My Mean Old Art Teacher Essays -- Personal Narrative Writing

My Mean Old Art Teacher Mr. Arnold stands smugly by his classroom door between classes, with his arms proudly crossed over his chest as trails of students trample past his art room each day. Many of the passers-by recognize this man simply as "the scary art teacher." Those who have experienced Mr. Arnold's art class first-hand regard him otherwise. I had heard many stories about Mr. Arnold before entering his grueling class. "Most people don't like him," some warned me. Others commented, "I've heard his class is really difficult." I can remember my first day in his art class clearly. I entered his room a timid freshman with unpleasant expectations. Maybe I was even a little more than timid. The concept of high school frightened me, and having a teacher with a bad reputation didn't ease my fears. I was a sheltered fourteen-year old girl; a girl who had been babied most of her life. I entered room 28 for the first time on a warm late-summer's afternoon, as the sun's rays attempted to soothe me through the windows. The poignant smell of oil paint filtered through the air, soft classical music drifted from his office and impressive artwork decorated the walls. Mr. Arnold always insisted, much to the students' opposition, that, "Classical music puts you in the right mind set to create art. It will not distract you, it will force you to focus." The shelves juggled piles of aged art supplies and half-filled canvases doffed the edges of the room. Mr. Arnold loomed in front of the class with his pointer, a man with frosty silver hair and an undeniable bald spot, unraveling his list of arduous requirements. "Art is not an easy B", he smirked, making reference to a sign on the wall, and squinting at us with his sharp icy eyes. "Furt... ...der his tutelege. Mr. Arnold's guidance has made me realize that if I deeply and genuinely love what I do, I can succeed. Art has wisked me into lands of creativity and imagination I never knew. I've learned to expand my boundaries by setting sail on risky bodies of water. I may be somewhat of a timid person, but when I create art, I can fly. Mr. Arnold has helped me gain more of the confidence I so desperately needed to break loose. I spent four years in that same room, a room where I grew to love the familiar smell of oil paint and the sound of classical music, listening to Mr. Arnold holler, narrate, criticize, instruct and laugh. I do know an art teacher, different from the one who stands smugly by the door of his art room, with his arms proudly crossed over his chest, and I will never forget him because his teaching has shaped me as an artist, and as a person.

Effective Use of Humor in Magazine Advertising :: Media Advertising Promotion Essays

Effective Use of Humor in Magazine Advertising The purpose of a magazine advertisement is to attract the reader’s attention and hold it long enough for the reader to recognize and remember the name brand of the product being advertised. This is achieved, in many cases, by the use of a comedic image or phrase. These, hopefully, will cause the reader to sit up and look further into what just made him or her smile or even laugh. This technique is seen quite often in the pages of the latest issue of ArtByte magazine. ArtByte is a relative newcomer to the world of computer and technology-related magazines. It is aimed at the upper teen to lower thirties technologically-minded individual who has a somewhat wry sense of humor. Many of the ads in this magazine reflect the idea of ArtByte being aimed at this demographic in their marketing techniques by adding humor to their advertisements. But they still make an attempt to appeal to the high-tech reader. This makes for an interesting balance of technologically-minded text and humor ously-appealing imagery. Listen.com, for example, makes full use of this technique (15), as does Aquent talent agency (0,1). The former advertisement depicts a young man, with whom the reader is meant to identify, who apparently works at a diner as a short-order cook. But, as a sight gag, instead of flipping the burgers on the fryer in front of him, he has opted to pretend that he is a disk jockey (a symbol of the high-tech, modern popular culture) and act as if he were spinning and scratching the aforementioned burgers like records on a turntable. The accompanying text reads: "There’s music everywhere, if you know where to look." This makes for quite the funny image, but most likely only to those who would recognize just what he is doing (young, culturally aware, technologically minded individuals). The smaller text, just below the headline reveals that Listen.com is actually an online music database that allows the technologically able consumer to (the same demographic targeted by the rest of this m agazine) to find and download MP3s, an internet-based music format. There are also digital videos, and links to other music-related websites. These features have become a mainstay of the modern internet user’s digital repertoire. These advertised features appeal almost instantly to anyone looking for a fast and easy way to access music and information via the internet.

