Her benefits are mightily misplaced
What shall I call thee when thou art a man ?
Like the toad, ugly and venomous
Sweep on, you fat and greasy citizens
I think he be transformed into a beast; for I can nowhere find him like a man
And in his brain which is as dry as the remainder biscuit after a voyage, he hath strange places
Lets meet as little as we can
I desire that we be better strangers
I was seeking for a fool when I found you
His kisses are Judas's own children
Certainly, there is no truth in him
You lisp and wear strange suits
Men are April when they woo, December when they wed
Monday, April 13, 2009
Antony & Cleopatra
Pray you, stand farther from me
Die a beggar
Experience, manhood, honour, ne'er before did violate so itself
Thou didst drink the stale of horses and the guilded puddle which beasts would cough at
O slave, of no more trust than love that's hir'd
Slave, souless villain, dog ! O rarely base!
In their thick breaths, rank of gross diet, shall be enclouded, and forc'd to drink their vapour
Die a beggar
Experience, manhood, honour, ne'er before did violate so itself
Thou didst drink the stale of horses and the guilded puddle which beasts would cough at
O slave, of no more trust than love that's hir'd
Slave, souless villain, dog ! O rarely base!
In their thick breaths, rank of gross diet, shall be enclouded, and forc'd to drink their vapour
All's well that ends well
complaints I have heard of you I do not all believe;'tis my slowness that I do not, for I know you lack not folly to commit them and have ability enough to make such knaveries yours.
You would answer very well to a whipping
Scurvy, old, filthy, scurry lord
Methink thou art a general offence, and every man should beat thee. I think thou wast created for men to breathe themselves upon you
You are not worth another word, else I'd call you knave
France is a dog hole, and it no more merits the tread of a man's foot
She is too mean to have her name repeated
He's a most notable coward, an infinite and endless liar, an hourly promise breaker, the owner of not one good quality
I spoke with her but once, and found her wondrous cold
For I knew the young Count to be dangerous and lascivious boy, who is a whale to virginity, and devours up all the fry it finds
Drunkenness is his best virtue, for he will be swine drunk, and in his sleep he does little harm, save to his bedclothes about him
He hath out-villiain'd villainy so far that the rarity redeems him
He excels his brother for a coward, yet his brother is reputed one of the best there is. In a retreat he outruns any lackey, marry, in the coming on he has the cramp
Use the carp as you may, for he looks like a poor, decayed, ingenious, foolish, rascally knave
I saw the man today, if man he be
This woman's an easy glove, my lord, she goes off and on at pleasure.
You would answer very well to a whipping
Scurvy, old, filthy, scurry lord
Methink thou art a general offence, and every man should beat thee. I think thou wast created for men to breathe themselves upon you
You are not worth another word, else I'd call you knave
France is a dog hole, and it no more merits the tread of a man's foot
She is too mean to have her name repeated
He's a most notable coward, an infinite and endless liar, an hourly promise breaker, the owner of not one good quality
I spoke with her but once, and found her wondrous cold
For I knew the young Count to be dangerous and lascivious boy, who is a whale to virginity, and devours up all the fry it finds
Drunkenness is his best virtue, for he will be swine drunk, and in his sleep he does little harm, save to his bedclothes about him
He hath out-villiain'd villainy so far that the rarity redeems him
He excels his brother for a coward, yet his brother is reputed one of the best there is. In a retreat he outruns any lackey, marry, in the coming on he has the cramp
Use the carp as you may, for he looks like a poor, decayed, ingenious, foolish, rascally knave
I saw the man today, if man he be
This woman's an easy glove, my lord, she goes off and on at pleasure.
Other Actors in The Lord Chamberlain’s Men.
Despite the fame accompanying Shakespeare and Richard Burbage’s association with the acting troupe, many others were famous in The Lord Chamberlain’s Men.
Will Kemp who was a comic actor in their troupe, originally was one of the shareholder’s in the famous playhouse. He is thought to have played amongst other characters, that of Falstaff in the King Henry IV plays, certainly Peter, a servant to Juliet’s nurse in Romeo and Juliet and in all probability, Bottom, a weaver in A Midsummer Night’s dream.
Instead of staying with The Lord Chamberlain’s men, he left the other actors in 1599 to pick up his contribution to the new playhouse and instead Morris danced his way from London to Norwich.
Unhappy with this, he then danced across the Alps to take up acting at The Rose, one of the famous playhouse's competitors.
Arguably replacing Will Kemp in the more famous comic roles of Shakespeare’s plays was Robert Armin. Most famous for his role as the deceptively wise Fool in King Lear, Robert Armin also distinguished himself as the insightful clown Feste in Twelfth Night and as Touchstone in As You Like It.
