Plays

A mystery play was a theatrical production telling a story from the Bible. It was usually accompanied by antiphonal singing. It was distinguished from miracle plays, which told stories about miracles associated with saints, and morality plays, which told stories associated with Christian virtue. There were other types of medieval plays as well.
A mystery play is a play that acts out a story from the bible, such as Noah's Ark or Adam and Eve. It also can be an allegorical play about Christian virtues. Such plays (also called moralities or miracle plays, depending on the subject matter) were one of the more significant roots of English drama. Everyman is the most famous of these plays. Shakespeare alludes to them when he has Hamlet say, "it out-Herods Herod", alluding to over-the-top portrayals of Herod in mystery plays about the birth of Jesus.
reenactments of biblical stories

Too broad a question to answer. Which convict? Where? Jon Val Jean in "Les Miserable's?" ---- There is a simple answer for that with regard to convicts who were sent to Australian colonies. Sentence time (or transportation) was usually in increments of seven years. Stealing a loaf of bread usually resulted in a seven year sentence. The next stage up was fourteen years (depending on the magistrate's mood at the time), 21 years, or "for the term of his natural life".

Desdemona marries Othello at the beginning of the play against her father's will. The two secretly marry.

we are all looking to be saved from a society that has abandoned all hope, and the relationship between post marital beliefs in a war torn soul deserted land

Well, it could be unpopular Shakespeare. Imogen in Cymbeline has some great monologues and nobody does Cymbeline any more. Or Helena in All's Well that Ends Well or Isabella in Measure for Measure, although all these characters are definitely young women and not young girls since they have serious adult problems.

What does "classical" mean in this context? Is Ibsen classical enough? Lots of great female roles there, although again, they have adult problems. Or what about Victorian melodrama, like Clifton Tayleure's East Lynne? You might also consider translations of French plays like Phaedre by Racine which are more classical than Shakespeare ever was.

Shakespeare also had some contemporaries who were amazing playwrights. Check out Webster's Duchess of Malfi for example (some good monologues there, but very dark).

Or here's a thought: Maria has a nice speech to start Act IV of George Lillo's The London Merchant (1731). You might want to look that one up.

In his life-time, J.B.Priestley wrote over 100 novels and published over 120 books!

Oedipus kills him.

Samuel french Inc.

Bassanio

i am pretty sure it was a girl

This is a very broad question, but I will give my take on it. One aspect of Cassius is his machiavellian plotting, driven by jealousy and hatred of Caesar. This interpretation would suggest that Shakespeare is using the character of Cassius to comment on this dangerous aspect of human nature. There are, however, several more complex layers to this character.

Ironically, it is Cassius, not the noble Brutus, who seems to truly value human relationships. It seems that Cassius surrenders to Brutus' weaker judgments regarding the conspiracy because he values their friendship so deeply. It can be argued that his hatred for Caesar and his love of Brutus are the two most powerful forces driving Cassius throughout the play. This interpretation would suggest that Shakespeare is also using Cassius to comment on the manner in which personal relationships compel people to take extreme actions.

Shakespeare may also be using Cassius as a means to comment on the nature of political reform. Shakespeare extensively read Machiavelli, and Cassius' character seems to reflect Machiavelli's theory that certain individuals carry the desire to dominate and subjugate the people and are kept in check only by others with similar ambition. This raises an important question about humanity. Is tyranny kept at bay only by jealousy?

Cassius also plays a vital role in Shakespeare's discussion of the human view of fate and destiny. He is the character who utters the famous lines "the fault, dear Brutus, lies not in our stars but in ourselves that we are underlings." Cassius wants to believe that he has control over his own destiny, so much so that he embraces suicide as a noble means of freeing oneself from gnoble circumstances. It seems that Shakespeare is using Cassius to comment on the tendency for humans to feel that they are "masters of their fates."

I hope this helps.

Silence the court is in session is a mock trial of a teacher. It gives viewers a closer look into the justice system.

The Tempest was not written to communicate a moral; it was not written for a Sunday School Class. It was written to entertain. The audience may derive a better understanding of something by means of the action of the play, but that depends entirely on what the audience wants to take away from it.

In any case, of all of Shakespeare's plays, The Tempest is one of the least didactic and most ambiguous. What kind of silly moral would you propose: that if you keep a girl from seeing other people, she'll fall for the first man she sees?

Assuming you mean the Stella in A Streetcar Named Desire, Stella was a Dubois, but now her surname is Kowalski.

Because Romeo thought that Juliet was dead since she took a potion that made her look dead. Romeo therefore killed himself. When Juliet woke up and saw that Romeo was dead she also killed herself. Romeo killed himself with poison and Julet killed herself with a dagger.

The following line from Hamlet (Act 1 Scene 3) contains a number of obsolete words:

Ophelia: I shall the effect of this good lesson keep

As watchman to my heart, but, good my brother,

Do not, as some ungracious pastors do,

Show me the steep and thorny way to heaven,

Whiles he, like a puffed and reckless libertine,

Himself the primrose path of dalliance treads

And recks not his own rede.

"Dalliance", "recks" and "rede" are all obsolete.

Brutus and Cicero are characters in the play, "Julius Caesar" by William Shakespeare. Brutus objected to having Cicero join as one of the conspirators because he feared Cicero will not follow what other men have started.

It gives Othello the ocular "proof" that he's looking for from Iago ever since his jealousy is sparked. Othello gave it to Desdemona once they began seeing each other and he believes that if she ever lost it that she would no longer be devoted to him. He knocks it out of her hand during an argument, Emilia picks it up and gives it to her husband Iago. He then places it in Cassio's room and he gives it to Bianca who then throws it back at Cassio (saying that she doesn't want the trifles of another woman) while Othello is watching him (just as Iago wanted) and Othello takes this as meaning that Desdemona gave the hankerchief to Cassio, Cassio gave to Bianca, and Bianca gave it back because she didn't want a token that was given to him from another woman.

This was not an uncommon thing in Elizabethan theatre. Shakespeare himself does it in Romeo and Juliet. Indeed the Peter Quince production of Pyramus and Thisbe is like a comic parody of Romeo and Juliet.

The idea is that the more often the audience heard about or saw the drift of the play, the more likely they were to get it. "Dumbshows" (as seen in The Murder of Gonzago in Hamlet and Gorboduc in real life) served the same purpose.

"We'll set thee to school to an ant, to teach thee there's no

labouring i' th' winter. All that follow their noses are led by

their eyes but blind men, and there's not a nose among twenty

but can smell him that's stinking. Let go thy hold when a great

wheel runs down a hill, lest it break thy neck with following

it; but the great one that goes upward, let him draw thee after.

When a wise man gives thee better counsel, give me mine again. I

would have none but knaves follow it, since a fool gives it."

The fool says this in Act II

An excellent example is one entitled "Twelve Angry Men."It was also done as a black and white movie featuring an all-star cast.

Bassanio married Portia.

Gratiano married Nerissa.

Lorenzo married Jessica.

According to the OED, it should be pronounced as we would expect, to rhyme with "hair".