Company Analysis: Northwest Airlines :: Essays Papers

Company Analysis: Northwest Airlines Introduction Northwest Airlines is one of the pioneers in the airline transportation industry and is ranked at the fourth largest air carrier in the United States today. The success of the carrier depends on the quality and reliability of the service at a reasonable price. Close competitors force Northwest to innovate their services by increasing efficiency. This essay will try to examine different perspectives in the services needed to successfully complete the company’s objectives. The analysis will explain historical and financial perspectives that may give a better understanding of the current market trend of the organization. Services â€Å"Northwest Airlines is engaged principally in the commercial transportation of passengers and cargo.† (5) NWA is a complete full service air transportation carrier that is the forth-largest air carrier in the world that services over 750 destinations located in 120 different countries on 6 continents. They operate 2,600 flights daily around the world and operate more than 200 nonstop between the United States and Asia each week. Headquarters is based in Minneapolis/St. Paul. The main connecting hubs are located at Detroit, Minneapolis, Memphis, and Tokyo. Northwest employs 50,600 employees nationwide as of Dec. 31, 1998. (6) NWA also has 1269 Stockholders as of Feb. 26, 1999. (6) Northwest continues to improve cargo shipping by proudly dedicating 12 Boeing 747 aircraft and easily becoming one of the largest cargo airlines in the world. (4) Cargo is very profitable for Northwest because â€Å"Northwest has predicted cargo revenue will top the 900 million mark in 2000 †. (3) The enormous fleet of aircraft contains 400 airplanes. (1) Northwest has subsidiaries wholly owned (Unless otherwise indicated by NWA) by Northwest Aircraft, Northwest Aerospace Training corps, MLT Inc, Express Airlines, and Express Airlines I. (6) History Northwest Airlines began service on October 1, 1926, flying mail between Minneapolis / St. Paul and Chicago. (2) They started passenger transportation in July 7, 1927. (2) Throughout the years Northwest has grown steadily by acquiring new system routes in the northwestern region of the USA. The year 1930 was a landmark in history because Northwest moved their home base operation to their present headquarters in St. Paul. The air service grew overnight with the acquisition of Southern Airways in 1936. Northwest’s famous red tail was introduced for the first time on February 1948.

My Philosophy of Professional Nursing

As I embark on starting a new career, nursing offers me a demanding profession that involves my strength in interpersonal relations coupled with the desire to participate in a challenging career field. The nurse-patient relationship is the most important factor in starting an effective assessment of a the patient. Establishing this relationship is important to gain the trust of the patient as well as a rapid diagnosis in what will become a fiscally-challenged environment of health care.PersonIn the current environment of Health Management Organizations (HMO’s), a patient often feels that their individuals needs are not met because every visit to the HMO results in seeing a new nurse and doctor. The patient history is lost, and the individual feels detached from the â€Å"organization† of HMO’s. As a result, the patient can feel that their needs are not being met. I believe that interpersonal relations between nurse, patient, and the patient’s family is a c ritical event of the treatment process.My role as a professional nurse is being more than just a mediator for a doctor. I believe that a â€Å"nurse can serve as a resource person, counselor, and surrogate†, and â€Å"as a nurse-patient relationship develops, the nurse and patient mutually define the problems and potential solutions† (Potter, Perry, 2013). Health Mazlow’s hierarchy of needs is a philosophical model that puts health as the most basic and fundamental of needs (Potter, et. al. , 2013). In order to reach a self-actualized state of a happiness and security, the basic physiological needs of an individual must be met.A person’s psyche can be directly tied to their current health, and great amounts of distraction can be cause by â€Å"nagging† conditions that do not get resolved. While the medical advancements continue to refine and discover cures, the human factors that lead to disease and illness is still very complicated. The days of ou r youth are, for the typical person, spent in relative health, with the body in great shape to adapt and overcome many obstacles. As we age, our bodies lose some of its resiliency. Environment The environment a patient lives in can play a critical role in a patient’s health.Work factors and home living conditions provide for the majority the time that a person spends. In addition, a third of a person’s life is spent sleeping, and this can also play a pivotal role in both health and mental well-being, or alternatively, provide for a root cause of poor health. While many work and home conditions may not be a factor in some situations, the nature of an illness or personal condition can, unbeknownst to the patient, be a direct result of those conditions. Left unexplored, the patient would be left with a developing condition of unknown cause, constantly exposing themselves to the same initiating conditions.Gastams (1998) supports these factors in claiming that â€Å"it bec omes apparent that observing a person’s state of health and his or her responses to sickness and health forms an important an very specific part of the task of nursing. Nursing Given the facets of health, environment, and person, the average patient will provide an entirely unique set of initial conditions by which a nurse and doctor will seek to resolve and eventually heal the patient. My philosophy of nursing is one in which â€Å"the well-trained health care worker who co-operates with the doctors and other health care experts [is] promoting the patient’s well-being.† (Gastams, 1998)Specifically, as a nurse with high standards and a continual desire to learn, I want to be a proactive and competent provider for a patient. To do that, I believe in bringing my interpersonal skills to assist the patient and provide a conducive environment for healing and caring. â€Å"It is critical that nurses have the ability to skillfully interact with patients in any setting . This fosters trust, mutual goal-setting, therapeutic interventions, and improved learning experiences for the patient and the nurse.More often than not, nurses use a combination of nursing theories and conceptual frameworks in daily nursing practice. † (Senn, 2013) By being professional and always seeking more knowledge, I can become a resource and advocate to my patient. As McNaughton (2005) points out, â€Å"when clients used nurses as resources, they primarily used them as sources of information, as confidantes, or as partners in problem solving. † In summary, while no one theory defines my personal philosophy, I predominantly believe in the Peplau philosophy of interpersonal relations as the fundamental nursing philosophy by which I will interact with my patient.

