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The role of woman in Shakespeare’s plays

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“The role of woman in Shakespeare’s plays”

Contents Introduction........................................................................................................3-6 Chapter I 1 .1 General characteristics of the work……………… …………………..…….7-9 1.2 The Genius of Shakespeare …………………………………….……….10-18 1.3 Some words on Shakespeare's biography ………………….……….….19-24 Chapter II. The role of Julett in Shakespeare's play ………..………….....25-28 2.1 . Introducing words to Shakespeare's Comedy …………………..….….29-36 2.2 “The Taming of the Shrew” the first feminine comedy ……….….……37-51 Conclusion…………………………………………………………….…… 52-55 The list of literature …………………………………………………….…56-57

Kirish Bitiruv malakaviy ishning metodologik asosi, Prezidentimiz I.A.Karimovning 2012-yil 10-dekabrda qabul qilingan 1875 sonli “Chet tillarni o’rganish tizimini yanada takomillashtrish chora-tadbirlari to’g’risida” 1 gi qaroriga, shuningdek, O’zbekiston Respublikasi ‘’Ta’lim to’g’risida’’ 2 gi Qonuni , “Kadrlar tayyorlash Milliy dasturi’’ 3 , O’zbekiston Respublikasi hukumatining umumiy o’rta ta’limni rivojlantirishga qaratilgan qarorlari, xalq ta’limi vazirligining buyruqlari, dunyo fani istiqboliga ulkan xissa qo’shgan allomalar, yozuvchilar, kuchli professional mutaxassislarning ko’p yillik kuzatishlari va ularda bayon etilgan yondashuvlar, tadqiqot muammolariga oid ilmiy-metodik, pedagogik adabiyotlarga asoslanadi. Men Bitiruv Malakaviy ishimni kirish qismini boshlashdan avval kelaja

yo‘nalishlarini belgilab olishdan iboratdir ” degan jumlasi bilan boshlanishi bejizga emas chunki birinchi navbatda ishlab chiqarishni modernizatsiya qilish, korporatsiya aloqalarini kengaytirish, mustahkam hamkorlikni yo‘lga qo‘yish, mamlakatimizda ishlab chiqarilgan mahsulotlarga ichki talabni rag‘batlantirish masalalari alohida o‘rin tutadi. Prezidentimiz ta’kidlaganidek iqtisodiy o‘sishni ta’minlash, yangi ish o‘rinlarini tashkil qilish, bandlik muammosini hal etish, aholining daromadlari va farovonligini oshirishda tobora muhim o‘rin tutayotgan kichik biznes va xususiy tadbirkorlikni jadal rivojlantirish, rag‘batlantirish va qo‘llab quvvatlashga alohida e’tibor qaratilishi O‘zbekiston Respublikasi Oliy va o‘rta maxsus ta’lim vazirligi tasarrufidagi oliy ta’lim muassasalari tayyorlab c

ertangi kunimiz uchun, bolalarimiz baxti uchun mehnat qilish, fidoyilik ko‘rsatish – bu barchamizning muqaddas burchimizdir degan fikrlar butun xalqimizning azaliy orzu – umidlari va fikrlarining ochiq ifodasidir. Zamon bilan hamnafas qadam tashlash, jahonda yuz berayotgan yangiliklardan o‘z vaqtida boxabar bo‘lish, dunyo va vatanimiz taraqqiyotiga hissa qo‘shish maqsadida dunyoviy bilimlarni va shu bilan bir qatorda tillarni chuqur o‘rganish katta ahamiyat kasb etishi barchaga ma’lum. “Hozirgi paytda xorijiy tillarni o‘rganish va o‘rgatishga yurtimizda katta ahamiyat berilmoqda. Bu ham, albatta, bejiz emas. Bugun jahon hamjamiyatidan o‘ziga munosib o‘rin egallashga intilayotgan mamlakatimiz uchun chet ellik sheriklarimiz bilan hamjihatlikda, hamkorlikda o‘z buyuk kelajagini qurayotgan xal

rivojlantirish uchun qulay shart-sharoitlar yaratish, keng tarmoqli bozor infratuzilmasini barpo etishini nazarda tutadigan qonun hujjatlari yaratildi. Bitiruv malakaviy ishning dolzarbligi. Hozirgi zamon ingliz tilini o`qitishda integratsion usullaridan foydalanishning dolzarbligi va ilmiy manbalarga tilshunos olimlar tomonidan to`lanoqli yoritib berilmaganligi va yana ilmiy tadqiqotlarni talab qilish bilan dolzarb masala darajasiga ko'tarildi. Chunki ingliz tilini o`qitish va o`rgatish murakkabligi sababli har xil metodlardan foydalanish lozim. Ingliz tilini bilish har bir o`quvchi va nafaqat har bir shaxs uchun kerak deb o`ylayman. Mamlakatimiz rivojlanayotgan davrda bu masala dolzarb va muhimdir. Mavzuning o’rganilganlik darajasi: Aytish joizki umumiy va xususiy tilshunoslikda ushb

o‘rtasidagi farqlar hisobga olinmaydi. Boshqa tomondan esa, yordamchi so‘z va asosiy leksik so`zlar kabi turli xil tasdiqlovchilar o‘rtasiga biror bir aniq chegara qo‘yilmaydi. Shu jihatdan ushbu ilmiy tadqiqot ishida quyidagi vazifalarni amalga oshirishga harakat qilindi: 1) leksik so`zlarning gapdagi o`rni turli xil ma`nolarda keladigan va ifodalaydigan tushunchani bergan holda , tilni birinchi bosqichda o`quvchilarga mashqlar orqali anglatish va o`rgatish; 2) so`z shakllarining vazifasini boshqa vositalarning vazifasidan ajratib ko‘rsatish hamda ularning o‘zaro aloqasini inobatga olish; 3) leksik so`z shakllarda so`zning kommunikativ usullar orqali vazifasini, uning leksik xususiyatini e’tiborga olib, turli xil boshqa shakllar bajaradigan vazifalardagi farqlarni tushuntirish. Qo‘yilgan

esa ingliz tili o`qitishning birinchi bosqichda o`quv jarayonida leksikani o'rgatish, ustida ishlash tanqidiy nuqtai nazardan mashqlar bajarish va ularni o‘rganish o‘z ifodasini topgan. Shuningdek, bu bobda o`qish va yozishga o`rgatish, shakllar referensiyasi va nutq nominatsiyasi usulini rasmiylashtirishda ishtirok etadigan vositalar aniqlanadi, so`z shakllarning kommunikativ funksiyasiga nisbatan ularning asosiy va ikkilamchi vazifalari ochib berildi. Tadqiqot materiali. Tadqiqot uchun ingliz yozuvchilari asarlaridan tanlab olingan 3000 dan ortiq gap asosiy manba bo‘lib xizmat qiladi. To‘plangan misollar so`z analitik shakllarning hamma turlarini o‘z ichiga oladi. Tadqiqot o‘z yechimini topgan quyidagi mulohazalar muhokamaga qo‘yiladi: 1) gapda so`z shakllari va ularning o‘rnining ma

