Search results
Results from the WOW.Com Content Network
Macbeth was a favourite of the seventeenth-century diarist Samuel Pepys, who saw the play on 5 November 1664 ("admirably acted"), 28 December 1666 ("most excellently acted"), ten days later on 7 January 1667 ("though I saw it lately, yet [it] appears a most excellent play in all respects"), on 19 April 1667 ("one of the best plays for a stage ...
In the discussion of Macbeth, it is Macbeth's unity of character that is significant. [302] In many chapters, he emphasises the dominant mood, a unifying theme, the "character" of the play as a whole. [303] In, again, Macbeth, the entire play "is done upon a stronger and more systematic principle of contrast than any other of Shakespear's plays."
This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 2 and 4 feature a final extrametrical syllable or feminine ending: × / × / × / × / × / (×) My most full flame should afterwards burn clearer. (115.4)
Citizens of the empire were circumspect in identifying tyrants. "Cicero's head and hands [were] cut off and nailed to the rostrum of the Senate to remind everyone of the perils of speaking out against tyranny." [24] There has since been a tendency to discuss tyranny in the abstract while limiting examples of tyrants to ancient Greek rulers.
Plato describes a violent tyrant as the opposite of a good and "true king" in the Statesman, [6] and while Aristotle in the Politics sees it as opposed to all other beneficial forms of government, he also described tyrannicide mainly as an act by those wishing to gain personally from the tyrant's death, while those who act without hope of personal gain or to make a name for themselves are rare.
Revenge tragedy was another increasingly popular genre in this age; Shakespeare's Hamlet is one example of this. [2] [3] Plays of this age were also decidedly secular, [1] in contrast to the religious morality plays which, by this time, were outlawed by Elizabeth I. One marked difference between English renaissance tragedies and the classics ...
Lord Macbeth, the Thane of Glamis and quickly the Thane of Cawdor, is the title character and main protagonist in William Shakespeare's Macbeth (c. 1603–1607). The character is loosely based on the historical king Macbeth of Scotland and is derived largely from the account in Holinshed's Chronicles (1577), a compilation of British history.
In Orson Welles' 1948 film adaptation of Macbeth, the role of King Duncan is reduced. 1.2 is cut entirely as well as generous portions of 1.4. King Duncan is seen briefly in 1.6 as he enters Macbeth's castle amid considerable pomp. The top of 1.4 with its description of Cawdor's execution has been transplanted to this scene.