Going After Cacciato

Waking up from the American Dream in Going after Cacciato (Tim O'Brien) What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. (from Anthem for Doomed Youth, Wilfred Owen) Sassoon's epitaph â€Å"All Soldiers are dreamers† at the beginning of the novel functions as a signpost signaling the shape the novel will take. It does not merely deal with brutal horror, it is imagination. Reality and dream, fact and imagination are interwoven.The choice of Siegfried Sassoon suggests the Great War, the English experience of war, which can be compared to the American Vietnam experience, for it had the same impact: total disorientation and national trauma because of lost values. This novel then deals, in story and structure, with the war experience, but also with the US society's influence on that war through the ordinary soldier. The common grunt raised the question how to act proper ly in this horrible situation, in which he even did not know whether his presence was morally justified or not.Yet he concluded that, although he knew this war was just as insane as any other war, he should not run away from his duty. He stayed in the war, because of his personal obligations to society. Not out of idealism, but merely because his people expected him to. In novels dealing with Vietnam we often see veterans coming back into the American society (like in Caputo's Indian Country), but here we are confronted with the country itself. The novel Going after Cacciato deals with the journey to Paris an American soldier fantasizes about.It is November 1968 and Spec. Four Paul Berlin is in his observation tower in Quang Ngai, Vietnam, by the South China Sea, performing his tour of duty, which lasts 365 days for the common grunt, the foot soldier he is. He feels he has come to Nam in another way than soldiers had gone to the Second World War and to Korea. His lieutenant, Lt Cors on had been in Korea, and he was looking back to it with nostalgia: â€Å"In Korea, by God, the people liked us. Know what I mean? They liked us. Respect, that's what it was. And it was a decent war (†¦ The trouble's this: Nobody likes nobody. (p. 134) New were the blindness of war, the inertia, drugs were taking over, the creation of the new word â€Å"fragging†, i. e. killing a superiour officer It all illustrated this war was supposed to be different from those wars in which Paul Berlin's ancestors had fought, with in their mind the American dream. However, Vietnam was not different at all. Soldiers who enthousiastically started their participation in Vietnam, were as quickly traumatized by the killings, as any other soldiers. A war like any other war.Stories that began and ended without transition. No developing drama or tension or direction. No order. (p. 255) When Paul realizes this, the main question for him is how to determine his own place in it. As he does not know an anwer, the possibility, or rather the necessity of dreaming something else in the face of horror, is brought to Vietnam. He starts to think about Cacciato. This bloke fishes in the world's Great Lake Country where everybody says there is no fish. He dutifully goes through all the motions and all of a sudden het gets out, and Paul is intrigued.Paul's squad is sent to go after Cacciato. They are following the unmarked character and find him more and more almost a holy character, less defined as they go along. Finding him a friendly leader almost, they follow him. From soldier among soldiers, he develops into a friendly symbolical figure pointing the way. The seductiveness of Cacciato leads them on. He sheds his war implements. He is that annoying, different, seperate chap who bounces the ball, who nobody can trace and think of, who does not really exist, he has not even got a first name!Cacciato, that just fulfills. Going after Cacciato means â€Å"going after a dream† , following that dream, but it can also mean â€Å"going after to actually get that dream†. Time and time again there is this ambiguity of going on the hunt after Cacciato, or following the Italian on desertion; there is the choice between reality and dream for Paul. Cacciato, who nobody has actually seen, has hit upon an idea which his indeterminance made possible, and it speaks to the imagination. Paul goes after him, catches him, thus completing his mission, but lets Cacciato escape.Cacciato then leads them through the beautiful high country, through orderly Mandalay, normal Delhi, to a beheading in gruesome Tehran, all the way via Athens to Paris; the change of scenery symbolizes the hope Paul first feels, gradually turning into despair and total confusion. His experiences on the way show Paul that he cannot actually leave the war behind. â€Å"Can't get away from it,† Doc mumbled. â€Å"You try, you run like hell, but you just can't get away. † â€Å"It's the truth. † (p. 178) Arrived in Paris and having hugged, outbursts of rain and thunder presage the forthcoming difficulties.Reality soon makes the squad go and hunt down Cacciato again. Oscar, the streetwise Detroit black, insists on the Real Politik of getting Cacciato to save their own skins from punishment for desertion. They have to arrest Cacciato and abandon their dream, because society expects them to do so. â€Å"Oscar's right,† Doc said, and sighed. â€Å"You can't get away with this shit. the realities always cath you. † â€Å"But maybe. † â€Å"No maybes. Reality doesn't work that way. † (p. 275) Paul Berlin is not ready yet to stop Cacciato and lets him escape again. Choosing reality and turning his back on the dream are, however, close at hand.In the promotion scene Paul remembered himself answering questions to a committee that scared the living daylights out of him. â€Å"Why do we fight the war? † they asked him, but at the s ame time the committee told him the answer: â€Å"to win†. Very afraid, he repeated this and got the job. Paul then realizes society urges him to do as he is told, and not to think for himself, as society will do that for him. He has to conform and shut up. He knows this cannot be right, but on the other hand his fantasized run for Paris would have been an equally unhappy experience to him in reality.For fantasy it had been all along. His dream of going after the freedom and peace Cacciato led him to, had all been a dream within a dream. The latter dream was dreamt in order to avoid having to solve the dilemma of staying in or running away from the war. He finally woke up from that dream, for now he had found the answer: he had to go through it; trying to escape and fleeing from social obligations was not according to his background, his personality and his beliefs. â€Å"I fear what might be thought of me by those I love. I fear the loss