tag:blogger.com,1999:blog-41551763011678183392024-03-13T03:38:44.316-07:00 Drama2day Best Plays For Usherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-4155176301167818339.post-12299655079522164682013-01-29T10:17:00.001-08:002013-01-29T10:22:27.296-08:00Romeo and Juliet<div dir="rtl" style="text-align: right;" trbidi="on">
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<h1>
Romeo and Juliet</h1>
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<i><b>Romeo and Juliet</b></i> is a tragedy written early in the career of William Shakespeare about two young star-crossed
lovers whose deaths ultimately reconcile their feuding families. It was
among Shakespeare's most popular plays during his lifetime and, along
with <i>Hamlet</i>, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers.</div>
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<i>Romeo and Juliet</i> belongs to a tradition of tragic romances stretching back to antiquity. Its plot is based on an Italian tale, translated into verse as <i>The Tragical History of Romeus and Juliet</i> by Arthur Brooke in 1562 and retold in prose in <i>Palace of Pleasure</i> by William Painter in 1567. Shakespeare borrowed heavily from both but, to expand the plot, developed supporting characters, particularly Mercutio and Paris. Believed to have been written between 1591 and 1595, the play was first published in a quarto
version in 1597. This text was of poor quality, and later editions
corrected it, bringing it more in line with Shakespeare's original.</div>
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Shakespeare's use of dramatic structure,
especially effects such as switching between comedy and tragedy to
heighten tension, his expansion of minor characters, and his use of
sub-plots to embellish the story, has been praised as an early sign of
his dramatic skill. The play ascribes different poetic forms to
different characters, sometimes changing the form as the character
develops. Romeo, for example, grows more adept at the sonnet over the course of the play.</div>
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<i>Romeo and Juliet</i> has been adapted numerous times for stage, film, musical and opera. During the English Restoration, it was revived and heavily revised by William Davenant. David Garrick's 18th-century version also modified several scenes, removing material then considered indecent, and Georg Benda's operatic adaptation omitted much of the action and added a happy ending. Performances in the 19th century, including Charlotte Cushman's, restored the original text, and focused on greater realism. John Gielgud's
1935 version kept very close to Shakespeare's text, and used
Elizabethan costumes and staging to enhance the drama. In the 20th
century the play has been adapted in versions as diverse as George Cukor's comparatively faithful 1936 production, Franco Zeffirelli's 1968 version, and Baz Luhrmann's 1996 MTV-inspired <i>Romeo + Juliet</i>.</div>
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<i><span class="mw-headline" id="Characters">Characters</span></i></h2>
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<dt>Ruling house of Verona</dt>
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<li><b>Prince Escalus</b> is the ruling Prince of Verona</li>
<li><b>Count Paris</b> is a kinsman of Escalus who wishes to marry Juliet.</li>
<li><b>Mercutio</b> is another kinsman of Escalus, and a friend of Romeo.</li>
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<dt>House of Capulet</dt>
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<li><b>Capulet</b> is the patriarch of the house of Capulet.</li>
<li><b>Capulet's wife</b> is the matriarch of the house of Capulet.</li>
<li><b>Juliet</b> is the 13-year-old daughter of Capulet, and the play's female protagonist.</li>
<li><b>Tybalt</b> is a cousin of Juliet, and the nephew of Capulet's wife.</li>
<li><b>The Nurse</b> is Juliet's personal attendant and confidante.</li>
<li><b>Rosaline</b> is Lord Capulet's niece, and Romeo's love in the beginning of the story.</li>
<li><b>Peter</b>, <b>Sampson</b> and <b>Gregory</b> are servants of the Capulet household.</li>
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<dt>House of Montague</dt>
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<li><b>Montague</b> is the patriarch of the house of Montague.</li>
<li><b>Montague's wife</b> is the matriarch of the house of Montague.</li>
<li><b>Romeo</b> is the son of Montague, and the play's male protagonist.</li>
<li><b>Benvolio</b> is Romeo's cousin and best friend.</li>
<li><b>Abram</b> and <b>Balthasar</b> are servants of the Montague household.</li>
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<dt>Others</dt>
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<li><b>Friar Laurence</b> is a Franciscan friar, and is Romeo's confidant.</li>
<li><b>A Chorus</b> reads a prologue to each of the first two acts.</li>
<li><b>Friar John</b> is sent to deliver Friar Laurence's letter to Romeo.</li>
<li><b>An Apothecary</b> who reluctantly sells Romeo poison.</li>
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<i><span class="mw-headline" id="Synopsis">Synopsis</span></i></h2>
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The play, set in Verona, begins with a street brawl between Montague and Capulet supporters who are sworn enemies. The Prince of Verona intervenes and declares that further breach of the peace will be punishable by death. Later, Count Paris
talks to Capulet about marrying his daughter, but Capulet asks Paris to
wait another two years (then he later orders Juliet to marry Paris) and
invites him to attend a planned Capulet ball. Lady Capulet and Juliet's nurse try to persuade Juliet to accept Paris's courtship.</div>
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Meanwhile, Benvolio talks with his cousin Romeo,
Montague's son, about Romeo's recent depression. Benvolio discovers
that it stems from unrequited infatuation for a girl named Rosaline, one of Capulet's nieces. Persuaded by Benvolio and Mercutio,
Romeo attends the ball at the Capulet house in hopes of meeting
Rosaline. However, Romeo instead meets and falls in love with Juliet.
After the ball, in what is now called the "balcony scene", Romeo sneaks
into the Capulet orchard and overhears Juliet at her window vowing her
love to him in spite of her family's hatred of the Montagues. Romeo
makes himself known to her and they agree to be married. With the help
of Friar Laurence, who hopes to reconcile the two families through their children's union, they are secretly married the next day.</div>
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Juliet's cousin Tybalt,
incensed that Romeo had sneaked into the Capulet ball, challenges him
to a duel. Romeo, now considering Tybalt his kinsman, refuses to fight.
Mercutio is offended by Tybalt's insolence, as well as Romeo's "vile
submission,<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-1"></a></sup>
and accepts the duel on Romeo's behalf. Mercutio is fatally wounded
when Romeo attempts to break up the fight. Grief-stricken and wracked
with guilt, Romeo confronts and slays Tybalt.</div>
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Montague argues that Romeo has justly executed Tybalt for the murder
of Mercutio. The Prince, now having lost a kinsman in the warring
families' feud, exiles Romeo from Verona, with threat of execution upon
return. Romeo secretly spends the night in Juliet's chamber, where they consummate
their marriage. Capulet, misinterpreting Juliet's grief, agrees to
marry her to Count Paris and threatens to disown her when she refuses to
become Paris's "joyful bride."<sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-2"></a></sup> When she then pleads for the marriage to be delayed, her mother rejects her.</div>
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Juliet visits Friar Laurence for help, and he offers her a drug that
will put her into a deathlike coma for "two and forty hours."<sup class="reference" id="cite_ref-3"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-3"></a></sup>The Friar promises to send a messenger to inform Romeo of the plan, so
that he can rejoin her when she awakens. On the night before the
wedding, she takes the drug and, when discovered apparently dead, she is
laid in the family crypt.</div>
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The messenger, however, does not reach Romeo and, instead, Romeo
learns of Juliet's apparent death from his servant Balthasar.
Heartbroken, Romeo buys poison from an apothecary and goes to the Capulet crypt.
He encounters Paris who has come to mourn Juliet privately. Believing
Romeo to be a vandal, Paris confronts him and, in the ensuing battle,
Romeo kills Paris. Still believing Juliet to be dead, he drinks the
poison. Juliet then awakens and, finding Romeo dead, stabs herself with
his dagger. The feuding families and the Prince meet at the tomb to find
all three dead. Friar Laurence recounts the story of the two
"star-cross'd lovers". The families are reconciled by their children's
deaths and agree to end their violent feud. The play ends with the
Prince's elegy for the lovers: "For never was a story of more woe / Than
this of Juliet and her Romeo."<sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-4"></a></sup></div>
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<span class="mw-headline" id="Themes_and_motifs">Themes and motifs</span></h2>
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Scholars have found it extremely difficult to assign one specific, overarching theme
to the play. Proposals for a main theme include a discovery by the
characters that human beings are neither wholly good nor wholly evil,
but instead are more or less alike,<sup class="reference" id="cite_ref-Bowling_208_27-0"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Bowling_208-27"></a></sup>
awaking out of a dream and into reality, the danger of hasty action, or
the power of tragic fate. None of these have widespread support.
However, even if an overall theme cannot be found it is clear that the
play is full of several small, thematic elements that intertwine in
complex ways. Several of those most often debated by scholars are
discussed below.<sup class="reference" id="cite_ref-28"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-28"></a></sup></div>
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<span class="mw-headline" id="Love">Love</span></h3>
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<i>Romeo and Juliet</i> is sometimes considered to have no unifying theme, save that of young love.<sup class="reference" id="cite_ref-Bowling_208_27-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Bowling_208-27"></a></sup>
Romeo and Juliet have become emblematic of young lovers and doomed
love. Since it is such an obvious subject of the play, several scholars
have explored the language and historical context behind the romance of
the play.<sup class="reference" id="cite_ref-Honegger_30-0"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Honegger-30"></a></sup></div>
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On their first meeting, Romeo and Juliet use a form of communication
recommended by many etiquette authors in Shakespeare's day: metaphor. By
using metaphors of saints and sins, Romeo was able to test Juliet's
feelings for him in a non-threatening way. This method was recommended
by Baldassare Castiglione
(whose works had been translated into English by this time). He pointed
out that if a man used a metaphor as an invitation, the woman could
pretend she did not understand him, and he could retreat without losing
honour. Juliet, however, participates in the metaphor and expands on it.
The religious metaphors of "shrine", "pilgrim" and "saint" were
fashionable in the poetry of the time and more likely to be understood
as romantic rather than blasphemous, as the concept of sainthood was
associated with the Catholicism of an earlier age.<sup class="reference" id="cite_ref-31"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-31"></a></sup>
Later in the play, Shakespeare removes the more daring allusions to
Christ's resurrection in the tomb he found in his source work: Brooke's <i>Romeus and Juliet</i>.<sup class="reference" id="cite_ref-32"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-32"></a></sup></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBsrgvsERiIF5tOwdjMHzb9DzH-JRXEmV4NPxpUUMy5d0KikTfdrv_nNJxXpl9GgxBCODNYHLJpFQno7a02BKOXqx7qr8hgNTz_BUUmUAMMYJVcbkBcNxKVex6w1WtmuTFitWR8MRmXOg/s1600/romeo.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBsrgvsERiIF5tOwdjMHzb9DzH-JRXEmV4NPxpUUMy5d0KikTfdrv_nNJxXpl9GgxBCODNYHLJpFQno7a02BKOXqx7qr8hgNTz_BUUmUAMMYJVcbkBcNxKVex6w1WtmuTFitWR8MRmXOg/s1600/romeo.gif" /></a>In the later balcony scene, Shakespeare has Romeo overhear Juliet's
soliloquy, but in Brooke's version of the story her declaration is done
alone. By bringing Romeo into the scene to eavesdrop, Shakespeare breaks
from the normal sequence of courtship. Usually a woman was required to
be modest and shy to make sure that her suitor was sincere, but breaking
this rule serves to speed along the plot. The lovers are able to skip
courting, and move on to plain talk about their relationship— agreeing
to be married after knowing each other for only one night.<sup class="reference" id="cite_ref-Honegger_30-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Honegger-30"></a></sup>
In the final suicide scene, there is a contradiction in the message—in
the Catholic religion, suicides were often thought to be condemned to
hell, whereas people who die to be with their loves under the "Religion of Love"
are joined with their loves in paradise. Romeo and Juliet's love seems
to be expressing the "Religion of Love" view rather than the Catholic
view. Another point is that although their love is passionate, it is
only consummated in marriage, which prevents them from losing the
audience's sympathy.<sup class="reference" id="cite_ref-33"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-33"></a></sup></div>
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The play arguably equates love and sex with death. Throughout the
story, both Romeo and Juliet, along with the other characters, fantasise
about it as a dark being, often equating it with a lover. Capulet, for example, when he first discovers Juliet's (faked) death, describes it as having deflowered his daughter.<sup class="reference" id="cite_ref-34"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-34"></a></sup>
Juliet later erotically compares Romeo and death. Right before her
suicide she grabs Romeo's dagger, saying "O happy dagger! This is thy
sheath. There rust, and let me die."<sup class="reference" id="cite_ref-35"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-35"></a></sup><sup class="reference" id="cite_ref-36"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-36"></a></sup></div>
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<span class="mw-headline" id="Fate_and_chance">Fate and chance</span></h3>
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Scholars are divided on the role of fate in the play. No consensus
exists on whether the characters are truly fated to die together or
whether the events take place by a series of unlucky chances. Arguments
in favour of fate often refer to the description of the lovers as "star-cross'd". This phrase seems to hint that the stars have predetermined the lovers' future.<sup class="reference" id="cite_ref-38"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-38"></a></sup> John W. Draper points out the parallels between the Elizabethan belief in the four humours
and the main characters of the play (for example, Tybalt as a
choleric). Interpreting the text in the light of humours reduces the
amount of plot attributed to chance by modern audiences.<sup class="reference" id="cite_ref-Draper_16_39-0"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Draper_16-39"></a></sup>
Still, other scholars see the play as a series of unlucky chances—many
to such a degree that they do not see it as a tragedy at all, but an
emotional melodrama.<sup class="reference" id="cite_ref-Draper_16_39-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Draper_16-39"></a></sup> Ruth Nevo believes the high degree to which chance is stressed in the narrative makes <i>Romeo and Juliet</i>
a "lesser tragedy" of happenstance, not of character. For example,
Romeo's challenging Tybalt is not impulsive; it is, after Mercutio's
death, the expected action to take. In this scene, Nevo reads Romeo as
being aware of the dangers of flouting social norms, identity and commitments. He makes the choice to kill, not because of a tragic flaw, but because of circumstance .</div>
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<span class="mw-headline" id="Duality_.28light_and_dark.29">Duality (light and dark)</span></h3>
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Scholars have long noted Shakespeare's widespread use of light and dark imagery throughout the play. Caroline Spurgeon
considers the theme of light as "symbolic of the natural beauty of
young love" and later critics have expanded on this interpretation.<sup class="reference" id="cite_ref-Nevo_241_40-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Nevo_241-40"></a></sup><sup class="reference" id="cite_ref-Parker_663_42-0"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Parker_663-42"></a></sup>
For example, both Romeo and Juliet see the other as light in a
surrounding darkness. Romeo describes Juliet as being like the sun,<sup class="reference" id="cite_ref-43"></sup> brighter than a torch,<sup class="reference" id="cite_ref-44"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-44"></a></sup> a jewel sparkling in the night,<sup class="reference" id="cite_ref-45"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-45"></a></sup> and a bright angel among dark clouds.<sup class="reference" id="cite_ref-46"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-46"></a></sup> Even when she lies apparently dead in the tomb, he says her "beauty makes This vault a feasting presence full of light.<sup class="reference" id="cite_ref-47"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-47"></a></sup>Juliet describes Romeo as "day in night" and "Whiter than snow upon a raven's back."<sup class="reference" id="cite_ref-48"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-48"></a></sup><sup class="reference" id="cite_ref-49"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-49"></a></sup>This contrast of light and dark can be expanded as symbols—contrasting love and hate, youth and age in a metaphoric way.<sup class="reference" id="cite_ref-Nevo_241_40-2"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Nevo_241-40"></a></sup> Sometimes these intertwining metaphors create dramatic irony.
For example, Romeo and Juliet's love is a light in the midst of the
darkness of the hate around them, but all of their activity together is
done in night and darkness, while all of the feuding is done in broad
daylight. This paradox of imagery adds atmosphere to the moral dilemma
facing the two lovers: loyalty to family or loyalty to love. At the end
of the story, when the morning is gloomy and the sun hiding its face
for sorrow, light and dark have returned to their proper places, the
outward darkness reflecting the true, inner darkness of the family feud
out of sorrow for the lovers. All characters now recognise their folly
in light of recent events, and things return to the natural order,
thanks to the love of Romeo and Juliet.<sup class="reference" id="cite_ref-Parker_663_42-1"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Parker_663-42"></a></sup>
The "light" theme in the play is also heavily connected to the theme of
time, since light was a convenient way for Shakespeare to express the
passage of time through descriptions of the sun, moon, and stars.<sup class="reference" id="cite_ref-Tanselle_50-0"><a href="http://en.wikipedia.org/wiki/Romeo_and_Juliet#cite_note-Tanselle-50"></a></sup></div>
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Romeo is a passionate, extreme, excitable,
intelligent, and moody young man, well-liked and admired throughout
Verona. He is loyal to his friends, but his behavior is somewhat
unpredictable. At the beginning of the play, he mopes over his hopeless
unrequited love for Rosaline. In Juliet, Romeo finds a legitimate
object for the extraordinary passion that he is capable of feeling,
and his unyielding love for her takes control of him.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfccY-_KMpJVk7Yu5Hie4ZOVm-kwrBhfzg_9AgsoQnxMdjm6tFv10Tp27vZKSDNgNKCprwSyx60vn2dVIP1cAP4vzus0gLwFOQCUZUjmpaJXf7u1n0xbgEg4AAHEYwizt-30EtVPGM0Yw/s1600/romeo002.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfccY-_KMpJVk7Yu5Hie4ZOVm-kwrBhfzg_9AgsoQnxMdjm6tFv10Tp27vZKSDNgNKCprwSyx60vn2dVIP1cAP4vzus0gLwFOQCUZUjmpaJXf7u1n0xbgEg4AAHEYwizt-30EtVPGM0Yw/s1600/romeo002.gif" /></a>Juliet, on the other hand, is an innocent girl, a child
at the beginning of the play, and is startled by the sudden power
of her love for Romeo. Guided by her feelings for him, she develops
very quickly into a determined, capable, mature, and loyal woman
who tempers her extreme feelings of love with sober-mindedness.</div>
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The attraction between Romeo and Juliet is immediate and
overwhelming, and neither of the young lovers comments on or pretends to
understand its cause. Each mentions the other’s beauty, but it seems
that destiny, rather than any particular character trait, has drawn
them together. Their love for one another is so undeniable that
neither they nor the audience feels the need to question or explain
it.</div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-78383287439134147382013-01-29T09:50:00.000-08:002013-01-29T09:50:02.116-08:00Hamlet<div dir="rtl" style="text-align: right;" trbidi="on">
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Hamlet</h1>
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<i><b>The Tragedy of Hamlet, Prince of Denmark</b></i> is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude,
the old king's widow and Prince Hamlet's mother. The play vividly
portrays both true and feigned madness – from overwhelming sorrow to
seething rage – and explores themes of treachery, revenge, incest, and
moral corruption and family.</div>
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<i>Hamlet</i> is Shakespeare's longest play and among the most
powerful and influential tragedies in all of English literature, with a
story capable of "seemingly endless retelling and adaptation by others."<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-1"><span></span><span></span></a></sup>The play was one of Shakespeare's most popular works during his lifetime<sup class="reference" id="cite_ref-popular_2-0"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-popular-2"><span></span><span></span></a></sup> and still ranks among his most-performed, topping the Royal Shakespeare Company's performance list since 1879.<sup class="reference" id="cite_ref-3"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-3"><span></span><span></span></a></sup> It has inspired writers from Goethe and Dickens to Joyce and Murdoch, and has been described as "the world's most filmed story after <i>Cinderella</i>".<sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-4"><span></span><span></span></a></sup></div>
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It has been theorized that <i>Hamlet</i> is based on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his <i>Gesta Danorum</i> as subsequently retold by 16th-century scholar François de Belleforest. Shakespeare may also have drawn on or perhaps written an earlier (hypothetical) Elizabethan play known today as the <i>Ur-Hamlet</i>. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time.<sup class="reference" id="cite_ref-gary_5-0"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-gary-5"><span></span><span></span></a></sup> In the 400 years since, the role has been performed by highly acclaimed actors and actresses from each successive age.</div>
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Three different early versions of the play are extant, the First Quarto (Q1, 1603), the Second Quarto (Q2, 1604), and the First Folio
(F1, 1623). Each version includes lines, and even entire scenes,
missing from the others. The structure and depth of characterisation
have inspired much critical scrutiny. One such example is the
centuries-old debate about Hamlet's hesitation to kill his uncle, which
some see as a mere plot device
to prolong the action, but which others argue is a dramatization of the
complex philosophical and ethical issues that surround cold-blooded
murder, calculated revenge, and thwarted desire. More recently, psychoanalytic critics have examined Hamlet's unconscious desires, and feminist critics have re-evaluated and rehabilitated the often maligned characters of Ophelia and Gertrude.</div>
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<i><span class="mw-headline" id="Characters">Characters</span></i></h2>
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<b>Hamlet</b> – Son of the former King, and nephew of the present King.<br /><b>Claudius</b> – King of Denmark, and Hamlet's uncle.<br /><b>Gertrude</b> – Queen of Denmark, and mother to Hamlet.<br /><b>Polonius</b> – Lord Chamberlain<br /><b>Ophelia</b> – Daughter to Polonius<br /><b>Horatio</b> – Friend to Hamlet<br /><b>Laertes</b> – Son to Polonius<br /><b>Voltimand</b> and <b>Cornelius</b> – Courtiers<br /><b>Rosencrantz</b> and <b>Guildenstern</b> – Courtiers, friends to Hamlet</div>
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<i><span class="mw-headline" id="Plot">Plot</span></i></h2>
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The protagonist of <i>Hamlet</i> is Prince Hamlet of Denmark, son of deceased King Hamlet and his wife, Queen Gertrude.<br />
The story opens on a chilly night at Elsinore,
the Danish royal castle. Francisco, one of the sentinels, is relieved
of his watch by Bernardo, another sentinel, and exits while Bernardo
remains. A third sentinel, Marcellus, enters with Horatio, Hamlet's best friend. The sentinels
inform Horatio that they have seen a ghost that looks like the dead
King Hamlet. After hearing from Horatio of the Ghost's appearance,
Hamlet resolves to see the Ghost himself. That night, the Ghost appears
again. It leads Hamlet to a secluded place, claims that it is the actual
spirit of his father, and discloses that he—the elder Hamlet—was
murdered by his brother Claudius pouring poison
in his ear. The Ghost demands that Hamlet avenge him; Hamlet agrees,
swears his companions to secrecy, and tells them he intends to "put an
antic disposition on"<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-7"><span></span><span></span></a></sup>(presumably to avert suspicion). Hamlet initially attests to the
ghost's reliability, calling him both an "honest ghost" and "truepenny."
Later, however, he expresses doubts about the ghost's nature and
intent, claiming these as reasons for his inaction.<br />
Polonius is Claudius's trusted chief counsellor and friend; Polonius's son, Laertes, is returning to France, and Polonius's daughter, Ophelia,
is courted by Hamlet. Both Polonius and Laertes warn Ophelia that
Hamlet is surely not serious about her. Shortly afterward, Ophelia is
alarmed by Hamlet's strange behaviour, reporting to her father that
Hamlet rushed into her room, stared at her, and said nothing. Polonius
assumes that the "ecstasy of love"<sup class="reference" id="cite_ref-8"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-8"><span></span><span></span></a></sup>is responsible for Hamlet's "mad" behaviour, and he informs Claudius and Gertrude.<br />
Perturbed by Hamlet's continuing deep mourning for his father and his
increasingly erratic behaviour, Claudius sends for two of Hamlet's
acquaintances—Rosencrantz and Guildenstern—to
find out the cause of Hamlet's changed behaviour. Hamlet greets his
friends warmly but quickly discerns that they have been sent to spy on
him.<br />
Together, Claudius and Polonius convince Ophelia to speak with Hamlet
while they secretly listen. Hamlet enters, contemplating suicide (<b><i>To be, or not to be</i></b>).
Ophelia greets him, and offers to return his remembrances, upon which
Hamlet questions her honesty and furiously rants at her to "get thee to a
nunnery."<sup class="reference" id="cite_ref-Nunnery_9-0"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-Nunnery-9"><span></span><span></span></a></sup><br />
<br /><a class="image" href="http://en.wikipedia.org/wiki/File:Eug%C3%A8ne_Ferdinand_Victor_Delacroix_018.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="212" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Eug%C3%A8ne_Ferdinand_Victor_Delacroix_018.jpg/170px-Eug%C3%A8ne_Ferdinand_Victor_Delacroix_018.jpg" width="170" /></a>Hamlet remains uncertain whether the Ghost has told him the truth,
but the arrival of a troupe of actors at Elsinore presents him with a
solution. He will have them stage a play, <i>The Murder of Gonzago</i>,
re-enacting his father's murder and determine Claudius's guilt or
innocence by studying his reaction to it. The court assembles to watch
the play; Hamlet provides an agitated running commentary throughout.
When the murder scene is presented, Claudius abruptly rises and leaves
the room, which Hamlet sees as proof of his uncle's guilt.<br />
Gertrude summons Hamlet to her closet to demand an explanation. On
his way, Hamlet passes Claudius in prayer, but hesitates to kill him,
reasoning that death in prayer would send him to heaven. However, it is
revealed that the King is not truly praying, remarking that "words"
never made it to heaven without "thoughts."<sup class="reference" id="cite_ref-11"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-11"><span></span><span></span></a></sup>An argument erupts between Hamlet and Gertrude. Polonius, spying on the
scene from behind an arras and convinced that the prince's madness is
indeed real, panics when it seems as if Hamlet is about to murder the
Queen and cries out for help. Hamlet, believing it is Claudius hiding
behind the arras,
stabs wildly through the cloth, killing Polonius. When he realises that
he has killed Ophelia's father, he is not immediately remorseful in
speech, for Polonius listening dies a fool, but calls Polonius "Thou
wretched, rash, intruding fool." Yet shortly after speaks remorse, "I
repent: but heaven hath pleased it so."
The Ghost appears, urging Hamlet to treat Gertrude gently, but
reminding him to kill Claudius. Unable to see or hear the Ghost herself,
Gertrude takes Hamlet's conversation with it as further evidence of
madness.<br />
Claudius, now fearing for his life, finds a legitimate excuse to get
rid of the prince: he sends Hamlet to England on a diplomatic pretext,
accompanied (and closely watched) by Rosencrantz and Guildenstern.
Alone, Claudius discloses that he is actually sending Hamlet to his
death. Prior to embarking for England, Hamlet hides Polonius's body,
ultimately revealing its location to the King. Upon leaving Elsinore,
Hamlet encounters the army of Prince Fortinbras en route to do battle in
Poland. Upon witnessing so many men going to their death on the brash
whim of an impulsive prince, Hamlet declares, "O, from this time forth, /
My thoughts be bloody, or be nothing worth!"<sup class="reference" id="cite_ref-13"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-13"><span></span><span></span></a></sup><br />
At Elsinore, further demented by grief at her father Polonius's
death, Ophelia wanders the castle, acting erratically and singing bawdy
songs. Her brother, Laertes, returns from France, horrified by his
father's death and his sister's madness. She appears briefly to give out
herbs and flowers. Claudius convinces Laertes that Hamlet is solely
responsible; then news arrives that Hamlet is still alive—a story is
spread that his ship was attacked by pirates
on the way to England, and he has returned to Denmark. Claudius swiftly
concocts a plot to kill his nephew but make it appear to be an
accident, taking all of the blame off his shoulders. Knowing of Hamlet's
jealousy of Laertes' prowess with a sword, he proposes a fencing
match between the two. Laertes, enraged at the murder of his father,
informs the king that he will further poison the tip of his sword so
that a mere scratch would mean certain death. Claudius, unsure that
capable Hamlet could receive even a scratch, plans to offer Hamlet
poisoned wine if that fails. Gertrude enters to report that Ophelia has
drowned.<br />
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<a class="image" href="http://en.wikipedia.org/wiki/File:Prince_Hamlet_kill_King_Claudius,_in_Shakespeare%27s_Hamlet_.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="253" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Prince_Hamlet_kill_King_Claudius%2C_in_Shakespeare%27s_Hamlet_.jpg/170px-Prince_Hamlet_kill_King_Claudius%2C_in_Shakespeare%27s_Hamlet_.jpg" width="170" /></a>In the Elsinore churchyard, two "clowns",
typically represented as "gravediggers," enter to prepare Ophelia's
grave, and although the coroner has ruled her death accidental so that
she may receive Christian burial, they argue that it was a case of
suicide. Hamlet arrives with Horatio and banters with one of them, who
unearths the skull of a jester whom Hamlet once knew, Yorick
("Alas, Poor Yorick; I knew him, Horatio."). Ophelia's funeral
procession approaches, led by her mournful brother Laertes. Distraught
at the lack of ceremony (due to the actually-deemed suicide) and
overcome by emotion, Laertes leaps into the grave, cursing Hamlet as the
cause of her death. Hamlet interrupts, professing his own love and
grief for Ophelia. He and Laertes grapple, but the fight is broken up by
Claudius and Gertrude. Claudius reminds Laertes of the planned fencing
match.<br />
Later that day, Hamlet tells Horatio how he escaped death on his
journey, disclosing that Rosencrantz and Guildenstern have been sent to
their deaths instead. A courtier, Osric,
interrupts to invite Hamlet to fence with Laertes. Despite Horatio's
warnings, Hamlet accepts and the match begins. After several rounds,
Gertrude toasts Hamlet—against the urgent warning of
Claudius—accidentally drinking the wine he poisoned. Between bouts,
Laertes attacks and pierces Hamlet with his poisoned blade; in the
ensuing scuffle, Hamlet is able to use Laertes's own poisoned sword
against him. Gertrude falls and, in her dying breath, announces that she
has been poisoned.<br />
In his dying moments, Laertes is reconciled with Hamlet and reveals
Claudius's murderous plot. Hamlet stabs Claudius with the poisoned
sword, and then forces him to drink from his own poisoned cup to make
sure he dies. In his final moments, Hamlet names Prince Fortinbras of Norway
as the probable heir to the throne, since the Danish kingship is an
elected position, with the country's nobles having the final say.
