30 Great Myths about Shakespeare by Laurie E. Maguire

By Laurie E. Maguire

Think you recognize Shakespeare? reassess . . .

Was a true cranium utilized in the 1st functionality of Hamlet? have been Shakespeare's performs Elizabethan blockbusters? How a lot will we fairly learn about the playwright's existence? And what of his infamous courting together with his spouse? Exploring and exploding 30 well known myths in regards to the nice playwright, this illuminating new e-book evaluates all of the facts to teach how historic material—or its absence—can be interpreted and misinterpreted, and what this unearths approximately our personal own funding within the tales we tell.Content:
Chapter 1 Shakespeare was once the most well-liked author of his Time (pages 6–10):
Chapter 2 Shakespeare was once no longer good trained (pages 11–17):
Chapter three Shakespeare's performs can be played in Elizabethan costume (pages 18–25):
Chapter four Shakespeare was once now not drawn to Having his performs revealed (pages 26–33):
Chapter five Shakespeare by no means Traveled (pages 34–39):
Chapter 6 Shakespeare's performs are Politically wrong (pages 40–46):
Chapter 7 Shakespeare was once a Catholic (pages 47–53):
Chapter eight Shakespeare's performs had no surroundings (pages 54–59):
Chapter nine Shakespeare's Tragedies are extra severe than his Comedies (pages 60–65):
Chapter 10 Shakespeare Hated his spouse (pages 66–71):
Chapter eleven Shakespeare Wrote within the Rhythms of daily Speech (pages 72–79):
Chapter 12 Hamlet used to be Named After Shakespeare's Son (pages 80–85):
Chapter thirteen The Coarse Bits of Shakespeare are for the Groundlings; the Philosophy is for the higher periods (pages 86–93):
Chapter 14 Shakespeare used to be a Stratford Playwright (pages 94–98):
Chapter 15 Shakespeare was once a Plagiarist (pages 99–105):
Chapter sixteen we do not understand a lot approximately Shakespeare's existence (pages 106–112):
Chapter 17 Shakespeare Wrote by myself (pages 113–118):
Chapter 18 Shakespeare's Sonnets are Autobiographical (pages 119–124):
Chapter 19 If Shakespeare have been Writing Now, He'd be Writing for Hollywood (pages 125–129):
Chapter 20 The Tempest used to be Shakespeare's Farewell to the degree (pages 130–136):
Chapter 21 Shakespeare had a massive Vocabulary (pages 137–142):
Chapter 22 Shakespeare's performs are undying (pages 143–149):
Chapter 23 Macbeth is Jinxed within the Theater (pages 150–155):
Chapter 24 Shakespeare didn't Revise His performs (pages 156–162):
Chapter 25 Boy Actors performed Women's Roles (pages 163–168):
Chapter 26 Shakespeare's performs do not paintings As video clips (pages 169–174):
Chapter 27 Yorick's cranium used to be actual (pages 175–182):
Chapter 28 Queen Elizabeth enjoyed Shakespeare's performs (pages 183–189):
Chapter 29 Shakespeare's Characters are Like actual humans (pages 190–195):
Chapter 30 Shakespeare did not Write Shakespeare (pages 196–201):

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Extra info for 30 Great Myths about Shakespeare

Sample text

When Shakespeare does change the settings for his plays he occasionally betrays geographical ignorance. Ben Jonson was the first to complain of the fallacy in The Winter’s Tale where the landlocked Bohemia is given a coast, but this is in part due to the fact that Shakespeare has chosen to swap the two locations from his source, Robert Greene’s prose romance Pandosto, or the Triumph of Time (1588). Greene sets the court of the jealous and tyrannical king (Shakespeare’s Leontes) in Bohemia and the pastoral escape of Perdita in Sicily, but, probably for political rather than topographical reasons, Shakespeare switches them: King James had strong political connections with the Protestant court of Emperor Rudolf II in Bohemia.

We don’t know, because the scene is only reported, not shown. It is also possible to recontextualize some of these most sensitive plays and remove them from historically specific problems. A recent production of Merchant of Venice by Edward Hall’s all-male theater company Propeller set the play in a modern prison. The inmates were staging a production of Merchant of Venice without the knowledge or approval of the prison warders. Floors were scrubbed when the warders patrolled; as soon as they were out of sight, scenes from the Merchant of Venice began to be acted.

12–13), or, more substantially, the disrespect shown to the papal legate Pandulph in King John. Coming to Measure for Measure, Shakespeare’s seedy story of sex and coercion and starring a novice nun and an ethically ambiguous disguised friar, however, no such piecemeal amelioration was possible. The twelve leaves have been summarily torn from the volume. Presumably this Catholic reader would have been surprised to read the critic G. 1 Far from being ripped from the Folio, Wilson Knight’s play should surely have been required reading for the St Alban’s seminarians.

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