John Hemminges, known to us in history as one of the actors (the other was Henry Condell) who compiled The First Folio, from which all records of Shakespeare’s plays are derived was with The Lord Chamberlain’s Men from, 1594, later becoming its manager.
Augustine Phillips was known as a musician and jig writer; a merry jig or dance always followed the conclusion of a play.
Thomas Pope joined in 1594, becoming a co-owner of the famous playhouse and playing comic roles like Will Kemp before him, thought to include that of Falstaff in the King Henry IV plays before passing away in 1604.
Will Sly joined The Lord Chamberlain’s men in 1594 along with Shakespeare at the same time. Along with becoming a co-owner in 1605, he also became a co-owner in the Blackfriar’s playhouse in 1608.
The plot to kill Queen Elizabeth.
Shakespeare and his famous playhouse, also distinguished themselves in controversy. In 1601, Sir Gilly Meyrick asked The Lord Chamberlain’s Men to perform Richard II for two pounds. This was an old play and it was only the money that convinced the actors to perform it.
However the reason Meyrick wanted the play performed was because of its anti-monarchic message; King Richard II, a rightful king is removed from power for being a tyrant who breaks his own laws to be replaced by those who understood his subjects better.
Meyrick was obviously hoping that a well-attended performance the very day before the Essex rebellion began, would generate public sympathy for those attempting to kill Queen Elizabeth.
The Essex rebellion failed, The Earl of Essex and most of his supporters being killed. Shakespeare and the rest of the Chamberlain’s Men were questioned for their part in this conspiracy, only having to play before the Queen as a consequence.
There is still some doubt as to whether Shakespeare could really not have known what he was doing. Perhaps Shakespeare may have been sympathetic to the conspirators? Little is known with complete certainty.
Will Kemp who was a comic actor in their troupe, originally was one of the shareholder’s in the famous playhouse. He is thought to have played amongst other characters, that of Falstaff in the King Henry IV plays, certainly Peter, a servant to Juliet’s nurse in Romeo and Juliet and in all probability, Bottom, a weaver in A Midsummer Night’s dream.
Instead of staying with The Lord Chamberlain’s men, he left the other actors in 1599 to pick up his contribution to the new playhouse and instead Morris danced his way from London to Norwich.
Unhappy with this, he then danced across the Alps to take up acting at The Rose, one of the famous playhouse's competitors.
Arguably replacing Will Kemp in the more famous comic roles of Shakespeare’s plays was Robert Armin. Most famous for his role as the deceptively wise Fool in King Lear, Robert Armin also distinguished himself as the insightful clown Feste in Twelfth Night and as Touchstone in As You Like It.
John Hemminges, known to us in history as one of the actors (the other was Henry Condell) who compiled The First Folio, from which all records of Shakespeare’s plays are derived was with The Lord Chamberlain’s Men from, 1594, later becoming its manager.
Augustine Phillips was known as a musician and jig writer; a merry jig or dance always followed the conclusion of a play.
Thomas Pope joined in 1594, becoming a co-owner of the famous playhouse and playing comic roles like Will Kemp before him, thought to include that of Falstaff in the King Henry IV plays before passing away in 1604.
Will Sly joined The Lord Chamberlain’s men in 1594 along with Shakespeare at the same time. Along with becoming a co-owner in 1605, he also became a co-owner in the Blackfriar’s playhouse in 1608.
The plot to kill Queen Elizabeth.
Shakespeare and his famous playhouse, also distinguished themselves in controversy. In 1601, Sir Gilly Meyrick asked The Lord Chamberlain’s Men to perform Richard II for two pounds. This was an old play and it was only the money that convinced the actors to perform it.
However the reason Meyrick wanted the play performed was because of its anti-monarchic message; King Richard II, a rightful king is removed from power for being a tyrant who breaks his own laws to be replaced by those who understood his subjects better.
Meyrick was obviously hoping that a well-attended performance the very day before the Essex rebellion began, would generate public sympathy for those attempting to kill Queen Elizabeth.
The Essex rebellion failed, The Earl of Essex and most of his supporters being killed. Shakespeare and the rest of the Chamberlain’s Men were questioned for their part in this conspiracy, only having to play before the Queen as a consequence.
There is still some doubt as to whether Shakespeare could really not have known what he was doing. Perhaps Shakespeare may have been sympathetic to the conspirators? Little is known with complete certainty.
Shakespeare needs a new playhouse to compete.
The 1598 decision to build the famous playhouse came about as the answer to many of The Lord Chamberlain’s Men’s problems. With the end of a lease on the Blackfriars Theatre in 1597, The Lord Chamberlain’s Men (Shakespeare, J & R Burbage, G Byran, John Hemminges, Augustine Phillips, Thomas Pope and Will Sly) had no where else to readily perform their plays.