Horatio attempts to kill himself with the same poisoned wine but is
stopped by Hamlet, so he will be the only one left alive to give a full
account of the story.<br />
When Fortinbras arrives to greet King Claudius, he encounters the
deadly scene: Gertrude, Claudius, Laertes, and Hamlet are all dead.
Horatio asks to be allowed to recount the tale to "the yet unknowing
world," and Fortinbras orders Hamlet's body borne off in honour.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdlEac_lBj1ZEqfYTqW_e-CKKlJNWYKDZncoogZ7uJYNOqnJRyoFKDBitz7Z-f-Q7q64lQRA0VM5fX9VvzraxjRnijoHD9ZHI5b9u0FK_1NT3ySy9k-y90YTiNT3iHzv9AGliJb2jUWg/s1600/HAMLET.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdlEac_lBj1ZEqfYTqW_e-CKKlJNWYKDZncoogZ7uJYNOqnJRyoFKDBitz7Z-f-Q7q64lQRA0VM5fX9VvzraxjRnijoHD9ZHI5b9u0FK_1NT3ySy9k-y90YTiNT3iHzv9AGliJb2jUWg/s1600/HAMLET.gif" /></a>Horatio’s steadfastness and loyalty contrasts
with Hamlet’s variability and excitability, though both share a
love of learning, reason, and thought. Claudius’s willingness to
disregard all moral law and act decisively to fulfill his appetites
and lust for power contrasts powerfully with Hamlet’s concern for
morality and indecisive inability to act. Fortinbras’s willingness
to go to great lengths to avenge his father’s death, even to the
point of waging war, contrasts sharply with Hamlet’s inactivity,
even though both of them are concerned with avenging their fathers.
Laertes’ single-minded, furious desire to avenge Polonius stands
in stark opposition to Hamlet’s inactivity with regard to his own
father’s death. Finally, Hamlet, Laertes, and Fortinbras are all
in a position to seek revenge for the murders of their fathers,
and their situations are deeply intertwined. Hamlet’s father killed
Fortinbras’s father, and Hamlet killed Laertes’ father, meaning
that Hamlet occupies the same role for Laertes as Claudius does
for Hamlet. <br />
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<i><span class="mw-headline" id="Context_and_interpretation">Context and interpretation</span></i></h2>
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<span class="mw-headline" id="Religious">Religious</span></h3>
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Written at a time of religious upheaval, and in the wake of the English Reformation, the play is alternately Catholic (or piously medieval) and Protestant (or consciously modern). The Ghost describes himself as being in purgatory, and as dying without last rites.
This and Ophelia's burial ceremony, which is characteristically
Catholic, make up most of the play's Catholic connections. Some scholars
have observed that revenge tragedies
come from traditionally Catholic countries, such as Spain and Italy;
and they present a contradiction, since according to Catholic doctrine
the strongest duty is to God and family. Hamlet's conundrum, then, is
whether to avenge his father and kill Claudius, or to leave the
vengeance to God, as his religion requires.<sup class="reference" id="cite_ref-75"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-75"><span></span><span></span></a></sup><br />
<a class="image" href="http://en.wikipedia.org/wiki/File:John_Everett_Millais_-_Ophelia_-_Google_Art_Project.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="150" src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/94/John_Everett_Millais_-_Ophelia_-_Google_Art_Project.jpg/220px-John_Everett_Millais_-_Ophelia_-_Google_Art_Project.jpg" width="220" /></a>Much of the play's Protestantism derives from its location in
Denmark—both then and now a predominantly Protestant country, though it
is unclear whether the fictional Denmark of the play is intended to
mirror this fact. The play does mention Wittenberg, where Hamlet, Horatio, and Rosencrantz and Guildenstern attend university, and where Martin Luther first proposed his 95 theses in 1517, effectively ushering in the Protestant Reformation.<sup class="reference" id="cite_ref-76"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-76"><span></span><span></span></a></sup> In Shakespeare's day Denmark, as the majority of Scandinavia, was Lutheran.<sup class="reference" id="cite_ref-77"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-77"><span></span><span></span></a></sup><br />
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<span class="mw-headline" id="Philosophical">Philosophical</span></h3>
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<a class="image" href="http://en.wikipedia.org/wiki/File:Michel-eyquem-de-montaigne_1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="261" src="http://upload.wikimedia.org/wikipedia/commons/thumb/2/25/Michel-eyquem-de-montaigne_1.jpg/170px-Michel-eyquem-de-montaigne_1.jpg" width="170" /></a>Hamlet is often perceived as a philosophical character, expounding ideas that are now described as relativist, existentialist, and sceptical.
For example, he expresses a subjectivistic idea when he says to
Rosencrantz: "there is nothing either good or bad, but thinking makes it
so".<sup class="reference" id="cite_ref-78"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-78"><span></span><span></span></a></sup>The idea that nothing is real except in the mind of the individual finds its roots in the Greek Sophists,
who argued that since nothing can be perceived except through the
senses—and since all individuals sense, and therefore perceive, things
differently—there is no absolute truth, only relative truth.<sup class="reference" id="cite_ref-79"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-79"><span></span><span></span></a></sup>The clearest alleged instance of existentialism is in the "to be, or not to be"<sup class="reference" id="cite_ref-80"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-80"><span></span><span></span></a></sup> speech, where Hamlet is thought by some to use "being" to allude to life and action, and "not being" to death and inaction.<br />
<i>Hamlet</i> reflects the contemporary scepticism promoted by the French Renaissance humanist, Montaigne.<sup class="reference" id="cite_ref-m49_81-0"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-m49-81"><span></span><span></span></a></sup>Prior to Montaigne's time, humanists such as Pico della Mirandola
had argued that man was God's greatest creation, made in God's image
and able to choose his own nature, but this view was subsequently
challenged in Michel de Montaigne's <i>Essais</i> of 1580. Hamlet's "What a piece of work is a man"
echoes many of Montaigne's ideas, but scholars disagree whether
Shakespeare drew directly from Montaigne or whether both men were simply
reacting similarly to the spirit of the times.<sup class="reference" id="cite_ref-82"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-82"><span></span><span></span></a></sup><br />
In his openness to embrace the message of the ghost, Hamlet assuages
Horatio's wonderment with the analytical assertion, "There are more
things in heaven and earth, Horatio, than are dreamt of in your
philosophy."<br />
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<span class="mw-headline" id="Feminist">Feminist</span></h3>
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<a class="image" href="http://en.wikipedia.org/wiki/File:Ophelia_-_Henrietta_Rae.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="151" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Ophelia_-_Henrietta_Rae.jpg/220px-Ophelia_-_Henrietta_Rae.jpg" width="220" /></a>In the 20th century feminist critics opened up new approaches to Gertrude and Ophelia. Though it is said that they are off.<sup class="reference" id="cite_ref-94"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-94"><span></span><span></span></a></sup> New Historicist and cultural materialist critics examined the play in its historical context, attempting to piece together its original cultural environment.<sup class="reference" id="cite_ref-95"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-95"><span></span><span></span></a></sup>They focused on the gender system of early modern England, pointing to the common trinity of <i>maid, wife, or widow</i>, with <i>whores</i> alone outside of the stereotype. In this analysis, the essence of <i>Hamlet</i>
is the central character's changed perception of his mother as a whore
because of her failure to remain faithful to Old Hamlet. In consequence,
Hamlet loses his faith in all women, treating Ophelia as if she too
were a whore and dishonest with Hamlet. Ophelia, by some critics, can be
honest and fair; however, it is virtually impossible to link these two
traits, since 'fairness' is an outward trait, while 'honesty' is an
inward trait.<sup class="reference" id="cite_ref-96"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-96"><span></span><span></span></a></sup><br />
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<a class="image" href="http://en.wikipedia.org/wiki/File:Hamlet_%28Abildgaard%29.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" class="thumbimage" height="172" src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Hamlet_%28Abildgaard%29.jpg/220px-Hamlet_%28Abildgaard%29.jpg" width="220" /></a>Carolyn Heilbrun's
1957 essay "The Character of Hamlet's Mother" defends Gertrude, arguing
that the text never hints that Gertrude knew of Claudius poisoning King
Hamlet. This analysis has been championed by many feminist critics,
despite that Gertrude remains incestuous and is found very guilty saying
to Hamlet, "Thou turn'st mine eyes into my very soul; And there I see
such black and grained spots, as will not leave their tinct." Yet
Heilbrun argued that men have for centuries completely misinterpreted
Gertrude. By this account, no clear evidence suggests that Gertrude is
an adulteress but pervertedly adapting to the circumstances of her
husband's death for the good of the kingdom.<sup class="reference" id="cite_ref-97"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-97"><span></span><span></span></a></sup><sup class="reference" id="cite_ref-98"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-98"><span></span><span></span></a></sup><br />
Ophelia has also been defended by feminist critics, most notably Elaine Showalter.<sup class="reference" id="cite_ref-99"><span></span><span></span></sup>
Ophelia is surrounded by powerful men: her father, brother, and Hamlet.
All three disappear: Laertes leaves, Hamlet abandons her, and Polonius
dies. Conventional theories had argued that without these three powerful
men making decisions for her, Ophelia is driven into madness.<sup class="reference" id="cite_ref-100"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-100"><span></span><span></span></a></sup>
Feminist theorists argue that she goes mad with guilt because, when
Hamlet kills her father, he has fulfilled her sexual desire to have
Hamlet kill her father so they can be together. Showalter points out
that Ophelia has become the symbol of the distraught and hysterical
woman in modern culture.<br />
<br />
<br />
<div class="studyGuideText" id="themesms">
<h3 class="innerUnderlined">
Themes, Motifs & Symbols</h3>
<h4>
Themes</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<span style="font-size: large;">The Impossibility of Certainty</span></h5>
What separates <i>Hamlet</i> from other revenge
plays (and maybe from every play written before it) is that the
action we expect to see, particularly from Hamlet himself, is continually
postponed while Hamlet tries to obtain more certain knowledge about
what he is doing. This play poses many questions that other plays
would simply take for granted. Can we have certain knowledge about
ghosts? Is the ghost what it appears to be, or is it really a misleading
fiend? Does the ghost have reliable knowledge about its own death,
or is the ghost itself deluded? Moving to more earthly matters:
How can we know for certain the facts about a crime that has no
witnesses? Can Hamlet know the state of Claudius’s soul by watching
his behavior? If so, can he know the facts of what Claudius
did by observing the state of his soul? Can Claudius (or the audience)
know the state of Hamlet’s mind by observing his behavior and listening
to his speech? Can we know whether our actions will have the consequences
we want them to have? Can we know anything about the afterlife?<br />
Many people have seen <i>Hamlet</i> as a play
about indecisiveness, and thus about Hamlet’s failure to act appropriately.
It might be more interesting to consider that the play shows us
how many uncertainties our lives are built upon, how many unknown
quantities are taken for granted when people act or when they evaluate
one another’s actions.<br />
<h5>
<span style="font-size: large;">The Complexity of Action</span></h5>
Directly related to the theme of certainty is the theme
of action. How is it possible to take reasonable, effective, purposeful
action? In <i>Hamlet, </i>the question of how to act is
affected not only by rational considerations, such as the need for
certainty, but also by emotional, ethical, and psychological factors.
Hamlet himself appears to distrust the idea that it’s even possible
to act in a controlled, purposeful way. When he does act, he prefers
to do it blindly, recklessly, and violently. The other characters
obviously think much less about “action” in the abstract than Hamlet
does, and are therefore less troubled about the possibility of acting
effectively. They simply act as they feel is appropriate. But in
some sense they prove that Hamlet is right, because all of their
actions miscarry. Claudius possesses himself of queen and
crown through bold action, but his conscience torments him, and
he is beset by threats to his authority (and, of course, he dies).
Laertes resolves that nothing will distract him from acting out
his revenge, but he is easily influenced and manipulated into serving
Claudius’s ends, and his poisoned rapier is turned back upon himself.<br />
<h5>
<span style="font-size: large;">The Mystery of Death</span></h5>
In the aftermath of his father’s murder, Hamlet is obsessed
with the idea of death, and over the course of the play he considers
death from a great many perspectives. He ponders both the spiritual
aftermath of death, embodied in the ghost, and the physical remainders of
the dead, such as by Yorick’s skull and the decaying corpses in
the cemetery. Throughout, the idea of death is closely tied to the
themes of spirituality, truth, and uncertainty in that death may
bring the answers to Hamlet’s deepest questions, ending once and
for all the problem of trying to determine truth in an ambiguous
world. And, since death is both the cause and the consequence of
revenge, it is intimately tied to the theme of revenge and justice—Claudius’s
murder of King Hamlet initiates Hamlet’s quest for revenge, and
Claudius’s death is the end of that quest.<br />
The question of his own death plagues Hamlet as well,
as he repeatedly contemplates whether or not suicide is a morally
legitimate action in an unbearably painful world. Hamlet’s grief
and misery is such that he frequently longs for death to end his
suffering, but he fears that if he commits suicide, he will be consigned
to eternal suffering in hell because of the Christian religion’s
prohibition of suicide. In his famous “To be or not to be” soliloquy
(III.i), Hamlet philosophically concludes that no one would choose
to endure the pain of life if he or she were not afraid of what
will come after death, and that it is this fear which causes complex
moral considerations to interfere with the capacity for action.<br />
<h5>
<span style="font-size: large;">The Nation as a Diseased Body</span></h5>
Everything is connected in <i>Hamlet,</i> including
the welfare of the royal family and the health of the state as a
whole. The play’s early scenes explore the sense of anxiety and
dread that surrounds the transfer of power from one ruler to the
next. Throughout the play, characters draw explicit connections
between the moral legitimacy of a ruler and the health of the nation.
Denmark is frequently described as a physical body made ill by the
moral corruption of Claudius and Gertrude, and many observers interpret
the presence of the ghost as a supernatural omen indicating that
“[s]omething is rotten in the state of Denmark” (I.iv.67).
The dead King Hamlet is portrayed as a strong, forthright ruler
under whose guard the state was in good health, while Claudius,
a wicked politician, has corrupted and compromised Denmark to satisfy
his own appetites. At the end of the play, the rise to power of
the upright Fortinbras suggests that Denmark will be strengthened
once again.<br />
<h4>
Motifs</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<span style="font-size: large;">Incest and Incestuous Desire</span></h5>
The motif of incest runs throughout the play and is frequently alluded
to by Hamlet and the ghost, most obviously in conversations about
Gertrude and Claudius, the former brother-in-law and sister-in-law
who are now married. A subtle motif of incestuous desire can be
found in the relationship of Laertes and Ophelia, as Laertes sometimes
speaks to his sister in suggestively sexual terms and, at her funeral,
leaps into her grave to hold her in his arms. However,
the strongest overtones of incestuous desire arise in the relationship
of Hamlet and Gertrude, in Hamlet’s fixation on Gertrude’s sex life
with Claudius and his preoccupation with her in general. <br />
<h5>
<span style="font-size: large;">Misogyny</span></h5>
Shattered by his mother’s decision to marry Claudius so
soon after her husband’s death, Hamlet becomes cynical about women
in general, showing a particular obsession with what he perceives
to be a connection between female sexuality and moral corruption.
This motif of misogyny, or hatred of women, occurs sporadically throughout
the play, but it is an important inhibiting factor in Hamlet’s relationships
with Ophelia and Gertrude. He urges Ophelia to go to a nunnery rather
than experience the corruptions of sexuality and exclaims of Gertrude,
“Frailty, thy name is woman” (I.ii.146).<br />
<h5>
<span style="font-size: large;">Ears and Hearing</span></h5>
One facet of <i>Hamlet’</i>s exploration of
the difficulty of attaining true knowledge is slipperiness of language.
Words are used to communicate ideas, but they can also be used to
distort the truth, manipulate other people, and serve as tools in
corrupt quests for power. Claudius, the shrewd politician, is the
most obvious example of a man who manipulates words to enhance his
own power. The sinister uses of words are represented by images
of ears and hearing, from Claudius’s murder of the king by pouring
poison into his ear to Hamlet’s claim to Horatio that “I have words
to speak in thine ear will make thee dumb” (IV.vi.21).
The poison poured in the king’s ear by Claudius is used by the ghost
to symbolize the corrosive effect of Claudius’s dishonesty on the
health of Denmark. Declaring that the story that he was killed by
a snake is a lie, he says that “the whole ear of Denmark” is “Rankly
abused. . . .” (I.v.36–38).<br />
<h4>
Symbols</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<span style="font-size: large;">Yorick’s Skull</span></h5>
In<i> Hamlet,</i> physical objects are rarely
used to represent thematic ideas. One important exception is Yorick’s
skull, which Hamlet discovers in the graveyard in the first scene
of Act V. As Hamlet speaks to the skull and about the skull of the
king’s former jester, he fixates on death’s inevitability and the
disintegration of the body. He urges the skull to “get you to my
lady’s chamber, and tell her, let her paint an inch thick, to this
favor she must come”—no one can avoid death (V.i.178–179).
He traces the skull’s mouth and says, “Here hung those lips that
I have kissed I know not how oft,” indicating his fascination with
the physical consequences of death (V.i.174–175). This
latter idea is an important motif throughout the play, as Hamlet
frequently makes comments referring to every human body’s eventual
decay, noting that Polonius will be eaten by worms, that even kings
are eaten by worms, and that dust from the decayed body of Alexander
the Great might be used to stop a hole in a beer barrel.<br />
</div>
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<sup class="reference" id="cite_ref-101"></sup><br />
<sup class="reference" id="cite_ref-101"><a href="http://en.wikipedia.org/wiki/Hamlet#cite_note-101"><span></span><span></span></a></sup></div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-73540277603511201222013-01-29T08:50:00.004-08:002013-01-29T08:50:36.325-08:00Tamburlaine the Great<div dir="rtl" style="text-align: right;" trbidi="on">
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<span style="font-size: x-large;"><i><b> </b></i><i><b>Tamburlaine the Great</b></i></span></div>
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<i><b>Tamburlaine the Great</b></i> is a play in two parts by Christopher Marlowe. It is loosely based on the life of the Central Asian emperor, Timur "the lame". Written in 1587 or 1588, the play is a milestone in Elizabethan public drama; it marks a turning away from the clumsy language and loose plotting of the earlier Tudor dramatists, and a new interest in fresh and vivid language, memorable action, and intellectual complexity. Along with Thomas Kyd's <i>The Spanish Tragedy</i>, it may be considered the first popular success of London's public stage.</div>
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Marlowe, generally considered the greatest of the University Wits, influenced playwrights well into the Jacobean period, and echoes of Tamburlaine's bombast and ambition can be found in English plays all the way to the Puritan closing of the theatres in 1642. While <i>Tamburlaine</i>
is considered inferior to the great tragedies of the late-Elizabethan
and early-Jacobean period, its significance in creating a stock of
themes and, especially, in demonstrating the potential of blank verse in drama, are still acknowledged.</div>
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<h3>
Characters of the Play.</h3>
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MYCETES, king of Persia.<br />
COSROE, his brother.<br />
MEANDER, THERIDAMAS, ORTYGIUS, CENEUS, MENAPHON, Persian lords.<br />
TAMBURLAINE, a Scythian shepherd.<br />
TECHELLES, USUMCASANE, his followers.<br />
BAJAZETH, emperor of the Turks.<br />
KING OF FEZ.<br />
KING OF MOROCCO.<br />
KING OF ARGIER.<br />
KING OF ARABIA.<br />
SOLDAN OF EGYPT.<br />
GOVERNOR OF DAMASCUS.<br />
AGYDAS, MAGNETES, Median lords.<br />
CAPOLIN, an Egyptian.<br />
PHILEMUS, Bassoes, Lords, Citizens, Moors, Soldiers, and<br />
Attendants.<br />
ZENOCRATE, daughter to the Soldan of Egypt.<br />
ANIPPE, her maid.<br />
ZABINA, wife to BAJAZETH.<br />
EBEA, her maid.<br />
Virgins of Damascus.<br />
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<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Plot">Plot</span></i></h2>
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Part 1 opens in Persepolis. The Persian emperor, Mycetes, dispatches troops to dispose of Tamburlaine, a Scythian
shepherd and at that point a nomadic bandit. In the same scene,
Mycetes' brother Cosroe plots to overthrow Mycetes and assume the
throne.</div>
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The scene shifts to Scythia, where Tamburlaine is shown wooing,
capturing, and winning Zenocrate, the daughter of the Egyptian king.
Confronted by Mycetes' soldiers, he persuades first the soldiers and
then Cosroe to join him in a fight against Mycetes. Although he promises
Cosroe the Persian throne, Tamburlaine reneges on this promise and,
after defeating Mycetes, takes personal control of the Persian Empire.</div>
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Now a powerful figure, Tamburlaine now turns his attention to
Bajazeth, Emperor of the Turks. He defeats Bajazeth and his tributary
kings, capturing the Emperor and his wife Zabina. The victorious
Tamburlaine keeps the defeated ruler in a cage and feeds him scraps from
his table, releasing Bajazeth only to use him as a footstool. Bajazeth
later kills himself onstage by bashing his head against the bars upon
hearing of Tamburlaine's next victory, and upon finding his body Zabina
does likewise.</div>
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After conquering Africa and naming himself emperor of that continent, Tamburlaine sets his eyes on Damascus;
this target places the Egyptian Sultan, his father-in-law, directly in
his path. Zenocrate pleads with her husband to spare her father. He
complies, instead making the Sultan a tributary king. The play ends with
the wedding of Zenocrate and Tamburlaine, and the crowning of the
former as Empress of Persia.</div>
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In Part 2, Tamburlaine grooms his sons to be conquerors in his wake
as he continues to conquer his neighbouring kingdoms. His oldest son,
Calyphas, preferring to stay by his mother's side and not risk death,
incurs Tamburlaine's wrath. Meanwhile, the son of Bajazeth, Callapine,
escapes from Tamburlaine's jail and gathers a group of tributary kings
to his side, planning to avenge his father. Callapine and Tamburlaine
meet in battle, where Tamburlaine is victorious. But finding Calyphas
remained in his tent during the battle, Tamburlaine kills him in anger.
Tamburlaine then forces the defeated kings to pull his chariot to his
next battlefield, declaring,</div>
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Upon reaching Babylon,
which holds out against him, Tamburlaine displays further acts of
extravagant savagery. When the Governor of the city attempts to save his
life in return for revealing the city treasury, Tamburlaine has him
hung from the city walls and orders his men to shoot him to death. He
orders the inhabitants -- men, women, and children -- bound and thrown
into a nearby lake. Lastly, Tamburlaine scornfully burns a copy of the Qur'an
and claims to be greater than God. In the final act, he is struck ill
but manages to defeat one more foe before he dies. He bids his remaining
sons to conquer the remainder of the earth as he departs life.</div>
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<i><span class="mw-headline" id="Themes">Themes</span></i></h2>
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The play is often linked to Renaissance humanism
which idealises the potential of human beings. Tamburlaine's aspiration
to immense power raises profound religious questions as he arrogates
for himself a role as the "scourge of God" (an epithet originally
applied to Attila the Hun). Some readers have linked this stance with the fact that Marlowe was accused of atheism.
Others have been more concerned with a supposed anti-Muslim thread of
the play, highlighted in a scene in which the main character burns the
Qur'an.</div>
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Jeff Dailey notes in his article "Christian Underscoring in <i>Tamburlaine the Great, Part II</i>" that Marlowe's work is a direct successor to the traditional medieval morality plays,and
that, whether or not he is an atheist, he has inherited religious
elements of content and allegorical methods of presentation.</div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-43945057106746495362013-01-29T06:37:00.000-08:002013-01-29T06:41:39.242-08:00Othello<div dir="rtl" style="text-align: right;" trbidi="on">
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<span dir="auto"><i>Othello</i></span></h1>
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<i><b>The Tragedy of Othello, the Moor of Venice</b></i> is a tragedy by William Shakespeare, believed to have been written in approximately 1603, and based on the Italian short story <i>Un Capitano Moro</i> ("A Moorish Captain") by Cinthio, a disciple of Boccaccio, first published in 1565. The work revolves around four central characters: Othello, a Moorish general in the Venetian army; his wife, Desdemona; his lieutenant, Cassio; and his trusted ensign, Iago. Because of its varied and current themes of racism, love, jealousy, and betrayal, <i>Othello</i>
is still often performed in professional and community theatres alike
and has been the basis for numerous operatic, film, and literary.<br />
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<h3 class="innerUnderlined">
Character List</h3>
<div class="content_txt" id="Othello">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="1"></a>
<b>Othello</b> -
The
play’s protagonist and hero. A Christian Moor and general of the
armies of Venice, Othello is an eloquent and physically powerful
figure, respected by all those around him. In spite of his elevated
status, he is nevertheless easy prey to insecurities because of
his age, his life as a soldier, and his race. He possesses a “free and
open nature,” which his ensign Iago uses to twist his love for his
wife, Desdemona, into a powerful and destructive jealousy (I.iii.<span class="small-caps">381</span>).
</div>
<div class="content_txt" id="Desdemona">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="2"></a>
<b>Desdemona </b> -
The
daughter of the Venetian senator Brabanzio. Desdemona and Othello
are secretly married before the play begins. While in many ways
stereotypically pure and meek, Desdemona is also determined and
self-possessed. She is equally capable of defending her marriage,
jesting bawdily with Iago, and responding with dignity to Othello’s
incomprehensible jealousy.
</div>
<div class="content_txt" id="Iago">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="3"></a>
<b>Iago </b> -
Othello’s
ensign (a job also known as an ancient or standard-bearer), and
the villain of the play. Iago is twenty-eight years old. While his
ostensible reason for desiring Othello’s demise is that he has been
passed over for promotion to lieutenant, Iago’s motivations are
never very clearly expressed and seem to originate in an obsessive,
almost aesthetic delight in manipulation and destruction.
</div>
<div class="content_txt" id="Michael Cassio">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="4"></a>
<b>Michael Cassio</b> -
Othello’s
lieutenant. Cassio is a young and inexperienced soldier, whose high
position is much resented by Iago. Truly devoted to Othello, Cassio
is extremely ashamed after being implicated in a drunken brawl on
Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth,
good looks, and friendship with Desdemona to play on Othello’s insecurities
about Desdemona’s fidelity.
</div>
<div class="content_txt" id="Emilia">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="5"></a>
<b>Emilia </b> -
Iago’s
wife and Desdemona’s attendant. A cynical, worldly woman, she is
deeply attached to her mistress and distrustful of her husband.
</div>
<div class="content_txt" id="Roderigo">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="6"></a>
<b>Roderigo </b> -
A
jealous suitor of Desdemona. Young, rich, and foolish, Roderigo
is convinced that if he gives Iago all of his money, Iago will help
him win Desdemona’s hand. Repeatedly frustrated as Othello marries Desdemona
and then takes her to Cyprus, Roderigo is ultimately desperate enough
to agree to help Iago kill Cassio after Iago points out that Cassio
is another potential rival for Desdemona.
</div>
<div class="content_txt" id="Bianca">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="7"></a>
<b>Bianca </b> -
A
courtesan, or prostitute, in Cyprus. Bianca’s
favorite customer is Cassio, who teases her with promises of marriage.
</div>
<div class="content_txt" id="Brabanzio">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="8"></a>
<b>Brabanzio </b> -
Desdemona’s
father, a somewhat blustering and self-important Venetian senator.
As a friend of Othello, Brabanzio feels betrayed when the general
marries his daughter in secret.
</div>
<div class="content_txt" id="Duke of Venice">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="9"></a>
<b>Duke of Venice</b> -
The
official authority in Venice, the duke has great respect for Othello
as a public and military servant. His primary role within the play
is to reconcile Othello and Brabanzio in Act I, scene iii, and then
to send Othello to Cyprus.
</div>
<div class="content_txt" id="Montano">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="10"></a>
<b>Montano </b> -
The
governor of Cyprus before Othello. We see him first in Act II, as
he recounts the status of the war and awaits the Venetian ships.
</div>
<div class="content_txt" id="Lodovico">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="11"></a>
<b>Lodovico </b> -
One
of Brabanzio’s kinsmen, Lodovico acts as a messenger from Venice
to Cyprus. He arrives in Cyprus in Act IV with letters announcing
that Othello has been replaced by Cassio as governor.