of their respect.I fear the loss of my own reputation. Reputation, as read in the eyes of my father and mother, the people in my hometown, my friends. I fear being an outcast. † (p. 286) The novel is structured round three elements that are in accordance with the three different activities of Paul Berlin's conscience: reflection, imagination and memories; he is wondering how people die in the war, he thinks about going to Paris and he stands on guard. The killings of war and their stories are told non-chronologically, as if they happen at this very moment.Paul Berlin tries to get things straight, tries to get a chronological list of the men killed. He needs order, wants to keep it straight, but he has problems with this. The structure of the novel reflects the structure of any war: it is confusing and without order, sometimes a mess and going in different directions. The hero solves this problem by making up a story himself. It is a story in the third person, told as a reality, told almost as observed by an omni scient observer, who has no involvement; but at the same time we know they are Paul Berlin's imaginations.All of a sudden this woman comes up in the he-country of Vietnam; only in imagination a beautiful girl is possible there. By the end of the novel the reader knows that the squad never went after Cacciato any further than the hill, and that Paris only denoted the illusion of seeking the Far West. In reality they had always been in the Far East. The unlimited possiblities of the Imagination, as that of the United States and its American Dream as well, fail in the reality of the Vietnam War.Berlin, whose name points to the American commitment to saveguard freedom (by setting up the airbridge to the city of Berlin under siege of the Soviets in 1948) finds himself in a situation in which the values, ideals and intentions of the United States no longer have the absolute meaning they seemed to have in previous wars. In Paris, the heart of Western civilization, Paul Berlin lacked the co urage to free himself, even in his dreams, and reality took over: No question, it was all crazy from the start. None of the roads led to Paris. p. 203) He has to accept that he and his comrades would be the very deserters, who would flee from the original idea of the American Dream, that told them that the only way if you really wanted to overcome all problems is to keep on trying. Only Cacciato, who with his childish simplicity and innocence, with his optimism and his individual power embodies the mythical American loner, he frees himself from the society that tells him what to do. He is, however, lost, together with these values, in the Vietnam War.The American Dream had led young Americans into a place where they had no right to go. They were supposed to fight and defeat the Viet Cong to serve the American nation, but in this war, just like in any other, confusion and death were the real victors; the war served no American purpose at all. The lesson Paul learned from the Vietnam War was far from significant: â€Å"Don' never get shot†. â€Å"There it is,† said Eddie Lazzutti. â€Å"Never. Don' never get shot. † (p. 254) He might have learned that back home in the US as well.So in Vietnam this trail West was a fake one. In Fort Dodge you could build good solid houses, in the wilds of Wisconsin you fraternized with your father who told you, back there, to look for positive things in the war. In Nam, however, there is only the squad, and all of a sudden this â€Å"boom†, like in Billy Boy Watkins' story, the case of the grunt dying of fright. It is the ultimate war story, the story of Vietnam. So Paul starts dreaming his own dream, he rejects the American dream. He nevertheless does not reject reality.Like Arthur Dimmesdale in The Scarlet Letter by Nathanial Hawthorne, he does not want to give in to the code of society, but does not want to be lured into the moral wilderness either. He wants to stay part of that society, although he knows its claims are based on air. â€Å"†¦ it is this social power, the threat of social consequences, that stops me from making a full and complete break. † (p. 286) However nasty the war may be, it is better to take part than to be isolated, so Paul Berlin ends his dream, in order to face reality. bibliography: Going after Cacciato (Tim O'Brien) Walking Point: American Narratives of Vietnam (Thomas Myers)

Consumer Ethics Essay

In this paper I will express my opinion on the thought that some marketers say that targeting any group of consumers who are willing and able to purchase a product is simply good marketing. I will discuss why I believe that this is a good marketing technique. I will also discuss whether or not I think it is important for college students to study the topic of consumer ethics. Good Marketing? I believe that it is a smart marketing technique to target any group of consumers who are willing and able to purchase a product even if it is fatty foods and soft drinks being marketed towards children. The reason that I believe this is because it is the marketer’s job for a company to get consumers to purchase the product that they are advertising. Although it may be morally wrong to target children for products like candy, they are most likely the group who will either be purchasing this product or influencing their parents to purchase it. This is why I believe it is a smart strategy for marketers, although it may be slightly questionable. Consumer Ethics I believe that it is important for college students to study consumer ethics. The reason that I believe this is because in order for us to fully mature as adults I think that we need to learn how to be completely ethical in all aspects of life, including being a consumer. Consumer ethics can teach us about software piracy, which I believe is a huge problem with many college students who illegally download music and films. I believe that this can help us in our lives so it is important for college students to learn about consumer ethics. This is why I think college students should study consumer ethics. Conclusion In this paper I discussed my feelings on two different topics. The first topic was about questionable marketing tactics, which I believe can be effective and is a good way to market. The second topic I expressed my views on was consumer ethics, and whether or not college students should study it. The main reason that I said college students should study consumer ethics is because of music piracy and how popular it is among college students. These are my feelings on these two important subjects. Bibliography Schiffman, Leon G., Leslie Lazar Kanuk, and Joseph Wisenblit. Consumer Behavior. Upper Saddle River: Prentice-Hall, 2010.

