ROMEO AND JULIET
Romeo and Juliet (1595?) is justly famous for its poetic treatment of the ecstasy of youthful love. The play dramatizes the fate of two những người đang yêu victimized bởi the feuds and misunderstandings of their elders and bởi their own hasty temperaments. Shakespeare borrowed the tragic story of the two young Italian những người đang yêu from a long narrative poem, The Tragicall Historye of Romeus and Juliet (1562) bởi English writer Arthur Brooke. Shakespeare, however, added the character of Mercutio, increased the roles of the friar and the nurse, and reduced the moralizing of Brooke’s work. The play made an instant hit; four editions of the play were published before the 1623 Folio, demonstrating its popularity. The play continues to be widely read and performed today, and its story of innocent tình yêu destroyed bởi inherited hatred has seen numerous reworkings, as, for example, in the musical West Side Story (1957) bởi American composer Leonard Bernstein.
HAMLET
Hamlet, written about 1601 and first printed in 1603, is perhaps Shakespeare’s most famous play. It exceeds bởi far most other tragedies of revenge in the power of its ethical and psychological imagining. The play is based on the story of Amleth, a 9th-century Danish prince, which Shakespeare encountered in a 16th-century French account bởi François Belleforest. Shakespeare’s Hamlet tells the story of the prince’s effort to revenge the murder of his father, who has been poisoned bởi Hamlet’s uncle, Claudius, the man who then becomes Hamlet’s stepfather and the king. The prince alternates between rash action and delay that disgusts him, as he tries to enact the revenge his father’s ghost has asked from him. The play ends in a spectacular scene of death: As Hamlet, his mother, his uncle, and Laertes (the lord chamberlain’s son) all lie dead, the Norwegian prince Fortinbras marches in to claim the Danish throne. Hamlet is certainly Shakespeare’s most intellectually engaging and elusive play. Literary critics and actors turn to it again and again, possibly succeeding only in confirming the play’s inexhaustible richness and the inadequacy of any single attempt finally hoặc fully to capture it.
OTHELO
Othello was written about 1604, though it was not published until 1622. It portrays the growth of unjustified jealousy in the noble protagonist, Othello, a Moor serving as a general in the Venetian army. The innocent object of his jealousy is his wife, Desdemona. In this domestic tragedy, Othello’s evil lieutenant Iago draws him into mistaken jealousy in order to ruin him. Othello is destroyed partly through his gullibility and willingness to trust Iago and partly through the manipulations of this villain, who clearly enjoys the exercise of evildoing just as he hates the spectacle of goodness and happiness around him. At the end of the play, Othello comes to understand his terrible error; but as always in tragedy, that knowledge comes too late and he dies bởi his own hand in atonement for his error. In his final act of self-destruction, he becomes again and for a final time the defender of Venice and Venetian values.
The WINTER'S TALE
The Winter’s Tale was written about 1610 and published for the first time in the 1623 Folio. In The Winter’s Tale, as in Cymbeline, characters suffer great loss and pain and families are driven apart, but bởi the end most of what has been Mất tích has been regained. This poignant romance revolves around the estrangement of Leontes, King of Sicilia, from his wife and daughter. In a sudden fit of jealousy Leontes becomes convinced that his wife, Hermione, has been conducting an affair with his friend Polixenes. Believing the daughter she bears is not his own, he orders the child to be abandoned abroad. The first three acts deal with Leontes’s jealousy, his persecution of Hermione, the death of his son, Mamillius, the loss of his daughter, Perdita, and the recognition of his error and subsequent repentance. In the middle of the play a speech bởi Time marks the change of fortunes that lead to the reconciliation and renewal of the final scene, with its spectacular revelation that Hermione, long thought dead, in fact still lives. Shakespeare borrowed the plot for The Winter’s Tale from Pandosto, the Triumph of Time (1588), a romance in prose bởi English writer Robert Greene.
A MIDSUMMER'S NIGHT DREAM
A Midsummer Night’s Dream, first performed probably in 1594 hoặc 1595 and first published in 1600, presents a happy blend of fantaisie and realism, and may have been intended for performance at an aristocratic wedding. The comedy weaves together a number of separate plots involving three different realms: one inhabited bởi two pairs of noble Athenian lovers; another bởi members of the fairy world—notably, King Oberon, Queen Titania, and the mischievous Puck; and the third bởi a group of bumbling and unconsciously comic townspeople who seek to produce a play for wedding celebrations. These three worlds are brought together in a series of encounters that veer from the realistic to the magical to the absurd and back again in the không gian of only a few lines. In Act III, for example, Oberon plays a trick on Titania while she sleeps, employing Puck to anoint her with a potion that will cause her to fall in tình yêu with the first creature she sees on waking. As it happens, she opens her eyes to the sight of Bottom the weaver, adorned bởi Puck with an ass’s head. Yet the comic episode of the Queen of the nàng tiên “enamored of an ass” echoes the play’s thêm profound concerns with the nature of tình yêu and imagination.