5) so`zlarng shakllari ish — harakatning alohida belgisini ko‘rsatadi va shu yo‘sinda bu turdagi so‘z shakllari ma’lum vaziyatda ish —predmetini boshqa ish — predmetini ajratib ko‘rsatadigan belgini ifodalab keladi. Ixtiyoriy holatda tavsiflovchi leksik so`z guruhlar barcha qismlariga xos bo‘lgan belgini ko‘rsatadi, so`zning har shakli esa eng kichik guruhga ajraladigan belgini ifodalaydi. 6) Asosiy so`zning hajmi u bilan birikadigan yordamchi so`zlar tomonidan bajariladigan vazifalarga nisbatan befarq bo‘lmaydi. Ehtimollik xususiyatiga ega bo‘lgan qonuniyat mavjud bo‘lib, unga ko‘ra gapdagi asosiy so`z ifodalaydigan tushuncha qanchalik keng bo‘lsa, yordamchi so'zlar tavsiflovchi emas, balki analitik shakllar yasash vazifasini bajarish imkoniyati shunchalik kengayadi. Tadqiqotga qo&#3

Leksik so`z shakllarning nutqiy hodisa sifatida qaralishi uni chegaralash, ajratish, tasniflash analitik shakllar vazifalarini keskin farqlash va turli xildagi funksional—semantik guruhlarini chegaralash imkoniyatini beradi. Leksik so`zlarning paydo bo‘lishiga sabab va imkoniyatlari tahlili, o‘z navbatida, uning boshqa turdagi gap bo‘laklari , leksik birliklar, va iboralar yordam qildi. Leksik so`z shaklning nutqda zaruriy hodisa sifatida qaralishi va uning matniy belgilarining o‘rganilish, dars jarayonida chuqur o`rganish va darslik — adabiyotlarda mavjud bo‘lgan ayrim nomutanosiblik va chalkashliklarni bartaraf qilish uchun qo‘l keladi. Tadqiqot natijalari tildagi so`z tizimi lingvistik tahlilini, «so‘zlovchi — muallif grammatikasi» yo‘nalishida, balki, muloqot ishtirokchisi bo‘lgan ting

metodikasi haqida ma`lumot va oldiga qo`yilgan vazifalar va shu qatorda o`rgatish og`zaki nutqdan boshlanilishi haqida bayon etilgan. Uchinchi bobda esa ingliz tili darslarda o`quvchilarga leksikani har xil usullar bilan o`rgatish, ustida ishlash va mashqlar tanlash asosida bayon etilgan bo`lib, shu qatorda o`quvchilarni birinchi bosqichda o`quv o'yinlarining va mashqlarning ahamiyati juda muhim rol o'ynayotganligi haqida batafsil o'rgatilgan. Bu metodologik yondashuv psixologik xususiyatga ega bo`lgan o`quvchilarga tilni o`rgatishning oson va tez imkoniyatlari bilan anglatish va yodlatish haqida bayon etilgan. Xulosa qismida bajarilgan ilmiy tadqiqotning natijalari umumlashtirilib, bo‘lajak izlanishlar istiqboli rejalashtirilgan. O’zbekiston Respublikasi Prezidentining Qarori

Shu bilan birga, chet tillarni o’rganishni tashkil qilishning amaldagi tizimini tahlil etish shuni ko’rsatmoqdaki, ta’lim standartlari, o’quv dasturlari va darsliklar zamon talablariga, xususan, ilg’or axborot va media-texnologiyalardan foydalanish borasidagi talabga to’liq javob bermayapti. Zamonaviy pedagogik va axborot-kommunikatsiya texnologiyalaridan foydalangan holda o’qitishning ilg’or uslublarini joriy etish yo’li bilan o’sib kelayotgan yosh avlodni chet tillarga o’qitish, shu tillarda erkin so’zlasha oladigan mutaxassislarni tayyorlash tizimini tubdan takomillashtirish hamda buning negizida, ularning jahon sivilizatsiyasi yutuqlari hamda dunyo axborot resurslaridan keng ko’lamda foydalanishlari, xalqaro hamkorlik va muloqotni rivojlantirishlari uchun shart-sharoit va imkoniyatlar

tavsiyanomalari asosida chet tillar o’qituvchilari ixtisosligiga oliy ta’lim muassasalariga maqsadli qabulni amalga oshirishga ruxsat etiladi; --Maqsadli qabul asnosida oliy ta’lim muassasasiga qabul qilingan shaxslar, o’qishni bitirganlaridan so’ng, o’zlari yashaydigan joylarda joylashgan va mahalliy davlat hokimiyati organlarining tavsiyanomalarida ko’rsatilgan ta’lim muassasalarida 5 yildan kam bo’lmagan muddatada olingan mutaxassisliklari bo’yicha ishlab berishlari shart. 7. O’zbekiston Respublikasi Xalq ta’limi vazirligi, Oliy va O’rta maxsus ta’lim vazirligi va Moliya vazirligining chet tillar o’qituvchilari va muallimlariga qonun xujjatlari bilan belgilangan rag’batlantiruvchi to’lovlar va qo’shimchalarni xisoblashda, ularning lavozim maoshlari tarkibiga kiritgan xolda qishloq joyla