</div>
<div class="content_txt" id="Graziano">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="12"></a>
<b>Graziano </b> -
Brabanzio’s
kinsman who accompanies Lodovico to Cyprus. Amidst the chaos of
the final scene, Graziano mentions that Desdemona’s father has died.
</div>
<div class="content_txt" id="Clown">
<a href="http://www.blogger.com/blogger.g?blogID=4155176301167818339" name="13"></a>
<b>Clown </b> -
Othello’s
servant. Although the clown appears only in two short scenes, his
appearances reflect and distort the action and words of the main
plots: his puns on the word “lie” in Act III, scene iv, for example,
anticipate Othello’s confusion of two meanings of that word in Act
IV, scene i.
</div>
</div>
<h2 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Plot">Plot</span></h2>
<div dir="ltr" style="text-align: left;">
The play opens with Roderigo, a rich and dissolute gentleman,
complaining to Iago, a high-ranking soldier, that Iago has not told him
about the secret marriage between Desdemona, the daughter of a Senator named Brabantio, and Othello, a Moorish
general in the Venetian army. He is upset by this development because
he loves Desdemona and had previously asked her father for her hand in
marriage. Iago hates Othello for promoting a younger man named Michael Cassio
above him, and tells Roderigo that he plans to use Othello for his own
advantage. Iago is also angry because he believes, or at least gives the
pretence of belief, that Othello slept with his wife Emilia. Iago
denounces Cassio as a scholarly tactician with no real battle
experience; in contrast, Iago is a battle-tested soldier. By emphasizing
Roderigo's failed bid for Desdemona, and his own dissatisfaction with
serving under Othello, Iago convinces Roderigo to wake Brabantio,
Desdemona's father, and tell him about his daughter's elopement. Iago sneaks away to find Othello and warns him that Brabantio is coming for him.</div>
<div dir="ltr" style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0N12Cy_vUf7LRFblHoqu2wQOKeF-N2Pl2nOupfQaqdebvQwSpgCjVO_rWcAviDFZNpthfe-8F1HkpsHZWBiPoS2v4uij5imNt4zehPQI8OKEZQfv8lTfXjSHGdKoXUni3rWgTlMgQuT8/s1600/170px-Stanislavski_as_Othello_1896.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0N12Cy_vUf7LRFblHoqu2wQOKeF-N2Pl2nOupfQaqdebvQwSpgCjVO_rWcAviDFZNpthfe-8F1HkpsHZWBiPoS2v4uij5imNt4zehPQI8OKEZQfv8lTfXjSHGdKoXUni3rWgTlMgQuT8/s1600/170px-Stanislavski_as_Othello_1896.jpg" /></a>Before Brabantio reaches Othello, news arrives in Venice that the Turks are going to attack Cyprus; therefore Othello is summoned to advise the senators. Brabantio arrives and accuses Othello of seducing Desdemona by witchcraft,
but Othello defends himself successfully before an assembly that
includes the Duke of Venice, Brabantio's kinsman Lodovico and Gratiano,
and various senators. He explains that Desdemona became enamored of him
for the stories he told of his dangerous military life, not because of
any witchcraft. The senate is satisfied, but Brabantio leaves saying
that Desdemona will betray Othello. By order of the Duke, Othello leaves
Venice to command the Venetian armies against invading Turks on the
island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his ensign Iago, and Emilia as Desdemona's attendant.</div>
<div dir="ltr" style="text-align: left;">
The party arrives in Cyprus to find that a storm has destroyed the
Turkish fleet. Othello orders a general celebration. Iago schemes to use
Cassio to ruin Othello and takes the opportunity of Othello's absence
at the celebration to persuade Roderigo to engage Cassio in a fight. He
achieves this by getting Cassio drunk after Cassio's own admission that
he cannot hold his wine. The brawl alarms the citizenry, and Othello is
forced to quell the disturbance. Othello blames Cassio for the
disturbance and strips him of his rank. Cassio is distraught, but Iago
persuades him to importune Desdemona to act as an intermediary between
himself and Othello, and persuade her husband to reinstate him.</div>
<div dir="ltr" style="text-align: left;">
Iago now persuades Othello to be suspicious of Cassio and Desdemona.
As it happens, Cassio is having a relationship of sorts with Bianca, a
prostitute. Desdemona drops a handkerchief
that was Othello's first gift to Desdemona and which he has stated
holds great significance to him in the context of their relationship.
Emilia steals it, at the request of Iago, but unaware of what he plans
to do with the handkerchief. Iago plants it in Cassio's lodgings as
evidence of Cassio and Desdemona's affair. After he has planted the
handkerchief, Iago tells Othello to stand apart and watch Cassio's
reactions while Iago questions him about the handkerchief. Iago goads
Cassio on to talk about his affair with Bianca, but speaks her name so
quietly that Othello believes the two other men are talking about
Desdemona when Cassio is really speaking of Bianca. Bianca, on
discovering the handkerchief, chastises Cassio, accusing him of giving
her a second-hand gift which he received from another lover. Othello
sees this, and Iago convinces him that Cassio received the handkerchief
from Desdemona. Enraged and hurt, Othello resolves to kill his wife and
asks Iago to kill Cassio as a duty to their intimacy. Othello proceeds
to make Desdemona's life miserable, hitting her in front of her family.
Desdemona laments her suffering, remembering the fate of her mother's
maid, who was forsaken by her lover.</div>
<div dir="ltr" style="text-align: left;">
Roderigo complains that he has received nothing for his efforts and
threatens to abandon his pursuit of Desdemona, but Iago convinces him to
kill Cassio instead, because Cassio has just been appointed governor of
Cyprus, and — Iago argues — if Cassio lives to take office, Othello and
Desdemona will leave Cyprus, thwarting Roderigo's plans to win
Desdemona. Roderigo attacks Cassio in the street after Cassio leaves
Bianca's lodgings. They fight and both are wounded. Cassio's leg is cut
from behind by Iago who manages to hide his identity as perpetrator.
Passers-by arrive to help; Iago joins them, pretending to help Cassio.
When Cassio identifies Roderigo as one of his attackers, Iago secretly
stabs Roderigo to stop him from confessing. He then accuses Bianca of
the failed conspiracy to kill Cassio.</div>
<div dir="ltr" style="text-align: left;">
In the night, Othello confronts Desdemona, and then smothers
her to death in bed, before Emilia arrives. Othello tries to justify
his actions to the distressed Emilia by accusing Desdemona of adultery.
Emilia calls for help. The Governor arrives, with Iago, Cassio, and
others, and Emilia begins to explain the situation. When Othello
mentions the handkerchief as proof, Emilia realizes what Iago has done.
She exposes him, whereupon Iago kills her. Othello, realizing
Desdemona's innocence, attacks Iago but does not kill him, saying that
he would rather have Iago live the rest of his life in pain. For his
part, Iago refuses to explain his motives, vowing to remain silent from
that moment on. Lodovico, a Venetian nobleman, apprehends both Iago and
Othello, but Othello commits suicide with a sword before they can take
him into custody. At the end, it can be assumed, Iago is taken off to be
tortured, and Cassio becomes governor of Cyprus.</div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<div dir="ltr" style="text-align: center;">
******** </div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<div dir="ltr" style="text-align: left;">
At the end of <i>Othello,</i> <b>Desdemona</b>
seems to be the most passive kind of victim. Smothered, deprived
of breath and of words by her husband, she is totally overwhelmed
by Othello’s insane jealousy and physical strength. But before her
murder, Desdemona is remarkable for showing more passivity when
her husband is <i>not</i> around and more assertiveness
when he is.</div>
<div dir="ltr" style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglMXBEzgZO0sCQ2Tsm3mtB-Ec0NZNFMRgyFMtZ1VY1OXCQInCr9H5iGl0Mx8xZ_icWA_Keo43uVoY1oogQTjP1sfonZDM3HWil-1MIVgZGAdM9jO7KaRj7kbyouCctOdAlLmNue1JtLCY/s1600/othelo.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglMXBEzgZO0sCQ2Tsm3mtB-Ec0NZNFMRgyFMtZ1VY1OXCQInCr9H5iGl0Mx8xZ_icWA_Keo43uVoY1oogQTjP1sfonZDM3HWil-1MIVgZGAdM9jO7KaRj7kbyouCctOdAlLmNue1JtLCY/s1600/othelo.gif" /></a>Desdemona’s first speech, in which she defends her recent
marriage, is confident and forthright. When she gives it, she is
the only female character onstage, surrounded by powerful men who
include the duke, her husband, and her father, but she is not ashamed
to assert her belief in the validity of her desires and actions.
Unfortunately, Iago recognizes Desdemona’s forthrightness and uses
it against her. He exploits her willingness to demand and justify
what she wants by making Cassio her cause and, simultaneously, Othello’s
enemy. In Act III, scene iii, Desdemona asks Othello to forgive Cassio
and persists, in spite of Othello’s rising consternation, until her
husband declares, “I will deny thee nothing” (III.iii. <span class="small-caps">41–84</span>). Her
courage is apparent in her refusal to search for the missing handkerchief
in Act III, scene iv; in her willingness to shout back at Othello
as he abuses her in Act IV, scene i; and in her insistence upon her
innocence in Act V, scene ii. Her audacity seems to infuriate Othello
all the more, as what he takes to be shameless lies convince him that
she is unremorseful in what he believes to be her sin.</div>
<div dir="ltr" style="text-align: left;">
The terrible effect of Othello’s brutality is most obvious
in Desdemona’s scenes with Emilia. Emilia is cynical and bawdy,
and she gives Desdemona every possible opportunity to bad-mouth
Othello. Men, she says in Act III, scene iv, “are all but stomachs,
and we all but food. / They eat us hungrily, and when they are full,
/ They belch us” (III.iv.<span class="small-caps">100–102</span>). Later,
she insults Othello: “He called her whore. A beggar in his drink
/ Could not have laid such terms upon his callet [whore]” (IV.ii.<span class="small-caps">124–125</span>).
And, at the end of Act IV, scene iii, she gives a lengthy discourse
about the virtues of infidelity. Desdemona, however, never says
anything worse than “Heaven keep the monster [jealousy] from Othello’s
mind” (III.iv.<span class="small-caps">158</span>). With her closest confidante,
Desdemona does not speak ill of her husband, even as she shows the
strain of his terrible abuse.</div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<h2 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Themes">Themes</span></h2>
<h3 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Iago_.2F_Othello">Iago / Othello</span></h3>
<div dir="ltr" style="text-align: left;">
Although eponymously
titled, suggesting that the tragedy belongs primarily to Othello, Iago
plays an important role in the plot. He reflects the archetypal villain,
and has the biggest share of the dialogue. In <i>Othello</i>, it is
Iago who manipulates all other characters at will, controlling their
movements and trapping them in an intricate net of lies. He achieves
this by getting close to all characters and playing on their weaknesses
while they refer to him as "honest" Iago, thus furthering his control
over the characters . A. C. Bradley, and more recently Harold Bloom, have been major advocates of this interpretation.<sup class="reference" id="cite_ref-28"><a href="http://en.wikipedia.org/wiki/Othello#cite_note-28"></a></sup> Other critics, most notably in the later twentieth century (after F. R. Leavis), have focused on Othello.</div>
<h3 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Othering">Othering</span></h3>
<div dir="ltr" style="text-align: left;">
As the Protestant Reformation of England highlighted the importance
of pious, controlled behaviour in society, it was the tendency of the
contemporary Englishman to displace society's undesirable qualities of
barbarism, treachery, jealousy and libidinousness onto those who are
considered 'other'.<sup class="reference" id="cite_ref-29"><a href="http://en.wikipedia.org/wiki/Othello#cite_note-29"></a></sup>
The assumed characteristics of black men, or 'the other', were both
instigated and popularised by Renaissance dramas of the time; for
example, the treachery of black men inherent to George Peele's 'The Battle of Alcazar' (1588).</div>
<h3 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Religious_.2F_Philosophical">Religious / Philosophical</span></h3>
<div dir="ltr" style="text-align: left;">
Many critics have noted references to demonic possession throughout the play, especially in relation to Othello's seizure, a phenomenon often associated with possession in the popular consciousness of the day.<sup class="reference" id="cite_ref-30"><a href="http://en.wikipedia.org/wiki/Othello#cite_note-30"></a></sup> Another scholar suggests that the epileptic fit relates to the mind-body problem and the existence of the soul.<sup class="reference" id="cite_ref-31"><a href="http://en.wikipedia.org/wiki/Othello#cite_note-31"></a></sup></div>
<h3 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="The_Hero">The Hero</span></h3>
<div dir="ltr" style="text-align: left;">
There have been many differing views on the character of Othello over
the years. A.C Bradley calls Othello the "most romantic of all of
Shakespeare's heroes" (by "hero" Bradley means protagonist) and "the
greatest poet of them all". On the other hand, F.R. Leavis describes
Othello as "egotistical". There are those who also take a less critical
approach to the character of Othello such as William Hazlitt saying that "the nature of the Moor is noble... but his blood is of the most inflammable kind".</div>
<div dir="ltr" style="text-align: left;">
<br /></div>
<div class="studyGuideText" dir="ltr" id="themesms" style="text-align: left;">
<h3 class="innerUnderlined">
<i>Themes, Motifs & Symbols</i></h3>
<h4>
Themes</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<span style="font-weight: normal;"><span style="font-size: large;">The Incompatibility of Military Heroism & Love</span></span></h5>
<span style="font-size: small;">Before and above all else, Othello is a soldier. From
the earliest moments in the play, his career affects his married
life. Asking “fit disposition” for his wife after being ordered
to Cyprus (I.iii.<span class="small-caps">234</span>), Othello notes that
“the tyrant custom . . . / Hath made the flinty and steel couch
of war / My thrice-driven bed of down” (I.iii.<span class="small-caps">227–229</span>). While
Desdemona is used to better “accommodation,” she nevertheless accompanies
her husband to Cyprus (I.iii.<span class="small-caps">236</span>). Moreover, she
is unperturbed by the tempest or Turks that threatened their crossing,
and genuinely curious rather than irate when she is roused from
bed by the drunken brawl in Act II, scene iii. She is, indeed, Othello’s
“fair warrior,” and he is happiest when he has her by his side in
the midst of military conflict or business (II.i.<span class="small-caps">179</span>).
The military also provides Othello with a means to gain acceptance
in Venetian society. While the Venetians in the play are generally
fearful of the prospect of Othello’s social entrance into white
society through his marriage to Desdemona, all Venetians respect
and honor him as a soldier. Mercenary Moors were, in fact, commonplace
at the time.</span><br />
<span style="font-size: small;">
</span><span style="font-size: small;">Othello predicates his success in love on his success
as a soldier, wooing Desdemona with tales of his military travels
and battles. Once the Turks are drowned—by natural rather than military might—Othello
is left without anything to do: the last act of military administration
we see him perform is the viewing of fortifications in the extremely
short second scene of Act III. No longer having a means of proving
his manhood or honor in a public setting such as the court or the
battlefield, Othello begins to feel uneasy with his footing in a
private setting, the bedroom. Iago capitalizes on this uneasiness,
calling Othello’s epileptic fit in Act IV, scene i, “[a] passion
most unsuiting such a man.” In other words, Iago is calling Othello
unsoldierly. Iago also takes care to mention that Cassio, whom Othello
believes to be his competitor, saw him in his emasculating trance
(IV.i.<span class="small-caps">75</span>).</span><br />
<span style="font-size: small;">
</span><span style="font-size: small;">Desperate to cling to the security of his former identity
as a soldier while his current identity as a lover crumbles, Othello
begins to confuse the one with the other. His expression of his
jealousy quickly devolves from the conventional—“Farewell the tranquil mind”—to
the absurd: </span><br />
<span style="font-size: small;">
</span><br />
<blockquote class="quotation">
<span style="font-size: small;">
Farewell the plum’d troops and the big wars<br />
That make ambition virtue! O, farewell,<br />
Farewell the neighing steed and the shrill trump,<br />
The spirit-stirring drum, th’ear piercing fife,<br />
The royal banner, and all quality,<br />
Pride, pomp, and circumstance of glorious war!” <br />
(III.iii.<span class="small-caps">353–359</span>)</span>
</blockquote>
<span style="font-size: small;">
</span><span style="font-size: small;">One might well say that Othello is saying farewell to
the wrong things—he is entirely preoccupied with his identity as
a soldier. But his way of thinking is somewhat justified by its
seductiveness to the audience as well. Critics and audiences
alike find comfort and nobility in Othello’s final speech and the
anecdote of the “malignant and . . . turbaned Turk” (V.ii.<span class="small-caps">362</span>),
even though in that speech, as in his speech in Act III, scene iii,
Othello depends on his identity as a soldier to glorify himself
in the public’s memory, and to try to make his audience forget his
and Desdemona’s disastrous marital experiment.</span><br />
<h5>
<i><span style="font-size: large;">The Danger of Isolation</span></i></h5>
The action of <i>Othello</i> moves from the
metropolis of Venice to the island of Cyprus. Protected by military
fortifications as well as by the forces of nature, Cyprus faces
little threat from external forces. Once Othello, Iago, Desdemona,
Emilia, and Roderigo have come to Cyprus, they have nothing to do
but prey upon one another. Isolation enables many of the play’s
most important effects: Iago frequently speaks in soliloquies; Othello
stands apart while Iago talks with Cassio in Act IV, scene i, and
is left alone onstage with the bodies of Emilia and Desdemona for
a few moments in Act V, scene ii; Roderigo seems attached to no
one in the play except Iago. And, most prominently, Othello is visibly
isolated from the other characters by his physical stature and the
color of his skin. Iago is an expert at manipulating the distance
between characters, isolating his victims so that they fall prey
to their own obsessions. At the same time, Iago, of necessity always
standing apart, falls prey to his own obsession with revenge. The
characters <i>cannot</i> be islands, the play seems to
say: self-isolation as an act of self-preservation leads ultimately
to self-destruction. Such self-isolation leads to the deaths of
Roderigo, Iago, Othello, and even Emilia.<br />
<h4>
<i>Motifs</i></h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<i><span style="font-size: large;">Sight and Blindness</span></i></h5>
When Desdemona asks to be allowed to accompany Othello
to Cyprus, she says that she “saw Othello’s visage in his mind,
/ And to his honours and his valiant parts / Did I my soul and fortunes
consecrate” (I.iii. <span class="small-caps">250</span>–<span class="small-caps">252</span>).
Othello’s blackness, his visible difference from everyone around
him, is of little importance to Desdemona: she has the power to
see him for what he is in a way that even Othello himself cannot.
Desdemona’s line is one of many references to different kinds of
sight in the play. Earlier in Act I, scene iii, a senator suggests
that the Turkish retreat to Rhodes is “a pageant / To keep us in
false gaze” (I.iii.<span class="small-caps">19–20</span>). The beginning
of Act II consists entirely of people staring out to sea, waiting
to see the arrival of ships, friendly or otherwise. Othello, though
he demands “ocular proof” (III.iii.<span class="small-caps">365</span>),
is frequently convinced by things he does not see: he strips Cassio
of his position as lieutenant based on the story Iago tells; he
relies on Iago’s story of seeing Cassio wipe his beard with Desdemona’s
handkerchief (III.iii.<span class="small-caps">437–440</span>); and he believes
Cassio to be dead simply because he hears him scream. After Othello
has killed himself in the final scene, Lodovico says to Iago, “Look
on the tragic loading of this bed. / This is thy work. The object
poisons sight. / Let it be hid” (V.ii.<span class="small-caps">373–375</span>).
The action of the play depends heavily on characters <i>not</i> seeing
things: Othello accuses his wife although he never sees her infidelity,
and Emilia, although she watches Othello erupt into a rage about
the missing handkerchief, does not figuratively “see” what her husband
has done.<br />
<br />
<h5>
<i><span style="font-size: large;">Hell, Demons, and Monsters</span></i></h5>
Iago tells Othello to beware of jealousy, the “green-eyed
monster which doth mock/ The meat it feeds on” (III.iii.<span class="small-caps">170–171</span>).
Likewise, Emilia describes jealousy as dangerously and uncannily
self-generating, a “monster / Begot upon itself, born on itself”
(III.iv.<span class="small-caps">156–157</span>). Imagery of hell and damnation
also recurs throughout Othello, especially toward the end of the
play, when Othello becomes preoccupied with the religious and moral
judgment of Desdemona and himself. After he has learned the truth
about Iago, Othello calls Iago a devil and a demon several times
in Act V, scene ii. Othello’s earlier allusion to “some monster
in [his] thought” ironically refers to Iago (III.iii.<span class="small-caps">111</span>).
Likewise, his vision of Desdemona’s betrayal is “monstrous, monstrous!”
(III.iii.<span class="small-caps">431</span>). Shortly before he kills himself,
Othello wishes for eternal spiritual and physical torture in hell, crying
out, “Whip me, ye devils, / . . . / . . . roast me in sulphur, /
Wash me in steep-down gulfs of liquid fire!” (V.ii.<span class="small-caps">284–287</span>).
The imagery of the monstrous and diabolical takes over where the
imagery of animals can go no further, presenting the jealousy-crazed
characters not simply as brutish, but as grotesque, deformed, and
demonic.<br />
<h4>
Symbols</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<i><span style="font-size: large;">The Handkerchief</span></i></h5>
The handkerchief symbolizes different things to different
characters. Since the handkerchief was the first gift Desdemona
received from Othello, she keeps it about her constantly as a symbol
of Othello’s love. Iago manipulates the handkerchief so that Othello
comes to see it as a symbol of Desdemona herself—her faith and chastity. By
taking possession of it, he is able to convert it into evidence
of her infidelity. But the handkerchief’s importance to Iago and
Desdemona derives from its importance to Othello himself. He tells
Desdemona that it was woven by a <span class="small-caps">200</span>-year-old
sibyl, or female prophet, using silk from sacred worms and dye extracted
from the hearts of mummified virgins. Othello claims that his mother
used it to keep his father faithful to her, so, to him, the handkerchief
represents marital fidelity. The pattern of strawberries (dyed with
virgins’ blood) on a white background strongly suggests the bloodstains
left on the sheets on a virgin’s wedding night, so the handkerchief implicitly
suggests a guarantee of virginity as well as fidelity.<br />
<h5>
<i><span style="font-size: large;">The Song “Willow”</span></i></h5>
As she prepares for bed in Act V, Desdemona sings a song
about a woman who is betrayed by her lover. She was taught the song
by her mother’s maid, Barbary, who suffered a misfortune similar
to that of the woman in the song; she even died singing “Willow.”
The song’s lyrics suggest that both men and women are unfaithful
to one another. To Desdemona, the song seems to represent a melancholy and
resigned acceptance of her alienation from Othello’s affections, and
singing it leads her to question Emilia about the nature and practice
of infidelity.</div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-18267409475042558772013-01-29T06:12:00.001-08:002013-01-29T06:12:17.760-08:00 The Merchant of Venice<div dir="rtl" style="text-align: right;" trbidi="on">
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<span dir="auto"><i>The Merchant of Venice</i></span></h1>
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<i><b>The Merchant of Venice</b></i>
is a tragic comedy by William Shakespeare, believed to have been
written between 1596 and 1598. Though classified as a comedy in the
First Folio and sharing certain aspects with Shakespeare's other
romantic comedies, the play is perhaps most remembered for its dramatic
scenes, and is best known for Shylock and the famous 'Hath not a Jew
eyes' speech. Also notable is Portia's speech about the 'quality of
mercy'.<br />
<a name='more'></a></div>
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The title character is the merchant Antonio, not the Jewish moneylender
Shylock, who is the play's most prominent and most famous character.
This is made explicit by the title page of the first quarto: <i>The most excellent History of the Merchant of Venice. With the extreme cruelty of Shylock the Jew towards the Merchant...</i>.</div>
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<i><span class="mw-headline" id="Characters">Characters</span></i></h2>
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<li><b>Antonio</b> – a merchant of Venice</li>
<li><b>Bassanio</b> – Antonio's friend, in love with Portia; suitor likewise to her</li>
<li><b>Gratiano</b>, <b>Solanio, Salarino, Salerio</b> – friends of Antonio and Bassanio</li>
<li><b>Lorenzo</b> – friend of Antonio and Bassanio, in love with Jessica</li>
<li><b>Portia</b> – a rich heiress</li>
<li><b>Nerissa</b> – Portia's waiting maid- in love with Gratiano</li>
<li><b>Balthazar</b> – Portia's servant, who Portia later disguises herself as</li>
<li><b>Stephano</b> – Nerissa's disguise as Balthazar's law clerk.</li>
<li><b>Shylock</b> – a rich Jew, moneylender, father of Jessica</li>
<li><b>Tubal</b> – a Jew; Shylock's friend</li>
<li><b>Jessica</b> – daughter of Shylock, in love with Lorenzo</li>
<li><b>Launcelot Gobbo</b> – a foolish man in the service of Shylock</li>
<li><b>Old Gobbo</b> – father of Launcelot</li>
<li><b>Leonardo</b> – servant to Bassanio</li>
<li><b>Duke of Venice</b> – Venetian authority who presides over the case of Shylock's bond</li>
<li><b>Prince of Morocco</b> – suitor to Portia</li>
<li><b>Prince of Arragon</b> – suitor to Portia</li>
<li>Magnificoes of Venice, officers of the Court of Justice, Gaoler, servants to Portia, and other Attendants. </li>
</ul>
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<i><span class="mw-headline" id="Synopsis">Synopsis</span></i></h2>
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Bassanio,
a young Venetian of noble rank, wishes to woo the beautiful and wealthy
heiress Portia of Belmont. Having squandered his estate, Bassanio
approaches his friend Antonio,
a wealthy merchant of Venice and a kind and generous person, who has
previously and repeatedly bailed him out, for three thousand ducats
needed to subsidise his expenditures as a suitor. Antonio agrees, but
since he is cash-poor - his ships and merchandise are busy at sea - he
promises to cover a bond if Bassanio can find a lender, so Bassanio
turns to the Jewish moneylender Shylock and names Antonio as the loan's
guarantor.</div>
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Shylock, who hates Antonio because of his Anti-Judaism
and Antonio's customary refusal to borrow or lend money with interest,
is at first reluctant, citing abuse he has suffered at Antonio's hand,
but finally agrees to lend Antonio the sum without interest upon the
condition that if Antonio is unable to repay it at the specified date,
he may take a pound
of Antonio's flesh. Bassanio does not want Antonio to accept such a
risky condition; Antonio is surprised by what he sees as the
moneylender's generosity (no "usance" – interest – is asked for), and he
signs the contract. With money at hand, Bassanio leaves for Belmont
with his friend Gratiano, who has asked to accompany him. Gratiano is a
likeable young man, but is often flippant, overly talkative, and
tactless. Bassanio warns his companion to exercise self-control, and the
two leave for Belmont and Portia.</div>
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Meanwhile in Belmont, Portia is awash with suitors. Her father left a will
stipulating each of her suitors must choose correctly from one of three
caskets – one each of gold, silver and lead. If he picks the right
casket, he gets Portia. The first suitor, the luxurious Prince of
Morocco, chooses the gold casket, interpreting its slogan "Who chooseth
me shall gain what many men desire" as referring to Portia. The second
suitor, the conceited Prince of Arragon,
chooses the silver casket, which proclaims "Who chooseth me shall get
as much as he deserves", imagining himself to be full of merit. Both
suitors leave empty-handed, having rejected the lead casket because of
the baseness of its material and the uninviting nature of its slogan:
"Who chooseth me must give and hazard all he hath." The last suitor is
Bassanio, whom Portia wishes to succeed, having met him before. As
Bassanio ponders his choice, members of Portia's household sing a song
which says that "fancy" (not true love) is "engend'red in the eyes, With
gazing fed." prompting Bassanio to disregard "outward shows" and "ornament" and choses the lead casket, winning Portia's hand.</div>
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At Venice, Antonio's ships are reported lost at sea. This leaves him unable to satisfy the bond.
Shylock is even more determined to exact revenge from Christians after
his daughter Jessica had fled home and eloped with the Christian
Lorenzo, taking a substantial amount of Shylock's wealth with her, as
well as a turquoise ring which was a gift to Shylock from his late wife,
Leah. Shylock has Antonio brought before court.</div>
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At Belmont, Bassanio receives a letter telling him that Antonio has
been unable to return the loan taken from Shylock. Portia and Bassanio
marry, as do Gratiano and Portia's handmaid Nerissa. Bassanio and
Gratiano then leave for Venice,
with money from Portia, to save Antonio's life by offering the money to
Shylock. Unknown to Bassanio and Gratiano, Portia has sent her servant,
Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer,
at Padua.</div>
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The climax of the play comes in the court of the Duke of Venice.
Shylock refuses Bassanio's offer of 6,000 ducats, twice the amount of
the loan. He demands his pound of flesh from Antonio. The Duke, wishing
to save Antonio but unable to nullify a contract, refers the case to a
visitor who introduces himself as Balthazar, a young male "doctor of the
law", bearing a letter of recommendation to the Duke from the learned
lawyer Bellario. The doctor is actually Portia in disguise, and the law
clerk who accompanies her is actually Nerissa, also in disguise. As
Balthazar, Portia repeatedly asks Shylock to show mercy in a famous
speech, advising him that mercy "<i>is twice blest: It blesseth him that gives and him that takes.</i>" (IV,i,185) However, Shylock adamantly refuses any compensations and insists on the pound of flesh.</div>
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As the court grants Shylock his bond and Antonio prepares for
Shylock's knife, Portia points out that the contract only allows Shylock
to remove the <i>flesh</i>, not the "blood", of Antonio (see quibble).
