30 Great Myths about Shakespeare by Laurie E. Maguire PDF

By Laurie E. Maguire

ISBN-10: 0470658509

ISBN-13: 9780470658505

ISBN-10: 1118326776

ISBN-13: 9781118326770

Think you recognize Shakespeare? reconsider . . .

Was a true cranium utilized in the 1st functionality of Hamlet? have been Shakespeare's performs Elizabethan blockbusters? How a lot will we quite learn about the playwright's lifestyles? And what of his infamous courting together with his spouse? Exploring and exploding 30 renowned myths concerning the nice playwright, this illuminating new e-book evaluates the entire proof to teach how ancient material—or its absence—can be interpreted and misinterpreted, and what this finds approximately our personal own funding within the tales we tell.Content:
Chapter 1 Shakespeare used to be the most well-liked author of his Time (pages 6–10):
Chapter 2 Shakespeare was once no longer good expert (pages 11–17):
Chapter three Shakespeare's performs may be played in Elizabethan gown (pages 18–25):
Chapter four Shakespeare used to be no longer attracted to Having his performs published (pages 26–33):
Chapter five Shakespeare by no means Traveled (pages 34–39):
Chapter 6 Shakespeare's performs are Politically wrong (pages 40–46):
Chapter 7 Shakespeare was once a Catholic (pages 47–53):
Chapter eight Shakespeare's performs had no surroundings (pages 54–59):
Chapter nine Shakespeare's Tragedies are extra severe than his Comedies (pages 60–65):
Chapter 10 Shakespeare Hated his spouse (pages 66–71):
Chapter eleven Shakespeare Wrote within the Rhythms of daily Speech (pages 72–79):
Chapter 12 Hamlet was once Named After Shakespeare's Son (pages 80–85):
Chapter thirteen The Coarse Bits of Shakespeare are for the Groundlings; the Philosophy is for the higher sessions (pages 86–93):
Chapter 14 Shakespeare used to be a Stratford Playwright (pages 94–98):
Chapter 15 Shakespeare was once a Plagiarist (pages 99–105):
Chapter sixteen we do not recognize a lot approximately Shakespeare's existence (pages 106–112):
Chapter 17 Shakespeare Wrote on my own (pages 113–118):
Chapter 18 Shakespeare's Sonnets are Autobiographical (pages 119–124):
Chapter 19 If Shakespeare have been Writing Now, He'd be Writing for Hollywood (pages 125–129):
Chapter 20 The Tempest was once Shakespeare's Farewell to the level (pages 130–136):
Chapter 21 Shakespeare had an incredible Vocabulary (pages 137–142):
Chapter 22 Shakespeare's performs are undying (pages 143–149):
Chapter 23 Macbeth is Jinxed within the Theater (pages 150–155):
Chapter 24 Shakespeare didn't Revise His performs (pages 156–162):
Chapter 25 Boy Actors performed Women's Roles (pages 163–168):
Chapter 26 Shakespeare's performs do not paintings As videos (pages 169–174):
Chapter 27 Yorick's cranium used to be actual (pages 175–182):
Chapter 28 Queen Elizabeth enjoyed Shakespeare's performs (pages 183–189):
Chapter 29 Shakespeare's Characters are Like genuine humans (pages 190–195):
Chapter 30 Shakespeare did not Write Shakespeare (pages 196–201):

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Extra info for 30 Great Myths about Shakespeare

Example text

Terry Hands’ wintery setting at the Royal Shakespeare Company in 1979 reminded one reviewer of ‘‘a deserted Parisian square with a blurred, watery full moon above’’; the following year for television the inspiration was Dutch Old Masters, with Sir Toby dressed to recall Rembrandt portraits. ’’ For Nancy Meckler’s production at the Haymarket Theatre in Leicester (1984) Dermot Hayes’ set suggested a decaying Elizabethan playhouse, complete with rotting galleries and warped woodwork. ‘‘A dinky Greek island setting of sun-baked white walls .

How might the Elizabethans have viewed it? We can perhaps approach that question by looking at a sequel to The Taming of the Shrew – The Tamer Tamed – written by John Fletcher in 1611. In this play Katherine has died and Petruccio takes a second wife, one who loses no time in showing him who’s boss. 3 This plot seems to indicate that Elizabethans viewed The Taming of the Shrew as concluding with the husband in control and the wife tamed; Fletcher’s sequel reverses the positions. If that is the case, readings of The Taming of the Shrew in which Katherine triumphs reflect our desire to rehabilitate a morally unpalatable play, a play that was of its time.

A dramatist who sold a play to a theater company had no subsequent rights over it. Authorial copyright is a development of the eighteenth century. Thus an Elizabethan playing company could do as it pleased with the text of plays that it owned. The issue is complicated by the fact that Shakespeare was a shareholder in the Globe. In this capacity, though not as a playwright, he would have shared in decisions the company made about buying and selling property (and a playbook was property). The issue of whether Shakespeare was interested in seeing his plays printed is further complicated by the existence of variant versions of some of Shakespeare’s plays.

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