However, analysis of the current system of organizing language learning shows that learning standards, curricula and textbooks do not fully meet the current requirements, particularly in the use of advanced in formation and media technologies. Education in mainly conducted in traditional methods. Further development of a continuum of foreign languages learning at all levels of education; improving skills of teachers and provision of modern teaching materials are required. According to the decree, starting from 2013/2014 school year foreign languages, mainly English, gradually throughout the country will be taught from the first of schooling in the form of lesson-games and speaking games, continuing to learning the alphabet, reading and spelling in the second year (grade). Also it is envisa

Woman in society is difficult to overestimate and it was Shakespeare who first took the role of women in high rank among the writors of Middle Age literary Reneissanse in Great Britain. And in comedies it is most obviously showed all the opositions of a woman's character. 2. Actuality of the theme. The real actual character is based on the thesis that all Shakespeare's works remain up-to-day even though they had been writen more than three centuries ago! They do not only teach us all the best features of a women's character but also shows us the worst which we, women, have. All these, both good and evil, we still have. One more actual character lies in purely linguistic features:The Great Bard introduced more than 10000 new English words and not in the last degree it concerns t

In our opinion the practical significance of our work is hard to be overvalued. This work reflects modern trends in linguistics and we hope it would serve as a good manual for those who wants to master modern English language by classical language of William Shakespeare. 6. Ways of scientific investigation used within the work. The main method for compiling our work is the method of comparative analysis, translation method and the method of statistical research. 7. Fields of amplification. The present work might find a good way of implying in the following spheres: 1. In High Schools and scientific circles of linguistic kind it can be successfully used by teachers and philologists as modern material for writing research works dealing with William Shakespeare 2. It can be used by teachers o

qualification work includes ten thematic items. There we discussed such problems as the role of women in Shakespeare's tragedies, the tratment om women in such significant tragedies as “Hamlet”, “Othello” and “Antony and Cleopatra”. We also discussed the peculiar femine characters as Ophelia, Gertruda and Juliet. Moreover, some supporting women parts in Shakespeare's tragedies which are not so well-known were taken into consideration in the main part. To this part we refered the images of Nurse in “Romeo and Juliet”, Cornelia and Cymbeline. In conclusion to our qualification work we studied the problem of understanding texts of Shakespeare as the language of the latter is not always clear for modern readers. In the very end of the work we gave the bibliography list of authors, the

of the King James Bible, which Bartlett lists as only the second most plentiful source of Familiar Quotations. And much the same could be said of those mirrors of our nature, Shakespeare's characters. From small delights like Juliet's Nurse, or Bottom the Weaver, or the Gravedigger, to such incomparable creations as Falstaff, King Lear, and Lady Macbeth, Shakespeare has enlarged our world by imitating it. It should not surprise us, therefore, that personalities as vivid as these have gone on, as it were, to lives of their own outside the dramatic settings in which they first thought and spoke and moved. In opera alone there are enough different renderings of characters and scenes from Shakespeare's plays to assure that the devotee of Charles-Francois Gounod or Giuseppe Verdi, R

Shakespeare, and in language after language Shakespeare remains the greatest living playwright. Not merely in terms of the hundreds of productions of Shakespeare's own plays to be blazoned on the marquees in any given year, either: no, one must also bear in mind the dozens of film and television versions of the plays, and the countless adaptations, parodies, and spinoffs that accent the repertory--from musicals such as The Boys from Syracuse (based on The Comedy of Errors) and West Side Story (Leonard Bernstein's New York ghetto version of the gang wars in Romeo and Juliet), to political lampoons like Macbird (contra LBJ) and Dick Deterred (the doubly punning anti-Nixon polemic), not to mention more reflective dramatic treatments such as Edward Bond's Bingo (a "biographical

Borges. Or smile (with perhaps but an incomplete suspension of disbelief) as the Nobel Prize-winning African poet and dramatist Wole Soyinka quips that "Sheikh Zpeir" must have had some Arabic blood in him, so faithfully did he capture the local color of Egypt in Antony and Cleopatra. Implicit in all of these manifestations of Shakespeare worship is a perception best summed up, perhaps, in James Joyce's rendering of the charismatic name: "Shapesphere." For in showing "the very age and body of the time his form and pressure" (as Hamlet would put it), Shakespeare proved himself to be both the "soul of the age" his works reflected and adorned and the consummate symbol of the artist whose poetic visions transcend their local habitation and become, in some my

Stratfordians." Their ranks have never been particularly numerous or disciplined, since they have often quarreled among themselves about which of the various "claimants"--the Earl of Derby, Christopher Marlowe, even Queen Elizabeth herself--should be upheld as the "true Shakespeare." And because many of their arguments are methodologically unsophisticated, they have never attracted adherents from scholars with academic credentials in the study of English Renaissance history and dramatic literature. But, whatever their limitations, the anti-Stratfordians have at least helped keep us mindful of how frustratingly little we can say for certain about the life of the man whose works have so enriched the lives of succeeding generations. 1.2 Some words on Shakespeare's biog

the records show that he was fined for failing to remove a dunghill from outside his house to the location where refuse was normally to be deposited), John Shakespeare had been a farmer in the neighboring village of Snitterfield. Whether he was able to read and write is uncertain. He executed official documents, not with his name, but with a cross signifying his glover's compasses. Some scholars interpret this as a "signature" that might have been considered more "authentic" than a full autograph; others have taken it to be an indication of illiteracy. But even if John Shakespeare was not one of the "learned," he was certainly a man of what a later age would call upward mobility. By marrying Mary Arden, the daughter of his father's landlord, he acquired the

