Shakespeare: Antony and Cleopatra: Act 1 Scene 4 Theatre Literature
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Aid to self exploration of Shakeseare's Antony and Cleopatra for High School Literature, Cambridge CiE, NCEA, 12th Grade, A Level, AS Level
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Antony And Cleopatra.Pdf
This summary provides the key details from the opening scene of Antony and Cleopatra:
1) Philo expresses concern over Antony neglecting his duties as a Roman leader due to being infatuated with Cleopatra.
2) Antony and Cleopatra enter together, showing their affection for each other.
3) A messenger brings news from Rome for Antony, but Cleopatra insists he stay with her instead of returning to Rome.
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Need to write a Literary essay based on "Julius Caesar, Act III, Scene ii. by William Shakespeare" by friday
Below are the instructions to how to write it and the conversation it needs to be written on
Essay Topic: Which character, Brutus or Antony, presents a superior and more rhetorically
powerful funeral oration in Act III, Scene ii. of William Shakespeare’s Julius Caesar?
Following the essay structure, write a literary essay on this theme focused topic
in order to compare, analyze, and evaluate both speeches. Be sure to include introduction,
body, and concluding paragraphs, a clear thesis statement, three distinct supporting points of
analysis, and evidence from both the primary source (Act III, Scene ii. - play and film) and
secondary source (Aristotle’s Logos, Etho
s, and Pathos - handout).
Enter BRUTUS and CASSIUS, and a throng of Citizens
CITIZENS
We will be satisfied; let us be satisfied.
BRUTUS
Then follow me, and give me audience, friends.
Cassius, go you into the other street,
And part the numbers.
Those that will hear me speak, let 'em stay here;
Those that will follow Cassius, go with him;
And public reasons shall be rendered
Of Caesar's death.
First Citizen
I will hear Brutus speak.
Second Citizen
I will hear Cassius; and compare their reasons,
When severally we hear them rendered.
Exit CASSIUS, with some of the Citizens. BRUTUS goes into the pulpit
Third Citizen
The noble Brutus is ascended: silence!
BRUTUS
Be patient till the last.
Romans, countrymen, and lovers! hear me for my
cause, and be silent, that you may hear: believe me
for mine honour, and have respect to mine honour, that
you may believe: censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say, that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
--Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead, to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honour him: but, as he was ambitious, I
slew him. There is tears for his love; joy for his
fortune; honour for his valour; and death for his
ambition. Who is here so base that would be a
bondman? If any, speak; for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak; for him have I offended. Who is here so
vile that will not love his country? If any, speak;
for him have I offended. I pause for a reply.
CITIZENS
None, Brutus, none.
BRUTUS
Then none have I offended. I have done no more to
Caesar than you shall do to Brutus. The question of
his death is enrolled in the Capitol; his glory not
extenuated, wherein he was worthy, nor his offences
enforced, for which he suffered death.
Enter ANTONY and others, with CAESAR's body
BRUTUS
Here come.
Write 150-250- word responses to each of the following1. How .docx
Write 150-250- word responses to each of the following:
1. How does Voltaire's Candide (Reading 25.4) "reply" to Pope's Essay on Man (Reading 24.8)?
2. What does Mary Wollstonecraft's Vindication of the Rights of Women (Reading 24.7) tell us about women in the Age of Enlightenment? From a 21st-century perspective, what would Wollstonecraft think of women's standing today?
3. Summarize the conditions and circumstances described in Equiano's account (Reading 25.1). Which of the circumstances and conditions described by Equiano strike you as most removed from the ideals of the philosophes?
4. How do the paintings of Fragonard (Figure 26.1), Watteau (Figure 26.5), and Boucher (Figure 26.6) reflect the "pursuit of pleasure"?
5. What do the following statements reveal about the nineteenth-century Romantic? "I fall upon the thorns of life! I bleed!" (Shelley); "I want to live deep and suck out all the marrow of life." (Thoreau); "Feeling is all." (Goethe); "I have no love for reasonable painting." (Delacroix)
Format your responses consistent with APA guidelines. Note:You must use your course text as a reference for this assignment. This means that you should include quoted or paraphrased text from your readings to support your response to, and discussion of, the assignment questions. Course readings should be acknowledged with an in-text citation.