Renaissance Drama in England

Renaissance Drama in England From Medieval to Renaissance Drama ? Mystery plays -> ? Historical (chronicle) ? Miracle plays -> plays ? Tragedies ? Comedies ? Morality plays -> ? Interludes -> Other public â€Å"spectacles†Ã¢â‚¬ ¦ The Elizabethan Drama ? The Elizabethan era saw a great flourishing of literature, especially in the field of drama. ? The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher) and Plautus (comic cliches, especially that of the boasting soldier had a powerful influence on the Renaissance and after). ? However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. It is also true that the Elizabethan Era was a very violent age. As a result, representing that kind of violence on the stage in scenes of high ? physical realism? was probably more cathartic for the Elizabethan spectator. Lady Macbeth by John Singer Sargent,1889Elizabethan Drama and Acting – Main Features ? ? ? ? ? ? ? ? ? ? The plays had 5 acts; Physical realism; Issues borrowed from the ancient Greek drama (the chorus); Allegorical characters borrowed from the Medieval moralities; Issues borrowed from the Italian drama (the pantomime); Exaggerated feelings (love, hatred, revenge); Props and settings were simple; Costumes were rich and in accordance with the fashion of the time; There was no curtain; Women were not allowed to perform. Spanish Tragedy by Thomas Kyd ? Examples: Gorboduc (or Ferrex and Porrex) by Sackville ; Norton, TheThe Elizabethan Playhouse ? The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama—once they were in op eration, drama could become a fixed and permanent rather than a transitory phenomenon. The crucial initiating development was the building of The Theatre by James Burbage, in Shoreditch in 1576. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).The Elizabethan Playhouse ? The public theatres were three stories high, and built around an open space at the centre. ? Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inwardfacing galleries overlooked the open center, into which jutted the stage— essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony. Usually built of timber and plaster and with thatched roofs , the early theatres were vulnerable to fire, and were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof. The English Renaissance Drama ? 1. The early tragedies ? 2. The early comedies ? 3. The plays of the ? University Wits? ? 4. William Shakespeare’s plays the â€Å"university wits† The decade of the 1590s, just before Shakespeare started his career, saw a radical transformation in popular drama. A group of welleducated men chose to write for the public stage, taking over native traditions.They brought new coherence in structure, and real wit and poetic power to the language. They are known collectively as the â€Å"University Wits,† though they did not always work as a group, and indeed wrangled with each other at times. ? ? ? ? ? ? ? John Lyly (1554-1606) Thomas Lodge (c. 1558-1625) Christopher Marlowe (1564-1593) Robert Greene (1560-1592) Thomas Nashe (1567-1601) George Peele Thomas Kyd Thomas Kyd (1558 –1594) ? ? ? Th. Kyd was the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.The Spanish Tragedie was probably written in the mid to late 1580s. The earliest surviving edition was printed in 1592; the full title being, The Spanish Tragedie, Containing the lamentable end of Don Horatio, and Bel-imperia: with the pittifull death of olde Hieronimo. However, the play was usually known simply as â€Å"Hieronimo†, after the protagonist. Kyd is more generally accepted to have been the author of a Hamlet, the precursor of the Shakespearean play (Ur-Hamlet). Christopher Marlowe(1564 –1593) ? ? ? ? ? ? ? ? ? ?The foremost Elizabethan tragedian before William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own untimely death. Marlowe’s most important plays in which he created his tytanic characters are: Dido, Queen of Carthage (c. 1586) (possibly co-written with Thomas Nashe) Tamburlaine, part 1 (c. 1587) Tamburlaine, part 2 (c. 1587-1588) The Jew of Malta (c. 1589) Doctor Faustus (c. 1589, or, c. 1593) Edward II (c. 1592) The Massacre at Paris (c. 1593) Marlowe is often alleged to have been a government spy killed upon the orders of the Queen.William Shakespeare and His Contemporaries ? According to some critics of his time, Shakespeare was vulgar, provincial and overrated. ? Robert Greene (1558 –1592) is most familiar to Shakespeare scholars for his pamphlet Greene's Groats-Worth of Wit (full title: Greene's Groats-worth of Wit bought with a Million of Repentance), which most scholars agree contains the earliest known mention of Shakespeare as a member of the London dramatic community. In it, Greene disparages Shakespeare, for being an actor who has the temerity to write plays, and for committing plagiarism. ? â€Å"†¦ or there is an upstart Crow, beautified with our feathers, that with his Tygers ha rt wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute Johannes fac totum, is in his owne conceit the onely Shake-scene in a countrey†. William Shakespeare and His Contemporaries ? ? Francis Meres, one year younger than Shakespeare, described himself as â€Å"Maister of Arte of both Universities†; in 1598 Meres published a work which has proven most valuable in dating Shakespeare's plays, for he mentions many of them, and in the most laudatory terms.In Palladis Tamia, Wits Treasury, Meres begins by praising Shakespeare's poetry the two narrative poems, Venus and Adonis and The