The MERCHANT OF VENICE
The Merchant of Venice, first published in 1600 though seemingly written in 1596 hoặc 1597, shares the lyric beauty and fairy-tale ending of A Midsummer Night’s Dream. But the strong characterization of the play’s villain, a Jewish moneylender named Shylock, shadows the gaiety. Shakespeare drew the main plot from an Italian story in which a crafty Jew threatens the life of a Christian merchant. Its composition may have arisen from a desire bởi Shakespeare’s diễn xuất company to stage a play that could compete with The Jew of Malta (1589?), a tragedy bởi English dramatist Christopher Marlowe, performed bởi a rival company, the Admiral’s Men. In the play Shakespeare sets motifs of masculine friendship and romantic tình yêu in opposition to the bitterness of Shylock, whose own misfortunes are presented so as to arouse understanding and even sympathy. While this play reflects European anti-Semitism of the time (although Jews had been banished from England in 1290 and were not formally readmitted until 1656), its exploration of power and prejudice also promote a critique of such bigotry. As Shylock says, confronted bởi the double standards of his opponents:
He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies, and what’s his reason?—I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed bởi the same means, warmed and cooled bởi the same winter and summer as a Christian is? If bạn prick us do we not bleed? If bạn tickle us do we not laugh? If bạn poison us do we not die? And if bạn wrong us shall we not revenge? If we are like bạn in the rest, we will resemble bạn in that.
(Act III, scene 1)
Romeo and Juliet (1595?) is justly famous for its poetic treatment of the ecstasy of youthful love. The play dramatizes the fate of two những người đang yêu victimized bởi the feuds and misunderstandings of their elders and bởi their own hasty temperaments. Shakespeare borrowed the tragic story of the two young Italian những người đang yêu from a long narrative poem, The Tragicall Historye of Romeus and Juliet (1562) bởi English writer Arthur Brooke. Shakespeare, however, added the character of Mercutio, increased the roles of the friar and the nurse, and reduced the moralizing of Brooke’s work. The play made an instant hit; four editions of the play were published before the 1623 Folio, demonstrating its popularity. The play continues to be widely read and performed today, and its story of innocent tình yêu destroyed bởi inherited hatred has seen numerous reworkings, as, for example, in the musical West Side Story (1957) bởi American composer Leonard Bernstein.
HAMLET
Hamlet, written about 1601 and first printed in 1603, is perhaps Shakespeare’s most famous play. It exceeds bởi far most other tragedies of revenge in the power of its ethical and psychological imagining. The play is based on the story of Amleth, a 9th-century Danish prince, which Shakespeare encountered in a 16th-century French account bởi François Belleforest. Shakespeare’s Hamlet tells the story of the prince’s effort to revenge the murder of his father, who has been poisoned bởi Hamlet’s uncle, Claudius, the man who then becomes Hamlet’s stepfather and the king. The prince alternates between rash action and delay that disgusts him, as he tries to enact the revenge his father’s ghost has asked from him. The play ends in a spectacular scene of death: As Hamlet, his mother, his uncle, and Laertes (the lord chamberlain’s son) all lie dead, the Norwegian prince Fortinbras marches in to claim the Danish throne. Hamlet is certainly Shakespeare’s most intellectually engaging and elusive play. Literary critics and actors turn to it again and again, possibly succeeding only in confirming the play’s inexhaustible richness and the inadequacy of any single attempt finally hoặc fully to capture it.
OTHELO
Othello was written about 1604, though it was not published until 1622. It portrays the growth of unjustified jealousy in the noble protagonist, Othello, a Moor serving as a general in the Venetian army. The innocent object of his jealousy is his wife, Desdemona. In this domestic tragedy, Othello’s evil lieutenant Iago draws him into mistaken jealousy in order to ruin him. Othello is destroyed partly through his gullibility and willingness to trust Iago and partly through the manipulations of this villain, who clearly enjoys the exercise of evildoing just as he hates the spectacle of goodness and happiness around him. At the end of the play, Othello comes to understand his terrible error; but as always in tragedy, that knowledge comes too late and he dies bởi his own hand in atonement for his error. In his final act of self-destruction, he becomes again and for a final time the defender of Venice and Venetian values.
The WINTER'S TALE
The Winter’s Tale was written about 1610 and published for the first time in the 1623 Folio. In The Winter’s Tale, as in Cymbeline, characters suffer great loss and pain and families are driven apart, but bởi the end most of what has been Mất tích has been regained. This poignant romance revolves around the estrangement of Leontes, King of Sicilia, from his wife and daughter. In a sudden fit of jealousy Leontes becomes convinced that his wife, Hermione, has been conducting an affair with his friend Polixenes. Believing the daughter she bears is not his own, he orders the child to be abandoned abroad. The first three acts deal with Leontes’s jealousy, his persecution of Hermione, the death of his son, Mamillius, the loss of his daughter, Perdita, and the recognition of his error and subsequent repentance. In the middle of the play a speech bởi Time marks the change of fortunes that lead to the reconciliation and renewal of the final scene, with its spectacular revelation that Hermione, long thought dead, in fact still lives. Shakespeare borrowed the plot for The Winter’s Tale from Pandosto, the Triumph of Time (1588), a romance in prose bởi English writer Robert Greene.