Warwickshire after 1577), but the scant surviving evidence is anything but definitive. The records we do have suggest that during young William's formative years he enjoyed the advantages that would have accrued to him as the son of one of the most influential citizens of a bustling market town in the fertile Midlands. When he was taken to services at Holy Trinity Church, he would have sat with his family in the front pew, in accordance with his father's civic rank. There he would have heard and felt the words and rhythms of the Bible, the sonorous phrases of the 1559 Book of Common Prayer, the exhortations of the Homilies. In all likelihood, after spending a year or two at a "petty school" to learn the rudiments of reading and writing, he would have proceeded, at the age o

plays by Plautus and Terence. If Shakespeare's references to schooling and schoolmasters in the plays are a reliable index of how he viewed his own years as a student, we must conclude that the experience was more tedious than pleasurable. But it is difficult to imagine a more suitable mode of instruction for the formation of a Renaissance poet's intellectual and artistic sensibility. Meanwhile, of course, young Shakespeare would have learned a great deal from merely being alert to all that went on around him. He would have paid attention to the plant and animal life in the local woods that he would later immortalize, in As You Like It, as the Forest of Arden. He may have hunted from time to time; one legend, almost certainly apocryphal, has it that he eventually left Stratford bec

wedding that allowed time for any legal impediments against it to be brought forward before the ceremony took place), an indication of unusual haste. But whether the marriage was in any way "forced" is impossible to determine. Some biographers (most notably Anthony Burgess) have made much of an apparent clerical error whereby the bride's name was entered as Anne Whateley of Temple Grafton in the Worcester court records; these writers speculate that Shakespeare was originally planning to marry another Anne until Anne Hathaway of Shottery (a village a mile or so from Shakespeare's home in Stratford) produced her embarrassing evidence of a prior claim. To most scholars, including our foremost authority on Shakespeare's life, S. Schoenbaum, this explanation of the Anne What

remained attached to Anne as a husband. In 1597 he purchased one of the most imposing houses in Stratford--New Place, across the street from the Guild Chapel-- presumably settling his wife and children there as soon as the title to the property was clear. He himself retired to that Stratford home, so far as we can determine, sometime between 1611 and 1613. And of course he remembered Anne in his will, bequeathing her the notorious "second-best bed"--which most modern biographers regard as a generous afterthought (since a third of his estate would have gone to the wife by law even if her name never occurred in the document) rather than the slight that earlier interpreters had read into the phrasing. Naturally we would like to know more about what Shakespeare was like as a husband an

poet and playwright named Robert Greene, one of the "University Wits" who had dominated the London theater in the late 1580s. Dissipated and on his deathbed, Greene warned his fellow playwrights to beware of an "upstart crow" who, not content with being a mere player, was aspiring to a share of the livelihood that had previously been the exclusive province of professional writers such as himself. Whether Greene's Groatsworth of Wit accuses Shakespeare of plagiarism when it describes him as "beautified with our feathers" is not clear; some scholars have interpreted the phrase as a complaint that Shakespeare has borrowed freely from the scripts of others (or has merely revised existing plays, a practice quite common in the Elizabethan theater). But there can be no

the Ephesians, the play begins with a sentence on the life of a luckless Syracusan merchant, Aegeon, who has stumbled into Ephesus in search of his son Antipholus. After narrating a tale of woe that wins the sympathy of the Duke of Ephesus, Aegeon is given till five in the afternoon to come up with a seemingly impossible ransom for his breach of an arbitrary law against Syracusans. Meanwhile, unknown to Aegeon, the object of his search is in Ephesus too, having arrived only hours before him; Antipholus had set out some two years earlier to find a twin brother by the same name who was separated from the rest of the family in a stormy shipwreck more than twenty years in the past. By happy coincidence, the other Antipholus has long since settled in Ephesus, and so (without either's knowle

Comedy of Errors also looks forward to the wanderings, confusions of identity, and miraculous reunions so fundamental to the structure of "late plays" such as Pericles and The Tempest. 3.2 “The Taming of the Shrew” the first feminine comedy What may have been Shakespeare's next comedy has also been deprecated as farce, and it is frequently produced today with staging techniques that link it with the commedia del l'arte popular in Renaissance Italy. But for all its knockabout slapstick, The Taming of the Shrew is too penetrating in its psychology and too subtle in its handling of the nuances of courtship to be dismissed as a play deficient in feeling. Its main event is a battle of the sexes in which Petruchio, who has "come to wive it wealthily in Padua," takes on a

Kate who seems to wink conspiratorially at Petruchio as she puts her hands beneath his foot to win a marital wager is any less spirited or fulfilled a woman than the Kate who drives all her wouldbe wooers away in the play's opening scene. Whether or not The Taming of the Shrew is the mysterious Love's Labor's Won referred to by Francis Meres in 1598, it seems to have been written in the early 1590s, because what is now generally believed to be a bad quarto of it appeared in 1594. The Taming of a Shrew differs significantly from the version of Shakespeare's play that was first published in the 1623 Folio--most notably in the fact that the drunken tinker Christopher Sly, who appears only in the induction to the later printing of the play, remains on stage throughout The Tamin

discloses as a man who lives up to his name. In the concluding forest scene Valentine intervenes to save Silvia from being raped by Proteus; but, when Proteus exhibits remorse, Valentine offers him Silvia anyway, as a token of friendship restored. Fortunately, circumstances conspire to forestall such an unhappy consummation, and the play ends with the two couples properly reunited. Unlike The Comedy of Errors and The Taming of the Shrew, The Two Gentlemen of Verona has never been popular in the theater, even though it offers two resourceful women (whose promise will be fulfilled more amply in such later heroines as Rosalind and Viola), a pair of amusing clowns (Launce and Speed), and one of the most engaging dogs (Crab) who ever stole a stage. In its mixture of prose and verse, nevertheles

Although Titus Andronicus is not a "history play," it does make an effort to evoke the social and political climate of fourth-century Rome; and in its depiction of a stern general who has just sacrificed more than twenty of his own sons to conquer the Goths, it anticipates certain characteristics of Shakespeare's later "Roman plays": Julius Caesar,Antony and Cleopatra, and Coriolanus. But it is primarily as an antecedent of Hamlet (influenced, perhaps, by the so-called lost Ur-Hamlet) that Titus holds interest for us today. Because whatever else it is, Titus Andronicus is Shakespeare's first experiment with revenge tragedy. Its primary focus is the title character, whose political misjudgments and fiery temper put him at the mercy of the Queen of the Goths, Tamora,