Rape of Lucrece, and the Sonnets – then compares Shakespeare to Plautus in comedy and to Seneca in tragedy: Shakespeare was â€Å"not of an age, but for all time. † ? These are the words of Shakespeare's great friend and contemporary, Ben Jonson. The quotation comes from Jonson's poem, To the memory of my belove d, found in the First Folio of Shakespeare's works, published in 1623. Ben Jonson (1572-1637) William Shakespeare (1564 – 1616) ? There is no simple explanation forShakespeare’s unrivaled popularity, but he remains our greatest entertainer and perhaps our most profound thinker. He had a remarkable knowledge of human behavior, which he was able to communicate through his portrayal of a wide variety of characters. ? His mastery of poetic language and of the techniques of drama enabled him to combine these multiple viewpoints, human motives, and actions to produce a uniquely compelling theatrical experience. SHAKESPEARE’S EARLY YEARS English playwright William Shakespeare was born in a small house on Henley Street in Stratford-uponAvon in April 1564.The third of eight children, William Shakespeare was the eldest son of John Shakespeare, a locally prominent glove-maker and wool merchant, and Mary Arden, the daughter of a well-to-do landowner in the nearby village of Wilmcote. The young Shakespeare probably attended the Stratford grammar school, the King’s New School. Shakespeare’s Birthplace Stratford upon Avon On November 27, 1582, a license was issued to permit Shakespeare’s marriage, at the age of 18, to Anne Hathaway, aged 26 and the daughter of a Warwickshire farmer.The couple’s first daughter, Susanna, was born on May 26, 1583, and twins Hamnet and Judith who were named for their godparents, neighbors Hamnet and Judith Sadler followed on February 2, 1585. Anne Hathaway? s Cottage Charlecote Park, Sir Thomas Lucy? s Property Sometime after the birth of the twins, Shakespeare apparently left Stratford, but no records have turned up to reveal his activity between their birth and his presence in London in 1592, when he was already at work in the theater. Shakespeare? s biographers sometimes refer to the years between 1585 and 1592 as â€Å"the lost years. Speculations about this period abound. An unsubstantiated report claims Shakespeare left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local justice of the peace. Another theory has him leaving for London with a theater troupe that had performed in Stratford in 1587. SHAKESPEARE IN LONDON ? Shakespeare seems to have arrived in London about 1588, and by 1592 he had attained sufficient success as an actor and a playwright to attract the venom of Greene, an anxious rival. SOME OF SHAKESPEARE’S CONTEMPORARIES HENRY WRIOTHESLEY RICHARD BURBAGE WILLIAM KEMPECRISTOPHER MARLOWE ? In 1594 Shakespeare became the member of Lord Chamberlain’s men and was active in the formation of famous theatre, the Globe. London – The Globe Theater (rebuilt in 1997) London – The Globe Theater (rebuilt in 1997) Shakespeare’s Last Years Shakespeare's company erected the storied Globe Theatre circa 1598 in London's Bankside district. It was one of four major theatres in the area, along with the Swan, th e Rose, and the Hope. After about 1608 Shakespeare began to write fewer plays. In 1613 fire destroyed the Globe Theatre during a performance of Henry VIII.Although the Globe was quickly rebuilt, Shakespeare? s association with it – and probably with the company – had ended. Around the time of the fire, Shakespeare retired to Stratford, where he had established his family and become a prominent citizen. Shakespeare? s daughter Susanna had married John Hall, a doctor with a thriving practice in Stratford, in 1607. His younger daughter, Judith, married a Stratford winemaker, Thomas Quiney, in 1616. ? Shakespeare died on April 23, 1616 – the month and day traditionally assigned to his birth – and was buried in Stratford’s Holy Trinity Church.He had made his will the previous month, ? in perfect health and memory.? The cause of his death is not known, though a report from the Holy Trinity’s vicar in the 1660s claims that he ? died of a fever â₠¬ ¦ contracted after a night of drinking with Ben Jonson and Michael Drayton, friends and fellow writers?. ? England’s greatest playwright, William Shakespeare was buried in the Holy Trinity Church in Stratford-upon-Avon, Warwickshire. His epitaph reads: ? Good frend for Iesvs sake forbeare, ? To digg the dvst encloased heare. ? Blest be ye man yt spares thes stones, ? And cvrst be he yt moves my bones.Trinity Church – Stratford-upon-Avon Shakespeare Authorship Debate ? The Shakespeare authorship debate continues to rage unabated. ? The traditional camp (Stratfordian's) maintain that the famous Bard was indeed a poet, playwright and an actor. ? Critics known as â€Å"Oxfordian? s† argue that a more likely contender may have been Edward De Vere (1550-1604), Christopher Marlowe, Sir Francis Bacon, Derby or even Queen Elizabeth herself! Shakespeare’s Works and their chronology (apud Halliday) ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1589-1590 1. Henry VI 15 90 – 1591 – 2.Henry VI 1592 – 1593 Richard III Titus Andronicus Venus and Adonis 1592 – 1598 Sonnets 1593 – 1594 The Comedy of Errors The Taming of the Shrew The Rape of Lucrece 1594 – 1595 The Two gentlemen of Verona Love? s Labours Lost 1595 – 1596 Romeo and Juliet Richard II A Midsummer Night? s Dream 1596 – 1597 King John The Merchant of Venice 1597 – 1598 1 Henry IV 2 Henry IV 1598 – 1599 Much ado About Nothing Henry V The Merry Wives of Windsor ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1599 – 1600 Julius Caesar As You Like It Twelfth Night 1600 – 1601 Hamlet 1601 – 1602 Troilus and Cressida 1602 – 1603 All? Well that Ends Well Othello 1603 – 1604 Measure for measure 1604 – 1605 Timon of Athens 1605 – 1606 King Lear Macbeth 1606 – 1607 Antony and Cleopatra 1607 – 1608 Coriolanus 1608 – 1609 Pericles, Prince of Tyre 1609 – 1610 Cymbeline 1610 – 1611 The Winter? s Tale 1611 – 1612 The Tempest 1612 – 1613 Henry VIII (1613 – 1614) The Two Noble Kinsmen The First Folio ? The â€Å"First Folio† is of major importance to William Shakespeare as it is the first collected edition of Shakespeare's plays. The copperengraving picture of William Shakespeare is signed Martin Droeshout on the title-page of the „First Folio? 