If you need additional sources, use the University Library. If you use the Internet to find sources, you should only access credible and reliable Internet sites such as those affiliated with a museum, magazine, newspaper, educational institution, or arts organization, for example. You should not use sites like Wikipedia, About.com, Ask.com, or blogs, for example.
24.8
114 CHAPTER 24 The Enlightenment: The Promise of Reason
and polish of the golden age Roman poets Virgil and
Horace. Largely self-taught (in his time Roman Catholics
were barred from attending English universities), Pope
defended the value of education in Greek and Latin; his
own love of the classics inspired him to produce new translations
of Homer’s Iliad and Odyssey. “A little learning is a
dangerous thing,” warned Pope in pleading for a broader
and more thorough survey of the past.
Pope’s poetry is as controlled and refined as a Poussin
painting or a Bach fugue. His choice of the heroic couplet
for most of his numerous satires, as well as for his translations
of Homer, reflects his commitment to the fundamentals
of balance and order. The concentrated brilliance and
polish of each two-rhymed line bears out his claim that
“True ease in writing comes from art, not chance,/As those
move easiest who have learned to dance.”
Pope’s most famous poem was his Essay on Man. Like
Milton’s Paradise Lost, but on a smaller scale, the Essay tries
to assess humankind’s place in the universal scheme. But
whereas Milton explained evil in terms of human will,
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t± Notorious fraud of a fugitive friefl. Vol.1,from appea.docx
%t± ' Notorious fraud of a fugitive friefl. Vol.1,
from appearing wneti they -were held up to the
light.
zdly. When the Bishop had separated the note
written over his name from the paper on which
it was pasted, there appeared two thin places, one
where the v/oxifree Riust have been written, sup-
posing the paper to have been a frank, the other
where the hook used to be, which on a frank the
fiishop always used to put after his name.
3 dry. There appeared a larger erasure towards
the fop of the aqtq, where the direction of a
frank would have reached too low fqr a aol£ to
be written underneath it. And,,
4thly. The mate had a fold te the iek foaisi,
which must have been, supposing it to be writtea
over the name ob a frank, and which would scarce
be supposed to happen otherwise, as by this fold
the writing weald be Jest on the outside of die
paper, .
After having wade these observations, the Bi-
Ijhop returned the notes to Mrs. Fournier, by Mr,
TyrreL as he had promised to do.
It is not improbable, that at this very time
Fournier himself was concealed jn London, un-
der some fictjitioiis nanje j for,- in the month of
June following, he .went down to Ipswich in Suf-
folk, under a total disguise of name, habit, and
profession, and advertised himself, in the Ipswich
Journal, as a teacher of French, under the name
and character of John Becquei-, a man of feijers,
from Paris.
It might reasonably have b,een thought, that $f
there had been any person at Ipswich, who re-
membered tp haye seen the fame man officiating
as a minister in Jersey, by the name of Fournier,
who had now assumed the character of a layman,
called himself Becquer, and pretended to be front
Paris, such person would have considered him as
a man of suspicious character, and have been ex-
tremely cautious in admitting him to his acquain-
tance, and listening to any stories he should tell
to the prejudice of others; yet it happened just
contrary : Mr. Chevaliier, a gentleman of for-
tune, to whom this letter is addressed, though he
had known Fournier in Jersey, and saw him un-
der this treble disguise at Ipswich, yet immediate?
ly renewed his acquaintance with Mm, and impli-
citly believed all the stories of the notes which
he was pleased to relate, however absurd, vari-
ous, and inconsistent. That the accounts given
to this very Mr. Chevaliier were various and in-
consistent, the Bishop has proved beyond contro-
versy ; and that they were believed, or at least,
that Mr. Chevaliier acted as if he believed them,
is manifest; for he not only gave him the encou-
ragement of his countenance, but bestowed upon
him the perpetual curacy of a chapel, and pro-
cured him a vicarage to be held for a minor till
he should come of age. He had indeed the pre-
caution to bind Fournier to the resignation oi it
by a bond, under a sufficient penalty, diough he
afterwards, supposing die ch'cumstance of the
bond not to be known, mentions this very resig-
nation as a proof of Fournier's honesty.
