bedroom window; Claudio’s tries to redeem his honor in the eyes of the public while giving people the impression that he is a betrayed and heart-broken lover who is shaming Hero. Similarly, in the Battle of Actium which takes place in Antony and Cleopatra, we see Caesar making a grave mistake of following Cleopatra when she sails away mid-battle. “Egypt, thou knew’st too well My heart was to thy rudder tied by th’ strings, And thou shouldst tow me after.” (3.12.60 – 62) Antony states that his heart is tied to her and will follow her anywhere, implying that he is very much in love with her that he would do anything to keep her by his side. But in reality, it seems as though...
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...Venice is a play by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic scenes, and is best known for Shylock and the famous "Hath not a Jew eyes?" speech. Also notable is Portia's speech about "the quality of mercy”. The title character is the merchant Antonio, not the Jewish moneylender Shylock, who is the play's most prominent and most famous character. This is made explicit by the title page of the first quarto: The most excellent History of the Merchant of Venice. With the extreme cruelty of Shylock the Jew towards the said Merchant etc. Antonio is a symbol of Christian kindness, generosity, and love. These attributes are usually shown towards Bassanio or his friends. “In this and other ways he is a romantic figure. To his contemporaries he may have had a broader significance. In a group of medieval tales called the Tale of Abraham and Theodore, the rescue of a borrower from the clutches of an usurer was a symbol of man’s redemption.” (Campbell) Antonio helped Bassanio and prevented him from having to borrow money from an usurer, taking his place as the borrower instead. Antonio’s symbolism as Jesus or the perfect lamb is brought to mind. In Judaism a perfect lamb is sacrificed for a sin offering killed to deflect the wrath of God. Antonio is the perfect lamb about to be killed to...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S ROMEO AND JULIET By ARTHEA J.S. REED, PH.D. S E R I E S W. GEIGER ELLIS, ED.D., E D I T O R S : UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s Romeo and Juliet 2 INTRODUCTION William Shakespeare’s Romeo and Juliet is an excellent introduction to Shakespearean drama; teenagers can relate to its plot, characters, and themes. The play’s action is easily understood, the character’s motives are clear, and many of the themes are as current today as they were in Shakespeare’s time. Therefore, it can be read on a variety of levels, allowing all students to enjoy it. Less able readers can experience the swash-buckling action and investigate the themes of parent-child conflict, sexuality, friendship, and suicide. Because of the play’s accessibility to teenagers, able readers can view the play from a more literary perspective, examining the themes of hostility ad its effect on the innocent, the use of deception and its consequences, and the effects of faulty decision making. They can study how the characters function within the drama and how Shakespeare uses language to develop plot, characters, and themes. The most able students can develop skills involved in literary criticism by delving into the play’s comic and tragic elements and its classically...
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...the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references and index. ISBN 978-1-60413-723-1 (hardcover) ISBN 978-1-4381-3425-3 (e-book) 1. Shakespeare, William, 1564–1616—Criticism and interpretation. I. Bloom, Harold. II. Heims, Neil. PR2976.W5352 2010 822.3'3—dc22 2010010067 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk...
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...solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore, we have attempted to communicate to fellow teachers...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...cover next page > title author publisher isbn10 | asin print isbn13 ebook isbn13 language subject publication date lcc ddc subject : : : : : : : : : : : cover next page > < previous page page_i next page > Page i 1100 Words You Need to Know Fourth Edition Murray Bromberg Principal Emeritus Andrew Jackson High School, Queens, New York Melvin Gordon Reading Specialist New York City Schools . . . Invest fifteen minutes a day for forty-six weeks in order to master 920 new words and almost 200 useful idioms < previous page page_i next page > < previous page page_ii next page > Page ii © Copyright 2000 by Barron's Educational Series, Inc. Prior edition © Copyright 1993, 1987, 1971 by Barron's Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, NY 11788 http://www.barronseduc.com Library of Congress Catalog Card No. 00-030344 International Standard Book Number 0-7641-1365-8 Library of Congress Cataloging-in-Publication Data Bromberg, Murray. 1100 words you need to know / Murray Bromberg, Melvin Gordon. p. cm. Includes index. ISBN 0-7641-1365-8 1. Vocabulary. I. Title: Eleven hundred words you need...
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