Affectation of another kind is depicted in a delightful scene from what many regard as Shakespeare's most charming comedy, A Midsummer Night's Dream. As the Athenian courtiers are quick to observe in their critiques of the "tragical mirth" of Pyramus and Thisby in V.i, the "mechanicals" who display their dramatic wares at the nuptial feast of Theseus and Hippolyta are even more fundamentally "o'erparted" than the hapless supernumeraries of Love's Labor's Lost. But there is something deeply affectionate about Shakespeare's portrayal of the affectations of Bottom and his earnest company of "hempen home-spuns," and the "simpleness and duty" with which they tender their devotion is the playwright's way of reminding us that out

efforts of such later artists as composer Felix Mendelssohn, painters Henry Fuseli and William Blake, director Peter Brook, and filmmakers Max Reinhardt and Woody Allen. A Midsummer Night's Dream is in many respects the epitome of "festive comedy," an evocation of the folk rituals associated with such occasions as May Day and Midsummer Eve, and its final mood is one of unalloyed romantic fulfillment. Romance is also a key ingredient in the concluding arias of Shakespeare's next comedy, The Merchant of Venice, where Bassanio and Portia, Lorenzo and Jessica, and Gratiano and Nerissa celebrate the happy consummation of three love quests and contemplate the music of the spheres from a magical estate known symbolically as Belmont. But the "sweet harmony" the lovers have

elements, such as the casket scenes in which three would-be husbands try to divine the "will" of Portia's father, seem discordant to a modern audience that is asked to admire a heroine who dismisses one of her suitors with a slur on his Moroccan "complexion." Though it seems to have been written in late 1596 or early 1597 and, like A Midsummer Night's Dream, was first published in a good quarto in 1600, The Merchant of Venice feels closer in mood to Measure for Measure-- which also pivots on a conflict between justice and mercy--than to most of the other "romantic comedies" of the mid to late 1590s. The Merry Wifes of Windsor The first good text of a related play, The Merry Wives of Windsor, also appeared in the Folio, but it too was initially published in a

Falstaff's expense, the Falstaff of Merry Wives is merely conniving and crude. We may laugh at the comeuppances he receives at the hands of the merry wives he tries to seduce--the buck-basket baptism he gets as his reward for the first encounter, the beatings and pinchings he suffers in his later encounters--but we see nothing of the inventiveness that makes Falstaff such a supreme escape artist in part 1 of Henry IV. So attenuated is the Falstaff of The Merry Wives of Windsor that many interpreters have argued that it is simply a mistake to approach him as the same character. In any case, we never see him in love. His is a profit motive without honor, and it is much more difficult for us to feel any pity for his plight in Merry Wives than it is in the three Henry plays that depict the

John and his companions have themselves been noted by the most incompetent watch who ever policed a city; and, despite their asinine constable, Dogberry, these well-meaning but clownish servants of the Governor of Messina succeed in bringing the crafty villains to justice. In doing so, they set in motion a process whereby Hero's chastity is eventually vindicated and she reappears as if resurrected from the grave. Meanwhile, another pair of "notings" have been staged by the friends of Benedick and Beatrice, with the result that these two sarcastic enemies to love and to each other are each tricked into believing that the other is secretly in love. At least as much ado is made of Benedick and Beatrice's notings as of the others, and by the time the play ends these acerbic cri

Forest of Arden think of it as an environment where even "adversity" is "sweet" and restorative. Duke Senior has been banished from his dukedom by a usurping younger brother, Duke Frederick. As the play opens, Duke Senior and his party are joined by Orlando and his aged servant Adam (who are running away from Orlando's cruel older brother Oliver), and later they in turn are joined by Duke Senior's daughter Rosalind and her cousin Celia (who have come to the forest, disguised as men, because the wicked Duke Frederick can no longer bear to have Rosalind in his daughter's company at court). The scenes in the forest are punctuated by a number of reflections on the relative merits of courtly pomp and pastoral simplicity, with the cynical Touchstone and the melancholy

First Folio, was Twelfth Night. Possibly based, in part, on an Italian comedy of the 1530s called Gl’Ingannati, Twelfth Night is another play with implicit theological overtones. Its title comes from the name traditionally associated with the Feast of Epiphany (6 January, the twelfth day of the Christmas season), and much of its roistering would have seemed appropriate to an occasion when Folly was allowed to reign supreme under the guise of a Feast of Fools presided over by a Lord of Misrule. In Shakespeare's play, the character who represents Misrule is Sir Toby Belch, the carousing uncle of a humorless countess named Olivia. Together with such companions as Sir Andrew Aguecheek, the jester Feste, and a clever gentlewoman named Maria, Sir Toby makes life difficult not only for Olivia

ends, Shakespeare reminds us once again that harmony and romantic fulfillment are at the root of what Northrop Frye calls the "argument of comedy". All's Well that Ends Well Modern in another sense may be a good way to describe All's Well That Ends Well. After a long history of neglect, this tragicomedy has recently enjoyed a good deal of success in the theater and on television, and one of the explanations that have been given is that it features a heroine who, refusing to accept a preordained place in a hierarchical man's world, does what she has to do to win her own way. Orphaned at an early age and reared as a waiting-gentlewoman to the elegant and sensitive Countess of Rossillion, Helena presumes to fall in love with the Countess's snobbish son Bertram. Using a

femine characters as Ophelia, Gertruda and Juliet. Moreover, some supporting women parts in Shakespeare's tragedies which are not so well-known were taken into consideration in the main part. To this part we refered the images of Nurse in “Romeo and Juliet”, Cornelia and Cymbeline. In conclusion to our qualification work we studied the problem of understanding texts of Shakespeare as the language of the latter is not always clear for modern readers. In the very end of the work we gave the bibliography list of authors, the works of whom we used when compiling the present qualification work. In bibliography part we mentioned more than 20 sources of which were used while compiling the present work. It includes linguistic books and articles dealing with the theme, a number of used dictiona

unknown to Isabella, has been forestalled by the "friar"). But then, in response to Mariana's pleas for her assistance, she decides not to press her claim for justice and instead kneels before the Duke to beg that Angelo's life be spared. The Duke grants her request, and Angelo--illustrating Mariana's statement that "best men are molded out of faults"--repents and accepts the Duke's mercy. Measure for Measure qualifies as a tragicomedy because the questions it raises are serious (how to balance law and grace, justice and mercy, in human society) and the issue (whether or not Angelo will be executed for his evil intentions with respect to Claudio) is in doubt until the moment when, by kneeling beside Mariana, Isabella prevents what might have been a kind of r