Thus, if Shylock were to shed any drop of Antonio's blood, his "lands
and goods" would be forfeited under Venetian laws. Further damning
Shylock's case, she tells him that he must cut precisely one pound of
flesh, no more, no less; she advises him that "if the scale do turn, But
in the estimation of a hair, Thou diest and all thy goods are
confiscate."</div>
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Defeated, Shylock concedes to accepting Bassanio's offer of money for
the defaulted bond, first his offer to pay "the bond thrice", which
Portia rebuffs, telling him to take his bond, and then merely the
principal, which Portia also prevents him from doing on the ground that
he has already refused it "in the open court." She then cites a law
under which Shylock, as a Jew and therefore an "alien", having attempted
to take the life of a citizen, has forfeited his property, half to the government
and half to Antonio, leaving his life at the mercy of the Duke. The
Duke immediately pardons Shylock's life. Antonio asks for his share "in
use" (that is, reserving the principal
amount while taking only the income) until Shylock's death, when the
principal will be given to Lorenzo and Jessica. At Antonio's request,
the Duke grants remission of the state's half of forfeiture, but on the
condition of Shylock converting to Christianity and bequeathing his
entire estate to Lorenzo and Jessica (IV,i).</div>
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Bassanio does not recognise his disguised wife, but offers to give a
present to the supposed lawyer. First she declines, but after he
insists, Portia requests his ring and Antonio's gloves. Antonio parts
with his gloves without a second thought, but Bassanio gives the ring
only after much persuasion from Antonio, as earlier in the play he
promised his wife never to lose, sell or give it. Nerissa, as the
lawyer's clerk, also succeeds in likewise retrieving her ring from
Gratiano, who does not see through her disguise.</div>
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At Belmont, Portia and Nerissa taunt and pretend to accuse their
husbands before revealing they were really the lawyer and his clerk in
disguise (V). After all the other characters make amends, Antonio learns
from Portia that three of his ships were not stranded and have returned
safely after all.</div>
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<i><span class="mw-headline" id="Performance">Performance</span></i></h2>
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The earliest performance of which a record has survived was held at the court of King James
in the spring of 1605, followed by a second performance a few days
later, but there is no record of any further performances in the
seventeenth century. In 1701, George Granville staged a successful adaptation, titled <i>The Jew of Venice</i>,
with Thomas Betterton as Bassanio. This version (which featured a
masque) was popular, and was acted for the next forty years. Granville
cut the Gobbos in line with neoclassical decorum; he added a jail scene
between Shylock and Antonio, and a more extended scene of toasting at a
banquet scene. Thomas Doggett was Shylock, playing the role comically,
perhaps even farcically. Rowe
expressed doubts about this interpretation as early as 1709; Doggett's
success in the role meant that later productions would feature the
troupe clown as Shylock.</div>
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In
1741 Charles Macklin returned to the original text in a very successful
production at Drury Lane, paving the way for Edmund Kean seventy years
later (see below).Arthur Sullivan wrote incidental music for the play in
1871<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/The_Merchant_of_Venice#cite_note-7">.</a></sup></div>
<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Shylock_on_stage">Shylock on stage</span></i></h3>
<div class="rellink boilerplate seealso" dir="ltr" style="text-align: left;">
See also: Shylock</div>
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Jewish
actor Jacob Adler and others report that the tradition of playing
Shylock sympathetically began in the first half of the 19th century with
Edmund Kean,and
that previously the role had been played "by a comedian as a repulsive
clown or, alternatively, as a monster of unrelieved evil." Kean's
Shylock established his reputation as an actor.</div>
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From
Kean's time forward, all of the actors who have famously played the
role, with the exception of Edwin Booth, who played Shylock as a simple
villain, have chosen a sympathetic approach to the character; even
Booth's father, Junius Brutus Booth, played the role sympathetically.
Henry Irving's portrayal of an aristocratic, proud Shylock (first seen
at the Lyceum in 1879, with Portia played by Ellen Terry) has been
called "the summit of his career". Jacob Adler was the most notable of
the early 20th century: Adler played the role in Yiddish-language
translation, first in Manhattan's Lower East Side, and later on
Broadway, where, to great acclaim, he performed the role in Yiddish in
an otherwise English-language production.</div>
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Kean and Irving presented a Shylock justified in wanting his revenge;
Adler's Shylock evolved over the years he played the role, first as a
stock Shakespearean villain, then as a man whose better nature was
overcome by a desire for revenge, and finally as a man who operated not
from revenge but from pride. In a 1902 interview with <i>Theater</i>
magazine, Adler pointed out that Shylock is a wealthy man, "rich enough
to forgo the interest on three thousand ducats" and that Antonio is
"far from the chivalrous gentleman he is made to appear. He has insulted
the Jew and spat on him, yet he comes with hypocritical politeness to
borrow money of him." Shylock's fatal flaw is to depend on the law, but
"would he not walk out of that courtroom head erect, the very apotheosis
of defiant hatred and scorn?"</div>
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Some
modern productions take further pains to show the sources of Shylock's
thirst for vengeance. For instance, in the 2004 film adaptation directed
by Michael Radford and starring Al Pacino as Shylock, the film begins
with text and a montage of how Venetian Jews
are cruelly abused by bigoted Christians. One of the last shots of the
film also brings attention to the fact that, as a convert, Shylock would
have been cast out of the Jewish community in Venice, no longer allowed
to live in the ghetto. Another interpretation of Shylock and a vision
of how "must he be acted" appears at the conclusion of the autobiography
of Alexander Granach, a noted Jewish stage and film actor in Weimar
Germany (and later in Hollywood and on Broadway).</div>
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<i><span class="mw-headline" id="Themes">Themes</span></i></h2>
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The
play is frequently staged today, but is potentially troubling to
modern audiences due to its central themes, which can easily appear
antisemitic. Critics today still continue to argue over the play's
stance on antisemitism.</div>
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<span class="mw-headline" id="Shylock_as_a_villain">Shylock as a villain</span></h4>
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English
society in the Elizabethan era has been described as "judeophobic".
English Jews had been expelled under Edward I in 1290 and were not
permitted to return until 1656 under the rule of Oliver Cromwell.
In Venice and in some other places, Jews were required to wear a red
hat at all times in public to make sure that they were easily
identified, and had to live in a ghetto protected by Christian guards
On the Elizabethan stage, Jews were often presented in an Orientalist
caricature, with hooked noses and bright red wigs, and were usually
depicted as avaricious usurers; an example is Christopher Marlowe's play
<b><i>The Jew of Malta</i></b>,
which features a comically wicked Jewish villain called Barabas. They
were usually characterised as evil, deceitful and greedy.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeHlZKONd9h6qnpeC-tQnSRek-Czo3UQce248kzUgcofOrWMAjqzzFwgYqnfdbMDgSJ1uooa_p7iMqZbGeIrLOHP4p54Scb6HoGLInaP-vvfKpbDRFp3Kf1KBya5PMLd0SD4woVmLk6Ik/s1600/the+merchant+of+venice.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeHlZKONd9h6qnpeC-tQnSRek-Czo3UQce248kzUgcofOrWMAjqzzFwgYqnfdbMDgSJ1uooa_p7iMqZbGeIrLOHP4p54Scb6HoGLInaP-vvfKpbDRFp3Kf1KBya5PMLd0SD4woVmLk6Ik/s1600/the+merchant+of+venice.gif" /></a>Shakespeare's
play may be seen as a continuation of this tradition. The title page of
the Quarto indicates that the play was sometimes known as <i>The Jew of Venice</i> in its day, which suggests that it was seen as similar to Marlowe's <i>The Jew of Malta</i>.
One interpretation of the play's structure is that Shakespeare meant to
contrast the mercy of the main Christian characters with the
vengefulness of a Jew, who lacks the religious grace to comprehend
mercy. Similarly, it is possible that Shakespeare meant Shylock's forced
conversion to Christianity to be a "happy ending" for the character,
as, to a Christian audience, it saves his soul and allows him to enter
Heaven.</div>
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Regardless
of what Shakespeare's own intentions
may have been, the play has been made use of by antisemites throughout
the play's history. One must note that the end of the title in the 1619
edition "With the Extreme Cruelty of Shylock the Jew..." must aptly
describe how Shylock was viewed by the English public. The Nazis used
the usurious Shylock for their propaganda. Shortly after Kristallnacht
in 1938, "The Merchant of Venice" was broadcast for propagandistic ends
over the German airwaves. Productions of the play followed in Lübeck
(1938), Berlin (1940), and elsewhere within the Nazi Territory.</div>
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In a series of articles called <i>Observer</i>, first published in 1785, British playwright Richard Cumberland
created a character named Abraham Abrahams who is quoted as saying, "I
verily believe the odious character of Shylock has brought little less
persecution upon us, poor scattered sons of Abraham, than the Inquisition itself." Cumberland later wrote a successful play, <i>The Jew</i> (1794), in which his title character, Sheva,
is portrayed sympathetically, as both a kindhearted and generous man.
This was the first known attempt by a dramatist to reverse the negative
stereotype that Shylock personified.</div>
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The depiction of Jews in literature
throughout the centuries bears the close imprint of Shylock. With
slight variations much of English literature up until the 20th century
depicts the Jew as "a monied, cruel, lecherous, avaricious outsider
tolerated only because of his golden hoard".</div>
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<span class="mw-headline" id="Shylock_as_a_sympathetic_character">Shylock as a sympathetic character</span></h4>
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Many modern readers and theatregoers have read the play as a plea for
tolerance, noting that Shylock is a sympathetic character. They cite as
evidence that Shylock's 'trial' at the end of the play is a mockery of
justice, with Portia acting as a judge when she has no right to do so.
The characters who berated Shylock for dishonesty resort to trickery in
order to win. In addition, Shakespeare gives Shylock one of his most
eloquent speeches:</div>
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<div class="Bug6200">
<div class="poem">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg82FFr4Wg8HkATJ2V-1mvQmQEn_yOPCiMySZnE6vKkXz28VrfljVWt39IS8rwx0OfmL_QerlA-oSWZuWWwFcBUUAXrX0l0K1_nMexHcGSzUhzSWbK-59FCsjGItu1z5HmmeQpYhjZjxNQ/s1600/450px-Shylock_e_jessica.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg82FFr4Wg8HkATJ2V-1mvQmQEn_yOPCiMySZnE6vKkXz28VrfljVWt39IS8rwx0OfmL_QerlA-oSWZuWWwFcBUUAXrX0l0K1_nMexHcGSzUhzSWbK-59FCsjGItu1z5HmmeQpYhjZjxNQ/s320/450px-Shylock_e_jessica.jpeg" width="240" /></a>Hath not a Jew eyes? Hath not a Jew hands, organs,<br />
dimensions, senses, affections, passions; fed with<br />
the same food, hurt with the same weapons, subject<br />
to the same diseases, heal'd by the same means,<br />
warm'd and cool'd by the same winter and summer<br />
as a Christian is? If you prick us, do we not bleed?<br />
If you tickle us, do we not laugh? If you poison us,<br />
do we not die? And if you wrong us, shall we not revenge?<br />
If we are like you in the rest, we will resemble you in that.<br />
If a Jew wrong a Christian, what is his humility?<br />
Revenge. If a Christian wrong a Jew, what should his<br />
sufferance be by Christian example? Why, revenge.<br />
The villainy you teach me, I will execute,<br />
and it shall go hard but I will better the instruction.<br />
(Act III, scene I)</div>
</div>
</blockquote>
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It is difficult to know whether the sympathetic reading of Shylock is
entirely due to changing sensibilities among readers, or whether
Shakespeare, a writer who created complex, multi-faceted characters,
deliberately intended this reading.</div>
<div dir="ltr" style="text-align: left;">
One of the reasons for this interpretation is that Shylock's painful
status in Venetian society is emphasised. To some critics, Shylock's
celebrated "Hath not a Jew eyes" speech (see above) redeems him and even
makes him into something of a tragic figure; in the speech, Shylock
argues that he is no different from the Christian characters.
Detractors note that Shylock ends the speech with a tone of revenge:
"if you wrong us, shall we not revenge?" Those who see the speech as
sympathetic point out that Shylock says he learned the desire for
revenge from the Christian characters: "If a Christian wrong a Jew, what
should his sufferance be by Christian example? Why, revenge. The
villainy you teach me, I will execute, and it shall go hard but I will
better the instruction."</div>
<div dir="ltr" style="text-align: left;">
Even if Shakespeare did not intend the play to be read this way, the
fact that it retains its power on stage for audiences who may perceive
its central conflicts in radically different terms is an illustration of
the subtlety of Shakespeare's characterisations.
In the trial Shylock represents what Elizabethan Christians believed to
be the Jewish desire for "justice", contrasted with their obviously
superior Christian value of mercy. The Christians in the courtroom urge
Shylock to love his enemies, although they themselves have failed in the
past. Harold Bloom
explains that, although the play gives merit to both cases, the
portraits are not even-handed: "Shylock’s shrewd indictment of Christian
hypocrisy [delights us, but]…Shakespeare’s intimations do not alleviate
the savagery of his portrait of the Jew…</div>
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<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Sexuality_in_the_play">Sexuality in the play</span></i></h3>
<h4 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Antonio.2C_Bassanio">Antonio, Bassanio</span></h4>
<div dir="ltr" style="text-align: left;">
Antonio's
unexplained depression — "In sooth I know not why I am so
sad" — and utter devotion to Bassanio has led some critics to theorise
that he is suffering from unrequited love
for Bassanio and is depressed because Bassanio is coming to an age
where he will marry a woman. In his plays and poetry Shakespeare often
depicted strong male bonds of varying homosociality, which has led some
critics to infer that Bassanio returns Antonio's affections despite his
obligation to marry:</div>
<blockquote class="templatequote" dir="ltr" style="text-align: left;">
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<div class="poem">
ANTONIO: Commend me to your honourable wife:<br />
Tell her the process of Antonio's end,<br />
Say how I lov'd you, speak me fair in death;<br />
And, when the tale is told, bid her be judge<br />
Whether Bassanio had not once a love.<br />
BASSANIO: But life itself, my wife, and all the world<br />
Are not with me esteemed above thy life;<br />
I would lose all, ay, sacrifice them all<br />
Here to this devil, to deliver you. (IV,i)</div>
</div>
</blockquote>
<div dir="ltr" style="text-align: left;">
In his essay "Brothers and Others", published in <i>The Dyer's Hand,</i>
W. H. Auden
describes Antonio as "a man whose emotional life, though his conduct
may be chaste, is concentrated upon a member of his own sex." Antonio's
feelings for Bassanio are likened to a couplet from Shakespeare's
Sonnets: "But since she pricked thee out for women's pleasure,/ Mine be
thy love, and my love's use their treasure." Antonio, says Auden,
embodies the words on Portia's leaden casket: "Who chooseth me, must
give and hazard all he hath." Antonio has taken this potentially fatal
turn because he despairs, not only over the loss of Bassanio in
marriage, but also because Bassanio cannot requite what Antonio feels
for him. Antonio's frustrated devotion is a form of idolatry: the right
to live is yielded for the sake of the loved one. There is one other
such idolator in the play: Shylock himself. "Shylock, however
unintentionally, did, in fact, hazard all for the sake of destroying the
enemy he hated; and Antonio, however unthinkingly he signed the bond,
hazarded all to secure the happiness of the man he loved." Both Antonio
and Shylock, agreeing to put Antonio's life at a forfeit, stand outside
the normal bounds of society. There was, states Auden, a traditional
"association of sodomy with usury", reaching back at least as far as
Dante, with which Shakespeare was likely familiar. (Auden sees the theme
of usury in the play as a comment on human relations in a mercantile
society.)</div>
<div dir="ltr" style="text-align: left;">
Other
interpreters of the play regard Auden's conception of Antonio's
sexual desire for Bassanio as questionable. Michael Radford, director
of the 2004 film version starring Al Pacino,
explained that although the film contains a scene where Antonio and
Bassanio actually kiss, the friendship between the two is platonic, in
line with the prevailing view of male friendship at the time. Jeremy
Irons, in an interview, concurs with the director's view and states that
he did not "play Antonio as gay". Joseph Fiennes,
however, who plays Bassanio, encouraged a homoerotic interpretation
and, in fact, surprised Irons with the kiss on set, which was filmed in
one take. Fiennes defended his choice, saying "I would never invent
something before doing my detective work in the text. If you look at the
choice of language ... you'll read very sensuous language. That's the
key for me in the relationship. The great thing about Shakespeare and
why he's so difficult to pin down is his ambiguity. He's not saying
they're gay or they're straight, he's leaving it up to his actors. I
feel there has to be a great love between the two characters ... there's
great attraction. I don't think they have slept together but that's for
the audience to decide<b><i><sup>.</sup></i></b></div>
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<br /></div>
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<br /></div>
<div dir="ltr" style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglwvIsoG8HQeXO3CGTyRQZTgz1Uu08ba_wf4Sn4467w2WDqJJfYhBbfSpzQsJ3wzc1IJt6qmew-866evbAUqgnGM0p9_vAx-xEsD07k3s_PXZzyE6FXYa9myxxCidQrlKXzKJGYdqN73k/s1600/the+merchant+of+venice002.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglwvIsoG8HQeXO3CGTyRQZTgz1Uu08ba_wf4Sn4467w2WDqJJfYhBbfSpzQsJ3wzc1IJt6qmew-866evbAUqgnGM0p9_vAx-xEsD07k3s_PXZzyE6FXYa9myxxCidQrlKXzKJGYdqN73k/s1600/the+merchant+of+venice002.gif" /></a><span style="font-family: inherit;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><sup>The Merchant of Venice contains
all of the elements required of a Shakespearean comedy, but is often
so overshadowed by the character of Shylock and his quest for a
pound of flesh that it is hard not to find in the play a generous
share of the tragic as well. Lovers pine and are reunited, a foolish
servant makes endless series of puns, and genteel women masquerade
as men—all of which are defining marks of Shakespearean comedy.
In sharp contrast to these elements, however, Shakespeare also presents
Shylock, a degraded old man who has lost his daughter and is consumed
with a bloody greed. The light language of the play’s comedic moments
disappears for whole scenes at a time, and Antonio’s fate is more
suspenseful than funny. The final act redeems the play’s claims
to be a comedy, piling on the necessary humor and serendipity, but
the rest of the play is overcast by the fact that Antonio may soon
pay Bassanio’s debt with his life.</sup></span></span><sup> </sup></span></div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-70477179895763467802013-01-28T06:41:00.001-08:002013-01-28T06:42:49.103-08:00As You Like It<div dir="rtl" style="text-align: right;" trbidi="on">
<div dir="ltr" style="text-align: center;">
<span style="font-size: x-large;"><i><b>As You Like It</b></i></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5BROd_B0qX4JwCS7JLUTOjg5UvAGCwrLPSl7a1y0uzQGP9PHqZpr41eoeuroNsIpJMTmyGMWE-2y3vyaqwb_j0_NAmjccGkRcYnQ4a86cocFuqcxhhE61MAyPXW_jeTbXlLysr6ECSg/s1600/as+you.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5BROd_B0qX4JwCS7JLUTOjg5UvAGCwrLPSl7a1y0uzQGP9PHqZpr41eoeuroNsIpJMTmyGMWE-2y3vyaqwb_j0_NAmjccGkRcYnQ4a86cocFuqcxhhE61MAyPXW_jeTbXlLysr6ECSg/s320/as+you.jpg" width="254" /></a></div>
<div style="text-align: center;">
<br /></div>
<br />
<i><b>As You Like It</b></i> is a pastoral comedy by William Shakespeare believed to have been written in 1599 or early 1600 and first published in the <i>First Folio</i>, 1623. The play's first performance is uncertain, though a performance at Wilton House in 1603 has been suggested as a possibility. <i>As You Like It</i>
follows its heroine Rosalind as she flees persecution in her uncle's
court, accompanied by her cousin Celia and Touchstone the court jester,
to find safety and eventually love in the Forest of Arden.
Historically, critical response has varied, with some critics finding
the work of lesser quality than other Shakespearean works and some
finding the play a work of great merit.<br />
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The play features one of Shakespeare's most famous and oft-quoted speeches, "All the world's a stage",
and is the origin of the phrase "too much of a good thing". The play
remains a favourite among audiences and has been adapted for radio,
film, and musical theatre.</div>
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<br /></div>
<div dir="ltr" style="text-align: left;">
<i><span style="font-size: x-large;"> <b><sup>Plot</sup></b></span></i></div>
<div dir="ltr" style="text-align: left;">
The play is set in a duchy in France, but most of the action takes place in a location called the <i>Forest of Arden</i>, which may be intended for the Ardennes in France, but is sometimes identified with Arden, Warwickshire, near Shakespeare's home town.</div>
<div dir="ltr" style="text-align: left;">
Frederick has usurped the Duchy and exiled
his older brother, Duke Senior. The Duke's daughter Rosalind has been
permitted to remain at court because she is the closest friend and
cousin of Frederick's only child, Celia. Orlando, a young gentleman of
the kingdom who has fallen in love at first sight with Rosalind, is
forced to flee his home after being persecuted by his older brother,
Oliver. Frederick becomes angry and banishes Rosalind from court. Celia
and Rosalind decide to flee together accompanied by the jester
Touchstone, with Rosalind disguised as a young man and Celia disguised
as a poor lady.</div>
<div dir="ltr" style="text-align: left;">
Rosalind, now disguised as Ganymede ("Jove's own page"), and Celia, now disguised as Aliena (Latin for "stranger"), arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some supporters, including "the melancholy Jaques," a malcontent figure, who is introduced to us weeping over the slaughter of a deer. "Ganymede" and "Aliena" do not immediately encounter the Duke and his companions, as they meet up with Corin, an impoverished tenant, and offer to buy his master's rude cottage.</div>
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<br /></div>
<div dir="ltr" style="text-align: left;">
Orlando and his servant Adam (a role possibly played by Shakespeare himself, though this story is said to be apocryphal)meanwhile, find the Duke and his men and are soon living with them and posting simplistic love poems
for Rosalind on the trees. Rosalind, also in love with Orlando, meets
him as Ganymede and pretends to counsel him to cure him of being in
love. Ganymede says "he" will take Rosalind's place and "he" and Orlando
can act out their relationship.</div>
<div dir="ltr" style="text-align: left;">
The shepherdess Phebe, with whom Silvius is in love, has fallen in
love with Ganymede (actually Rosalind), though "Ganymede" continually
shows that "he" is not interested in Phebe. Touchstone, meanwhile, has
fallen in love with the dull-witted shepherdess Audrey, and tries to woo
her, but eventually is forced to be married first. William, another
shepherd, attempts to marry Audrey as well, but is stopped by
Touchstone, who threatens to kill him "a hundred and fifty ways".</div>
<div dir="ltr" style="text-align: left;">
Finally, Silvius, Phebe, Ganymede, and Orlando are brought together
in an argument with each other over who will get whom. Ganymede says he
will solve the problem, having Orlando promise to marry Rosalind, and
Phebe promise to marry Silvius if she cannot marry Ganymede.</div>
<div dir="ltr" style="text-align: left;">
Orlando sees Oliver in the forest and rescues him from a lioness,
causing Oliver to repent for mistreating Orlando. Oliver meets Aliena
(Celia's false identity) and falls in love with her, and they agree to
marry. Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and
Touchstone and Audrey all are married in the final scene, after which they discover that Frederick has also repented his faults, deciding to restore his legitimate brother to the dukedom
and adopt a religious life. Jaques, ever melancholy, declines their
invitation to return to the court preferring to stay in the forest and
to adopt a religious life as well. Rosalind speaks an epilogue to the
audience, commending the play to both men and women in the audience.</div>
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<br /></div>
<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Motifs">Motifs</span></i></h2>
<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Love">Love</span></i></h3>
<div dir="ltr" style="text-align: left;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9t0oqItcoZUfe_mxeHAJEC1d0ckkIlH_YinRLvFFDxkz8VG6NH7JiHCo6LdPB5aBngoMy-uyIJd3f2opFukJ1j9kKIeTPFfCUJlBYvR9xaGUPZgX3SJeCBdBNmH_1ngwGDGLzJXyyK4A/s1600/as+you+like+it.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9t0oqItcoZUfe_mxeHAJEC1d0ckkIlH_YinRLvFFDxkz8VG6NH7JiHCo6LdPB5aBngoMy-uyIJd3f2opFukJ1j9kKIeTPFfCUJlBYvR9xaGUPZgX3SJeCBdBNmH_1ngwGDGLzJXyyK4A/s1600/as+you+like+it.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9t0oqItcoZUfe_mxeHAJEC1d0ckkIlH_YinRLvFFDxkz8VG6NH7JiHCo6LdPB5aBngoMy-uyIJd3f2opFukJ1j9kKIeTPFfCUJlBYvR9xaGUPZgX3SJeCBdBNmH_1ngwGDGLzJXyyK4A/s1600/as+you+like+it.gif" /></a>Love is the central theme of <i>As You Like It</i>, like other romantic comedies of Shakespeare. Following the tradition of a romantic comedy, <i>As You Like It</i>
is a tale of love manifested in its varied forms. In many of the
love-stories, it is love at first sight. This principle of 'love at
first sight' is seen in the love-stories of Rosalind and Orlando, Celia
and Oliver, as well as Phebe and Ganymede. The love-story of Audrey and
Touchstone is a parody of romantic love. Another form of love is between
women, as in Rosalind and Celia's deep bond.</div>
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<br /></div>
<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Usurpation_and_Injustice">Usurpation and Injustice</span></i></h3>
<div dir="ltr" style="text-align: left;">
This is a significant theme of this play. Frederick usurps the
legitimate place of his elder brother Duke Senior and forces him to flee
for his life. Oliver de Bois usurps the rights of his younger brother
Orlando and treats him so ungenerously as to compel him to seek his
fortune elsewhere. Both outcasts take refuge in the forest, where
justice is restored "through nature"<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/As_You_Like_It#cite_note-7"></a></sup></div>
<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Forgiveness">Forgiveness</span></i></h3>
<div dir="ltr" style="text-align: left;">
The play highlights the theme of usurpation and injustice on the
property of others. However, it ends happily with reconciliation and
forgiveness. Duke Frederick is converted by a hermit and he restores the
dukedom to Duke Senior who, in his turn, restores the forest to the
deer. Oliver also undergoes a change of heart and learns to love
Orlando. Thus, the play ends on a note of rejoicing and merry-making.</div>
<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Court_life_and_country_life">Court life and country life</span></i></h3>
<div dir="ltr" style="text-align: left;">
Most of the play is a celebration of life in the country. The
inhabitants of Duke Frederick's court suffer the perils of arbitrary
injustice and even threats of death; the courtiers who followed the old
duke into forced exile in the "desert city" of the forest are, by
contrast, experiencing liberty but at the expense of some easily borne
discomfort. (Act II, scene 1). A passage between Touchstone, the court
jester, and shepherd Corin establishes the contentment to be found in
country life, compared with the perfumed, mannered life at court. (Act
III, scene 2). At the end of the play the usurping duke and the exiled
courtier Jacques both elect to remain within the forest.<br />
<br />
Pastoral literature primarily establishes
a contrast between life in the city and life in the country, and
suggests that the intense concerns of court life can be rectified
by a brief foray into nature. The neat and convenient division between
town and country allows characters the distance required to contemplate,
criticize, and reform city life. <i>As You Like It</i> certainly
acknowledges this convention: urban life, as governed by the likes
of Duke Frederick and Oliver, is plagued with injustices, and the
Forest of Ardenne allows Duke Senior, Rosalind, Orlando, and the
rest not only to escape oppression but to build the foundation of
a more loving and just society. But Shakespeare does not content
himself with criticizing the court and romanticizing the country.
Instead, he trains a careful—and comic—eye on the entire pastoral
tradition. Although Shakespeare’s urban sophisticates find solace
in Ardenne and manage to heal the wounds inflicted on them by vengeful
dukes and unfair customs, the green world they encounter is not
a paradise, peopled as it is with the likes of Silvius and Audrey.
