Plays

there are a lot of plays written by rizal.. and i could say that i like the most the three of them, namely SAN EUSTAQUIO MARTYR, EL CONSEJO DE DIOSES, AND JUNTA AL PAIG. it is rily hard to understand the thought rizal wants to convey but if we'll think in a deeper sense we would know how rizal portrait these plays.

King Lear's tragic flaw is his value of appearances and his inability to accept reality. Throughout the play, Lear wishes to be treated like a king, yet he wants no responsibilities for his kingdom. Instead, he splits his kingdom and has his daughters rule over their given region. Likewise, he tests his daughters to see which of them are willing to make the grandest testement of love for him. Although he truly knows Cordelia loves him the most, he disowns her for her lack of an outlandish and public display of love. In both instances, he allows his love of appearances to get in the way of reality.

In Arthur Miller's 'The Crucible,' John Proctor alludes to Pontius Pilate, because like him, Reverend Hale had refused to take a side. Pilate allowed Jesus' to be imprisoned based on Sanhedrin allegations he knew were not true. He also refused to intervene when he could have stopped the crucifixion, because he was the Governor of Judea and held the power to do so.

act one scene one, Richard sets a prophecy on his brother clarence (1.1.33)

I would say the rendition of a play by characters would be a secondary source because each actor/actress could interpret the words in different ways. But if you read the written version of a play, it would be the primary source by that playwright / author.

Don John, the illegitimate brother of Don Pedro, Prince of Aragon. He plots to make Don John miserable by making Claudio (one of Don Pedro's soldiers) think Hero (Claudio's bride-to-be and niece of Don Pedro's host Leonato) has been unfaithful - and in the process embarrass his brother when Claudio dumps Hero in front of everyone. The plan almost works - Claudio believes the deception and publicly humiliates Hero and her uncle Leonato by publicly rejecting Hero just before the wedding but the nightwatch stumbles upon Don John's accomplices and learns what really transpired. The accomplices are taken into custody, Claudio and Hero get married after all, and Don John is captured (offstage).

At least seven pages worth of stuff. It's a long scene, and it is almost all Prospero talking and Miranda falling asleep.

Len Cariou's performance in the 1981 production of The Taming of the Shrew at the Stratford Festival in Stratford Ontario was committed to film and may be available on VHS. However, it does not appear to have been released on DVD. CBC released a number of Stratford Shakespeare productions on DVD, but the version of Shrew released in that series is the Colm Feore 1988 production. You can get Len Cariou's Tempest in that series, however.

No, Gertrude is lying as Hamlet suggested she should.

Tom and Amanda are both dreamers, desperate to leave their lives behind. Tom hates his dull life in St. Louis, and aches to get out and have an adventure somewhere else. Amanda does not like where she has landed; where life has taken her since her glory days in high school in the South. She dreams of a better life for herself and her children, and is willing to push her children to the bitter end to make that better life - or what she hopes will be a better life - come to them.

Slow Drag.

Lord Capulet is Juliet's father,

Lady Capulet is Juliet's mother and Lord Capulet's wife,

Tybalt is Juliet's cousin and Lady Capulet's nephew,

Nurse is Juliet's, well, nurse (as well as a good friend to her),

Samson, Gregory, and Peter are all serving men of the Capulets.

:)

In the offchance that you still need this answer, my teacher said it was comic relief.

The two lead males, Lysander and Demetrius, are both in love with the same girl, Hermia. This love makes them competitive and spiteful. When Puck and Oberon make those men fall in love with Helena, they once again disregard the feelings of others to follow their love. They insult Hermia and reject her, leaving her alone and confused.

Pity may imply a feeling or attitude of condescension. Mercy, forgiveness and compassion do not. Individuals of lessor mind may satisfy themselves with a feeling of superiority and "feel sorry" for gentler and more giving persons.

So you see that the lessor minded person, or beast, will pity some others if they can be seen as "thoughtful and kindly" by those who do not understand better themselves. You can identify this trait complex as those who do this will pick and choose at their liking and convenience. This is personal, conditional and exclusive behaviour. It is aimed at getting attention on the shirttails of the trials others experience through life.

Compassion is unconditional, just unconditional. It is done by those who have developed character as a means of diminishing personality and then can give freely. No questions asked.

So if you do not pity but freely give compassion and mercy you are no beast. Many hard won victories will free you from your vanities and insecurities. Then you will understand this old text.

Shakespeare wrote plays for a living. It was his job (or at least one of them). He had to find good stories and make them into plays which could be performed by the actors in the Lord Chamberlain's Men or as they were later known, the King's Men. He must have come across the story of Othello (it is in a book of Italian stories called Gli Hecatommithi by Cinthio), and have thought it would make a good play.

Traditionally, his plays have been put into the categories of Histories (stories taken from English history), Tragedies (stories that end badly for the main characters), and Comedies (stories which end well for the main characters). Sometimes people invent new categories for the plays which do not fit into those three. It's also fair to say that Shakespeare's plays do not as a rule have realistic dialogue; the characters speak often in heightened poetic dialogue. Nor are the plots naturalistic--some are fantasies, and others have a folk-tale quality.

His name was on the title pages of a number of plays published in his lifetime. He was described as an excellent playwright by dozens of people alive at the same time he was, who moved in the same social circles and must have known him. The connections between the plays, the Chamberlain's/King's Men, the Globe Theatre Sharers and William Shakespeare, gent. of Stratford are demonstrated by a mountain of documentary evidence. For example, Shakespeare's will leaves a bequest to the same two men (Heminges and Condell) who published the First Folio, and are named as actors in the same company as Shakespeare in payment receipts for the King's Men, who are shown on the covers of the published plays to be the only company to perform some of them, and were also the same people who owned the Globe Theatre where some people kept diaries saying that they attended performances of these same plays. All of this evidence consistently points to the same people being associated in all these endeavors and to the fact that the person credited with writing the plays is William Shakespeare, gent., of Stratford. There is no documentary evidence whatsoever that anyone other than Shakespeare wrote those plays, or that any of Shakespeare's contemporaries doubted for one moment that Shakespeare was the author.

love

It is one of the three plays written by Rizal during his adolecent years. The theme centered on Christianity against Paganism and Innocence against Evil.

By the Banks of the Pasig River' is a lyrical poem written by Jose Rizal. The poem simply invites the reader to take a boat ride to Antipolo and enjoy the beauty of the Pasig River.

The Nanny (Anne-Maria)

proof-

Act 2

Nora nervously sits alone on Christmas Day, holding onto her cloak, with her casual clothes on the couch. She nervously speaks to herself, hoping that nothing bad would happen, that people do not come to the party to ruin it (and her perfect life), and thinks of her children. She speaks with the nurse - Nanny - about her own life. Nora asks Nanny how she could leave her own children to come and raise her years ago. Nanny responds that raising Nora was such a wonderful opportunity for a poor girl and that she still keeps in touch with her own daughter. Nora nervously tells Nanny that if she were not around, she would want her to raise her three children. Nanny blows off such conversation as silly when the doorbell rings and Mrs. Linde arrives.

its Honeytheunicorn1234

Victorian Period