by theme or plot than by any qualities within the characters themselves. A closer look, though, should make it evident that this is not the case; as in many of Shakespeare's plays, appearances can be deceiving. In some cases, the exterior behavior is a deliberate fa з ade to mask the character's real feelings; in others, it is an acculturated veneer that is burned away as a result of the play's events. Despite their outward appearances, though, most of these comedic women belong to one of two opposing archetypes. An examination of these archetypes allows the reader to see past such deceptions to the real personality beneath. The “Daughter” and “Niece” Archetypes Within Shakespeare's comedies, many of the female characters are portrayed as submissive and easily controlled. L

presents us, in Hero, with the very model of a dutiful “daughter” character, so it delineates the archetypical “niece” character, the quick-witted Beatrice. The “merry war” (I.i.58) she wages with Benedick may showcase her character to best advantage, but it is clear from the first scene of the play that Beatrice does not easily submit to the commands or beliefs of any man. In fact, it often seems that Beatrice would liberate her cousin Hero from patriarchal repression as well. While virtually every main character in the play is conspiring to arrange Hero's marriage, Beatrice counsels Hero to follow her own desires, despite contemporary custom: [I]t is my cousin's duty to make curtsy and say, “Father, as it please you.” But yet for all that, cousin, let him be a handsome fellow, or

submissive that she even professes to be willing to stand aside and allow Kate her choice of Bianca's many suitors (II.i.10-18). The final scene of the play, however, reverses these archetypal characterizations completely. Once married to Lucentio, Bianca immediately becomes willful and disobedient, refusing to respond to his summons (V.ii.79-85). Kate, on the other hand, comes dutifully when Petruchio calls for her (99-104). At his request, she fetches Bianca, and delivers her long speech regarding wifely duty (140-183). This final scene demonstrates that the “daughter” and “niece” characterizations are actually masks that each sister has used to obtain the sort of husband each desires. Bianca poses as a dutiful, obedient “daughter” to attract a husband of means; once she has done so,

time when marriage was customarily (judging by the texts) a business arrangement between the groom and the bride's father, Rosalind actually arranges her own union with Orlando, albeit in disguise (V.iv.5-10); further, she even arranges the marriage of Silvius and Phoebe (V.ii, V.iv.11-25). The dramatic irony of this chain of circumstances, in fact, is the basis for the play's comedic action: Ganymede, who exerts such control over the lives of others, is really a woman. It may be contended that Rosalind gets what she wants not because she is a truly empowered woman, but because she poses as a man, and that before adopting this disguise, she has no agency. Duke Frederick, to whom Rosalind is a literal as well as archetypical niece, robs her of control over her own fate when he summa

has always been a “niece.” Celia remains subjugated not because she chooses to travel as a woman, but because she is, at heart, a dutiful “daughter.” Critical overview on the play "Romeo and Juliet" The central pair of lovers is the only characters in "Romeo and Juliet" featured as changing, against all the others who are static. The critical opinion on Romeo and Juliet is practically unanimous. The inseparability of their names reflects the very nature of love: people seeking "their other halves", completeness in a union with the other. So all the critics agree that Romeo and Juliet are the ideal pair of lovers. The tradition of psychological analysis of Shakespeare's characters was founded by S.T.Coleridge in his Shakespearean lectures (1811-1812) 10 in the se

full not only of mutual admiration, but of the proud assertion of Love's divine nature See: В . Г . Белинский Мой Пушкин М . ИХЛ 1969 р .178". Dmitrii Urnov considers "Romeo and Juliet”'s place among Shakespeare's early plays, because it ludicrous by the rapid events which follow. In fact, by the end of the play we even see Friar Laurence rejecting his own advice and stumbling to reach Juliet's grave before Romeo can find her. "How oft tonight have my old feet stumbled at graves?" (5.3.123). Mercutio leads the action in this most dramatic of the five acts. When wounded, he cries out "A plague o' both your houses", saying it three times to ensure that it becomes a curse. Indeed, it is the plague which causes the final death of both Romeo and Julie

soon has a change of heart and says, "Shall I speak ill of him that is my husband?" She then states that she would sacrifice ten thousand Tybalts to be with Romeo, and later includes her parents in the list of people she would rather lose than Romeo. This dedication to a husband or lover is something which emerges frequently in Shakespeare, and is a point he tries to emphasize. Romeo's misery at being banished is clearly shown in his preference for death. Romeo: Then 'banished' Is death mister med. calling death 'banished' Thou cutt'st my head off with a golden axe" Friar Laurence tries to show him that by being alive he at least still has a chance to see Juliet again. Even the Nurse, entering where Romeo is hiding, says, "Stand up, stand up, stand a

the final act of that play, Romeo too has a dream which tells of his fate. "I dreamt my lady came and found me dead" does not express "the basically tragic view of life, as the later plays would; it expresses the tragedy of individual destiny under tragic circumstances". Many tragic love stories have been compared to "Romeo and Juliet"; the most successful modern versions are not in books, but in film. The most popular are: The classical American musical movie "West Side Story" (1961) based on the play by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim. The action takes place against the background of New York gangs war and is strictly parallel to Shakespeare's plot. The Jets, white boys' gang, rival the Sharks, Puerto-Rican g

show of Elizabethan England incorporates the show of "Romeo and Juliet". It uses the principle of "show within the show". The movie makes a beautiful example of modern cinema, and the Academy Award must be regarded as the confirmation of Shakespeare's triumph through ages. In Verona, Sampson and Gregory (Capulet servants) complain that they will not put up with insults from the Montague family. Abram and Balthasar (Montague servants) appear and the four start quarreling. Benvolio (Lord Montague's nephew) appears and tries to break up the quarrel, but Tybalt (Lady Capulet's nephew) appears and picks a fight with Benvolio. At length, officers try to break up the fight, even while Lord Capulet and Lord Montague begin to fight one another. The Prince of Verona (Esca

him, though Tybalt vows to revenge Romeo's intrusion the next day. Juliet, too, falls for Romeo, but falls into despair when her Nurse informs her Romeo is a Montague, as does Romeo when he learns Juliet is a Capulet. While leaving the party, Romeo hides in the orchard while Mercutio and Benvolio call for him to come out of hiding and go home with them; yet he will not. After they leave, Romeo appears and speaks to Juliet under her window, saying "But soft! What light through yonder window breaks? It is the East, and Juliet is the sun!" By and by they swear their love to one another. Juliet tells Romeo she'll send a messenger to him the next day to learn the details of their wedding. Having stayed up all night, Romeo visits Friar Lawrence's cell and tells him of this ne