The former is blinded by love, the latter by her own dim wits, and
neither is insightful enough to lead the exiles toward a completely
redeemed life. <br />
<sup class="reference" id="cite_ref-8"></sup><br />
<sup class="reference" id="cite_ref-8"><a href="http://en.wikipedia.org/wiki/As_You_Like_It#cite_note-8"></a></sup></div>
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</div>
sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-12953576917625181012013-01-28T06:38:00.003-08:002013-01-30T06:30:23.682-08:00The Jew of Malta<div dir="rtl" style="text-align: right;" trbidi="on">
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<span style="font-size: x-large;"><i><b>The Jew of Malta</b></i></span></div>
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<i><b>The Jew of Malta</b></i> is a play by Christopher Marlowe,
probably written in 1589 or 1590. Its plot is an original story of
religious conflict, intrigue, and revenge, set against a backdrop of the
struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. <i>The Jew of Malta</i> is considered to have been a major influence on William Shakespeare's <i>The Merchant of Venice</i>.</div>
<a name='more'></a><br />
<div dir="ltr" style="text-align: left;">
The title character, Barabas, is a complex character likely to
provoke mixed reactions in an audience. Like Marlowe's other
protagonists, such as Tamburlaine and Doctor Faustus,
he dominates the play's action. There has been extensive debate about
the play's portrayal of Jews and how Elizabethan audiences would have
viewed it.</div>
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<br /></div>
<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Summary">Summary</span></i></h2>
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<br /></div>
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The play contains a prologue in which the character Machiavel, a Senecan ghost based on Niccolò Machiavelli,
introduces "the tragedy of a Jew." Machiavel expresses the cynical view
that power is amoral, saying "I count religion but a childish toy,/And
hold there is no sin but ignorance."</div>
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The Jewish merchant in question, Barabas, is introduced as a man owning more wealth than all of Malta.
When Turkish ships arrive to demand tribute, however, Barabas's wealth
is seized and he is left penniless. Incensed, he begins a campaign to
engineer the downfall of the Maltese governor who robbed him. With the
aid of his daughter, Abigail, he recovers some of his former assets and
buys a Turkish slave, Ithamore, who appears to hate Christians as much
as Barabas. Barabas then, in revenge for the robbery, uses his
daughter's beauty to embitter the governor's son and his friend against
each other, leading to a duel in which they both die. When Abigail
learns of Barabas's role in the plot, she consigns herself to a nunnery,
only to be poisoned (along with all of the nuns) by Barabas and
Ithamore for becoming a Christian. The two go on to kill a couple of
friars who threaten to divulge their previous crimes. Ithamore himself,
however, is lured into disclosing his secrets and blackmailing Barabas
by a beautiful prostitute and her criminal friend. Barabas poisons all
of them in revenge, but not before the governor is apprised of his
deeds. Barabas escapes execution by feigning death, and then helps an
advancing Turkish army to sack Malta, for which he is awarded
governorship of the city.</div>
<div dir="ltr" style="text-align: left;">
He then turns on the Turks, allowing the Knights of Malta to kill the
Turkish army. The Maltese, however, turn on Barabas and kill him as
they regain control of Malta.</div>
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<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Significance">Significance</span></i></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQKpo_DLEMZ3PkUDO66JhW6g5c7Sb-aG7rmFi3O5CEVJ9UyoI-w_Y8sDb5p-AV9OpEWY2l8cxR86qSLMaBgoLAGu1lLeE81urlDOVfrFzaVN8fQqQgN6rvgRPtHLxtM3HGAKBLwBXIyN0/s1600/jew+of+malta003.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQKpo_DLEMZ3PkUDO66JhW6g5c7Sb-aG7rmFi3O5CEVJ9UyoI-w_Y8sDb5p-AV9OpEWY2l8cxR86qSLMaBgoLAGu1lLeE81urlDOVfrFzaVN8fQqQgN6rvgRPtHLxtM3HGAKBLwBXIyN0/s1600/jew+of+malta003.gif" /></a>As with Shakespeare's <i>Merchant of Venice,</i> the unremitting evil of <i>The Jew of Malta's</i> anti-hero leaves the play open to accusations of anti-Semitism. However, like Shakespeare's <b><i>Shylock</i></b>,
Barabas also shows evidence of humanity (albeit rarely), particularly
when he protests against the blatant unfairness of the governor's edict
that the Turkish tribute will be paid entirely by Malta's Jewish
population. It is because of Barabas's protests that he is stripped of
all he has and consequently becomes a sort of monster. He has more
asides than any other character, making his isolation from the other
characters, including his fellow Jews, all the more evident, and he
constantly has to operate in what he does alone: even his daughter
becomes detached from him before long, and Ithamore, too, soon loses
interest in his former loyalty towards his master. In his first meeting
with Ithamore he has his most famous speech that begins: "I walk abroad
a-nights/ And kill sick people groaning under walls," and follows this
with over twenty more lines about various murders and robberies he has
apparently performed. Some have interpreted Barabas by suggesting that
nothing in his personality implies that so underhanded a character would
suddenly come out with the truth as he does, and it is possible that he
is not even speaking the truth at all. This has led some to suggest
that, in a sense, the Jew of Malta is a play about his transforming
into, rather than actually being from the beginning, the very thing that
anti-Semites all around him portray him as., it could be for this reason that Machievelli, in the Prologue, describes it as the "tragedy" of a Jew.</div>
<div dir="ltr" style="text-align: left;">
Barabas says that, in his continual acts of treachery, he is only
following the Christian example. He notes that according to Catholic
teaching, "Faith is not to be kept with heretics", to which he adds "And
all are heretics that are not Jews" (Act II). Barabas also says in the
same act:<i><b>:</b></i></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgaI5zvvqSCQP6bfKSZfEO4JQWhtslLEyufZnvKxcr9A3uhNEMXt5u3TVRvwnoQFqrvXfnwWxyoY2673DKESao2sTmaZliP85M1VjzxTZ81KLrYqvBiCq9F9Zs53qqU5l1P5QfeJ_YdZs/s1600/jew+of+malta.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgaI5zvvqSCQP6bfKSZfEO4JQWhtslLEyufZnvKxcr9A3uhNEMXt5u3TVRvwnoQFqrvXfnwWxyoY2673DKESao2sTmaZliP85M1VjzxTZ81KLrYqvBiCq9F9Zs53qqU5l1P5QfeJ_YdZs/s1600/jew+of+malta.gif" /></a></div>
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Meanwhile, very few of the play's other characters show significant
redeeming qualities. The play ridicules Christian monks and nuns for
engaging in forbidden sexual practices, and portrays a pair of friars
trying to outbid each other to bring Barabas (and his wealth) into their
order. Malta's Christian governor, in addition to his unfair treatment
of the city's Jews, is revealed to be a grasping opportunist who seizes
any chance to get an advantage. The Turkish slave Ithamore is somewhat
idiotic and has no qualms about getting drunk when offered wine (and
sex) by a prostitute (quite apart from his role in multiple murders),
and aside from him there are the Turkish invaders who plan to make the
city's defenders (the Knights of Malta) into galley slaves.</div>
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The play portrays characters of three religious groups—Christians,
Jews, and the Turks, who are Muslim—in constant enmity with one another.
It satirizes self-contented morality and suggests that, in the end, all
religious groups are equally likely to engage in violent and selfish
acts, regardless of their professed moral teachings. This irony comes to
a head when Barabas, falling into his own boiling cauldron, cries out
to the Christian and Turkish onlookers for mercy. Barabas, of course,
would have shown the Turks no mercy had they fallen prey to his trap,
and yet expects help from his erstwhile Christian victims and intended
Turkish ones. Meanwhile, he has been derided throughout the play by
Christians for not showing proper Christian charity, and yet the play's
Christians show him no mercy when he is in need of help. The hypocrisy
is made all the more potent when, after the Turkish leader's
galley-slaves and soldiers have all been massacred in an explosion of
gunpowder (also created by Barabas), the Christians then take the
remaining Turks prisoner in Malta, just as the murderous Barabas they
formerly berated would have done—and the governor states that they
should give thanks to Heaven as a result. The ending refuses to allow
any group in the play to emerge blameless.</div>
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<div class="studyGuideText" id="themesms">
<h3 class="innerUnderlined" dir="ltr" style="text-align: left;">
Themes, Motifs, and Symbols</h3>
<h4 dir="ltr" style="text-align: left;">
<i>Themes</i></h4>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Religious Hypocrisy</span></h5>
<div dir="ltr" style="text-align: left;">
Although the Maltese Christians—particularly Ferneze and the
two priests—present themselves as agents of morality, Marlowe makes it
clear that these men are frauds and hypocrites. This complicates
Barabas's role within the play, for it challenges his status as the
obvious villain. There is no clear struggle between good and evil,
although the Maltese demonize Barabas. Instead, the major characters are
presented as strategists who maneuver themselves into positions of
strength or weakness depending on their ability to deceive. Even the
Catholic priests turn their backs on religious morals when it suits
them, shown in their attempts to outmaneuver each other to win Barabas's
money.</div>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Machiavellian Strategy</span></h5>
<div dir="ltr" style="text-align: left;">
This is an overarching theme that ties in with
many others within the play, particularly religious hypocrisy.
Essentially, the characters display an ability to strategize that is
alien to ideals of religious sincerity. As Machevill asserts in the
Prologue, "religion [is] but a childish toy." Instead of religion and
the power of Divine Providence, many characters place their trust in
schemes and strategies. Marlowe treats this subject ambiguously.
Although the Prologue satirizes Machiavellian scheming, the rest of the
play suggests that statesmen must manipulate to protect their own
interests. For example, Ferneze is only able to survive and free Malta
by outmaneuvering Barabas. In turn, Barabas avoids capture for a long
period of time through anticipating other people's moves and motives.
Marlowe ultimately leaves us wondering whether or not he believes in
Machiavellian tactics. The play's heavily ironic tone could support the
view that man is driven by his own motives. Alternatively, it might
suggest that our ability to control events always comes second to God's
will—which would make political scheming redundant.</div>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Vengeance and Retribution</span></h5>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jIih5jyLyW3leSuM-ULH3bOtMr6_OuMcfzFt6rJn3mEwhYICXtp9nooRIScitGIgQ-wh0u-iw0s-b9HZLxqlohPU16z28YiOi61VHcsgqz_vooALAAokMGPtwI8ORBjdeEvyGlfbXL4/s1600/jew+of+malta002.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jIih5jyLyW3leSuM-ULH3bOtMr6_OuMcfzFt6rJn3mEwhYICXtp9nooRIScitGIgQ-wh0u-iw0s-b9HZLxqlohPU16z28YiOi61VHcsgqz_vooALAAokMGPtwI8ORBjdeEvyGlfbXL4/s1600/jew+of+malta002.gif" /></a>This theme dominates the play as it grows to consume Barabas.
Notions of vengeance obsess the protagonist, and what Barabas qualifies
as a personal injury becomes increasingly broad as the play progresses.
Barabas turns from specific wrongs done him by individuals—such as
Ferneze—to focus on wrongs done him by Christian society and the world
in general. Even those characters who have been loyal to Barabas, or who
have brought him great advantages, come under fire. Calymath is a
notable example, for the protagonist repays the Turk's generosity with
treachery. Barabas even threatens Ithamore at a point when the slave is
most loyal to his master, saying, "I'll pay thee with a vengeance,
Ithamore." The protagonist's all-consuming wrath has a momentum unlike
anything else within the play, including the motivations of the other
characters. As a theme, vengeance contributes to the stagy feel and
self- referential theatricality of <i>The Jew of Malta.</i>
</div>
<h4 dir="ltr" style="text-align: left;">
<i>Motifs</i></h4>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Deception and Dissimulation</span></h5>
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Most characters in <i>The Jew of Malta</i> deceive and
dissemble, mostly for political expediency or criminal purposes. Abigail
is the only exception, as she pretends to convert to Christianity in
order to help her father recover his gold. In the scene where they plan
this false conversion, father and daughter use the word "dissemble"
three times in as many lines. In response to Abigail's assurance, "Thus
father shall I much dissemble," Barabas replies, "As good dissemble that
thou never mean'st / As first mean truth and then dissemble it." As far
as the Barabas is concerned, it is no worse to deceive when you know
you are lying than it is to do something honestly and later become
hypocritical. Marlowe has Barabas—who is never troubled by his false
actions— stand by this maxim throughout the play. Other characters, such
as Ferneze, also try to conceal their own motives but meet with
variable success. The priests Bernardine and Jacomo are prime examples
of poor dissimulators. A clear example is Act IV, scene i, where the
priests pretend to have Barabas's best interests at heart but really
want his gold in their coffers. It is no coincidence that these men of
faith have impure motivations—Barabas stands out in comparison as an
able strategist, precisely because he does not espouse false moral
ideals. The protagonist regards dissembling as a strategic tool to
achieve political ends; he remains unconcerned about the immorality of
such duplicity.</div>
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<span style="font-size: small;">Proverbs and Biblical Allusions</span></h5>
<div dir="ltr" style="text-align: left;">
Barabas's (and by extension Marlowe's) use of biblical and
classical allusions is heavily ironic. Barabas refers to the story of
Cain when he hears of Abigail's conversion to Christianity, exclaiming
"perish underneath my bitter curse / Like Cain by Adam, for his
brother's death." While Barabas's allusions display the breadth of his
knowledge, they are often used mockingly to undermine the seriousness of
events. Ithamore uses proverbs in a more overtly jocular way, as shown
by his comment, "he that eats with the Devil had need of a long spoon."
Also, both allusions and proverbs serve to bridge the world of the stage
and the audience. They form part of a cultural dialogue that traverses
the gulf between theater and real life. When Pilia-Borza knowingly
asserts, "Hodie tibi, cras mihi," (Today you, tomorrow me) Marlowe is
speaking to the minds of his contemporaries about the unpredictability
of fate. Although the play pertains to be about past events in Malta,
such proverbial wit suggests that it dramatizes the tensions and
concerns of contemporary Elizabethan England.</div>
<h4 dir="ltr" style="text-align: left;">
<i>Symbols</i></h4>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Gold</span></h5>
<div dir="ltr" style="text-align: left;">
Gold symbolizes power and success as well as wealth. Barabas
is ecstatic when he recovers his hidden gold in Act II, scene i. As the
Turkish bashaw states to Ferneze, the Turkish army are driven by "[t]he
wind that bloweth all the world besides, / Desire of gold." In sixteenth
century Malta, as in our modern era, money makes the world go round.
Gold symbolizes faith in the terrestrial world—its schemes, profits and
rewards—as opposed to the spiritual realm's less immediate rewards.</div>
<h5 dir="ltr" style="text-align: left;">
<span style="font-size: small;">Barabas's nose</span></h5>
<div dir="ltr" style="text-align: left;">
Most of the comments about Barabas's nose are
made by Ithamore, who makes puns on the idea of smelling and having a
nose for things. For example, he says, "Oh brave, master, I worship your
nose for this." The slave expresses his admiration for this feature
along with Barabas's qualities of character, stating, "I have the
bravest, gravest, secret, subtle, bottle-nosed knave to my master, that
ever gentleman had." And yet, Ithamore's gentle jibing is not always
comic—it can turn nasty. In Act IV he mutters as an aside, "God-a-mercy
nose," in response to Barabas's comment that he smelt the priests "ere
they came." Marlowe is undoubtedly playing on Jewish stereotypes with
this unconventional symbol.</div>
<div dir="ltr" style="text-align: left;">
The fact that Ithamore focuses on Barabas' nose symbolizes
his need to define the Jew as different, through selecting this feature
as a mark of distinction. By saying that Barabas has a nose for crime,
Ithamore is somehow connecting what he perceives to be a Jewish identity
with a criminal identity. It is unlikely that Marlowe agrees with
Ithamore. The slave's comments are so ridiculous—as is Barabas's comment
that he could smell the priests before they appeared—that we cannot
ignore their sharply ironic tone. While the character of Ithamore might
be saying these things in all seriousness, the playwright uses them to
deepen the play's darkly comic flavor. Barabas's nose is a symbol of the
satire that permeates <i>The Jew of Malta.</i> Just as tragic events in
the play are undercut by humor, so its jokes have serious implications
about the state of human relationships.</div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-6697033022247629082013-01-28T05:49:00.000-08:002013-01-28T05:49:01.079-08:00King Lear<div dir="rtl" style="text-align: right;" trbidi="on">
<div class="titleLeft" dir="ltr" style="text-align: center;">
<h1>
<i>King Lear</i></h1>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYV2BK2g7ZHbbPTiUJIc6G6CHId4DBnJXI-cXhunxBygDrxGfKZif0RGu4NHbwVdB8MZpEb8n7bVE-OX-oSsg-3vyi5heXeY0PXRGSM2J32kZwA2SQU4AdRJTY0tIr60uGSLPLRv6wzw/s1600/220px-Lear-tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRYV2BK2g7ZHbbPTiUJIc6G6CHId4DBnJXI-cXhunxBygDrxGfKZif0RGu4NHbwVdB8MZpEb8n7bVE-OX-oSsg-3vyi5heXeY0PXRGSM2J32kZwA2SQU4AdRJTY0tIr60uGSLPLRv6wzw/s1600/220px-Lear-tate.jpg" /></a></div>
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<div dir="ltr" style="text-align: left;">
<i><b>King Lear</b></i> is a tragedy by William Shakespeare.
The title character descends into madness after foolishly disposing of
his estate between two of his three daughters based on their flattery, bringing tragic consequences for all. The play is based on the legend of Leir of Britain, a mythological pre-Roman
Celtic king. It has been widely adapted for the stage and motion
pictures, and the role of Lear has been coveted and played by many of
the world's most accomplished actors.</div>
<a name='more'></a><br />
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The play was written between 1603 and 1606 and later revised. Shakespeare's earlier version, <i>The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters</i>, was published in quarto in 1608. <i>The Tragedy of King Lear</i>, a more theatrical version, was included in the 1623 First Folio.
Modern editors usually conflate the two, though some insist that each
version has its individual integrity that should be preserved.<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/King_Lear#cite_note-1"><span></span><span></span></a></sup></div>
<div dir="ltr" style="text-align: left;">
After the Restoration,
the play was often revised with a happy ending for audiences who
disliked its dark and depressing tone, but since the 19th century
Shakespeare's original version has been regarded as one of his supreme
achievements. The tragedy is particularly noted for its probing
observations on the nature of human suffering and kinship. George Bernard Shaw wrote, "No man will ever write a </div>
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<h2 dir="ltr" style="text-align: left;">
<span class="mw-headline" id="Synopsis">Synopsis</span></h2>
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<br /></div>
<div dir="ltr" style="text-align: left;">
King Lear, who is elderly and wants to retire from power, decides to
divide his realm among his three daughters, and offers the largest share
to the one who loves him best. Goneril and Regan both proclaim in
fulsome terms that they love him more than anything in the world, which
pleases him. For Cordelia, there is nothing to compare her love to, nor
words to properly express it; she speaks honestly but bluntly, which
infuriates him. In his anger he disinherits her, and divides the kingdom
between Regan and Goneril. Kent objects to this unfair treatment. Lear
is further enraged by Kent's protests, and banishes him from the
country. Lear summons the Duke of Burgundy and the King of France, who
have both proposed marriage to Cordelia. Learning that Cordelia has been
disinherited, the Duke of Burgundy withdraws his suit, but the King of France is impressed by her honesty and marries her anyway</div>
<div dir="ltr" style="text-align: left;">
Lear announces he will live alternately with Goneril and Regan, and
their husbands, the Dukes of Albany and Cornwall respectively. He
reserves to himself a retinue of one hundred knights, to be supported by
his daughters. Goneril and Regan speak privately, revealing that their
declarations of love were fake, and they view Lear as an old and foolish
man.</div>
<div dir="ltr" style="text-align: left;">
Edmund resents his illegitimate status, and plots to dispose of his
legitimate older brother Edgar. He tricks their father Gloucester with a
forged letter, making him think Edgar plans to usurp the estate. Kent
returns from exile in disguise under the name of Caius, and Lear hires
him as a servant. Lear discovers that now that Goneril has power, she no
longer respects him. She orders him to behave better and reduces his
retinue. Enraged, Lear departs for Regan's home. The Fool mocks Lear's
misfortune. Edmund fakes an attack by Edgar, and Gloucester is
completely taken in. He disinherits Edgar and proclaims him an outlaw.</div>
<div dir="ltr" style="text-align: left;">
Bearing Lear's message to Regan, Kent-as-Caius meets Oswald at Gloucester's home, quarrels with him, and is put in the stocks
by Regan and her husband Cornwall. When Lear arrives, he objects to the
mistreatment of his messenger, but Regan is as dismissive of her father
as Goneril was. Lear is enraged but impotent. Goneril arrives and
supports Regan's argument against him. Lear yields completely to his
rage. He rushes out into a storm to rant
against his ungrateful daughters, accompanied by the mocking Fool. Kent
later follows to protect him. Gloucester protests against Lear's
mistreatment. Wandering on the heath after the storm, Lear meets Edgar, in the guise of a madman named Tom o' Bedlam. Edgar babbles madly while Lear denounces his daughters. Kent leads them all to shelter.</div>
<div dir="ltr" style="text-align: left;">
Edmund betrays Gloucester to Cornwall, Regan, and Goneril. He shows a letter from his father to the King of France
asking for help against them; and in fact a French army has landed in
Britain. Once Edmund leaves with Goneril to warn Albany about the
invasion, Gloucester is arrested, and Cornwall gouges out Gloucester's eyes.
As he is doing so, a servant is overcome with rage by what he is
witnessing and attacks Cornwall, mortally wounding him. Regan kills the
servant, and tells Gloucester that Edmund betrayed him; then she turns
him out to wander the heath
too. Edgar, in his madman's guise, meets his blinded father on the
heath. Gloucester, not recognising him, begs Tom to lead him to a cliff
at Dover so that he may jump to his death.</div>
<div dir="ltr" style="text-align: left;">
Goneril discovers that she finds Edmund more attractive than her
honest husband Albany, whom she regards as cowardly. Albany has
developed a conscience - he is disgusted by the sisters' treatment of
Lear, and the mutilation of Gloucester, and denounces his wife. Goneril
sends Edmund back to Regan; receiving news of Cornwall's death, she
fears her newly widowed sister may steal Edmund and sends him a letter
through Oswald. Kent leads Lear to the French army, which is commanded
by Cordelia. But Lear is half-mad and terribly embarrassed by his
earlier follies. At Regan's instigation, Albany joins his forces with
hers against the French. Goneril's suspicions about Regan's motives are
confirmed and returned, as Regan rightly guesses the meaning of her
letter and declares to Oswald that she is a more appropriate match for
Edmund. Edgar pretends to lead Gloucester to a cliff, then changes his
voice and tells Gloucester he has miraculously survived a great fall.
Lear appears, by now completely mad. He rants that the whole world is
corrupt and runs off.</div>
<div dir="ltr" style="text-align: left;">
Oswald appears, still looking for Edmund. On Regan's orders, he tries
to kill Gloucester but is killed by Edgar. In Oswald's pocket, Edgar
finds Goneril's letter, in which she encourages Edmund to kill her
husband and take her as his wife. Kent and Cordelia take charge of Lear,
whose madness slowly passes. Regan, Goneril, Albany, and Edmund meet
with their forces. Albany insists that they fight the French invaders
but not harm Lear or Cordelia. The two sisters lust for Edmund, who has
made promises to both. He considers the dilemma and plots the deaths of
Albany, Lear, and Cordelia. Edgar gives Goneril's letter to Albany. The
armies meet in battle, the British defeat the French, and Lear and
Cordelia are captured. Edmund sends them off with secret orders for
execution.</div>
<div dir="ltr" style="text-align: left;">
The victorious British leaders meet, and the recently widowed Regan
now declares she will marry Edmund. But Albany exposes the intrigues of
Edmund and Goneril and proclaims Edmund a traitor. Regan falls ill, and
is escorted offstage, where she dies. It is stated that Goneril slipped
poison into her food. Edmund defies Albany, who calls for a trial by combat.
Edgar appears in his own clothes, and challenges Edmund to a duel.
Edgar wounds Edmund fatally, though he does not die immediately. Albany
confronts Goneril with the letter which was intended to be his death
warrant; she flees in shame and rage. Edgar reveals himself, and reports
that Gloucester died offstage from the shock and joy of learning that
Edgar is alive, after Edgar revealed himself to his father.</div>
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Offstage, Goneril, with all her evil plans thwarted, commits suicide.
The dying Edmund decides, though he admits it is against his own
character, to try and save Lear and Cordelia; however, his confession
comes too late. Soon after Albany sends men to countermand Edmund's
orders, Lear enters bearing Cordelia's corpse in his arms, having
survived by killing the executioner. Lear now recognizes Kent, but fails
to make the connection between Kent and his alter-ego, Caius. Albany
urges Lear to resume his throne, but like Gloucester, the trials Lear
has been through have finally overwhelmed him, and he dies. Albany then
asks Kent and Edgar to take charge of the throne. Kent declines,
explaining that his master is calling him on a journey. It is unclear
whether Kent intends to commit suicide, following Lear into death, or
feels he is going to die in the same manner as Lear and Gloucester.
Finally, either Albany (in the Quarto version) or Edgar (in the Folio
version) has the final speech, with the implication that he will now
become king<sup class="reference" id="cite_ref-5"><span>.</span><span></span></sup><sup class="reference" id="cite_ref-6"><span></span><span></span></sup></div>
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<i><span class="mw-headline" id="Points_of_debate">Points of debate</span></i></h2>
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The play opens with a formal ceremony in which King Lear seemingly
divides his kingdom among his daughters according to their avowals of
their love for him. If this were a test, it would make most sense for
Lear to hear out all three daughters before starting to divide the
kingdom. David Ball posits an alternative interpretation.<sup class="reference" id="cite_ref-autogenerated1_20-0"><span>[</span>20<span>]</span></sup>
He bases this analysis on the conversation between Kent and Gloucester
which are the first seven lines of the play and serve to help the
audience understand the context of the drama about to unfold.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0vRXsu_3GzITZY6uuPv0G5VA6s2uCXyrMDSDH9xS69fs_oajqOZFWGtKQpRVL2uBcXDeXN7j1YBRQFcyQqCQCA8NbBJ80ua5yzdYG8__FcFNbJRO_GuJRLg3vtQ3zXf-ht9WU1ALVPM/s1600/king+lear.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP0vRXsu_3GzITZY6uuPv0G5VA6s2uCXyrMDSDH9xS69fs_oajqOZFWGtKQpRVL2uBcXDeXN7j1YBRQFcyQqCQCA8NbBJ80ua5yzdYG8__FcFNbJRO_GuJRLg3vtQ3zXf-ht9WU1ALVPM/s320/king+lear.gif" width="320" /></a> </div>
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Ball interprets this statement to mean that the court already knows
how the King is going to divide his kingdom; that the outcome of the
ceremony is already decided and publicly known. Nor do Kent and
Gloucester express the slightest surprise about the division.</div>
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Alternatively, it has been suggested that the King's "contest" has more to do with his control over the unmarried Cordelia.<sup class="reference" id="cite_ref-21"></sup></div>
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<sup class="reference" id="cite_ref-21"></sup></div>
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<sup class="reference" id="cite_ref-21"></sup></div>
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<sup class="reference" id="cite_ref-21"></sup></div>
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<sup class="reference" id="cite_ref-21"><span></span><span></span></sup></div>
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<h3 class="innerUnderlined">
Themes, Motifs & Symbols</h3>
<h4>
<i><span style="font-size: large;">Themes</span></i></h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<i><span style="font-size: large;">Justice</span></i></h5>
<i>King Lear</i> is a brutal play, filled with
human cruelty and awful, seemingly meaningless disasters. The play’s
succession of terrible events raises an obvious question for the
characters—namely, whether there is any possibility of justice in
the world, or whether the world is fundamentally indifferent or
even hostile to humankind. Various characters offer their opinions:
“As flies to wanton boys are we to the gods; / They kill us for
their sport,” Gloucester muses, realizing it foolish for humankind
to assume that the natural world works in parallel with socially
or morally convenient notions of justice (4.1.37–38).
Edgar, on the other hand, insists that “the gods are just,” believing
that individuals get what they deserve (5.3.169).
