Plays

"Hold it a fashion and a toy in blood,

A violet in the youth of primy nature,

Froward, not permanent, sweet, not lasting,

The perfume and suppliance of a minute."

The context shows the general meaning of the phrase--that Hamlet's love is transient and impermanent. A "toy" is a plaything, something not to be taken seriously. "In blood" is more difficult. There is no doubt about the reading: Q2 and Q3 have "blood", F has "bloud" and the passage is not in Q1. This is probably a reference to the theory of humours, the idea being that at present Hamlet is dominated by the humour blood, which would make his personality sanguine. A sanguine personality is "amourous, happy, generous, optimistic and irresponsible." Laertes is focusing on the last quality, suggesting that this passion arises from the irresponsibility of his sanguine nature.

Look Back in Anger - film - was created in 1959.

The Falkland islands

Greenland,

Aylmer

In the novel "A View from the Bridge," the event that changes Eddie Carbone's marriage is when Catherine and Rodolpho are caught coming out of a bedroom together.

Victor Hugo wrote the novel.

Claude-Michel Schonberg and Alain Boublil wrote the music for the stage adaptation.

Herbert Kretzmer wrote the English lyrics for the stage adaptation.

William Shakespeare wrote the Tempest in 1611.

They commited suicide after the battle of Philippi

He used the basic code breaking technique called Frequency Analysis. It works well for substitution cyphers such as the dancing men.

One Michael Cassio, a Florentine, a fellow almost damn'd in a fair wife; That never set a squadron in the field, nor the division of a battle knows more than a spinster; unless the bookish theoric, wherein the toged consuls can propose as masterly as he:

Titania is a fictional character in the play, A Midsummer Night's Dream, written by William Shakespeare. In the play, Titania is the queen of the fairies. She was the partner of Oberon, king of the fairies.

Z

It's a bit awkward, because there are two plots in the play. In the first, Bassanio would be the protagonist in his quest for Portia's hand, but there is no antagonist. In the second, Shylock is a kind of antagonist to Antonio's protagonist, but one does not feel that Antonio is a character of that kind of significance. This may be one reason that many modern interpreters recast the play as the Tragedy of Shylock, with Shylock as a protagonist and Portia as an antagonist.

Puck changes Bottom's head to that of what they refer to as an "ass". No, this doesn't mean a butt. It's the Elizabethan word for "donkey". However, it is ironic that Bottom gets an ass's (donkey's) head because 1) He's been acting like an ass. 2) His name is Bottom, as in the polite term for butt.

It is difficult to tell because we leave the couples on their wedding night. However we have to have some concern about Helena's lack of self-esteem and Demetrius's callousness. Their relationship has elements which could turn to abuse. Theseus and Hippolyta have a political marriage and Theseus "won [her] with [his] sword", but Theseus seems to have earned Hippolyta's respect in his resolution of the lovers' problems. Oberon and Titania may be happy now but they'll be fighting again soon, and then they'll make up again. They appear to be that kind of couple.

Lysander and Hermia are a strong couple who love and respect each other. There is no imbalance or tendency to argue. They look like the most stable couple.

Very few of Shakespeare's plays could be described as "generic", as he was always pushing boundaries and exploring new aspects of the form. Some of his early work might be considered to be generic, especially The Comedy of Errors, which is clearly in the style of (and based on a play by) Plautus. Titus Andronicus might be thought of as a generic revenge tragedy after the style of Kyd's Spanish Tragedy. If Shakespeare wrote Edward III, it is a fairly generic chronicle history play.

They loved it and hated it at the same time

The conflict is that lucentio want to marry biance and he has to try and secretlycourt (date) her.

On the other hand Petruchio has married Kate and is "killing her with kindness" and telling her that everything is too good for her.

Ariel's appearance as an avenging harpy represents the climax of Prospero's revenge, as Antonio, Alonso, and the other lords are confronted with their crimes and threatened with punishment. From Prospero's perspective, the disguised Ariel represents justice and the powers of nature. He has arrived to right the wrongs that have been done to Prospero, and to punish the wicked for their sins. However, the audience knows that Ariel is not an angel or representative of a higher moral power, but merely mouths the script that Prospero has taught him. Ariel's only true concern, of course, is to win his freedom from Prospero. Thus, the vision of justice presented in this scene is artificial and staged.

Ariel's display has less to do with fate or justice than with Prospero's ability to manipulate the thoughts and feelings of others. Just as his frequent recitations of history to Ariel, Miranda, and Caliban are designed to govern their thinking by imposing his own rhetoric upon it, Prospero's decision to use Ariel as an illusory instrument of "fate" is designed to govern the thinking of the nobles at the table by imposing his own ideas of justice and right action upon their minds. Whether or not Prospero's case is really just-as it may well be-his use of Ariel in this scene is done purely to further his persuasion and control. He knows that a supernatural creature claiming to represent nature will make a greater impression in advancing his argument than he himself could hope to. If Prospero simply appeared before the table and stated his case, it would seem tainted with selfish desire. However, for Ariel to present Prospero's case in this fashion makes it seem like the inevitable natural order of the universe-even though Prospero himself is behind everything Ariel says.

This state of affairs gets at the heart of the central problem of reading The Tempest. The play seems to present Prospero's notion of justice as the only viable one, but it simultaneously undercuts Prospero's notion of justice by presenting the artificiality of his method of obtaining justice. We are left to wonder if justice really exists when it appears that only a sorcerer can bring about justice. Alternatively, Prospero's manipulations may put us in mind of what playwrights do when they arrange events into meaningful patterns, rewarding the good and punishing the bad.

I don't think the question is correct. I've always read that though individual editions of some plays were published during Shakespeare's lifetime, he didn't have them published. His acting company may have sold some scripts, and others may have been pirated.

The name of Hermia's father is Egeus. He is the rock that starts the avalanche of the play. Although the only scenes he is mentioned in are the first scene and then the play within a play.

he threw a shoe to Julius Caesar and then he did

Brutus was the last person to stab Julius Caesar. He was stabbed 23 times. This is one of the most famous lines from the play "et tu Brute?" meaning " and you Brutus?". after which Caeser says " then fall Caeser." He helped kill him.

Giles Corey is a character in The Crucible, a novel about the Salem witch trials in colonial Massachusetts. He reveals to Reverend Hale that he thinks his wife is a witch.