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A tile design by William de Morgan, 1872 (Victoria & Albert Museum). The majority of literary allusions to the fable have contrasted the passivity of King Log with the energetic policy of King Stork, but it was pressed into the service of political commentary in the title "King Stork and King Log: at the dawn of a new reign", a study of Russia written in 1895 by the political assassin Sergey ...
The Frogs blame their King, who altogether denies the incident. In the meantime, Zeus , seeing the brewing war, proposes that the gods take sides, and specifically that Athena help the Mice. Athena refuses, saying that the Mice have done her a lot of mischief, as have the Frogs, and that it would be more prudent for the gods to watch rather ...
However, the story's emphasis on pronouns may render a regular reading more likely: × / × / × / × / × / Whilst her neglected child holds her in chase, (143.5) Similarly line 12's "kiss me" — which in most contexts would reverse the ictus to the tonic stress of "kiss" — might here retain a regular rhythm by implying contrastive accent ...
Shakespeare has been a rich source for filmmakers; Akira Kurosawa adapted Macbeth and King Lear as Throne of Blood and Ran, respectively. Other examples of Shakespeare on film include Max Reinhardt's A Midsummer Night's Dream, Laurence Olivier's Hamlet and Al Pacino's documentary Looking For Richard. [220]
Hazlitt felt compelled to add to his commentary on the plays some words on Shakespeare's nondramatic poetry, in the chapter "Poems and Sonnets". While he liked a few of the sonnets, [257] for the most part Hazlitt found Shakespeare's nondramatic poetry to be artificial, mechanical, and, overall, "laboured, uphill work."
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The frog is also a character in many fairy tales, be it tales from oral tradition or literary reworkings by later writers. [14] The frog or toad appears as a potential suitor to a female human in variants of the Aarne–Thompson–Uther type ATU 440, "The Frog King". [15] The most famous is the story of The Frog Prince.
Then Shakespeare speaks of death from an old man's point of view ("The Contest"). Dionysos, wanting to hear more asks him to speak of a young man's feelings. Shakespeare's response is the song ("Fear No More") from Cymbeline. The powerful poetry moves Dionysos to declare Shakespeare the winner and offer him passage to the world of the living.