[To b ...
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Shakespeare homepage | Henry V | Entire play
ACT I
PROLOGUE
Enter Chorus
Chorus
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
Exit
SCENE I. London. An ante-chamber in the KING'S palace.
Enter the ARCHBISHOP OF CANTERBURY, and the BISHOP OF ELY
CANTERBURY
My lord, I'll tell you; that self bill is urged,
Which in the eleventh year of the last king's reign
Was like, and had indeed against us pass'd,
But that the scambling and unquiet time
Did push it out of farther question.
ELY
But how, my lord, shall we resist it now?
CANTERBURY
It must be thought on. If it pass against us,
We lose the better half of our possession:
For all the temporal lands which men devout
By testament have given to the church
Would they strip from us; being valued thus:
As much as would maintain, to the king's honour,
Full fifteen earls and fifteen hundred knights,
Six thousand and two hundred good esquires;
And, to relief of lazars and weak age,
Of indigent faint souls past corporal toil.
A hundred almshouses right well supplied;
And to the coffers of the king beside,
A thousand pounds by the year: thus runs the bill.
ELY
This would drink deep.
CANTERBURY
'Twould drink the cup and all.
ELY
But what prevention?
CANTERBURY
The king is full of grace and fair regard.
ELY
And a true lover of the holy church.
CANTERBURY
The courses of his youth promised it not.
The breath no sooner left his father's body,
But that his wildness, mortified in him,
Seem'd to die too; yea, at that very moment
Consideration, like an angel, came
And whipp'd the offending Adam out of him,
Leaving his body as a paradise, ...
Vol. 2 aspects of authorship
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[Colby Introduction]: Between 1670 and 1685 coffee-houses multiplied in London, and attained some degree of political importance from the volume of talk which they caused. Each sect, party, or shade of fashion, had its meeting place of this sort, and London life grew more animated from the presence in its midst of public centers where witty conversation could be heard. When coffee-houses were still a novelty, they had their partisans and their opponents, who exchanged highly-spiced pamphlets in praise or condemnation of the bean and its patron.
The Character of a Coffee-House, 1673 A.D.:
A coffee-house is a lay conventicle, good-fellowship turned puritan, ill-husbandry in masquerade, whither people come, after toping all day, to purchase, at the expense of their last penny, the repute of sober companions: A Rota [i.e., club room], that, like Noah's ark, receives animals of every sort, from the precise diminutive band, to the hectoring cravat and cuffs in folio; a nursery for training up the smaller fry of virtuosi in confident tattling, or a cabal of kittling [i.e., carping] critics that have only learned to spit and mew; a mint of intelligence, that, to make each man his pennyworth, draws out into petty parcels, what the merchant receives in bullion: he, that comes often, saves twopence a week in Gazettes, and has his news and his coffee for the same charge, as at a threepenny ordinary they give in broth to your chop of mutton; it is an exchange, where haberdashers of political small-wares meet, and mutually abuse each other, and the public, with bottomless stories, and heedless notions; the rendezvous of idle pamphlets, and persons more idly employed to read them; a high court of justice, where every little fellow in a camlet cloak takes upon him to transpose affairs both in church and state, to show reasons against acts of parliament, and condemn the decrees of general councils.
As you have a hodge-podge of drinks, such too is your company, for each man seems a leveler, and ranks and files himself as he lists, without regard to degrees or order; so that often you may see a silly fop and a worshipful justice, a griping rook and a grave citizen, a worthy lawyer and an errant pickpocket, a reverend non-conformist and a canting mountebank, all blended together to compose a medley of impertinence.