1623). Famous Quotes ? Juliet: â€Å"What's in a name? That which we call a rose By any other name would smell as sweet. † Romeo and Juliet (II, ii, 1-2) Juliet or The Blue Necklace (1898) by John William Waterhouse Famous Quotes ? Hamlet: There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. Hamlet Act 1, scene 5, 159–167 Ophelia (1894) – John William Waterhouse Famous Quotes Hamlet: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in act ion how like an angel, in apprehension how like a god! he beauty of the world, the paragon of animals – and yet, to me, what is this quintessence of dust? Man delights not me nor woman neither, though by your smiling you seem to say so. Rosencrantz: My lord, there was no such stuff in my thoughts. Hamlet Act 2, scene 2, 303–312 John William Waterhouse Ophelia – blue dress (1905) Famous Quotes ? Jaques: All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. ? As You Like It Act 2, scene 7, 139–143John William Waterhouse Gather Ye Rosebuds While Ye May (1909) Famous Quotes Macbeth: ? To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. Macbeth Act 5, scene 5, 19–28 John William Waterhouse The Magic Circle (study) (1886) Famous QuotesProspero: ? †¦We are such stuff As dreams are made on; and our little life Is rounded with a sleep. ? The Tempest Act 4, scene 1, 148–158 John William Waterhouse Miranda – The Tempest (1916) Famous Quotes Hamlet: ? To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: 'tis a consummation Devoutly to be wish'd.To die, to sleep; To sleep, perchance to dream—ay, there's the rub: For in that sleep of death what dreams may come, When we hav e shuffled off this mortal coil, Must give us pause—there's the respect That makes calamity of so long life†¦ Hamlet Act 3, scene 1, 55–87 Sir Laurence Olivier (1907 – 1989) as Hamlet Shakespeare, Our Contemporary Hamlet's Soliloquy ? Since first performed in the early 1600s, the title role in William Shakespeare's Hamlet has remained a favorite of many actors because of the emotional complexity of Hamlet's personality. Nowhere is this complexity more apparent than in Hamlet's famous soliloquy in Act III, Scene 1.The soliloquy is a monologue in which a character reveals inner thoughts, motivations, and feelings. Shakespeare used the technique often, and his soliloquies are poetic and rich in imagery. In Hamlet, a play about a man whose mind may be his fatal flaw, the form reaches its highest level. The Structure of Shakespearean Tragedy as devised by Andrew Cecil Bradley ? Andrew Cecil Bradley (1851–1935) was an English literary scholar, best remembe red for his work on Shakespeare ? The outcome of his five years as Professor of Poetry at Oxford University were A. C.Bradley’s two major works, Shakespearean Tragedy (1904), and Oxford Lectures on Poetry (1909). Bradley's pedagogical manner and his self-confidence made him a real guide for many students to the meaning of Shakespeare. His influence on Shakespearean criticism was so great that the following anonymous poem appeared: I dreamt last night that Shakespeare’s Ghost Sat for a civil service post. The English paper for that year Had several questions on King Lear Which Shakespeare answered very badly Because he hadn’t read his Bradley. (Hawkes 1986 as cited in Taylor 2001: 46)CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES ? As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. ? A. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the exposition. ? B. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. ? C.The final section of the tragedy shows the issue of the conflict in a catastrophe. ? The application of this scheme of division is naturally more or less arbitrary. The first part glides into the second, and the second into the third, and there may often be difficulty in drawing the lines between them. A. The Exposition ? ? ? The role of the exposition is to introduce us into a little world of persons; to show us their positions in life, their circumstances, their relations to one another, and perhaps something of their characters; and to leave us keenly interested in the question of what will come out of this condition of things.We are left thus expectant. This situation is not one of conflict, but it threatens conflict. For example, in â€Å"Romeo and Juliet† we see first the hatred of the Montagues and Capulets; and then we see Romeo ready to fall violently in love; and then we hear talk of a marriage between Juliet and Paris; but the exposition is not complete, and the conflict has not definitely begun to arise, till, in the last scene of the First Act, Romeo the Montague sees Juliet the Capulet and falls in love with her.Sir Frank Dicksee – Romeo And Juliet, 