Prince's edict of banishment, putting him into despair. Romeo states he would rather be dead than banished. The Nurse arrives and tells Romeo that Juliet is sad too, but forgives Romeo. Still, Romeo pulls a dagger and tries to kill himself, but the Friar stops him and tells him to stay the night with Juliet, then flee to Mantua. At Capulet's house, he and Paris set the wedding date for Paris and Juliet to be three days hence. In Juliet's bedroom, Romeo says a tearful goodbye to Juliet. After he leaves, Lady Capulet appears and, while discussing Tybalt's death, states she will send a henchman to Mantua to kill Romeo (though she never does). She then informs Juliet of her impending marriage to Paris. Juliet tells her parents she will not marry, but Lord Capulet commands it wi

Friar John reports he could not deliver the letter to Romeo since he (John) got stuck in a quarantined house while searching for Romeo. Friar Lawrence heads to the cemetery with a crowbar. At the tomb, Paris and his page arrive and Paris mourns Juliet's death. Paris hides when he hears Romeo and Balthasar approach. Romeo orders Balthasar to leave him alone, no matter what he hears. When Romeo opens the tomb, Paris steps out and tries to stop him by provoking him to fight. Romeo entreats Paris to simply walk away and not fight, but Paris forces Romeo to fight him, resulting in Romeo slaying Paris. In sorrow, Romeo lays Paris in the tomb, while Paris' page secretly leaves to call the watch. Romeo finds Juliet and mourns her death, then drinks his poison and dies. Outside the tomb, Fr

they unite themselves by a secret marriage, relying simply on the protection of an invisible power. Untoward incidents following in rapid succession, their heroic constancy is within a few days put to the proof, till, and forcibly separated from each other, by a voluntary death they are united in the grave to meet again in another world. All this is to be found in the beautiful story which was told long before Shakespeare's day, and which, however simply told, will always excite a tender sympathy; but it was reserved for Shakespeare to join in one ideal picture purity of heart with warmth of imagination; sweetness and dignity of manners with passionate intensity of feeling. Under his handling, it has become a glorious song of praise on that inexpressible feeling which ennobles the soul

into a dim and distant prospect, and by what is in the foreground we can form a general notion of the landscape that will be presented to us, as the clouds roll away and the sun lights up its wild mountains or its fertile valleys. When Sampson and Gregory enter "armed with swords and bucklers"-when we hear "a dog of the house of Montague moves me"~ we know that these are not common servants, and live not in common times; with them the excitement of party spirit does not rise into strong passion--it presents its ludicrous side. They quarrel like angry curs, who snarl, yet are afraid to bite. But the "furious Tybalt" in a moment shows us that these hasty quarrels cannot have peaceful endings. The strong arm of authority suspends the affray, but the spirit of enmity is

between Capulet and Paris prepares us for Juliet-the "hopeful lady of his earth," who hath not seen the change of fourteen years. The old man does not think her "ripe to be a bride;" but we are immediately reminded of the precocity of nature under a southern sun, by another magical touch of poetry, which tells us of youth and freshness-of summer in "Aprir'-of "fresh female buds" breathing the fragrance of opening flowers. Juliet at length comes. We see the submissive and gentle girl; but the garrulity of the nurse carries us back even to the prettiest babe that e'er I nursed. Neither Juliet nor Romeo had rightly read their own hearts. He was sighing for a shadow-she fancied that she could subject her feelings to the will of others: But no more deep will

they catch at the one joy which is left--the short meeting before the parting. And what a parting it is! Here again comes the triumph of the beautiful over the merely tragic. They are once more calm. There love again breathes of all the sweet sights and sounds in a world of beauty. They are parting, but the almost happy Juliet says: It is not yet near day-Believe me, love, it was the nightingale. Romeo, who sees the danger of delay, is not deceived: It was the lark, the herald of the morn. Then what a burst of poetry follows!-- Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountains' tops. Note the exquisite display of womanly tenderness in Juliet, which hurries from the forgetfulness of joy in her husband's presence to apprehension for his safety. Af

stronger. According to the Prince, brawls that "have thrice disturb'd the quiet of our streets" (1.1.91). Audiences may wonder why the Montagues and Capulets can't move forward and forgive. Blood is spilling in the streets and their children wind up in an awful situation. What's the matter with these people? Are they terribly uncaring The audience learns that these are respectable people -- "two households, both alike in dignity," (Prologue. 1) from the outset of the play. The Montagues and the Capulets are venerable families of Verona, and as such they command respect. Even Prince Escalus shows them respect though their longstanding enmity angers him. The lenient sentence of Romeo's banishment (rather than the punishment of death) demonstrates the Prince&#3

fight." -- Each uses a very different tone. Lady Capulet is bitter and sarcastic. One word, in particular, underscores her cynicism. Lady Capulet tells her husband, "Who are you kidding. You are way too old to fight. You need a crutch, not a sword". Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shalt not stir one foot to seek a foe" She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me." Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation. Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shall not stir

Conclusion 1.3. Having said about Shakespeare's comedies we dare to say that it is the most important milestone in the creative activity of him. But even amongst his immortal works of this kind the play “A Midsummer Night's Dream” stands in the special play. The first reason of this lies in the period of writing of it. The play is referred to the third, last period of creative activity, it is seemingly summarizes the whole life of the dramatist and the death of the main heroes at the fourth act is a hint for the closest death of Shakespeare himself. So one another reason for the significance of the comedy follows just after: it maybe the only work of Shakespeare where the humour and laughter are being mixed with the tragedy. And this mixing appears on the background of the exact de

d) To compare the different features of the main heroes in their controversy and similarity. Having worked on our qualification work we could do the following conclusion and notes: 1) Being not volumable play it remained in our hearts as one of the most brilliant things created by the “Avon Bard”. 2) The main idea of the play was to show the interrelations between life and dream, the different state of minds of illiterate but kind and passionate wandering actors and foolish, cruel, envious power “handers”. 3) The main themes of the play are order and disorder, love and marriage, appearance and reality. 4) The genius of the author is concluded in mixing and installation of one narration into another, assistance of prose and poetry with single repliques and comments. 5) The heroes of the pla