If any pragmatic, to show himself witty or eloquent, begin to talk high, presently the further tables are abandoned, and all the rest flock round (like smaller birds, to ad ...
The Divine Comedy - Dante's Inferno
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The merchant of venice - william shakespeare
The document provides background information on William Shakespeare and his play The Merchant of Venice. It discusses that Shakespeare was an English playwright and poet born in 1564 in Stratford-upon-Avon. The Merchant of Venice is one of his famous plays about a merchant in Venice named Antonio who guarantees a loan for his friend. It also includes a list of Shakespeare's plays that are available to download.
Recreations of a recluse
NOTE: This rare book by a very popular Bible scholar of the past is now a collectors item that you can purchase for 30 TO 50 dollars. This free copy has many spelling errors, but the value is still here for those who want to know its content.
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This document summarizes stories of great historical figures who were underestimated or their abilities doubted due to their small physical stature or unimpressive appearances. It discusses how figures like Agesilaus, Talbot, Frederick the Great, and others proved their greatness through their actions and abilities despite their outward appearances not matching expectations. The document uses these examples to argue that one should judge people by their character and minds rather than their physical forms.
Need to write a Literary essay based on Julius Caesar, Act III, S.docx
Need to write a Literary essay based on "Julius Caesar, Act III, Scene ii. by William Shakespeare" by friday
Below are the instructions to how to write it and the conversation it needs to be written on
Essay Topic: Which character, Brutus or Antony, presents a superior and more rhetorically
powerful funeral oration in Act III, Scene ii. of William Shakespeare’s Julius Caesar?
Following the essay structure, write a literary essay on this theme focused topic
in order to compare, analyze, and evaluate both speeches. Be sure to include introduction,
body, and concluding paragraphs, a clear thesis statement, three distinct supporting points of
analysis, and evidence from both the primary source (Act III, Scene ii. - play and film) and
secondary source (Aristotle’s Logos, Etho
s, and Pathos - handout).
Enter BRUTUS and CASSIUS, and a throng of Citizens
CITIZENS
We will be satisfied; let us be satisfied.
BRUTUS
Then follow me, and give me audience, friends.
Cassius, go you into the other street,
And part the numbers.
Those that will hear me speak, let 'em stay here;
Those that will follow Cassius, go with him;
And public reasons shall be rendered
Of Caesar's death.
First Citizen
I will hear Brutus speak.
Second Citizen
I will hear Cassius; and compare their reasons,
When severally we hear them rendered.
Exit CASSIUS, with some of the Citizens. BRUTUS goes into the pulpit
Third Citizen
The noble Brutus is ascended: silence!
BRUTUS
Be patient till the last.
Romans, countrymen, and lovers! hear me for my
cause, and be silent, that you may hear: believe me
for mine honour, and have respect to mine honour, that
you may believe: censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say, that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
--Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead, to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honour him: but, as he was ambitious, I
slew him. There is tears for his love; joy for his
fortune; honour for his valour; and death for his
ambition. Who is here so base that would be a
bondman? If any, speak; for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak; for him have I offended. Who is here so
vile that will not love his country? If any, speak;
for him have I offended. I pause for a reply.
CITIZENS
None, Brutus, none.
BRUTUS
Then none have I offended. I have done no more to
Caesar than you shall do to Brutus. The question of
his death is enrolled in the Capitol; his glory not
extenuated, wherein he was worthy, nor his offences
enforced, for which he suffered death.
Enter ANTONY and others, with CAESAR's body
BRUTUS
Here come.
Write 150-250- word responses to each of the following1. How .docx
Write 150-250- word responses to each of the following:
1. How does Voltaire's Candide (Reading 25.4) "reply" to Pope's Essay on Man (Reading 24.8)?
2. What does Mary Wollstonecraft's Vindication of the Rights of Women (Reading 24.7) tell us about women in the Age of Enlightenment? From a 21st-century perspective, what would Wollstonecraft think of women's standing today?
3. Summarize the conditions and circumstances described in Equiano's account (Reading 25.1). Which of the circumstances and conditions described by Equiano strike you as most removed from the ideals of the philosophes?