But, in the end, we are left with only a terrifying uncertainty—although
the wicked die, the good die along with them, culminating in the
awful image of Lear cradling Cordelia’s body in his arms. There
is goodness in the world of the play, but there is also madness
and death, and it is difficult to tell which triumphs in the end.<br />
<h5>
<i><span style="font-size: large;">Authority versus Chaos</span></i></h5>
<i>King Lear</i> is about political authority
as much as it is about family dynamics. Lear is not only a father
but also a king, and when he gives away his authority to the unworthy
and evil Goneril and Regan, he delivers not only himself and his
family but all of Britain into chaos and cruelty. As the two wicked
sisters indulge their appetite for power and Edmund begins his own
ascension, the kingdom descends into civil strife, and we realize
that Lear has destroyed not only his own authority but <i>all</i> authority
in Britain. The stable, hierarchal order that Lear initially represents
falls apart and disorder engulfs the realm.<br />
The failure of authority in the face of chaos recurs in
Lear’s wanderings on the heath during the storm. Witnessing the
powerful forces of the natural world, Lear comes to understand that
he, like the rest of humankind, is insignificant in the world. This
realization proves much more important than the realization
of his loss of political control, as it compels him to re-prioritize
his values and become humble and caring. With this newfound understanding
of himself, Lear hopes to be able to confront the chaos in the political
realm as well.<br />
<h5>
<i><span style="font-size: large;">Reconciliation</span></i></h5>
Darkness and unhappiness pervade <i>King Lear, </i>and
the devastating Act 5 represents one of the most tragic endings
in all of literature. Nevertheless, the play presents the central
relationship—that between Lear and Cordelia—as a dramatic embodiment
of true, self-sacrificing love. Rather than despising Lear for banishing
her, Cordelia remains devoted, even from afar, and eventually brings
an army from a foreign country to rescue him from his tormentors. Lear,
meanwhile, learns a tremendously cruel lesson in humility and eventually
reaches the point where he can reunite joyfully with Cordelia and
experience the balm of her forgiving love. Lear’s recognition of
the error of his ways is an ingredient vital to reconciliation with
Cordelia, not because Cordelia feels wronged by him but because
he has understood the sincerity and depth of her love for him. His
maturation enables him to bring Cordelia back into his good graces,
a testament to love’s ability to flourish, even if only fleetingly,
amid the horror and chaos that engulf the rest of the play.<br />
<h4>
<span style="font-size: large;"><i>Motifs</i></span></h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<i><span style="font-size: large;">Madness </span></i></h5>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMPI_qwZVXeyTT2dOK1zgBNeJDs26iDCs4u9v-3l_GZg4OB7WKKrd2aDiHQbQ8u1GR3rRGItscCCij_MqOjR13N7qXyqEBty6B5IExmdSesiRuDgh3KbikzpR_eUSEBWYOafgbNY2WAg/s1600/king+lear003.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Insanity occupies a central place in the play
and is associated with both disorder and hidden wisdom. The Fool,
who offers Lear insight in the early sections of the play, offers
his counsel in a seemingly mad babble. Later, when Lear himself
goes mad, the turmoil in his mind mirrors the chaos that has descended
upon his kingdom.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMPI_qwZVXeyTT2dOK1zgBNeJDs26iDCs4u9v-3l_GZg4OB7WKKrd2aDiHQbQ8u1GR3rRGItscCCij_MqOjR13N7qXyqEBty6B5IExmdSesiRuDgh3KbikzpR_eUSEBWYOafgbNY2WAg/s1600/king+lear003.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="48" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMPI_qwZVXeyTT2dOK1zgBNeJDs26iDCs4u9v-3l_GZg4OB7WKKrd2aDiHQbQ8u1GR3rRGItscCCij_MqOjR13N7qXyqEBty6B5IExmdSesiRuDgh3KbikzpR_eUSEBWYOafgbNY2WAg/s320/king+lear003.gif" width="320" /></a> At the same time, however, it also provides him with
important wisdom by reducing him to his bare humanity, stripped
of all royal pretensions. Lear thus learns humility. He is joined
in his real madness by Edgar’s feigned insanity, which also contains
nuggets of wisdom for the king to mine. Meanwhile, Edgar’s time
as a supposedly insane beggar hardens him and prepares him to defeat
Edmund at the close of the play.<br />
<h5>
<i><span style="font-size: large;">Betrayal</span></i></h5>
Betrayals play a critical role in the play and show the
workings of wickedness in both the familial and political realms—here,
brothers betray brothers and children betray fathers. Goneril and
Regan’s betrayal of Lear raises them to power in Britain, where
Edmund, who has betrayed both Edgar and Gloucester, joins them.
However, the play suggests that betrayers inevitably turn on one
another, showing how Goneril and Regan fall out when they both become attracted
to Edmund, and how their jealousies of one another ultimately lead
to mutual destruction. Additionally, it is important to remember
that the entire play is set in motion by Lear’s blind, foolish betrayal
of Cordelia’s love for him, which reinforces that at the heart of
every betrayal lies a skewed set of values.<br />
<h4>
<i><span style="font-size: large;">Symbols</span></i></h4>
<blockquote class="quotation">
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<h5>
<i><span style="font-size: large;">The Storm</span></i></h5>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Qymo2027dAz6gp47WkV9tAx5lYpJ75hdpyMYjwXFKLODnZsVHNJJHM9nudZSWgzNgzGBqsSBU2Pc4rEmFjU6N_IyolOYB1o90cD1WtAbb6BF9JVecMySFukq95kiXngz3AuERhi7S48/s1600/king+lear002.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Qymo2027dAz6gp47WkV9tAx5lYpJ75hdpyMYjwXFKLODnZsVHNJJHM9nudZSWgzNgzGBqsSBU2Pc4rEmFjU6N_IyolOYB1o90cD1WtAbb6BF9JVecMySFukq95kiXngz3AuERhi7S48/s1600/king+lear002.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="48" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Qymo2027dAz6gp47WkV9tAx5lYpJ75hdpyMYjwXFKLODnZsVHNJJHM9nudZSWgzNgzGBqsSBU2Pc4rEmFjU6N_IyolOYB1o90cD1WtAbb6BF9JVecMySFukq95kiXngz3AuERhi7S48/s320/king+lear002.gif" width="320" /></a>As Lear wanders about a desolate heath in Act
3, a terrible storm, strongly but ambiguously symbolic, rages
overhead. In part, the storm echoes Lear’s inner turmoil and mounting
madness: it is a physical, turbulent natural reflection of Lear’s
internal confusion. At the same time, the storm embodies the awesome
power of nature, which forces the powerless king to recognize his
own mortality and human frailty and to cultivate a sense of humility
for the first time. The storm may also symbolize some kind of divine
justice, as if nature itself is angry about the events in the play.
Finally, the meteorological chaos also symbolizes the political
disarray that has engulfed Lear’s Britain.<br />
<h5>
<i><span style="font-size: large;">Blindness</span></i></h5>
Gloucester’s physical blindness symbolizes the metaphorical
blindness that grips both Gloucester and the play’s other father
figure, Lear. The parallels between the two men are clear: both
have loyal children and disloyal children, both are blind to the
truth, and both end up banishing the loyal children and making the
wicked one(s) their heir(s). Only when Gloucester has lost the use
of his eyes and Lear has gone mad does each realize his tremendous
error. It is appropriate that the play brings them together near
Dover in Act 4 to commiserate about how their blindness to the
truth about their children has cost them dearly.<br />
</div>
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<span class="mw-headline" id="Points_of_debate"> </span></h2>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-28593728214268329772013-01-28T05:19:00.004-08:002013-01-28T05:19:59.816-08:00Julius Caesar<div dir="rtl" style="text-align: right;" trbidi="on">
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<i>Julius Caesar</i></h1>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd7EQLr5xr8ia7_K4r4rz9ML7jYW9E0dBczM5I5KQESbkJYHFxm7mWmkSjFcX8kFpxluevXiratta3lt6M-ziC4G5kkbcbWa6XpTatsex5JnkESb1wx8ByykHt36C80wacshiCAmfh9vc/s1600/JuliusCaesar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd7EQLr5xr8ia7_K4r4rz9ML7jYW9E0dBczM5I5KQESbkJYHFxm7mWmkSjFcX8kFpxluevXiratta3lt6M-ziC4G5kkbcbWa6XpTatsex5JnkESb1wx8ByykHt36C80wacshiCAmfh9vc/s200/JuliusCaesar.jpg" width="200" /></a></div>
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<i> </i></h1>
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<i><b>The Tragedy of Julius Caesar</b></i>, also known simply as <i><b>Julius Caesar</b></i>, is a tragedy by William Shakespeare, believed to have been written in 1599.<sup class="reference" id="cite_ref-1"><span>[</span>1<span>]</span></sup> It portrays the 44 BC conspiracy against the Roman dictator Julius Caesar, his assassination and the defeat of the conspirators at the Battle of Philippi. It is one of several Roman plays that Shakespeare wrote, based on true events from Roman history, which also include <i>Coriolanus</i> and <i>Antony and Cleopatra</i>.</div>
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Although the title is <i>Julius Caesar</i>, Julius Caesar
is not the most visible character in its action; he appears in only
three scenes, and is killed at the beginning of the third act. Marcus Brutus
speaks more than four times as many lines, and the central
psychological drama is his struggle between the conflicting demands of honor, patriotism, and friendship.</div>
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<br /></div>
<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Synopsis">Synopsis</span></i></h2>
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Marcus Brutus is Caesar's close friend and a Roman praetor. Brutus allows himself to be cajoled into joining a group of conspiring senators because of a growing suspicion—implanted by Caius Cassius—that Caesar intends to turn republican Rome into a monarchy under his own rule.</div>
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The early scenes deal mainly with Brutus's arguments with Cassius and his struggle with his own conscience.
The growing tide of public support soon turns Brutus against Caesar
(this public support was actually faked; Cassius wrote letters to Brutus
in different handwritings over the next month in order to get Brutus to
join the conspiracy). A soothsayer warns Caesar to "beware the Ides of March",<sup class="reference" id="cite_ref-3"><span>[</span>3<span>]</span></sup> which he ignores, culminating in his assassination at the Capitol
by the conspirators that day, despite being warned by the soothsayer
and Artemidrous, one of Caesar's supporters at the entrance of the
Capitol.</div>
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Caesar's assassination is one of the most famous scenes of the play,
occurring in Act 3 (the other is Mark Antony's oration "Friends, Romans,
countrymen.") After ignoring the soothsayer as well as his wife's own
premonitions, Caesar comes to the Senate. The conspirators create a
superficial motive for the assassination by means of a petition brought
by Metellus Cimber, pleading on behalf of his banished brother. As
Caesar, predictably, rejects the petition, Casca grazes Caesar in the
back of his neck, and the others follow in stabbing him; Brutus is last.
At this point, Caesar utters the famous line "<i>Et tu, Brute?</i>"<sup class="reference" id="cite_ref-4"><span>[</span>4<span>]</span></sup> ("And you, Brutus?", <i>i.e.</i>
"You too, Brutus?"). Shakespeare has him add, "Then fall, Caesar,"
suggesting that Caesar did not want to survive such treachery, therefore
becoming a hero.</div>
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The conspirators make clear that they committed this act for Rome,
not for their own purposes and do not attempt to flee the scene. After
Caesar's death, Brutus delivers an oration defending his actions, and
for the moment, the crowd is on his side. However, Mark Antony, with a subtle and eloquent speech over Caesar's corpse—beginning with the much-quoted "<i>Friends, Romans, countrymen, lend me your ears</i>"<sup class="reference" id="cite_ref-5"><span>[</span>5<span>]</span></sup>—deftly turns public opinion against the assassins by manipulating the emotions of the common people,
in contrast to the rational tone of Brutus's speech. Antony rouses the
mob to drive the conspirators from Rome. Amid the violence, the innocent
poet, Cinna, is confused with the conspirator Lucius Cinna and is murdered by the mob.</div>
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The beginning of Act Four is marked by the quarrel scene, where Brutus attacks Cassius for soiling the noble act of regicide
by accepting bribes ("Did not great Julius bleed for justice' sake? /
What villain touch'd his body, that did stab, / And not for justice?"<sup class="reference" id="cite_ref-6"><span>[</span>6<span>]</span></sup>) The two are reconciled; they prepare for war with Mark Antony and Caesar's adopted son, Octavian
(Shakespeare's spelling: Octavius). That night, Caesar's ghost appears
to Brutus with a warning of defeat ("thou shalt see me at Philippi"<sup class="reference" id="cite_ref-7"><span>[</span>7<span>]</span></sup>).</div>
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At the battle,
Cassius and Brutus knowing they will probably both die, smile their
last smiles to each other and hold hands. During the battle, Cassius
commits suicide after hearing of the capture of his best friend,
Titinius. After Titinius, who wasn't really captured, sees Cassius's
corpse, he commits suicide. However, Brutus wins that stage of the
battle - but his victory is not conclusive. With a heavy heart, Brutus battles again the next day. He loses and commits suicide.</div>
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The play ends with a tribute to Brutus by Antony, who proclaims that Brutus has remained "the noblest Roman of them all"<sup class="reference" id="cite_ref-8"><span>[</span>8<span>]</span></sup>
because he was the only conspirator who acted for the good of Rome.
There is then a small hint at the friction between Mark Antony and
Octavius which will characterise another of Shakespeare's Roman plays, <i>Antony and Cleopatra.</i></div>
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<div class="studyGuideText" dir="ltr" id="themesms" style="text-align: left;">
<h3 class="innerUnderlined">
<i>Themes, Motifs & Symbols</i></h3>
<h4>
Themes</h4>
<blockquote class="quotation">
<br /></blockquote>
<h5>
<i>Fate versus Free Will</i></h5>
<i>Julius Caesar</i> raises many questions about
the force of fate in life versus the capacity for free will. Cassius
refuses to accept Caesar’s rising power and deems a belief in fate
to be nothing more than a form of passivity or cowardice. He says
to Brutus: “Men at sometime were masters of their fates. / The fault,
dear Brutus, is not in our stars, / But in ourselves, that we are
underlings” (I.ii.<span class="small-caps">140</span>–<span class="small-caps">142</span>).
Cassius urges a return to a more noble, self-possessed attitude
toward life, blaming his and Brutus’s submissive stance not on a
predestined plan but on their failure to assert themselves.<br />
Ultimately, the play seems to support a philosophy in
which fate and freedom maintain a delicate coexistence. Thus Caesar
declares: “It seems to me most strange that men should fear, / Seeing
that death, a necessary end, / Will come when it will come” (II.ii.<span class="small-caps">35</span>–<span class="small-caps">37</span>). In
other words, Caesar recognizes that certain events lie beyond human
control; to crouch in fear of them is to enter a paralysis equal to,
if not worse than, death. It is to surrender any capacity for freedom
and agency that one might actually possess. Indeed, perhaps to face
death head-on, to die bravely and honorably, is Caesar’s best course:
in the end, Brutus interprets his and Cassius’s defeat as the work of
Caesar’s ghost—not just his apparition, but also the force of the
people’s devotion to him, the strong legacy of a man who refused
any fear of fate and, in his disregard of fate, seems to have transcended
it.<br />
<h5>
<i>Public Self versus Private Self</i></h5>
Much of the play’s tragedy stems from the characters’
neglect of private feelings and loyalties in favor of what they
believe to be the public good. Similarly, characters confuse their
private selves with their public selves, hardening and dehumanizing
themselves or transforming themselves into ruthless political machines.
Brutus rebuffs his wife, Portia, when she pleads with him to confide
in her; believing himself to be acting on the people’s will, he
forges ahead with the murder of Caesar, despite their close friendship.
Brutus puts aside his personal loyalties and shuns thoughts of Caesar
the man, his friend; instead, he acts on what he believes to be
the public’s wishes and kills Caesar the leader, the imminent dictator.
Cassius can be seen as a man who has gone to the extreme in cultivating his
public persona. Caesar, describing his distrust of Cassius, tells Antony
that the problem with Cassius is his lack of a private life—his
seeming refusal to acknowledge his own sensibilities or to nurture
his own spirit. Such a man, Caesar fears, will let nothing interfere
with his ambition. Indeed, Cassius lacks all sense of personal honor
and shows himself to be a ruthless schemer.<br />
Ultimately, neglecting private sentiments to follow public
concerns brings Caesar to his death. Although Caesar does briefly
agree to stay home from the Senate in order to please Calpurnia,
who has dreamed of his murder, he gives way to ambition when Decius
tells him that the senators plan to offer him the crown. -Caesar’s
public self again takes precedence. Tragically, he no longer sees
the difference between his omnipotent, immortal public image and
his vulnerable human body. Just preceding his death, Caesar
refuses Artemidorus’s pleas to speak with him, saying that he gives
last priority to his most personal concerns. He thus endangers himself
by believing that the strength of his public self will protect his
private self.<br />
<h5>
<i>Misinterpretations and Misreadings</i></h5>
Much of the play deals with the characters’ failures to
interpret correctly the omens that they encounter. As Cicero says,
“Men may construe things after their fashion, / Clean from the purpose
of the things themselves” (I.iii.<span class="small-caps">34</span>–<span class="small-caps">35</span>).
Thus, the night preceding Caesar’s appearance at the Senate is full
of portents, but no one reads them accurately: Cassius takes them
to signify the danger that Caesar’s impending coronation would bring
to the state, when, if anything, they warn of the destruction that
Cassius himself threatens. There are calculated misreadings as well:
Cassius manipulates Brutus into joining the conspiracy by means
of forged letters, knowing that Brutus’s trusting nature will cause
him to accept the letters as authentic pleas from the Roman people.<br />
The circumstances of Cassius’s death represent another
instance of misinterpretation. Pindarus’s erroneous conclusion that
Titinius has been captured by the enemy, when in fact Titinius has
reunited with friendly forces, is the piece of misinformation that
prompts Cassius to seek death. Thus, in the world of politics portrayed
in <i>Julius Caesar,</i> the inability to read
people and events leads to downfall; conversely, the ability to
do so is the key to survival. With so much ambition and rivalry,
the ability to gauge the public’s opinion as well as the resentment
or loyalty of one’s fellow politicians can guide one to success.
Antony proves masterful at recognizing his situation, and his accurate
reading of the crowd’s emotions during his funeral oration for Caesar
allows him to win the masses over to his side.<br />
<h5>
<i>Inflexibility versus Compromise</i></h5>
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Both Brutus and Caesar are stubborn, rather inflexible
people who ultimately suffer fatally for it. In the play’s aggressive
political landscape, individuals succeed through adaptability, bargaining,
and compromise. Brutus’s rigid though honorable ideals leave him
open for manipulation by Cassius. He believes so thoroughly in the
purpose of the assassination that he does not perceive the need
for excessive political maneuvering to justify the murder. Equally
resolute, Caesar prides himself on his steadfastness; yet this constancy helps
bring about his death, as he refuses to heed ill omens and goes willingly
to the Senate, into the hands of his murderers.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-xojFcZxdwDr3nPrY-tXL19VxAbe4s6uK66SnvHY486-UqLlHY8x0jW2sSbcec_UKXYGeq2VeVepv-aRkPTReEuZ7CZMd3FcD0V5Td_T4710Zs7h3F4gXZhyphenhyphen6lb48hSyAANCEM8Om6k/s1600/JuliusCaesar55.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ-xojFcZxdwDr3nPrY-tXL19VxAbe4s6uK66SnvHY486-UqLlHY8x0jW2sSbcec_UKXYGeq2VeVepv-aRkPTReEuZ7CZMd3FcD0V5Td_T4710Zs7h3F4gXZhyphenhyphen6lb48hSyAANCEM8Om6k/s400/JuliusCaesar55.gif" width="400" /></a>Antony proves perhaps the most adaptable of all of the
politicians: while his speech to the Roman citizens centers on Caesar’s generosity
toward each citizen, he later searches for ways to turn these funds
into cash in order to raise an army against Brutus and Cassius.
Although he gains power by offering to honor Caesar’s will and provide
the citizens their rightful money, it becomes clear that ethical
concerns will not prevent him from using the funds in a more politically
expedient manner. Antony is a successful politician—yet the question
of morality remains. There seems to be no way to reconcile firm
moral principles with success in politics in Shakespeare’s rendition
of ancient Rome; thus each character struggles toward a different
solution.<br />
<h5>
<i>Rhetoric and Power</i></h5>
<i>Julius Caesar</i> gives detailed consideration
to the relationship between rhetoric and power. The ability to make
things happen by words alone is the most powerful type of authority.
Early in the play, it is established that Caesar has this type of
absolute authority: “When Caesar says ‘Do this,’ it is performed,”
says Antony, who attaches a similar weight to Octavius’s words toward
the end of the play (I.ii.<span class="small-caps">12</span>). Words also
serve to move hearts and minds, as Act III evidences. Antony cleverly
convinces the conspirators of his desire to side with them: “Let
each man render me with his bloody hand” (III.i.<span class="small-caps">185</span>).
Under the guise of a gesture of friendship, Antony actually marks
the conspirators for vengeance. In the Forum, Brutus speaks to the
crowd and appeals to its love of liberty in order to justify the
killing of Caesar. He also makes ample reference to the honor in
which he is generally esteemed so as to validate further his explanation
of the deed. Antony likewise wins the crowd’s favor, using persuasive
rhetoric to whip the masses into a frenzy so great that they don’t
even realize the fickleness of their favor.<br />
<h4>
Motifs </h4>
<blockquote class="quotation">
Motifs are recurring structures, contrasts, or literary
devices that can help to develop and inform the text’s major themes.</blockquote>
<h5>
<i>Omens and Portents</i></h5>
Throughout the play, omens and portents manifest themselves,
each serving to crystallize the larger themes of fate and misinterpretation of
signs. Until Caesar’s death, each time an omen or nightmare is reported,
the audience is reminded of Caesar’s impending demise. The audience
wonders whether these portents simply announce what is fated to
occur or whether they serve as warnings for what might occur if
the characters do not take active steps to change their behavior.
Whether or not individuals can affect their destinies, characters
repeatedly fail to interpret the omens correctly. In a larger sense,
the omens in <i>Julius Caesar</i> thus imply the dangers
of failing to perceive and analyze the details of one’s world.<br />
<h5>
<i>Letters</i></h5>
The motif of letters represents an interesting counterpart
to the force of oral rhetoric in the play. Oral rhetoric depends
upon a direct, dialogic interaction between speaker and audience:
depending on how the listeners respond to a certain statement, the
orator can alter his or her speech and intonations accordingly.
In contrast, the power of a written letter depends more fully on
the addressee; whereas an orator must read the emotions of the crowd,
the act of reading is undertaken solely by the recipient of the
letter. Thus, when Brutus receives the forged letter from Cassius
in Act II, scene i, the letter has an effect because Brutus allows
it to do so; it is he who grants it its full power. In contrast,
Caesar refuses to read the letter that Artemidorus tries to hand
him in Act III, scene i, as he is heading to the Senate. Predisposed
to ignore personal affairs, Caesar denies the letter any reading
at all and thus negates the potential power of the words written
inside.<br />
<h4>
Symbols </h4>
<blockquote class="quotation">
Symbols are objects, characters, figures, or colors
used to represent abstract ideas or concepts.</blockquote>
<h5>
<i>Women and Wives</i></h5>
While one could try to analyze Calpurnia and Portia as
full characters in their own right, they function primarily not
as sympathetic personalities or sources of insight or poetry but
rather as symbols for the private, domestic realm. Both women plead
with their husbands to be more aware of their private needs and
feelings (Portia in Act II, scene i; Calpurnia in Act III,
scene ii). Caesar and Brutus rebuff the pleas of their respective
wives, however; they not only prioritize public matters but also
actively disregard their private emotions and intuitions. As such,
Calpurnia and Portia are powerless figures, willing though unable
to help and comfort Caesar and Brutus.<br />
</div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-2458483558995210722013-01-28T04:52:00.000-08:002013-01-29T05:57:26.150-08:00Macbeth<div dir="rtl" style="text-align: right;" trbidi="on">
<h1 class="firstHeading" dir="ltr" id="firstHeading" lang="en" style="text-align: center;">
<span dir="auto"><i>Macbeth</i></span></h1>
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<i><b>Macbeth</b></i> is a play written by William Shakespeare.
It is considered one of his darkest and most powerful tragedies. Set in
Scotland, the play dramatizes the corroding psychological and political
effects produced when its protagonist, the Scottish lord Macbeth,
chooses evil as the way to fulfill his ambition for power. He commits regicide
to become king and then furthers his moral descent with a reign of
murderous terror to stay in power, eventually plunging the country into
civil war. In the end, he loses everything that gives meaning and
purpose to his life before losing his life itself.<br />
<a name='more'></a></div>
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The play is believed to have been written between 1603 and 1607, and
is most commonly dated 1606. The earliest account of a performance of
what was probably Shakespeare's play is April 1611, when Simon Forman recorded seeing such a play at the Globe Theatre. It was first published in the Folio of 1623, possibly from a prompt book. It was most likely written during the reign of James I,
who had been James VI of Scotland before he succeeded to the English
throne in 1603. James was a patron of Shakespeare’s acting company, and
of all the plays Shakespeare wrote during James’s reign, <i>Macbeth</i> most clearly reflects the playwright’s relationship with the sovereign.</div>
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<i>Macbeth</i> is Shakespeare’s shortest tragedy, and tells the story of a brave Scottish general named Macbeth
who receives a prophecy from a trio of witches that one day he will
become King of Scotland. Consumed by ambition and spurred to action by
his wife, Macbeth murders King Duncan and takes the throne for himself.
His reign is racked with guilt and paranoia, and he soon becomes a
tyrannical ruler as he is forced to commit more and more murders to
protect himself from enmity and suspicion. The bloodbath swiftly takes
Macbeth and Lady Macbeth into realms of arrogance, madness, and death.</div>
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Shakespeare's source for the tragedy is the account of King Macbeth of Scotland, Macduff, and Duncan in <i>Holinshed's Chronicles</i> (1587), a history of England, Scotland and Ireland familiar to Shakespeare and his contemporaries.</div>
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In the backstage world of theatre, some believe that the play is
cursed, and will not mention its title aloud, referring to it instead as
"the Scottish play".
Over the course of many centuries, the play has attracted some of the
most renowned actors to the roles of Macbeth and Lady Macbeth. It has
been adapted to film, television, opera, novels, comic books, and other media.</div>
<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Plot">Plot</span></i></h2>
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The play opens amidst thunder and lightning, and the Three Witches
decide that their next meeting shall be with Macbeth. In the following
scene, a wounded sergeant reports to King Duncan of Scotland that his
generals—Macbeth, who is the Thane of Glamis, and Banquo—have just
defeated the allied forces of Norway and Ireland, who were led by the
traitorous Macdonwald and the Thane of Cawdor. Macbeth, the King's
kinsman, is praised for his bravery and fighting prowess.</div>
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In the following scene, Macbeth and Banquo discuss the weather and
their victory. Macbeth's first line is "So foul and fair a day I have
not seen" (1.3.38).<sup class="reference" id="cite_ref-playtext_1-0">[nb 1]</sup>
As they wander onto a heath, the Three Witches enter and have been
waiting to greet them with prophecies. Though Banquo challenges them
first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of
Cawdor," and that he shall "be King hereafter." Macbeth appears to be
stunned to silence. When Banquo asks of his own fortunes, the witches
inform him that he will father a line of kings, though he himself will
not be one. While the two men wonder at these pronouncements, the
witches vanish, and another thane, Ross,
arrives and informs Macbeth of his newly bestowed title: Thane of
Cawdor, as the previous Thane of Cawdor shall be put to death for his
traitorous activities. The first prophecy is thus fulfilled, and Macbeth
immediately begins to harbour ambitions of becoming king.</div>
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King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth,
telling her about the witches' prophecies. Lady Macbeth suffers none of
her husband’s uncertainty, and wishes him to murder Duncan in order to
obtain kingship. When Macbeth arrives at Inverness, she overrides all of
her husband’s objections by challenging his manhood, and successfully
persuades him to kill the king that very night. He and Lady Macbeth plan
to get Duncan’s two chamberlains drunk so that they will black out; the
next morning they will frame the chamberlains for the murder. They will
be defenseless, as they will remember nothing.</div>
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While Duncan is asleep, Macbeth stabs him, despite his doubts and a
number of supernatural portents, including a hallucination of a bloody
dagger. He is so shaken that Lady Macbeth has to take charge. In
accordance with her plan, she frames Duncan's sleeping servants for the
murder by placing bloody daggers on them. Early the next morning,
Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife,
arrive. A porter opens the gate and Macbeth leads them to the king's
chamber, where Macduff discovers Duncan's body. In a supposed fit of
anger, Macbeth murders the guards (in truth, he kills them to prevent
them from claiming their innocence). Macduff is immediately suspicious
of Macbeth, but does not reveal his suspicions publicly. Duncan’s sons Malcolm and Donalbain
flee to England and Ireland, respectively, fearing that whoever killed
Duncan desires their demise as well. The rightful heirs' flight makes
them suspects and Macbeth assumes the throne as the new King of Scotland
as a kinsman of the dead king. Banquo reveals this to the audience, and
while skeptical of the new King Macbeth, remembers the witches'
prophecy about how his own descendants would inherit the throne.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BglEcZN1BbqiDZwknTtW2rQ_18Of1XGz8FfpmUNXXb-uam1fE7yytmRcsxtJgt5hJe8_4sS_vob2KU84Ws03Hlp4N8gtZbSGS9UCM6jzPRjqk0lTzfm2JtrsrQpSK2koEXuW3D1JQaE/s1600/macbeth004.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BglEcZN1BbqiDZwknTtW2rQ_18Of1XGz8FfpmUNXXb-uam1fE7yytmRcsxtJgt5hJe8_4sS_vob2KU84Ws03Hlp4N8gtZbSGS9UCM6jzPRjqk0lTzfm2JtrsrQpSK2koEXuW3D1JQaE/s1600/macbeth004.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Despite his success, Macbeth, also aware of this part of the prophecy, remains uneasy. Macbeth invites Banquo to a royal banquet, where he discovers that Banquo and his young son, Fleance,
will be riding out that night. Macbeth hires two men to kill them; a
third murderer appears in the park before the murder. The assassins
succeed in killing Banquo, but Fleance escapes. Macbeth becomes furious:
as long as Fleance is alive, he fears that his power remains insecure.