This acting troupe needed a new playhouse and fast as their rivals, The Admiral’s Men already had the the Rose Playhouse to perform their plays.
Clearly the Lord Chamberlain’s Men would need a playhouse to compete, but there was one little problem; a lack of money.
Paying for the Playhouse: Shareholders become the key.
Though James and Richard Burbage of The Lord Chamberlain’s Men had money, there still wasn’t enough. Instead they came up with a novel idea; they would each own 25 % of the new playhouse whilst the rest of The Lord Chamberlain’s men would each chip in the remaining 50%. This, the Chamberlain’s men did, Shakespeare and the other four members of the acting troupe each owning a 12.5 % share when Will Kemp another member of the troupe, backed out.
Sure enough the playhouse was completed, opening in 1599. Not only could the circular playhouse hold up to 3000 patrons but it turned out to be a good earner, earning Shakespeare and his troupe both money from hiring out the playhouse and from ticket sales for their own performances there.
Theft builds the Playhouse.
Construction of the famous playhouse, set near the Thames in a place called Bankside in Southwark, began in early 1599. Said to be built by Cuthbert Burbage, brother of the famous Shakespearean actor Robert Burbage and son of James Burbage.
Interestingly the famous playhouse was not the Burbage son’s first choice for a playhouse since they already had one in "The Theatre", the first of its kind in London and an inheritance from his father. Unfortunately for Shakespeare and the rest of The Lord Chamberlain’s Men, the lease of the land it was built on expired in 1597.
Theoretically this playhouse should have reverted to the landlord Giles Allen as well. Instead Burbage tore it down and then discretely removed several 12 inch oak beams, transporting them to Bankside where they formed the structural frame for a 100 foot circular polygon, the heart of the new playhouse's structure.
Location, location, location.
Though located near the river Thames, Shakespeare’s playhouse was not in fact in central London but rather an outlying district called Southwark. Southwark had a "colorful" reputation of being not too different from what we would call a "bad" district today, certainly not the place to find respectable gentry.
Yet the famous playhouse by attracting commoners and gentry alike, brought people of all classes together in a region renowned for bear-baiting and other less than respectable activities.
Nonetheless, elements of England’s strict class divisions remained; commoners were in the courtyard by comparison with England’s gentry and nobility which were seated in the galleries or the balconies.
That playhouses could even exist at all was in part due to its Southwark location; it was outside the jurisdiction of a disapproving central London bureaucracy...
This acting troupe needed a new playhouse and fast as their rivals, The Admiral’s Men already had the the Rose Playhouse to perform their plays.
Clearly the Lord Chamberlain’s Men would need a playhouse to compete, but there was one little problem; a lack of money.
Paying for the Playhouse: Shareholders become the key.
Though James and Richard Burbage of The Lord Chamberlain’s Men had money, there still wasn’t enough. Instead they came up with a novel idea; they would each own 25 % of the new playhouse whilst the rest of The Lord Chamberlain’s men would each chip in the remaining 50%. This, the Chamberlain’s men did, Shakespeare and the other four members of the acting troupe each owning a 12.5 % share when Will Kemp another member of the troupe, backed out.
Sure enough the playhouse was completed, opening in 1599. Not only could the circular playhouse hold up to 3000 patrons but it turned out to be a good earner, earning Shakespeare and his troupe both money from hiring out the playhouse and from ticket sales for their own performances there.
Theft builds the Playhouse.
Construction of the famous playhouse, set near the Thames in a place called Bankside in Southwark, began in early 1599. Said to be built by Cuthbert Burbage, brother of the famous Shakespearean actor Robert Burbage and son of James Burbage.
Interestingly the famous playhouse was not the Burbage son’s first choice for a playhouse since they already had one in "The Theatre", the first of its kind in London and an inheritance from his father. Unfortunately for Shakespeare and the rest of The Lord Chamberlain’s Men, the lease of the land it was built on expired in 1597.
Theoretically this playhouse should have reverted to the landlord Giles Allen as well. Instead Burbage tore it down and then discretely removed several 12 inch oak beams, transporting them to Bankside where they formed the structural frame for a 100 foot circular polygon, the heart of the new playhouse's structure.
Location, location, location.
Though located near the river Thames, Shakespeare’s playhouse was not in fact in central London but rather an outlying district called Southwark. Southwark had a "colorful" reputation of being not too different from what we would call a "bad" district today, certainly not the place to find respectable gentry.
Yet the famous playhouse by attracting commoners and gentry alike, brought people of all classes together in a region renowned for bear-baiting and other less than respectable activities.
Nonetheless, elements of England’s strict class divisions remained; commoners were in the courtyard by comparison with England’s gentry and nobility which were seated in the galleries or the balconies.
That playhouses could even exist at all was in part due to its Southwark location; it was outside the jurisdiction of a disapproving central London bureaucracy...
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