4. How do the paintings of Fragonard (Figure 26.1), Watteau (Figure 26.5), and Boucher (Figure 26.6) reflect the "pursuit of pleasure"?
5. What do the following statements reveal about the nineteenth-century Romantic? "I fall upon the thorns of life! I bleed!" (Shelley); "I want to live deep and suck out all the marrow of life." (Thoreau); "Feeling is all." (Goethe); "I have no love for reasonable painting." (Delacroix)
Format your responses consistent with APA guidelines. Note:You must use your course text as a reference for this assignment. This means that you should include quoted or paraphrased text from your readings to support your response to, and discussion of, the assignment questions. Course readings should be acknowledged with an in-text citation.
If you need additional sources, use the University Library. If you use the Internet to find sources, you should only access credible and reliable Internet sites such as those affiliated with a museum, magazine, newspaper, educational institution, or arts organization, for example. You should not use sites like Wikipedia, About.com, Ask.com, or blogs, for example.
24.8
114 CHAPTER 24 The Enlightenment: The Promise of Reason
and polish of the golden age Roman poets Virgil and
Horace. Largely self-taught (in his time Roman Catholics
were barred from attending English universities), Pope
defended the value of education in Greek and Latin; his
own love of the classics inspired him to produce new translations
of Homer’s Iliad and Odyssey. “A little learning is a
dangerous thing,” warned Pope in pleading for a broader
and more thorough survey of the past.
Pope’s poetry is as controlled and refined as a Poussin
painting or a Bach fugue. His choice of the heroic couplet
for most of his numerous satires, as well as for his translations
of Homer, reflects his commitment to the fundamentals
of balance and order. The concentrated brilliance and
polish of each two-rhymed line bears out his claim that
“True ease in writing comes from art, not chance,/As those
move easiest who have learned to dance.”
Pope’s most famous poem was his Essay on Man. Like
Milton’s Paradise Lost, but on a smaller scale, the Essay tries
to assess humankind’s place in the universal scheme. But
whereas Milton explained evil in terms of human will,
Pope—a Catholic turned deist—envisioned evil as part of
God’s design fo.
t± Notorious fraud of a fugitive friefl. Vol.1,from appea.docx
%t± ' Notorious fraud of a fugitive friefl. Vol.1,
from appearing wneti they -were held up to the
light.
zdly. When the Bishop had separated the note
written over his name from the paper on which
it was pasted, there appeared two thin places, one
where the v/oxifree Riust have been written, sup-
posing the paper to have been a frank, the other
where the hook used to be, which on a frank the
fiishop always used to put after his name.
3 dry. There appeared a larger erasure towards
the fop of the aqtq, where the direction of a
frank would have reached too low fqr a aol£ to
be written underneath it. And,,
4thly. The mate had a fold te the iek foaisi,
which must have been, supposing it to be writtea
over the name ob a frank, and which would scarce
be supposed to happen otherwise, as by this fold
the writing weald be Jest on the outside of die
paper, .
After having wade these observations, the Bi-
Ijhop returned the notes to Mrs. Fournier, by Mr,
TyrreL as he had promised to do.
It is not improbable, that at this very time
Fournier himself was concealed jn London, un-
der some fictjitioiis nanje j for,- in the month of
June following, he .went down to Ipswich in Suf-
folk, under a total disguise of name, habit, and
profession, and advertised himself, in the Ipswich
Journal, as a teacher of French, under the name
and character of John Becquei-, a man of feijers,
from Paris.