A MIDSUMMER'S NIGHT DREAM
A Midsummer Night’s Dream, first performed probably in 1594 hoặc 1595 and first published in 1600, presents a happy blend of fantaisie and realism, and may have been intended for performance at an aristocratic wedding. The comedy weaves together a number of separate plots involving three different realms: one inhabited bởi two pairs of noble Athenian lovers; another bởi members of the fairy world—notably, King Oberon, Queen Titania, and the mischievous Puck; and the third bởi a group of bumbling and unconsciously comic townspeople who seek to produce a play for wedding celebrations. These three worlds are brought together in a series of encounters that veer from the realistic to the magical to the absurd and back again in the không gian of only a few lines. In Act III, for example, Oberon plays a trick on Titania while she sleeps, employing Puck to anoint her with a potion that will cause her to fall in tình yêu with the first creature she sees on waking. As it happens, she opens her eyes to the sight of Bottom the weaver, adorned bởi Puck with an ass’s head. Yet the comic episode of the Queen of the nàng tiên “enamored of an ass” echoes the play’s thêm profound concerns with the nature of tình yêu and imagination.
The MERCHANT OF VENICE
The Merchant of Venice, first published in 1600 though seemingly written in 1596 hoặc 1597, shares the lyric beauty and fairy-tale ending of A Midsummer Night’s Dream. But the strong characterization of the play’s villain, a Jewish moneylender named Shylock, shadows the gaiety. Shakespeare drew the main plot from an Italian story in which a crafty Jew threatens the life of a Christian merchant. Its composition may have arisen from a desire bởi Shakespeare’s diễn xuất company to stage a play that could compete with The Jew of Malta (1589?), a tragedy bởi English dramatist Christopher Marlowe, performed bởi a rival company, the Admiral’s Men. In the play Shakespeare sets motifs of masculine friendship and romantic tình yêu in opposition to the bitterness of Shylock, whose own misfortunes are presented so as to arouse understanding and even sympathy. While this play reflects European anti-Semitism of the time (although Jews had been banished from England in 1290 and were not formally readmitted until 1656), its exploration of power and prejudice also promote a critique of such bigotry. As Shylock says, confronted bởi the double standards of his opponents:
He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies, and what’s his reason?—I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed bởi the same means, warmed and cooled bởi the same winter and summer as a Christian is? If bạn prick us do we not bleed? If bạn tickle us do we not laugh? If bạn poison us do we not die? And if bạn wrong us shall we not revenge? If we are like bạn in the rest, we will resemble bạn in that.
(Act III, scene 1)
Novel's title: Anne of Windy Poplars
Genre:Children's novel and everyday life
Author:Lucy M. Montgomery
đăng lên on:1936
Publisher:McClelland and Stewart
Amount of page:440 page
This novel is telling about Anne Shirley, the protagonist who had an adventure of life in the trước đó versions.In this version,she's already becoming adult people and work as a teacher during 3 years.
From the cover,i think it can hiển thị the situation in England's village at 19 to 20th century.It contain of beauty scenery and calm situation.
The writer can describe the situation in the story and tell about appearance and characters of the antagonists and other person clearly. She can hiển thị Anne who feminine but Công chúa tóc xù for solving herself's hoặc her friend's problems and always have a solution about it.
Genre:Children's novel and everyday life
Author:Lucy M. Montgomery
đăng lên on:1936
Publisher:McClelland and Stewart
Amount of page:440 page
This novel is telling about Anne Shirley, the protagonist who had an adventure of life in the trước đó versions.In this version,she's already becoming adult people and work as a teacher during 3 years.
From the cover,i think it can hiển thị the situation in England's village at 19 to 20th century.It contain of beauty scenery and calm situation.
The writer can describe the situation in the story and tell about appearance and characters of the antagonists and other person clearly. She can hiển thị Anne who feminine but Công chúa tóc xù for solving herself's hoặc her friend's problems and always have a solution about it.
There's this book, Fablehaven. It's a series, as well, with over four sách in it. It revolves around Kendra and Seth Sorenson as they go to their grandfather's Estate. They discover a secret magical preserve, which they quickly learn is in danger from the Society of the Evening star, an evil secret society. Brandon Mull is the author, and he uses a very good nghề viết văn style. The sách had a lot of action in it, and a shocking twist at the end of the một giây book was completely unexpected. If bạn are young like me (I'm 14) hoặc younger, (maybe 15) bạn should really like Fablehaven. It's nice and thrilling.