At the banquet, Macbeth invites his lords and Lady Macbeth to a night of
drinking and merriment. Banquo's ghost
enters and sits in Macbeth's place. Macbeth raves<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BglEcZN1BbqiDZwknTtW2rQ_18Of1XGz8FfpmUNXXb-uam1fE7yytmRcsxtJgt5hJe8_4sS_vob2KU84Ws03Hlp4N8gtZbSGS9UCM6jzPRjqk0lTzfm2JtrsrQpSK2koEXuW3D1JQaE/s1600/macbeth004.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5BglEcZN1BbqiDZwknTtW2rQ_18Of1XGz8FfpmUNXXb-uam1fE7yytmRcsxtJgt5hJe8_4sS_vob2KU84Ws03Hlp4N8gtZbSGS9UCM6jzPRjqk0lTzfm2JtrsrQpSK2koEXuW3D1JQaE/s1600/macbeth004.gif" /></a> fearfully, startling
his guests, as the ghost is only visible to himself. The others panic at
the sight of Macbeth raging at an empty chair, until a desperate Lady
Macbeth tells them that her husband is merely afflicted with a familiar
and harmless malady. The ghost departs and returns once more, causing
the same riotous anger in Macbeth. This time, Lady Macbeth tells the
lords to leave, and they do so.</div>
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Macbeth, disturbed, visits the three witches once more and asks them
to reveal the truth of their prophecies to him. To answer his questions,
they summon horrible apparitions, each of which offers predictions and
further prophecies to allay Macbeth’s fears. First, they conjure an
armed head, which tells him to beware of Macduff (4.1.72). Second, a
bloody child tells him that no one born of a woman shall be able to harm
him. Thirdly, a crowned child holding a tree states that Macbeth will
be safe until Great Birnam Wood comes to Dunsinane Hill.
Macbeth is relieved and feels secure, because he knows that all men are
born of women and forests cannot move. Macbeth also asks if Banquo's
sons will ever reign in Scotland: the witches conjure a procession of
eight crowned kings, all similar in appearance to Banquo, and the last
carrying a mirror that reflects even more kings. Macbeth realizes that
these are all Banquo's descendants having acquired kingship in numerous
countries. After the witches perform a mad dance and leave, Lennox
enters and tells Macbeth that Macduff has fled to England. Macbeth
orders Macduff's castle be seized, and, most cruelly, sends murderers to
slaughter Macduff’s wife and children. Everyone in Macduff's castle is
put to death, including Lady Macduff and their young son.</div>
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Meanwhile, Lady Macbeth becomes racked with guilt from the crimes she
and her husband have committed. At night, in the king’s palace at
Dunsinane, a doctor and a gentlewoman discuss Lady Macbeth’s strange
habit of sleepwalking. Suddenly, Lady Macbeth enters in a trance with a
candle in her hand. Bemoaning the murders of Duncan, Lady Macduff, and
Banquo, she tries to wash off imaginary bloodstains from her hands, all
the while speaking of the terrible things she knows she pressed her
husband to do. She leaves, and the doctor and gentlewoman marvel at her
descent into madness. Her belief that nothing can wash away the blood on
her hands is an ironic reversal of her earlier claim to Macbeth that
“[a] little water clears us of this deed” (2.2.66).</div>
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In England, Macduff is informed by Ross that his "castle is
surprised; [his] wife and babes / Savagely slaughter'd" (4.3.204-5).
When this news of his family’s execution reaches him, Macduff is
stricken with grief and vows revenge. Prince Malcolm, Duncan’s son, has
succeeded in raising an army in England, and Macduff joins him as he
rides to Scotland to challenge Macbeth’s forces. The invasion has the
support of the Scottish nobles, who are appalled and frightened by
Macbeth’s tyrannical and murderous behavior. Malcolm leads an army,
along with Macduff and Englishmen Siward (the Elder), the Earl of Northumberland,
against Dunsinane Castle. While encamped in Birnam Wood, the soldiers
are ordered to cut down and carry tree limbs to camouflage their
numbers.</div>
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Before Macbeth’s opponents arrive, he receives news that Lady Macbeth
has killed herself, causing him to sink into a deep and pessimistic
despair and deliver his "<b>Tomorrow, and tomorrow, and tomorrow</b>" soliloquy
(5.5.17–28). Though he reflects on the brevity and meaninglessness of
life, he nevertheless awaits the English and fortifies Dunsinane. He is
certain that the witches’ prophecies guarantee his invincibility, but is
struck numb with fear when he learns that the English army is advancing
on Dunsinane shielded with boughs cut from Birnam Wood. Birnam Wood is
indeed coming to Dunsinane, fulfilling half of the witches’ prophecy.</div>
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A battle culminates in the slaying of the young Siward and Macduff's
confrontation with Macbeth, and the English forces overwhelm his army
and castle. Macbeth boasts that he has no reason to fear Macduff, for he
cannot be killed by any man born of woman. Macduff declares that he was
"from his mother's womb / Untimely ripp'd" (5.8.15–16), (i.e., born by Caesarean section) and was not "of woman born" (an example of a literary quibble),
fulfilling the second prophecy. Macbeth realizes too late that he has
misinterpreted the witches' words. Though he realizes that he is doomed,
he continues to fight. Macduff kills and beheads him, thus fulfilling
the first part of the prophecy.</div>
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Macduff carries Macbeth's head onstage and Malcolm discusses how
order has been restored. His last reference to Lady Macbeth, however,
reveals "'tis thought, by self and violent hands / Took off her life"
(5.9.71–72), leading most to assume that she committed suicide, but the
method is undisclosed. Malcolm, now the King of Scotland, declares his
benevolent intentions for the country and invites all to see him crowned
at Scone.</div>
<div dir="ltr" style="text-align: left;">
Although Malcolm, and not Fleance, is placed on the throne, the
witches' prophecy concerning Banquo ("Thou shalt get kings") was known
to the audience of Shakespeare's time to be true: James VI of Scotland
(later also James I of England) was supposedly a descendant of Banquo.<sup class="reference" id="cite_ref-2">[1]</sup></div>
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<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Ambition">Ambition</span></i></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtPKsnVJdhglXi9R2U0mphWdnTywq8fVIEjYBZ30DBKRRE-6-IQvvu6xRKkuT2lo10d5vg4Exg2FSEQ4OOKH7RKdXJJ-1-bIAFi0ac8TTKV9OqrRw1IcxioApj0Hvoplvsxi5EtSwfh0/s1600/macbeth.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtPKsnVJdhglXi9R2U0mphWdnTywq8fVIEjYBZ30DBKRRE-6-IQvvu6xRKkuT2lo10d5vg4Exg2FSEQ4OOKH7RKdXJJ-1-bIAFi0ac8TTKV9OqrRw1IcxioApj0Hvoplvsxi5EtSwfh0/s1600/macbeth.gif" /></a>A main theme within <i>Macbeth</i> is the destruction that follows
when ambition goes beyond moral constraints. Macbeth is a brave general
who is not naturally inclined to commit evil, yet he is deeply ambitious
and desires power. He murders King Duncan against his better judgement
and then wallows in guilt and paranoia. Toward the play's end, he is in a
kind of boastful madness. Lady Macbeth pursues her goals with greater
determination, yet is less capable of dealing with the guilt from her
immorality. One of Shakespeare's most forceful female characters, she
spurs her husband mercilessly to kill Duncan and urges him to be strong
afterward, yet is herself eventually driven to death by the effect of
Macbeth's murders on her conscience. In each case, ambition, spurred by
the prophecies of the witches, is what drives the couple to commit their
atrocities. An issue that the play raises is that once one decides to
use violence to further one's quest for power, it is difficult to stop.
Macbeth finds that there are always potential threats to the throne —
such as Banquo, Fleance, and Macduff — and he is tempted to use violent
means to dispose of them.</div>
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<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Masculinity">Masculinity</span></i></h3>
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Lady Macbeth manipulates her husband by questioning his manhood,
wishing herself to be “unsexed,” and does not contradict Macbeth when
he says that a woman like her should give birth only to boys. In the
same manner that Lady Macbeth goads her husband on to murder, Macbeth
provokes the assassins he hires to murder Banquo by questioning their
manhood. Such acts show that both Macbeth and Lady Macbeth equate
masculinity with naked aggression; whenever they discuss manhood,
violence follows. Their understanding of manhood allows the political
order depicted in the play to descend into chaos.</div>
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However, in "Macbeth", women are prone to contain violence and evil
intentions. The witches’ prophecies spark Macbeth’s ambitions and then
encourage his violent behavior, while Lady Macbeth provides the drive
and the will behind her husband’s plotting. After reading the letter her
husband has sent telling of the witches' prophecies about him, Lady
Macbeth believes:</div>
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<b>Glamis thou art, and Cawdor; and shalt be<br />
What thou art promised: yet do I fear thy nature;<br />
It is too full o' the milk of human kindness<br />
To catch the nearest way: thou wouldst be great;<br />
Art not without ambition, but without<br />
The illness should attend it</b></div>
<b>
</b>
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<div class="templatequotecite">
<b>—Lady Macbeth, <i>Macbeth</i>, Act I, Scene IV</b></div>
</blockquote>
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Furthermore, the only divine being to appear is Hecate,
the goddess of witchcraft. Because "Macbeth" traces the root of chaos
and evil to women, some critics argue that it is Shakespeare’s most misogynistic
play. The male characters are similarly brutal and prone to evil as the
women, but the aggression of the female characters is more striking
because it contradicts expectations of how women ought to behave. Lady
Macbeth’s behavior certainly shows that women can be just as ambitious
and ruthless as men. Whether it is the gender constraints of her society
or because she is not fearless enough to kill, Lady Macbeth relies on
manipulation of her husband rather than violence to achieve her ends.</div>
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The play does put forth less destructive definition of manhood
towards the end. When Macduff learns of the murders of his wife and
child, Malcolm consoles him unsympathetically with encouragement to take
the news in “manly” fashion and use it to fuel his hatred of Macbeth.
Macduff tells the young heir apparent that he has a mistaken
understanding of masculinity. To Malcolm’s suggestion, “Dispute it like a
man,” Macduff replies, “I shall do so. But I must also feel it as a
man” (4.3.221–223). After hearing the news of his son's death at the
hands of Macbeth, Siward receives this fact somewhat complacently.
Malcolm responds: “He’s worth more sorrow [than you have expressed] /
And that I’ll spend for him” (5.11.16–17). Malcolm’s comment shows that
he has learned the lesson Macduff gave him on the feeling nature of true
masculinity. It also suggests that, with Malcolm’s coronation, order will be restored to the Kingdom of Scotland.</div>
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<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSecsQJpiYXVLpqZLSdhwQFmmKZ6BERrw6YFzNdfCOxHwkriBUhXQ-fSws3qrAx2LlHJMKOxTfrnEHEXuoBl7VBdWKb5dD17VmUW55PMUQzzO5G7PeIdsZY-z5S5TU3CDS89YK14KCpnQ/s1600/macbeth003.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>The Macbeths’ marriage, like the couple themselves,
is atypical, particularly by the standards of its time. Yet despite
their odd power dynamic, the two of them seem surprisingly attached
to one another, particularly compared to other married couples in
Shakespeare’s plays, in which romantic felicity appears primarily
during courtship and marriages tend to be troubled. Macbeth offers
an exception to this rule, as Macbeth and his wife are partners
in the truest sense of the word. Of course, the irony of their “happy”
marriage is clear—they are united by their crimes, their mutual
madness, and their mounting alienation from the rest of humanity.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSecsQJpiYXVLpqZLSdhwQFmmKZ6BERrw6YFzNdfCOxHwkriBUhXQ-fSws3qrAx2LlHJMKOxTfrnEHEXuoBl7VBdWKb5dD17VmUW55PMUQzzO5G7PeIdsZY-z5S5TU3CDS89YK14KCpnQ/s1600/macbeth003.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSecsQJpiYXVLpqZLSdhwQFmmKZ6BERrw6YFzNdfCOxHwkriBUhXQ-fSws3qrAx2LlHJMKOxTfrnEHEXuoBl7VBdWKb5dD17VmUW55PMUQzzO5G7PeIdsZY-z5S5TU3CDS89YK14KCpnQ/s1600/macbeth003.gif" /></a></div>
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Though Macbeth is a brave general and a powerful
lord, his wife is far from subordinate to his will. Indeed, she
often seems to control him, either by crafty manipulation or by
direct order. And it is Lady Macbeth’s deep-seated ambition, rather
than her husband’s, that ultimately propels the plot of the play
by goading Macbeth to murder Duncan. Macbeth does not need any help
coming up with the idea of murdering Duncan, but it seems unlikely
that he would have committed the murder without his wife’s powerful
taunts and persuasions.</div>
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<span class="mw-headline" id="Plot"> </span></h2>
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</div>
sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-5818987712631719902013-01-24T06:42:00.003-08:002013-01-31T11:58:14.000-08:00Mother Courage and Her Children<div dir="rtl" style="text-align: right;" trbidi="on">
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<h1 class="firstHeading" id="firstHeading" lang="en" style="text-align: center;">
<span dir="auto"><i>Mother Courage and Her Children</i></span></h1>
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<a href="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Rittner_Therese_Giehse_1966.jpg/464px-Rittner_Therese_Giehse_1966.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Rittner_Therese_Giehse_1966.jpg/464px-Rittner_Therese_Giehse_1966.jpg" width="247" /></a></div>
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<i><b>Mother Courage and Her Children</b></i> (German: <span lang="de"><i>Mutter Courage und ihre Kinder</i></span>) is a play written in 1939 by the German dramatist and poet Bertolt Brecht (1898–1956) with significant contributions from Margarete Steffin.<sup class="reference" id="cite_ref-1">[1]</sup>
After four very important theatrical productions in Switzerland and
Germany from 1941 to 1952—the last three supervised and/or directed by
Brecht—the play was filmed several years after Brecht's death in
1959/1960 with Brecht's widow and leading actress, Helene Weigel.<sup class="reference" id="cite_ref-2">[2]</sup></div>
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<i>Mother Courage</i> is considered by some to be the greatest play of the 20th century, and perhaps also the greatest anti-war play of all time.<sup class="reference" id="cite_ref-3">[3</sup></div>
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<sup class="reference" id="cite_ref-3"></sup><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0Rzjd1S6uBU_01sQ-ZruWVteH_cHqMAH0h1JtdkQQSDGrjqDzZkF6DqlygQlru8IYrsNrzoQbj-bbjDWouK6fr7mZANJzvFuEZ26jMCGkte6S7LAfZr0VOM8gJzsAAFOzKfBJbACHrY/s1600/f007.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<i><span class="mw-headline" id="Context">Context</span></i></h2>
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<i>Mother Courage</i> is one of nine plays that Brecht wrote in an attempt to counter the rise of Fascism and Nazism. In response to the invasion of Poland by the German armies of Adolf Hitler in 1939, Brecht wrote <i>Mother Courage</i> in what writers call a "white heat"—in a little over a month. As leading Brecht scholars Ralph Manheim and John Willett wrote:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkbaGikoHCMzmXtqe7rHOp441cac2lZ6-avZ1mgKSBEIMNLtF6lgIb1zyY_FqWgB_0vnftfEG-En9AIgHIL7UOvPMSXUffKDwRmlnWRfB5RNoD_sl32g5XyCWnNeAEnYQubHScPE8mMA/s1600/mohter+courage.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkbaGikoHCMzmXtqe7rHOp441cac2lZ6-avZ1mgKSBEIMNLtF6lgIb1zyY_FqWgB_0vnftfEG-En9AIgHIL7UOvPMSXUffKDwRmlnWRfB5RNoD_sl32g5XyCWnNeAEnYQubHScPE8mMA/s1600/mohter+courage.gif" /></a><i>Mother Courage</i>, with its theme of the devastating effects of a
European war and the blindness of anyone hoping to profit by it, is
said to have been written in a month; judging by the almost complete
absence of drafts or any other evidence of preliminary studies, it must
have been an exceptionally direct piece of inspiration</div>
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</div>
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Following Brecht's own principles for political drama, the play is not set in modern times but during the Thirty Years' War of 1618–1648. It follows the fortunes of Anna Fierling, nicknamed "Mother Courage", a wily canteen woman with the Swedish Army
who is determined to make her living from the war. Over the course of
the play, she loses all three of her children, Swiss Cheese, Eilif, and
Kattrin, to the same war from which she sought to profit</div>
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</div>
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<h2>
<i><span class="mw-headline" id="Overview">Overview</span></i></h2>
The name of the central character, Mother Courage, is drawn from the picaresque writings of the 17th-century German writer Grimmelshausen, whose central character in the early short novel, <i>The Runagate Courage</i>,<sup class="reference" id="cite_ref-7">[7]</sup>
also struggles and connives her way through the Thirty Years' War in
Germany and Poland, but otherwise the story is mostly Brecht's, in
collaboration with Steffin.<br />
<br />
The action of the play takes place over the course of 12 years (1624
to 1636), represented in 12 scenes. Some give a sense of Courage's
career without being given enough time to develop sentimental feelings and empathize
with any of the characters. Meanwhile, Mother Courage is not depicted
as a noble character – here the Brechtian epic theatre sets itself apart
from the ancient Greek tragedies in which the heroes are far above the
average. With the same alienating effect, the ending of Brecht's play
does not arouse our desire to imitate the main character, Mother
Courage.<br />
<i>Mother Courage</i> is among Brecht's most famous plays, and has been considered by some to be the greatest play of the 20th century.
His work attempts to show the dreadfulness of war and the idea that
virtues are not rewarded in corrupt times. He used an epic structure so
that the audience focuses on the issues being displayed rather than
getting involved with the characters and emotions. Epic plays are of a
very distinct genre and are typical of Brecht; a strong case could be
made that he invented the form</div>
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<h3 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Mother_Courage_as_Epic_Theatre">Mother Courage as Epic Theatre</span></i></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDcCcd0d5ivjoEjfmguHZhFOiee0KR5Qn5noY_YD8YCHM7uATcJ6j7KPiP-11xO5l_n1p2GTbBQSAmyPk_UlXMW-25yxKrAPhm744cDympelDGUenYpCWaxvlUOgH63SVdDQAjN7CGgA/s1600/mother+courage.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><i>Mother Courage</i> is an example of Brecht's concepts of Epic Theatre and <b><i>Verfremdungseffekt</i> </b>or "estrangement effect". <i>Verfremdungseffekt</i>
is achieved through the use of placards which reveal the events of each
scene, juxtaposition, actors changing characters and costume on stage,
the use of narration, simple props and scenery. For instance, a single
tree would be used to convey a whole forest, and the stage is usually
flooded with <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDcCcd0d5ivjoEjfmguHZhFOiee0KR5Qn5noY_YD8YCHM7uATcJ6j7KPiP-11xO5l_n1p2GTbBQSAmyPk_UlXMW-25yxKrAPhm744cDympelDGUenYpCWaxvlUOgH63SVdDQAjN7CGgA/s1600/mother+courage.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDcCcd0d5ivjoEjfmguHZhFOiee0KR5Qn5noY_YD8YCHM7uATcJ6j7KPiP-11xO5l_n1p2GTbBQSAmyPk_UlXMW-25yxKrAPhm744cDympelDGUenYpCWaxvlUOgH63SVdDQAjN7CGgA/s1600/mother+courage.gif" /></a>bright white light whether it's a winter's night or a
summer's day. Several songs, interspersed throughout the play, are used
to underscore the themes of the play, while making the audience think
about what the playwright is saying.</div>
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The <i>Verfremdungseffekt</i> is the primary innovation of Brecht's
epic theater. By alienating spectator's from the spectacle, the devices
producing this effect would reveal the social <i>gestus</i> underlying every incident on- stage. Brecht defined this <i>gestus,</i>
meaning gist as well as gesture, as the mimetic expression of the
social relationships prevailing between people in a given historical
moment.</div>
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Often times alienation also means making the workings of
the spectacle visible and decomposing the unity of the theatrical
illusion. Brecht calls for the spectator's alienation from the
mystifying tendencies of the conventional stage, tendencies that reduced
its audience to passive, trance-like states. Particularly insidious
among them was the mechanism of identification.</div>
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A good example of Brechtian alienation comes from Scene
Three, where Mother Courage, the Cook, and the Chaplain discuss the
politics of the Thirty Years War. Already the Cook functions here as a
critical voice and finds the irony in the opinions of the Chaplain. The
Swedish King is fortunate he can invoke the word of God; otherwise it
might seem that he has undertaken the war for profit. Notably, the Cook
is also aware of his social position, his awareness militating against
his ostensible duty to his monarch. The Cook notes that he does not eat
the king's bread, he just bakes it. The element of alienation in this
scene, however, involves a spatial device, Brecht placing the three
characters behind the wagon. Simultaneously, Kattrin tries on Yvette's
red boots. By moving the characters behind the cart, the play would
hinder the spectator's identification with their debate. Thus it opens a
critical distance enabling the audience to reflect on the spectacle.</div>
</div>
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<i><span class="mw-headline" id="Roles">Roles</span></i></h2>
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Mother Courage (also known as "Canteen Anna")<br />
Kattrin (Catherine), <i>her mute daughter</i><br />
Eilif, <i>her oldest son</i><br />
Swiss Cheese (also mentioned as Feyos), <i>her youngest son</i><br />
Recruiting Officer<br />
Sergeant<br />
Cook<br />
Swedish Commander<br />
Chaplain<br />
Ordinance Officer<br />
Yvette Pottier<br />
Man with the Bandage<br />
Another Sergeant<br />
Old Colonel<br />
Clerk<br />
Young Soldier<br />
Older Soldier<br />
Peasant<br />
Peasant Woman<br />
Young Man<br />
Old Woman<br />
Another Peasant<br />
Another Peasant Woman<br />
Young Peasant<br />
Lieutenant<br />
Voice</div>
<h2 style="text-align: left;">
<i><span class="mw-headline" id="Synopsis">Synopsis</span></i><span class="mw-headline" id="Roles"> </span></h2>
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The play is set in the 17th century in Europe during the Thirty
Years' War. The Recruiting Officer and Sergeant are introduced, both
complaining about the difficulty of recruiting soldiers to the war. A
canteen woman named Anna Fierling (Mother Courage) enters pulling a cart
that she uses to trade with soldiers and make profits from the war. She
has three children, Eilif, Kattrin, and Swiss Cheese. The sergeant
negotiates a deal with Mother Courage while Eilif is led off by the
recruiting officer. One of her children is now gone.</div>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KZzFcD4WtFgWka2kgfGQsM4mwhqM0FWYh3Mo1J57jFLEHTmkWkTY_obR6rJnlD0WCZGu98KdqvFrH0oTSohWPYPlLow6vK_PZY_JmWpsMJAA4s91TrIhVrZ9POstxCKWhK6eND_Xc9c/s1600/600px-Stamps_of_Germany_(DDR)_1973,_MiNr_1852.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4KZzFcD4WtFgWka2kgfGQsM4mwhqM0FWYh3Mo1J57jFLEHTmkWkTY_obR6rJnlD0WCZGu98KdqvFrH0oTSohWPYPlLow6vK_PZY_JmWpsMJAA4s91TrIhVrZ9POstxCKWhK6eND_Xc9c/s200/600px-Stamps_of_Germany_(DDR)_1973,_MiNr_1852.jpg" width="200" /></a>Two years from then, Mother Courage argues with a Protestant General's cook over a capon,
or chicken. At the same time, Eilif is congratulated by the General for
killing peasants and slaughtering their cattle. Eilif and his mother
sing "The Fishwife and the Soldier". Mother Courage scolds her son for
taking risks that could have got him killed and slaps him across the
face.</div>
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Three years later, Swiss Cheese works as an army paymaster. The camp prostitute,
Yvette Pottier, sings "The Fraternization Song". Mother Courage uses
this song to warn Kattrin about involving herself with soldiers. Before
the Catholic troops arrive, the Cook and Chaplain bring a message from
Eilif. Swiss Cheese hides the regiment's paybox from invading soldiers.
Mother Courage & co. hurriedly switch their insignia from Protestant
to Catholic. Swiss Cheese is captured by the Catholics while attempting
to return the paybox to his General. Mother Courage deals her cart to
get money to try and barter with the soldiers to free her son. She takes
too long trying negotiate small amount of money for herself, the
Chaplin, and Kattrin to live from and Swiss Cheese is shot dead with 11
bullets. To acknowledge the body could be fatal, so Mother Courage does
not acknowledge it and it is thrown into a pit.</div>
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Later, Mother Courage waits outside the General's tent in order to
register a complaint and sings the "Song of Great Capitulation" to a
young soldier waiting for the General as well. The soldier is angry that
he has not been paid and also wishes to complain. The song persuades
the soldier that complaining would be unwise, and Mother Courage
(reaching the same conclusion) decides she also does not want to
complain.</div>
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When Catholic General Tilly's funeral approaches, Mother Courage
discusses with the Chaplain about whether the war will continue. The
Chaplain then suggests to Mother Courage that she marry him, but she
rejects his proposal. Mother Courage curses the war because she finds
Kattrin disfigured after being raped by the clerk while collecting more
merchandise.</div>
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At some point about here Mother Courage is again following the Protestant army.</div>
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Two peasants wake Mother Courage up and try to sell merchandise to
her while they find out that peace has broken out. The Cook appears and
creates an argument between Mother Courage and the Chaplain. Mother
Courage departs for the town while Eilif enters, dragged in by soldiers.
Eilif is executed for killing peasants but his mother never finds out.