It might reasonably have b,een thought, that $f
there had been any person at Ipswich, who re-
membered tp haye seen the fame man officiating
as a minister in Jersey, by the name of Fournier,
who had now assumed the character of a layman,
called himself Becquer, and pretended to be front
Paris, such person would have considered him as
a man of suspicious character, and have been ex-
tremely cautious in admitting him to his acquain-
tance, and listening to any stories he should tell
to the prejudice of others; yet it happened just
contrary : Mr. Chevaliier, a gentleman of for-
tune, to whom this letter is addressed, though he
had known Fournier in Jersey, and saw him un-
der this treble disguise at Ipswich, yet immediate?
ly renewed his acquaintance with Mm, and impli-
citly believed all the stories of the notes which
he was pleased to relate, however absurd, vari-
ous, and inconsistent. That the accounts given
to this very Mr. Chevaliier were various and in-
consistent, the Bishop has proved beyond contro-
versy ; and that they were believed, or at least,
that Mr. Chevaliier acted as if he believed them,
is manifest; for he not only gave him the encou-
ragement of his countenance, but bestowed upon
him the perpetual curacy of a chapel, and pro-
cured him a vicarage to be held for a minor till
he should come of age. He had indeed the pre-
caution to bind Fournier to the resignation oi it
by a bond, under a sufficient penalty, diough he
afterwards, supposing die ch'cumstance of the
bond not to be known, mentions this very resig-
nation as a proof of Fournier's honesty.
[To b ...
Geoffrey Chaucer’s Masterpiece
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The Merchant Of Venice Corvace
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The Life of King Henry the FifthShakespeare homepage Henry V .docx
The Life of King Henry the Fifth
Shakespeare homepage | Henry V | Entire play
ACT I
PROLOGUE
Enter Chorus
Chorus
O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and at his heels,
Leash'd in like hounds, should famine, sword and fire
Crouch for employment. But pardon, and gentles all,
The flat unraised spirits that have dared
On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high upreared and abutting fronts
The perilous narrow ocean parts asunder:
Piece out our imperfections with your thoughts;
Into a thousand parts divide on man,
And make imaginary puissance;
Think when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth;
For 'tis your thoughts that now must deck our kings,
Carry them here and there; jumping o'er times,
Turning the accomplishment of many years
Into an hour-glass: for the which supply,
Admit me Chorus to this history;
Who prologue-like your humble patience pray,
Gently to hear, kindly to judge, our play.
Exit
SCENE I. London. An ante-chamber in the KING'S palace.
Enter the ARCHBISHOP OF CANTERBURY, and the BISHOP OF ELY
CANTERBURY
My lord, I'll tell you; that self bill is urged,
Which in the eleventh year of the last king's reign
Was like, and had indeed against us pass'd,
But that the scambling and unquiet time
Did push it out of farther question.
ELY
But how, my lord, shall we resist it now?
CANTERBURY
It must be thought on. If it pass against us,
We lose the better half of our possession:
For all the temporal lands which men devout
By testament have given to the church
Would they strip from us; being valued thus:
As much as would maintain, to the king's honour,
Full fifteen earls and fifteen hundred knights,
Six thousand and two hundred good esquires;
And, to relief of lazars and weak age,
Of indigent faint souls past corporal toil.
A hundred almshouses right well supplied;
And to the coffers of the king beside,
A thousand pounds by the year: thus runs the bill.
ELY
This would drink deep.
CANTERBURY
'Twould drink the cup and all.
ELY
But what prevention?
CANTERBURY
The king is full of grace and fair regard.
ELY
And a true lover of the holy church.
CANTERBURY
The courses of his youth promised it not.
The breath no sooner left his father's body,
But that his wildness, mortified in him,
Seem'd to die too; yea, at that very moment
Consideration, like an angel, came
And whipp'd the offending Adam out of him,
Leaving his body as a paradise, ...
Vol. 2 aspects of authorship
NOTE: This rare book by a very popular Bible scholar of the past is now a collectors item that you can purchase for 26 TO 75 dollars. This free copy has a good many spelling errors, but the value is still here for those who want to know its content.
Twelfth night - william shakespeare
This document provides a summary of William Shakespeare's life and works. It notes that Shakespeare was an English playwright and poet widely considered the greatest writer in the English language. He wrote 38 plays, 154 sonnets, and several other poems. His plays are performed frequently and have been translated into every major living language. The summary also provides brief details about Shakespeare's personal life and career as an actor and playwright in London between 1585-1613.
