This affluent Renaissance city was greatly admired by Elizabethans, and utilized by William Shakespeare in his earlier play The Merchant of Venice c. Ruled by a duke and a senate, Venice was an autonomous, powerful republic at this time, with a flourishing commercial economy. Venetian ships plied the seas from the Adriatic through the Mediterranean, trading wool, furs, leather, and glass. In the play, Iago cynically describes Venice as a place of moneybags, treachery, and promiscuity, and insinuates that a black man can never be other than an outsider.
This page intentionally left blank Introduction This new and gorgeous garment, majesty, Sits not so easy on me as you think. Brothers you mix your sadness with some fear.
Sorrow so royally in you appears That I will put the fashion on And wear it in my heart. Why then, be sad, But entertain no more of it, good brothers, Than a joint burden laid upon us all.
Two stories of unimposing whitewashed brick and wood are accented by ubiquitous green shutters and capped with a rusted tin roof that looks as if it has been there since the days of Simms himself. A collection of smaller yet similar buildings circles the main house in deference. The impression is less like the columned Tara of popular imagination and more like a bed-and-breakfast.
The year isbut the place looks like some modern film production has decorated a set forhanging atmospheric Spanish moss from ancient trees that sprawl across a finely trimmed lawn, adding period touches right down to the dinner bell on a branch overhanging the carriage house, all in the name of verisimilitude.
Descendants of Simms and his African slaves congregate here with academics from the William Gilmore Simms Society to honor this master of the plantation, novelist, poet, orator, essayist, dramatist, and would-be politician. To an outsider, this gathering may seem esoteric. Yet the keynote speaker for the Simms Conference, John C.
Guilds, puts forth this estimation in his biography, Simms: These people are looking to the author to understand where they came from, who they are, and how to perform their identities. They are glancing backward to look forward, as Simms himself had done.
A gnarled-looking man with a matching walking stick and an ancient two-piece suit is introduced to me as a distinguished philosophy professor from a major Southern university and a contributor to Harpers. Suitably impressed, I engage the man in what I think is our shared interest in Simms.
The man peers out from a mass of peppered white hair from both head and face, broken only by his glasses and a gash of a mouth, seeming to bite the tongue within as I explain my idea that Southern, white, upper class authors such as Simms had appropriated their concept of masculinity from William Shakespeare which implies the constructed, not the natural quality of masculinity.
In the course of this explanation, I use a fatal term: The aging philosopher draws himself up to full height and begins to rant about how gender studies has ruined men and has even been instrumental in creating a culture that allowed the recent terrorist attack on the World Trade Center.
Members of this Southern culture are still appropriating these paradigms of masculinity. This kind of longing has translated to the raising and deifying of father-kings, both real and literary.
Introduction xi Why would anyone write about William Shakespeare anymore? Seeming eons of bardolatry and its more recent iconoclastic Shakespearean atheism have drained the body dry and surely buried it in the backyard.
The rest is for scavengers.
Yet, like Hamlet Sr. Fathers, especially literary and cultural icons, can be extremely difficult to kill. In countless books, critics offer valid cultural motivations for appropriations of William Shakespeare first and his texts second. The relationship with their culture, as with their families, can be reciprocal, both making and being made at the same time.
Butler argues that gender is a citation that must be constantly reinstituted. Judges refer to predated citations laws and make decisions accordingly.Epilogue to Henry Siddons’ Farce, “Time’s a Tell-Tale” You will smile to see the slender labors of your friend designated by the title of Works; but such was the wish of the gentlemen who have kindly undertaken the trouble of collecting them, and from their judgment could be no.
The character of Jane Eyre, too, while reflecting something of the author's nature, was distinctly individual; and it is interesting to note here that with Jane Eyre came a new heroine into fiction, a woman of calm, clear reason, of firm positive character, and what was most novel, a .
Included are explanations of different contexts for writing, degrees of teacher reaction, and thoughts about grading creating in common. Assist with shakespeare studies dissertation record. Documents William Wells Brown’s Clotelle Works Brown’s Clotelle Papers Brown’s Clotelle Brown Clotelle Works;.
The Different Sides of Iago s Character In Shakespeare's "Othello," Iago carefully and masterfully entraps Othello into believing that his wife, Desdemona, is having an affair with Cassio.
He does this through a series of suggestions and hesitations that entice and implant images. The Life and Work of William Shakespeare William Shakespeare () is perhaps the most widely read English poet and dramatist in the world.
His plays and poems have been translated into every major language, and his popularity, nearly years after his death, is . The character of Sir John Falstaff appeared in three of Shakespeare's plays, Henry IV, Part 1, Henry IV, Part 2, and The Merry Wives of monstermanfilm.com bulk of Hazlitt's commentary on the two history plays is devoted to Falstaff, whom he considers to be "perhaps the most substantial comic character .