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"To be, or not to be" is a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet (Act 3, Scene 1). The speech is named for the opening phrase, itself among the most widely known and quoted lines in modern English literature, and has been referenced in many works of theatre, literature and music.
The Norton Anthology of Modern and Contemporary Poetry is an anthology of two volumes edited by Jahan Ramazani, Richard Ellmann (1918–1987), and Robert O'Clair. The anthology is large, with 1,100 pages in each of the two volumes. Volume I, about modern poetry, and Volume II, contemporary poetry. Essays on poetics are included in each volume. [1]
Academic Laurie Osborne identifies the direct influence of Hamlet in numerous modern narratives, and divides them into four main categories: fictional accounts of the play's composition, simplifications of the story for young readers, stories expanding the role of one or more characters, and narratives featuring performances of the play.
During the Victorian era, Quillian argues, there was an "enormous and positive hold that Hamlet exerted on the literary imagination." [ 2 ] This was followed by a "shift in perception" [ 3 ] during the period of Modernism (c. 1911–1922) when T. S. Eliot and James Joyce condemned the play as a "failure."
The Tragedy of Richard the Third, often shortened to Richard III, is a play by William Shakespeare. It was probably written c. 1592–1594 . It is labelled a history in the First Folio , and is usually considered one, but it is sometimes called a tragedy , as in the quarto edition.
Comparison of the 'To be, or not to be' soliloquy in the first three editions of Hamlet, showing the varying quality of the text in the Bad Quarto (Q1), the Good Quarto (Q2) and the First Folio. The earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall ...
William Shakespeare's play Hamlet has contributed many phrases to common English, from the famous "To be, or not to be" to a few less known, but still in everyday English. Some also occur elsewhere (e.g. in the Bible) or are proverbial. All quotations are second quarto except as noted:
Characterising the play as a whole by quoting the author's own words in it—"Shakespear alone could describe the effect of his own poetry."—he reflects that the play's poetry comes " 'o'er the ear like the sweet south/That breathes upon a bank of violets,/Stealing and giving odour. ' " [185]