Types of Poems
The document defines and provides examples of different types of poetry, including free verse, blank verse, ballads, epics, lyrics, sonnets, odes, and elegies. Free verse has no set structure while blank verse is unrhymed iambic pentameter. Ballads tell narrative stories through rhyme and rhythm. Epics are long poems about heroic figures. Lyrics express personal thoughts and emotions. Sonnets have 14 lines in iambic pentameter with a strict rhyme scheme. Odes celebrate events through lofty language. Elegies are mournful poems that lament the dead.
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This document is the preface to a book published in 1724 titled "A General History of the Pyrates" which provides histories of famous pirates from their origins to that time. It details how the author took pains to verify accounts from eyewitnesses and pirates themselves. It also analyzes why piracy arose, noting how unemployed sailors after war could turn to piracy if not given alternative work like fishing. The preface defends including stories of female pirates Mary Read and Anne Bonny and providing geographic details from reliable sources like surgeon Mr. Atkins to improve the accuracy of maps.
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Need to write a Literary essay based on Julius Caesar, Act III, S.docx
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t± Notorious fraud of a fugitive friefl. Vol.1,from appea.docx
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Shakespeare: Antony and Cleopatra: Act 1 Scene 4 Theatre Literature
- 1. Act 1 scene 4 IN THIS SCENE THE AUDIENCE FINDS THEMSELVES IN ROME, WITH OCTAVIUS COMPLAINING TO LEPIDUS ABOUT ANTONY’S BEHAVIOR. ANTONY IS ACCUSED OF REVELING ALL THE TIME, OF SHOWING AL THE FAULTS THAT ALL MEN HAVE EVER SHOWN. LEPIDUS, HOWEVER, THINKS THAT ANTONY’S FAULTS ARE MINOR CONSIDERING THE GREAT MAN THAT HE IS. THE TWO MEN ARE THEN GIVEN FIR NEWS THAT POMPEIUS IS APPROACHING QUICKLY BY SEA. OCTAVIUS MAKES IT CLEAR THAT THEY NEED THE ANTONY OF OLD, THE GREAT WARRIOR, TO HURRY BACK.
- 2. Caesar offers two clear views of Antony. Compare and contrast these views, paying particular attention to imagery. “This is the news: he fishes, drinks, and wastes The lamps of night in revel; is not more man-like Than Cleopatra; nor the queen of Ptolemy More womanly than he; hardly gave audience, or Vouchsafed to think he had partners: you shall find there A man who is the abstract of all faults That all men follow.” “When thou once Wast beaten from Modena, where thou slew'st Hirtius and Pansa, consuls, at thy heel Did famine follow; whom thou fought'st against, Though daintily brought up, with patience more Than savages could suffer: thou didst drink The stale of horses, and the gilded puddle Which beasts would cough at: thy palate then did deign The roughest berry on the rudest hedge; Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsed'st; on the Alps It is reported thou didst eat strange flesh, Which some did die to look on: and all this-- It wounds thine honour that I speak it now-- Was borne so like a soldier, that thy cheek So much as lank'd not.
- 3. Caesar offers two clear views of Antony. Compare and contrast these views, paying particular attention to imagery. “This is the news: he fishes, drinks, and wastes The lamps of night in revel; is not more man-like Than Cleopatra; nor the queen of Ptolemy More womanly than he; hardly gave audience, or Vouchsafed to think he had partners: you shall find there A man who is the abstract of all faults That all men follow.” “When thou once Wast beaten from Modena, where thou slew'st Hirtius and Pansa, consuls, at thy heel Did famine follow; whom thou fought'st against, Though daintily brought up, with patience more Than savages could suffer: thou didst drink The stale of horses, and the gilded puddle Which beasts would cough at: thy palate then did deign The roughest berry on the rudest hedge; Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsed'st; on the Alps It is reported thou didst eat strange flesh, Which some did die to look on: and all this-- It wounds thine honour that I speak it now-- Was borne so like a soldier, that thy cheek So much as lank'd not.