Of Kingdoms and Estates Essay As a whole, Bacon's interest, unlike Shakespeare's, seems to lie in the practical processes of farming rather than of gardening, and his reflections are noticeably often made from the point of view of the owner of the land, pondering how to preserve and improve it; as in the following image, where he is urging that in a country which aims at greatness, care should be taken that the nobility and gentry should not multiply too fast at the expense of the common people, who are the backbone of the land; 'even', he adds, 'as you may see in coppice woods; if you leave your staddles too thick, you shall never have clean underwood, but shrubs and bushes. So in countries, if the gentlemen be too many, the commons will be base'. The difference between the sea images of the two writers is the exact contrary of that between their nature images; Shakespeare's are the more general, Bacon's the more concrete and particular.
The demigod literally embodies valour, illustrates the concept of courage through his muscular body. Muscles are the foregrounded part of his anatomy, rather than a particular limb: By way of comparison, it may be noted that his bow is not mentioned in Shakespeare, whereas some mythographers define it as his favourite weapon—but other heroes have bows too.
A few individual episodes are also mentioned, though they are far less numerous than might have been expected from the wealth of classical and Renaissance sources.
Taken together, they suggest a profusion of adventures; but Shakespeare does not recount them in detail.
Root notes that the allusions, brief as they are, sometimes contain mistakes, such as the notion that Hercules killed Cerberus, whereas the mission was to master him and drag him to the surface of the earth, or the idea that he picked the apples of the Hesperides himself, instead of sending Atlas to do it for him.
Clearly, Shakespeare is not concerned with comprehensiveness, or accuracy. His is a selection of materials, which can be explained not just by the accessibility of sources, but also by the different types of text.
In book IX of Metamorphoses, the main focus is on the fight between Hercules and Achelous and the labours are mentioned in a brief enumeration and sketchy recapitulation.
Finally, the story of Hercules and Omphale is unfolded in the Fasti and Heroides. Thus the greater accessibility of Latin sources and the emphasis on reading Ovid in Elizabethan grammar-schools in carefully studied excerpts rather than whole books contribute to explaining why some episodes were selected over others.
But it is also a question of genre.
My sense is that, in the theatre, Shakespeare needs efficiency rather than precision, and immediacy rather than development. If we look at representations of Hercules in 16th-century England, we cannot but notice the recurrence of one particular staging of Hercules: The layout is significant in that it places an enlarged representation of Hercules raising his club at the centre of the page, and leaves other possible visualizations in the background.
The posture is so recurrent that it becomes typical: In the series of engravings by Cornelis Cort, copied from drawings by Frans Floris, which was used to design the tapestries, the postures were more varied.
Two explanations have been contemplated: While there would have been an economic interest in repeating the same picture again and again, the induced familiarity undoubtedly encouraged further repetition.
This latter, abstract dimension is reinforced by books of emblems, in which images are accompanied by brief, easily memorized interpretations.
In emblem books, pictures and texts rest on conventional representations.
While their obscurity was once celebrated by critics, they are now viewed as compilations of commonplaces. The idea that the hero vanquished everything, only to be vanquished by love, encapsulates the major tension between Hercules the hero and Hercules the lover, between a serious, epic, approach and a playful, even grotesque, outlook, which can be felt in contemporary drama, and very clearly in Shakespeare.
I have tried instead to outline the major ones.
The English texts often provide concise judgements encapsulating the main impact of the myth, which are closest to the meaning conveyed by the brief allusions in the plays. One may also note the prosaic, even playful details recorded in Conti and Cartari, hinting at a comic version of Hercules which the playwright exploited.
Sandys is emblematic of all the others in his twofold exegesis: The former approach strives to reduce the fantastic elements of myth to factual data, going as it were downwards from fiction to a more pedestrian level; the latter moves toward the higher and broader level of allegory.Macbeth PowerPoint Presentation.
This Macbeth PowerPoint presentation includes high quality slides on Macbeth by William Shakespeare. Background slides include introductory information about the play, information about text versions of Macbeth, Shakespeare’s sources for Macbeth, the Elizabethan Chain of Being, and the importance of King James.
Shakespeare's "Removed Mysteries" Chris Hassel, Jr..
Vol. the mysteries of the "Troubles" and the "Trials" of Joseph and Mary may have influenced Shakespeare's representation of Macbeth and his exploration of the tensions between Desdemona and Othello.
his complaints about being an old man with a young wife, and his concerns. William Shakespeare (Baptized April 26, – April 23, ) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's preeminent dramatist.
His surviving works consist of 38 plays, sonnets, two long narrative poems, and several shorter poems. Othello (lust, jealousy, and betrayal), Macbeth (paranoid regicide), Romeo & Juliet (doomed love) and many of Shakespeare’s greatest plays were an instant hit with Elizabethan audiences.
The past year has marked the th anniversary of the death of William Shakespeare, and in the United States aficionados have observed the occasion as though the Master was a most beloved native son.
The year-long celebration has demonstrated a distinctively American blend of quality and equality. Macbeth is in some ways Shakespeare’s most unsettling tragedy, because it invites the intense examination of the heart of a man who is well-intentioned in most ways but who discovers that he cannot resist the temptation to achieve power at any cost.