Riverside Shakespeare Company

ghost: Eliot’s unhappy judgments are worth considering here, if only because they are based on an intuition of Shakespeare’s creative process that is so near to and yet so far from the one presupposed in the present essay. He imagines Shakespeare grappling with his archaic sources in the attempt to naturalize, rationalize, and psychologize – generally speaking, to streamline and neoclassisize them – and

Revenge More Important than Oedipus Complex in Hamlet        A boy's streak of vengeance is not always merely Oedipal. Hamlet's revenge, and the situations that spur it, are not based on his love for his mother, but on the need to avenge his father's death. Although Hamlet is the only one who hears the ghost talk, others experience the sight. This proves that he does not subconsciously create the hallucination in order to rid his mother of her new lover. Once learning that his father was murdered

Power of Jealousy in William Shakespeare’s Julius Caesar Brutus, the "noblest Roman of them all" (Julius Caesar,5.5.68) is the only innocent conspirator, according to Marcus Antonius. This tragedy presents the epitome of jealousy, along with envy, greed, and avarice. It is a true story based on Plutarch's "Life of Julius Caesar." Several of the major players are struck by jealousy and greed -- certainly Cassius, who begins this evil conspiracy to assassinate Caesar out of personal jealousy

Lincoln Center production of the play. Dramatic Play Service, Inc sold a five song set for the play for thirteen dollars plus a ten dollar music royalty fee. A Midsummer Night’s Dream by William Shakespeare was first performed at the Stratford-upon-Avon Memorial Theatre by the Royal Shakespeare Company. It was directed by Peter Brook with music by Peaslee, the actors, and Mendelssohn. The first performance was

The Ladies in Macbeth        The audience finds in Shakespeare's tragedy Macbeth the appearance of two natural women, and one of those only very briefly. Therefore this paper will present enlightenment of the role of Lady Macbeth mainly, and on the witches only briefly.   L.C. Knights in the essay "Macbeth" describes the unnaturalness in the thoughts and words of the plays dominant female force, Lady Macbeth:   Thus the sense of the unnaturalness of evil is evoked not only be

The Evolution of Shakespeare's Henry V Foremost among the characters William Shakespeare develops in his series of historical plays is, undoubtedly, the character of Henry V. Henry, also at times referred to as Harry or Hal, develops through the course of four plays: Richard II, I Henry IV, II Henry IV, and Henry V. From the brief mention of Henry in Richard II to the full focus upon him in Henry V, a dramatic change clearly takes place: the playful carousing youth portrayed in the first play

The Motifs of Blood and Water in Macbeth        In his masterpiece Macbeth, William Shakespeare employs many motifs, but none more often than blood and water. The play includes many images of blood and water to show the characters' attitudes toward their own development of guilt. Both motifs mature and change in their meaning along with the setting and mood of the play. “Without an understanding of the blood and water symbolism, the play cannot be completely understood”(Scott 14). Blood symbolizes

Macbeth's Evil Aspect        Macbeth by William Shakespeare rrepresents unrelenting evil from beginning to end. Who is th emost evil? What motivates the evil intentions and actions? This paper intends to answer these questions.   Charles Lamb in On the Tragedies of Shakespeare explains the impact of evil as seen in Macbeth's initial murder:   The state of sublime emotion into which we are elevated by those images of night and horror which Macbeth is made to utter, that solemn

How the Characters in Much Ado About Nothing Learn to Love            The title of Shakespeare’s Much Ado About Nothing has sparked scholarly debates about its meaning for centuries.  Some say it is a play on the term “noting”, revolving around the theme of all sorts of deceptions by all sorts of appearances (Rossiter 163).  Others claim it has more to do with everyone making a fuss about things that turn out to be false, therefore, nothing (Vaughn 102).  Regardless of these speculations,

Imagery in Macbeth   The Bard of Avon considers imagery one of many elements in his tragedy Macbeth which give underpinning to the theme of the drama. The imagery might be said to be not a goal in itself but a means to an end. In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye shows how the playwright uses imagery to reinforce the theme: This theme is at its clearest where we are most in sympathy with the nemesis. Thus at the end of Macbeth, after the proclamation "the time