1884 Some Shakespearean â€Å"Tricks† ? ? ? When Shakespeare begins his exposition he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity and sometimes with anxiety. On the other hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. For instance, compare the beginning of Macbeth to that of King Lear.In the latter the tone is so low that the conversation between Kent, Gloster and Edmund is written in prose (although they are of noble extraction). At the thirty-fourth line it is broken off by the entrance of Lear and his court, and without delay the King proceeds to his fatal division of the kingdom. William Dyce – King Lear and the Fool in the Storm (c. 1851) ? This tragedy illustrates another practice of Shakespeare's. King Lear has a secondary plot, that which concerns Glouchester and his two sons.To make the beginning of this plot quite clear, and to mark it off from the main action, Shakespeare gives it a separate exposition. ? In Hamlet, though the plot is single, there is a little group of characters possessing a certain independent interest, – Polonius, his son, and his daughter; and so the third scene is devoted wholly to them. B. The Conflict ? The construction of a Shaksepearean tragedy is based on the fight between two opposing sides i n the conflict. They are of almost equal strength and it is difficult to guess which of them is to win.They are victorious in turn, until the conflict reaches its climax. In some tragedies the opposing forces can be identified with opposing persons or groups. So it is in â€Å"Romeo and Juliet† and â€Å"Macbeth†. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. ? Thomas Stothard, The Meeting of Othello and Desdemona (c. 1799)Ups, downs and suspense ? ? ? There is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. The sequence of events within the conflict, is also based on the principle of alternation. L et us call the two sides in the conflict A and B. All through the conflict we shall find a regular alternation of smaller advances and withdrawals; first A seeming to win some ground, and then the counteraction of B being shown.And since we always more or less decidedly prefer A to B or B to A, the result of this oscillating movement is a constant alternation of hope and fear, causing suspense. Dagnan-Bouveret Hamlet and the Gravediggers ? ? ? ? ? ? ? In Hamlet the conflict begins with the hero's feigning to be insane from disappointment in love, and we are shown his immediate success in convincing Polonius. Let us call this an advance of A. The next scene shows the King's great uneasiness about Hamlet's melancholy, and his skepticism as to Polonius's explanation of its cause: advance of B.Hamlet completely baffles Rosencrantz and Guildenstern, who have been sent to discover his secret, and he arranges for the test of the play scene: advance of A. But immediately before the play sce ne his soliloquy on suicide fills us with misgiving; and his words to Ophelia, overheard, so convince the King that love is not the cause of his nephew's strange behavior, that he determines to get rid of him by sending him to England: advance of B. The play scene proves a complete success: decided advance of A.Directly after it Hamlet spares the King at prayer, and in an interview with his mother kills Polonius, and so gives his enemy a perfect excuse for sending him away (to be executed): decided advance of B, a. s. o. This oscillating movement can be traced without difficulty in any of the tragedies. C. The Catastrophe ? The oscillating movement continues right up to the catastrophe. ? There is a critical point in the action, which proves also to be a turning point.It is critical sometimes in the sense that, until it is reached, the conflict is not, so to speak, clenched; one of the two sets of forces might subside, or a reconciliation might somehow be effected; while, as soon as it is reached, we feel this can no longer be. It is critical also because the advancing force has apparently asserted itself victoriously, gaining, if not all it could wish, still a very substantial advantage; whereas really it is on the point of turning downward toward its fall. This crisis, as a rule, comes somewhere near the middle of the play. ?Alexandre-Marie Colin. The Three Witches from â€Å"Macbeth,† 1827. This movement is most clear in Julius Caesar and Macbeth. In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination (III. i. ); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin.In both these tragedies the simplicity of the const ructional effect depends on the fact that the contending forces may be identified with certain persons, and on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes. ? Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes aiming to be historically accurate (1858). ? This is not so in Romeo and Juliet and Hamlet, because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage (II. vi. ), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a cat astrophe, but is thereupon converted into a remorseful reconciliation.Hamlet's cause reaches its zenith in the success of the play-scene (III. ii. ). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success. Frederick Leighton – The Reconciliation of the Montagues and Capulets over the Dead Bodies of Romeo and Juliet, 1853-5 The Play Scene in Hamlet by Daniel Maclise (1806-70) ? http://elizabethan. org/compendium/home. html ? http://www. elizabethan-era. org. uk/elizabethan-england. htm ? http://www. britainexpress. com/History/Elizabethan_life. htm