is abundantly clear to everyone else, most notably Hermione's lady-in-waiting Paulina, that Leontes' suspicions are irrational. But he refuses to listen either to the counsel of his advisers or to the oracle at Delphi--persisting with this "trial" of Hermione until he has completely devastated his court. He drives Polixenes away with the faithful Sicilian lord Camillo; he frightens to death his son Mamilius; and he pursues Hermione so unrelentingly that she finally wilts into what Paulina declares to be a fatal swoon. At this point, suddenly recognizing that he has been acting like a madman, Leontes vows to do penance for the remainder of his life. Years later, after Perdita (the "lost" child whom the raging Leontes has instructed Paulina's husband Antigonus to

for its supposed commentary on the colonial exploitation of the New World. But if the brute Caliban is not the noble savage of Montaigne's essay on cannibals, he is probably not intended to be an instance of Third World victimization by European imperalism either. And Prospero's island is at least as Mediterranean as it is Caribbean. More plausible, but also too speculative for uncritical acceptance, is the time-honored supposition that the magician's staff with which Prospero wields his power is meant to be interpreted as an analogy for Shakespeare's own magical gifts--with the corollary that the protagonist's abjuration of his "potent art" is the dramatist's own way of saying farewell to the theater. Were it not that at least two plays were almost certainl

temptations afforded by access to transcendent power gives it a political and religious resonance commensurate with the profundity of its exploration of the depths of poetic and dramatic art. In the end its burden seems to be that an acknowledgment of the limits imposed by the human condition is the beginning of wisdom. Appendix 1 Some quotes from Shakespeare's comedies 1 As you like it (Act V Sc. I) 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. Ttranslation: Жак: Весь мир - театр. В нем женщины, мужчины - все актеры. У них свои есть выходы, уходы, И каждый не одну играет роль. Семь действий в пьесе той. 2 Much ado about nothing (Act V Sc. II) CLAUDIO Never any did so, though very many have been beside their wit. I will bid thee draw, as we do the minstrels; draw, to pleasure us. DON PEDRO As I am an honest man, he looks pale. Art thou sick, or angry? CLAUDIO What, courage, man! What though care killed a cat, thou hast mettle enough in thee to kill care. BENEDICK Sir, I shall meet your wit in the career, and you charge it against me. I pray you choose another subject. Translation: Клавдио : Этого еще никто не делал , хотя многим их остроумие вылезает боком . Мне

тебя такой живой нрав, что ты можешь и заботу уморить. Бенедикт: Синьор, я ваши насмешки поймаю на полном скаку, если они ко мне относятся:нельзя ли выбрать другую тему для разговора? 3 The Merchant of Venice (Act.1 Sc.3) Antonio: The devil can gnote Scripture for his purpose. An evil soul, producing holy witness, Is like a villain with a smiling cheek, A goodly apple rotten at the heart. O, what a goodly outside falsehood hath! Translation Антонио: Заметь, Бассанио: В нужде и чорт священный текст приводит. Порочная душа, коль на святыню Ссылается, похожа на злодея С улыбкой на устах иль на красивый, Румяный плод с гнилою сердцевиной. О, как на вид красива ложь бывает! 4 Troilus and Cressida (Act III, Scene 2) TROILUS You have bereft me of all words, lady. PANDARUS Words pay no debts, give

CRESSIDA Will you walk in, my lord? TROILUS O Cressida, how often have I wished me thus! Translation Троил Милая! Ты лишила меня языка. Пандар Язык тут ни при чем. Долг платежом красен. Плохо, если на дело не хватит сил. Так, так... опять уж нос с носом... Отлично... «Когда обе стороны приходят ко взаимному соглашению»... и проч... и проч. Войдите, войдите в двери, а я поищу огня. (Уходит.) Крессида Угодно тебе войти, царевич? Троил О Крессида! Как долго я томился ожи-даньем этого счастья! 5 Much ado about nothing (Act I Sc I) Leonato:…There was never yet a philosopher That could endure the toothache patiently…. Translation Леонато: Прошу молчи. Я только плоть и кровь. Такого нет философа на свете, Чтобы зубную боль сносил спокойно,- Пусть на словах подобен он богам В своем презренье к

2. The Complete Works of William Shakespeare. The Shakespeare Head Press Edition. The Wordsworth Poetry library. 1994 by Wordsworth Edition Ltd. Hertfordshire. Vols 1,3,4,6,10,11, 16-18 3. Г. Брандес "Шекспир. Жизнь и произведения" Серия "Гений в искусстве", М.: "Алгоритм", 1997. стр. 117, 127, 139-143 4. "Вильям Шекспир. Сонеты". Перевод с английского И.М. Ивановского.-- СПб.: "Тесса", 2001. 5. Комарова В.П. "Творчество Шекспира".-- СПб.: Филологический факультет Санкт-Петербургского государственного университета, 2001. 6. W. Shakespeare Romeo and Juliet New Folger library 1978 7. Alfred Bates The Drama: Its History, Literature and Influence on Civilization, vol. 13. ed.. London: Historical Publishing Company, 1996. pp. 152-157. 8. Вильям Ше

17. Barber C. L. Shakespeare's Festive Comedy. Princeton: Princeton University Press, 1959 p.67 18. Bentley G. E. Shakespeare, a Biographical Handbook. Theobold Lewis, ed. New Haven: Yale University Press, 1961 p.78 19. Bethell S. L. Shakespeare and the Popular Tradition. London: King and Staples, 1944 p.158-160 20. Parrott Th. M. Shakespearean Tragedy. New York: Oxford University Press, 1949 p.220-221 21. Clemen W. The Development of Shakespeare's Imagery. London: Methuen and Co., 1951 p.35 22. Craig H. An Interpretation of Shakespeare. New York: Dryden Press, 1948 p.300-304 23. Ellis-Fermor M. Shakespeare the Dramatist. London: Geoffrey Cumberlege, 1948 p.84-86 24. Palmer J. Comic Characters of Shakespeare. London: The Macmillan Company, 1946 p.110-111 25. Internet: http://www.sh

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