When the war begins again, the Cook and Mother Courage start their own
business.</div>
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The seventeenth year of the war marks a point where there is no food
and no supplies. The Cook inherits an inn in Utrecht and suggests to
Mother Courage that she operate it with him, but he refuses to harbour
Kattrin. It is a very small inn. Mother Courage will not leave her
daughter and they part ways with the Cook. Mother Courage and Kattrin
pull the wagon by themselves.</div>
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The Catholic army attacks the small Protestant town of Halle while
Mother Courage is away from town, trading. Kattrin is woken up by a
search party that is taking peasants as guides. Kattrin fetches a drum
from the cart, climbs onto the roof, and beats it in an attempt to awake
the townspeople. Though the soldiers shoot Kattrin, she succeeds in
waking up the town.</div>
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Early in the morning, Mother Courage sings to her daughter's corpse,
has the peasants bury her and hitches herself to the cart. The cart
rolls lighter now because there are no more children and very little
merchandise left.</div>
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<br /></div>
<h2 dir="ltr" style="text-align: left;">
<i>Major Themes</i></h2>
<div dir="ltr" style="text-align: left;">
<i><b>Lower Classes During Wartime</b></i></div>
<div dir="ltr" style="text-align: left;">
From the first image--a nameless "Sergeant" and "Recruiting Officer"
freezing in a field--Brecht's play sets its focus firmly on the lower
classes affected by wars. No historically significant figures (General
Tilly or the Kaiser, for example) make appearances in the play, being
mentioned only in passing. Mother Courage, her family, and her
companions are all the "little people," and it is their story which
Brecht finds interesting. They usually are unable to extract any benefit
from the war. Notice, too, how often minor characters in the play are
given only a profession or a description rather than a proper name: we
have peasants, numerous soldiers, generals, clerks, captains, officers,
and even chaplains. This is not just because they are stock characters.</div>
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Key scenes to analyze in writing about this theme: Scenes 1, 5, 11, and 12.</div>
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<i><b>Courage</b></i></div>
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"Parachutists are dropped like bombs," Brecht once wrote, "and bombs
do not need courage. Real courage would be refusing to get into the
plane in the first place." This idea points toward the remarkable irony
with which Mother Courage's nickname is imbued. That is, the play
suggests that her courage is as questionable as her motherhood. She gets
her nickname from driving loaves through the bombardment of Riga before
they become too moldy (see Scene 1), but this might be rashness rather
than true courage. Moreover, in light of Brecht's lines above, real
courageousness seems to involve opting out of the war and its capitalism
altogether, something Mother Courage never does, although it is hard to
see her alternatives as one of the "little people."</div>
<div dir="ltr" style="text-align: left;">
Mother
Courage herself seems to see this idea: real courage requires
persistence enough to make a significant, life-threatening change, as
Kattrin does at the end of Scene 11. Consider when Mother Courage
advises the young soldier about the Great Capitulation in Scene 4--but
this insight does not survive with her to the end of the play. </div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 2, 4, and 11.</div>
<div dir="ltr" style="text-align: left;">
<i><b>Families and Parenthood</b></i></div>
<div dir="ltr" style="text-align: left;">
The play examines war not just as a capitalistic system but also on a
domestic level. It is central to the emotional impact of the play that
it is about a mother and her children. Mother Courage's treatment of
(particularly) Kattrin and Swiss Cheese emphasizes the difficulty of
combining her role of "mother" with her professional role of "canteen
woman." One of the play's key questions is whether her trading helps or
hinders her family--it is the only way for them to survive, but it
results in the deaths of all of her children. Significantly, whenever
one of the children die, Brecht ensures that Mother Courage is
distracted by business affairs. </div>
<div dir="ltr" style="text-align: left;">
It also is interesting to examine
Kattrin's journey (as by far the most important of the children)
through the play in light of how far her development, desires, and
growing sexuality are repressed and damaged by the fact that her mother
is a wartime canteen woman. </div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 3, 9, 11, and 12.</div>
<div dir="ltr" style="text-align: left;">
<b>War as Capitalism</b></div>
<div dir="ltr" style="text-align: left;">
Brecht was a lifelong socialist. After the First World War, the idea
began to become more popular that war was often associated with
financial gain. From this point of view, Brecht's purpose in writing the
play was to show that in wartime "you need a big pair of scissors in
order to get your cut." War, as the play portrays it, is itself a
capitalist system designed to make profit for just a few players, and it
is perpetuated for that purpose. </div>
<div dir="ltr" style="text-align: left;">
Therefore, despite the fact
that she is constantly trying to make profit from it, Mother Courage is
destined to lose by trading during the war; only the fat cats at the top
of the system have a real chance of profiting from it. People in this
play are always looking to get their cut, large or small, and it is no
accident that the original text repeats the verb <i>kriegen</i>, to "wage"--that is, to wage war (<i>Krieg</i>), but also meaning to "get" or "acquire."</div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 3, and 7.</div>
<div dir="ltr" style="text-align: left;">
<i><b>Silence and Dumbness</b></i></div>
<div dir="ltr" style="text-align: left;">
Kattrin's dumbness is deeply symbolic. That is, real virtue and
goodness are silenced in the time of war. Brecht even makes clear that
Kattrin's dumbness is due directly to the war: "a soldier stuck
something in her mouth when she was small." The play itself deals
similarly with several significant silences: Mother Courage's refusal to
complain after the Song of the Great Capitulation, the chaplain's
denial of his own faith when the Catholics arrive in Scene 3 ("All good
Catholics here!"), and the way Mother Courage denies her own son at the
end of the scene, first in life and then in death. Weigel's silent
scream at the end of this scene is itself an emblem of how war neuters
human response. </div>
<div dir="ltr" style="text-align: left;">
An antithesis to dumbness is eloquence, and
Kattrin's death (itself conducted through loud noises, and answered by
the noises from the town after she has died) is perhaps the single most
eloquent act in the play. </div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 3, 6, and 11.</div>
<div dir="ltr" style="text-align: left;">
<i><b>Tragedy</b></i></div>
<div dir="ltr" style="text-align: left;">
A common critical discussion about the play is whether or not it is a
tragedy. Brecht perhaps did not write it as one, titling his play "A
Chronicle of the Thirty Years' War" and aiming to make connections to
contemporary issues. But some critics have argued that, in line with
Brecht's guidance about Mother Courage's failure to learn, the play is
perhaps Mother Courage's tragedy. After all, her children die and she
never profits appreciably from the war.</div>
<div dir="ltr" style="text-align: left;">
Such a discussion depends
much on how "tragedy" is defined. For instance, it is worth noting that,
in addition to Mother Courage's failure to learn, Brecht assigns each
of her children a "tragic flaw" which is repeated throughout the play:
Eilif is "dashing," Swiss Cheese is "honest," and Kattrin "suffers from
pity." </div>
<div dir="ltr" style="text-align: left;">
To research this theme more, after reading a theoretical work on tragedy (such as Aristotle's <i>Poetics</i>),
one could ask the following questions: is Mother Courage herself
responsible for the events of the play? That is, would events go
differently if only Mother Courage were different? Does the play arouse a
<i>catharsis</i> as the curtain comes down? Is the play merely sad or a true tragedy?</div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 4, 6, and 12.</div>
<div dir="ltr" style="text-align: left;">
<i><b>Religion</b></i></div>
<div dir="ltr" style="text-align: left;">
Brecht's view of religion in this play is blatantly clear: it is of
little help, and is often a hindrance, during wartime. Religion is
portrayed through the sniveling, hypocritical figure of the Chaplain,
and it has little positive role to play. The Chaplain changes his
allegiances (for example, dusting out his clerical robes when peace is
announced) at the drop of a hat (see Scene 6 for the point at which his
character becomes clearest). At the very end, the prayers of the
peasants are juxtaposed with Kattrin climbing the rooftop, suggesting
ineffective inaction among the religious versus effective action by
Kattrin. </div>
<div dir="ltr" style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0Rzjd1S6uBU_01sQ-ZruWVteH_cHqMAH0h1JtdkQQSDGrjqDzZkF6DqlygQlru8IYrsNrzoQbj-bbjDWouK6fr7mZANJzvFuEZ26jMCGkte6S7LAfZr0VOM8gJzsAAFOzKfBJbACHrY/s1600/f007.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0Rzjd1S6uBU_01sQ-ZruWVteH_cHqMAH0h1JtdkQQSDGrjqDzZkF6DqlygQlru8IYrsNrzoQbj-bbjDWouK6fr7mZANJzvFuEZ26jMCGkte6S7LAfZr0VOM8gJzsAAFOzKfBJbACHrY/s1600/f007.gif" /></a>The text, like all of Brecht's work, is steeped in a
complex knowledge of the Old Testament, but the play itself makes little
concession to religion as a positive influence on society. </div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 2, 3, 6, and 8.</div>
<div dir="ltr" style="text-align: left;">
<i><b>War as Order</b></i></div>
<div dir="ltr" style="text-align: left;">
In the first scene, there is a grotesque description of how the
citizens of the world rely on war to hold civilization together. An
audience member might be forgiven for dismissing it as an opening joke.
Yet, the idea of war as order, "peace as war undeclared," as the
Chaplain has it--recurs throughout, and the Chaplain believably
expresses very similar sentiments at various points in the play. </div>
<div dir="ltr" style="text-align: left;">
Mother
Courage herself is an emblem of the way the play's society seems to
depend upon the perpetuity of war and, for the brief time while peace is
declared, peace is often described as a disaster rather than the end of
a devastating war. Is war actually the axis on which the society of the
play turns? Is the nature of man antagonistic rather than cooperative?</div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 5, 6, 7, and 8.</div>
<div dir="ltr" style="text-align: left;">
<i><b>Feeding the War</b></i></div>
<div dir="ltr" style="text-align: left;">
Scene 2, outside and inside the General's kitchen, introduces the
Cook and the idea of "feeding the war." The Cook's name is "Lamb," and
though he becomes a sacrificial lamb later in the play when the food
runs out, the idea of being a lamb also suggests a way that his role
reflects the mission of the whole army. The play opens with a
conversation between a sergeant and a recruiting officer about how
difficult it is to find enough soldiers to fill the quota--the war's
appetite is greater than the available resources can satisfy. The Cook
and the whole army feed society's appetite for war.</div>
<div dir="ltr" style="text-align: left;">
Throughout the
play, nevertheless, starvation recurs. The lack of men in Scene 1
becomes the more literal lack of good meat in Scene 2. The lack of such
food, by the bleak ending of the play, has become manifest across the
whole country. In Scene 9, trade has had to stop because food is no
longer growing. </div>
<div dir="ltr" style="text-align: left;">
Key scenes to analyze in writing about this theme: Scenes 1, 2, 8, and 9.</div>
<div dir="ltr" style="text-align: left;">
.
<i><span class="mw-headline" id="Overview"><br /></span></i></div>
</div>
<h2 dir="ltr" style="text-align: left;">
<i><span class="mw-headline" id="Overview">Music</span></i></h2>
<div class="explanationtext" id="explanation3">
<div dir="ltr" style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLQPmXovRSsXVd0tw9csAcinxafNkvx5vJJk05jOT4coEfH8MAg1A0m873h9XQLLVTJme8rgssdkL05lejG36hYy7ktpAbTmlBVxu_XezUCpEWtcPXwK9C3Ua4HqvE8GYxbPHL5Xtckc/s1600/mother+courage002.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Rather than accompany the action or integrate
itself into dramatic illusion, music in Brecht's theater assumes an
independent reality, at times standing autonomous from the other
elements of the play. In Brecht's production of <i>Mother Courage,</i>
stagehands would lower a musical emblem whenever a song that remained
separate from the action would arise. This elevation of music to its own
reality breaks the dramatic illusion, helping to decompose it into its
constitutive elements. For Brecht, this decomposition renders the
audience an observer and forces it into a relation of critical
spectatorship. For example, "The Song of the Great Souls of the Earth"
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLQPmXovRSsXVd0tw9csAcinxafNkvx5vJJk05jOT4coEfH8MAg1A0m873h9XQLLVTJme8rgssdkL05lejG36hYy7ktpAbTmlBVxu_XezUCpEWtcPXwK9C3Ua4HqvE8GYxbPHL5Xtckc/s1600/mother+courage002.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLQPmXovRSsXVd0tw9csAcinxafNkvx5vJJk05jOT4coEfH8MAg1A0m873h9XQLLVTJme8rgssdkL05lejG36hYy7ktpAbTmlBVxu_XezUCpEWtcPXwK9C3Ua4HqvE8GYxbPHL5Xtckc/s1600/mother+courage002.gif" /></a>recounts how various great figures meet dark fates on account of their
respective virtues. Rehearsing Mother Courage's fortune telling in Scene
One, the song is a thinly veiled allegory for herself and her children:
Courage is Solomon and Eilif is Caesar. The separation of the music
from the action might facilitate the spectator interrogation of the
terms of the allegory.</div>
<div style="float: right; text-align: left;">
<br /></div>
</div>
<h2 style="text-align: left;">
<i><span class="mw-headline" id="Overview"> </span></i></h2>
<div style="text-align: left;">
. </div>
</div>
<h2 style="text-align: left;">
<span class="mw-headline" id="Context"> </span></h2>
</div>
sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-20426752100352499392012-12-03T10:52:00.000-08:002013-01-30T11:02:32.896-08:00Proverbs 3<div dir="rtl" style="text-align: right;" trbidi="on">
<div dir="ltr" style="text-align: center;" trbidi="on">
<div>
<br /></div>
<div>
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</div>
</div>
<div dir="ltr" style="text-align: center;">
</div>
<table border="0" dir="ltr" style="height: 1px; margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>A bad workman always blames his tools</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A careless or unskilled
worker blames bad work on his tools rather than himself.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>A new broom sweeps clean</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A person newly
appointed is always eager and enthusiastic in his work.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Don't judge a book by its cover</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Do not be deceived by
appearances.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Blood is thicker than water</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Family ties are stronger than
any other.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Don't count your chickens before they are
hatched.</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Do not make plans based
on something that has not happened.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Don't make a mountain out of a molehill</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Do not make a big fuss
or issue over something minor or small</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Experience is the best teacher</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
The best way to learn a
job is to do it.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>The last straw that broke the camel's back</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
The final thing that,
when added to a bad or unpleasant situation, causes failure or
ruin.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Look at the bright side</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Be optimistic</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: olive;">
<b>Make hay while the sun shines</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Seize opportunities</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Out of sight, out of mind</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
You will soon forget
friends you do not meet or keep in contact with.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>A leopard cannot change its spots</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A person's nature cannot
change.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>There are two sides to every question</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">There are always two ways of looking at something</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Too many cooks spoil the broth</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Too many people doing the same thing at the same time will not be
successful</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: olive;"><b>We
never miss the water till the well runs dry</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">You only realize the importance of something when it is gone</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>To put the cart before the horse </b></span>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To do something in an incorrect order</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Bite off more than one can chew</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To try to do something one is unable to do or incapable of doing.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Half a loaf is better than none</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">It's better to have or receive less than one desires than to have
or receive nothing at all.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Have an old head on young shoulders</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Youngsters who possess qualities of wisdom one would only expect
to find in experienced older people.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Have eyes in the back of one's head</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">An ability to know what is happening not within the scope of one's
vision.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>If it's not one thing it's another</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">The troubles seem to go on and on without end.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>The sky is the limit</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">There is no upper limit to something</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>A trouble shared is a trouble halved</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Your troubles seem half as great when you discuss them with
someone else</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>A watched pot never boils</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">If you watch or wait for something to get done or to happen it
seems to take forever</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Worship the ground somebody walks on</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Very much in love with somebody</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Between a rock and a hard place</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To be in a difficult situation from which there seems to be no
escape</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Cleanliness is next to Godliness</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To be clean and tidy is just as important as being spiritually
good and religious.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Money is the root of all evil</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Crimes and wickedness are associated with money.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Two's company, three's a crowd</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">It is always fun while there are only two people whereas the third
person is an unwelcome intrusion.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><span style="color: olive;"><b>It takes all sorts to make a world</b></span></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">You should not expect everyone to think and act as you do.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Jump from the frying pan into the fire</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To go from a bad position to a worse one.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Go from the sublime to the ridiculous</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Move from one situation which is wonderful or perfect to another
which is absurd or awful</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>One swallow doesn't make a summer</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">One success doesn't guarantee complete success</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Truth is stranger than fiction</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Real life can be more incredible than anything which can be
imagined</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><span style="color: olive;"><b>You can't have your cake and eat it</b></span></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">You must choose between two things as it is impossible to have
both at the same time</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>A miss is as good as a mile</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Something that one already has is better than something that one
may not be able to get</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>As you make your bed so must you lie on it</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">You must accept the consequences of your act</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Cut your coat according to your cloth</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Live within your income; don't be too ambitious in your plans</td></tr>
</tbody></table>
<table border="0" dir="ltr" id="table1" style="height: 1px; margin-left: auto; margin-right: auto; text-align: left;">
<tbody>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>All's fish that comes the net</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
When something comes our way
we should consider how it might be useful or benefit us.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>An apple a day keeps the doctor away</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It means that apples are so
nutritious they keep you in the peak of health.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Be on the safe side</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
To take special precautions
to avoid making a mistake</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Beauty is in the eye of the beholder</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
What is beautiful to one
person may not be beautiful to others.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Beggars can't be choosers</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Someone in need should be
grateful for what is given to him -- even if it's not what he wants or
expects</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>The blind leading the blind</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A person helping or advising
someone knows as little about the subject as the person who is being
advised.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>The buck stops here</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It means final decision or
total responsibility for an action</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Burn the candle at both ends</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Those who are always busy and
seem to get little rest </div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Buy a pig in a poke</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Buy something without
examining it for faults or checking to see if they are really getting
what they believe they have purchased</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: olive;"><b>
Catch as catch can</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
To do anything or use any
means to achieve an aim or reach a goal.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Children should be seen and not heard</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
To stop a child from asking
questions, talking, or making unnecessary noise.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Christmas comes but once each year</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
An excuse to indulge in food
and drink and spend money during the Christmas season.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Cry over spilled milk</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">It's pointless to
get upset or feel regret about a loss or mistake that can't be undone</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Curiosity killed the cat</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To warn people not
to show too much interest in affairs that don't concern them.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: olive;"><b>Cut
off your nose to spite your face</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">When people are
dissatisfied or angry, they sometimes react by doing foolish things that
prove harmful to themselves.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>The devil finds work for idle hands</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Unless one keeps
busy doing useful or constructive things he could be tempted into
mischief or evil.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>The devil has the best tunes</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To do something
unworthy because it gives you pleasure</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Dog eat dog</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">In competitive
situations where each person has his own interests at heart, it is
usually the strong and the determined who succeed.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>An exception to the rule</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Something does not
conform to or agree with a rule</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Fling/throw mud at someone</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To say evil or bad
things about someone and in doing so, to damage his or her reputation.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>A fool and his money are soon parted</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">A person who
spends his money foolishly will soon be penniless</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Forgive and forget</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Excusing or
pardoning someone for doing something</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Give someone enough rope and he will hang
himself</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">If we allow
someone to continue in his bad ways he'll eventually bring about his own
downfall or ruin.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Grin and bear it</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To put up with
discomfort or a bad situation without complaining.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>He who pays the piper calls the tune</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">The person who
pays for something has the right to do as he wants.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Hide your light under a bushel</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">Concealing your
talents, skills or abilities</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Hitch one's wagon to a star</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To Move forward in
a way to improve your chances of achieving success.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Home is where the heart is</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">No matter where
you are, 'home' is where you feel most comfortable and content.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>If wishes were horses, beggars would ride</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">If we could get
all the things we wanted just by making a wish, everyone would have all
he ever wanted.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><span style="color: olive;"><b>If you can't lick them, join them</b></span></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">If you cannot
defeat an opponent or get him to change his ideas, plans or way of doing
things, the best thing is to change your ideas, plans, etc.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>In for a penny, in for a pound</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">If we decide to do
something, we should commit ourselves to it boldly and completely.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>A job worth doing is a job worth doing well</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">When you do
something you should do it as well as you can.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Keep the wolf from the door</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">To avoid hunger
and poverty</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Laugh and the world laughs with you</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">When someone is in
a happy, cheerful mood, people like being with him.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><span style="color: olive;"><b>Least said, soonest forgotten</b></span></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">The less we say
about it the sooner the incident will be forgotten.</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>A chicken and egg question</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">A mysterious
question which can't be answered</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>You can lead a horse to water but you can't
make him drink</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">We can help, show
or encourage someone to do something but we can't make him do what he is
unwilling or unable to do</td>
</tr>
</tbody></table>
</div>
sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-76390248198129988222012-12-03T07:37:00.000-08:002013-01-30T10:30:52.232-08:00 Proverbs<div dir="rtl" style="text-align: right;" trbidi="on">
<div dir="rtl" style="text-align: center;" trbidi="on">
<br />
<div>
<span style="background-color: orange; color: blue; font-size: x-large;"> <b>Proverbs</b></span></div>
<div>
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<div style="text-align: center;">
<b><span style="color: magenta;">Between the devil and the deep sea</span></b></div>
</div>
</td>
<td height="1" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
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To choose between two equally bad alternatives in a </div>
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<div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
serious dilemma.</div>
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<td height="1" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b>
<span style="color: olive;">Where there's a will there's a way</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
When a person really wants to do
something, he will find a way of doing it.</div>
</div>
</td>
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</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
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</td>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #6666ff;">A burnt child dreads fire</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A bad experience or a horrifying incident
may scar one's attitude or thinking for a lifetime.</div>
</div>
</td>
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</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: teal;"><b>First come, first served</b></span></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
The
first in line will be attended to first.</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #666666;">A friend in need is a friend indeed</span></b></div>
</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A friend who helps when one is in
trouble is a real friend.</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #9900ff;">
Discretion is the better part of valor</span></b></div>
</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
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If
you say discretion is the better part of valor, you mean that avoiding a
dangerous or unpleasant situation is sometimes the most sensible thing to
do.</div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: magenta;">A hungry man is an angry man</span></b></div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A person who does not get what he wants
or needs is a frustrated person and will be easily provoked to rage.</div>
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<div style="text-align: center;">
<b>
<span style="color: olive;">Empty vessels make the most noise</span></b></div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Those people who have a little knowledge usually talk
the most and make the greatest fuss.</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #6666ff;">A man is as old as he feels</span></b></div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A person's age is immaterial - it is only
when he thinks and feels that he is ageing that he actually becomes old.</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: teal;"><b>Great talkers are little doers</b></span></div>
</div>
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<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Those people who talk a lot and are always teaching others usually do not
do much work.</div>
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</div>
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<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #666666;">An idle brain is the
devil's workshop</span></b> </div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
One who has nothing to do will
be tempted to do many mischievous acts.</div>
</div>
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</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #9900ff;">An ounce of discretion is worth a pound of wit</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
It is better to be
careful and discrete than to be clever.</div>
</div>
</td>
</tr>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: magenta;"><b>Faint heart never won fair lady</b></span></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
To succeed in life one must have the
courage to pursue what he wants.</div>
</div>
</td>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b>
<span style="color: olive;">A penny saved is a penny gained</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
By being thrifty one will be able to
save up.</div>
</div>
</td>
</tr>
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<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: #6666ff;"><b>A rolling stone gathers no moss</b></span></div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A person who never settles in one
place or who often changes his job will not succeed in life ; one who is
always changing his mind will never get anything done.</div>
</div>
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</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
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<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: teal;">As you sow, so you shall reap</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
One will either enjoy or suffer the
consequences of his earlier actions or inactions.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #666666;">Barking dogs seldom bite</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Those who make loud threats seldom carry
them out.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #9900ff;">Better late than never</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
To do something that is right, profitable, or
good a little late is still better than not doing it at all. </div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: magenta;">A bird in hand is worth two in the bush</span></b></div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Something that one already
has is better than going after something seemingly more worthwhile that
one may not be able to get.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b>
<span style="color: olive;">Birds of a feather flock together</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
People of the same sort of
character or belief always go together.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: #6666ff;"><b>Call a spade a spade</b> </span> </div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
If you say
that someone <u> calls a spade a spade</u>, you mean that they speak frankly and
directly, often about embarrassing or unpleasant subjects; an informal
expression.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: teal;">Charity begins at home</span></b> </div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A person's first obligation should be to help
the member of his own family before he can begin thinking of talking
about helping others.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #666666;">Dead men tell no lies</span></b></div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
( often used as an argument for killing someone
whose knowledge of a secret may cause one loss or get into serious
trouble.)</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #9900ff;">A great talker is a great liar</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A smooth and persuasive talker may be
a good liar.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: magenta;">Every cloud has a silver lining</span></b></div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
If
you say that every cloud has a silver lining, you mean that every sad or
unpleasant situation has a positive side to it. If you talk about silver
lining you are talking about something positive that comes out of a sad or
unpleasant situation.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b>
<span style="color: olive;">All that glitters is not gold</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Do not be deceived by things or
offers that appear to be attractive.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #6666ff;">Eat to live, but do not live to eat</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Man was created for a divine purpose and he has a destiny with his Creator
- he was not born just to enjoy food.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: teal;">Don't put all your eggs in one basket</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
One should not risk everything he has in a single venture.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #666666;">Every dog has its day</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Everyone will get a period of success or satisfaction during
his lifetime.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: #9900ff;">Every one can find fault, few can do better</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
It is easier to
find fault in other people's actions or methods than to do it properly or
correctly.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<b><span style="color: magenta;">Any time means no time</span></b></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
When an event is not decided on or planned
earlier it will never take place.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: olive;"><b>Fair exchange is no robbery</b></span></div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
A contract is fair as long as both the parties understand and agree to the
conditions willingly; after a deal is closed neither side can turn around
and say that he was unfairly treated.</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="text-align: center;">
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
<span style="color: #6666ff;"><b>Fire is a good servant but a bad master</b></span></div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: center;">
Fire, like any other manmade tool or device, will serve man well only when
it is controlled and used wisely.</div>
</div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<br /></div>
<div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
</div>
</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<div style="text-align: center;">
</div>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"><div style="text-align: center;">
</div>
</td>
</tr>
</tbody></table>
<div style="text-align: center;">
<b>
<a href="http://drama2day.blogspot.com/2012/12/proverbs-2.html">
<span style="color: #cc0000; font-size: medium;">الصفحة التالية</span></a></b></div>
</div>
sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-4646111624326936482012-12-03T07:27:00.000-08:002013-01-30T11:09:37.940-08:00 Proverbs 2<div dir="rtl" style="text-align: right;" trbidi="on">
<div dir="rtl" style="text-align: center;" trbidi="on">
<div style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-size: x-large;"><span style="background-color: orange;"><span style="color: blue;"><b>
Proverbs 2</b></span></span></span></div>
<div dir="ltr">
<br /></div>
<div dir="ltr">
<br /></div>
<table border="0" dir="ltr" style="height: 727px; margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Actions speak louder than words</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Children usually learn more from the
examples set by their elders than from what they are told ; a person's
character is judged by the thing she does and not by what he says; actions
give evidence or proof of.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>Fortune knocks once at every man's door</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Everyone gets at least one good opportunity in his lifetime; everyone
has the opportunity to be successful in life.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Give the devil his due</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Be just
and fair-minded , even to the one who does not deserve much or who is
unfriendly or unfair; we should punish a person according to his
wrongdoings.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>God helps those who help themselves</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
God only helps those people who work hard and make an honest effort.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>It's an ill wind that blows nobody any good</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A bad or evil occurrence.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Great minds think alike</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Wise
people will normally think and behave alike in certain situations.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: #666666;">Habit is second</span></b>
<b><span style="color: #666666;">nature</span></b></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
An act
done repeatedly and often enough will sooner or later become a habit or
second nature.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>He laughs best who laughs last</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A person who does his best is the one who will get the greatest satisfaction
in the end.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Never do things by halves</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
One
should not do an incomplete or imperfect job - certain tasks must not be
left half done; they must be done away with immediately.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px;">
<span style="color: olive;"><b>Great haste makes great waste</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
If
one does things hastily he will make a lot of mistakes - he will need to
spend a lot of time correcting those mistakes later.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: #6666ff;">It's never too late to mend</span></b> </div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It is
never too late to correct one's mistakes or faults.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>It's no use crying over spilt milk</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It is pointless to feel remorseful over a thing lost that can never be
found or a mistake done that can never be corrected or rectified.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>Still waters run deep</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
One who is
usually silent and goes about his business quietly may be a very wise
person.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Jack of all trades and master of none</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Is a person who can do almost anything, but he rarely excels in any of
them.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Let bygones by bygones</b></span> </div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
One should
consider forgiving one's and forget all the bad deeds done by others.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Let not the pot call the kettle black</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A person who has a fault should not point out the same fault in another;
do not criticize another person as you may have the same weakness.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Let sleeping dogs lie</b></span> </div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
One should
preferably avoid discussing issues that are likely to create trouble.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: teal;">No news is good news</span></b> </div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
When there
is no news, it is likely that everything is all right.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>Look before you leap</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Avoid acting
hastily, without considering the possible consequences.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Necessity is the mother of invention</b></span>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
When a person is in great need of something, he will find a way of
getting it.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: magenta;">Honesty is the best policy</span></b></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Being
honest is believed to be the best route to take.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>One man's meat is another man's poison</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
No two persons are alike -
every one has his own preferences, likes and dislikes.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Once bitten twice shy</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
If a person
has been tricked once he will more be careful and alert the next time.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>Like father, like son, like mother, like
daughter</b></span>
</div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
( used to describe a child's
behavior when he or she acts like the
father or mother )</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>Practice makes perfect</b></span> </div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It is
believed that if one practices a certain skill often, he will excel in it</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>Prevention is better than cure</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It
is better to be careful beforehand than to try to solve a problem after it
has arisen.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>Rome was not built in a day</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Any
great plan or big dream cannot be achieved overnight or easily.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b>
<span style="color: olive;">Robbing Peter to pay Paul</span></b></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
( this
is quoted when one takes another loan to pay off an earlier loan ) taking
from one to give another.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>Spare the rod and spoil the child</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
A child who is not punished and showed the error of his ways will become
unruly.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: teal;">Speech is silver, silence is golden</span></b></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Talk may be beneficial, but sometimes acquiescence may be the best option
to take.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>It takes two to make a quarrel</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Both parties in a quarrel should share the blame or take responsibility
for it; no one can start a quarrel all by himself.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<b><span style="color: #9900ff;">Strike while the iron is hot</span></b></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Seize a good opportunity as quickly as possible.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>There's no smoke without fire</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Rumors do not spread unless there is
some element of truth in them.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: olive;"><b>Time and tide wait for no one</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
Time is precious, once it
is past no one can go back and claim it thus everyone should be mindful of how his
time is spent.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #6666ff;"><b>To err is human, to forgive divine</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It is only normal for man to make
mistakes and do wrong, but for one to forgive another for his wrong is
indeed great and gracious act.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: teal;"><b>What's done can't be undone</b></span></div>
<div style="margin-bottom: 0px; margin-top: 0px;">
<br /></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
In life there are some things once done
or decisions once made cannot be changed; malicious words once uttered or
harmful actions once done cannot be taken back.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #666666;"><b>Two heads are better than one</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
It is always better to get the view of
another than to rely entirely on one's own judgment.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: #9900ff;"><b>When in Rome do as the Romans do</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
When one is in a new place, country
or situation he must adapt himself to the new manners and customs.</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><div style="margin-bottom: 0px; margin-top: 0px; text-align: left;">
<span style="color: magenta;"><b>When the cat is away the mice will play</b></span></div>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"><div style="margin-bottom: 0px; margin-top: 0px;">
When law enforcers are not present, certain public members will take the opportunity
to break the law</div>
</td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"></td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%"></td>
</tr>
<tr>
<td height="21" style="text-align: left;" valign="top" width="35%"><b><span style="color: olive;">Absence makes the heart grow fonder </span> </b>
</td>
<td height="21" style="text-align: left;" valign="top" width="5%"></td>
<td height="21" style="text-align: left;" valign="top" width="60%">One usually desires another more when he or she is far away.<br />
<br />
<span style="color: #cc0000;"><b> </b></span></td></tr>
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</div>sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0tag:blogger.com,1999:blog-4155176301167818339.post-53015663427124834872012-09-03T07:14:00.000-07:002013-01-30T11:26:55.370-08:00ترجمة المسرحيات<div dir="rtl" style="text-align: right;" trbidi="on">
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<b><span style="font-family: Traditional Arabic;"><span lang="ar-eg">الترجمة
باللغة العربية </span></span></b>
</span><br />
<table border="1" cellspacing="1" dir="ltr" id="table1" style="height: 336px; margin-left: auto; margin-right: auto; text-align: left; width: 327px;">
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<td width="194"><div align="center">
<span style="color: #ff9900;"><b><span lang="en-gb">Play</span></b></span></div>
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<span style="color: #ff9900;"><b>Download</b></span></div>
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<td width="194"><div align="center">
<i><b>The Tempest</b></i></div>
</td>
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<a href="http://www.mediafire.com/?9ajfywshruacfto" target="_blank">download</a></div>
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<i><b>Othello</b></i></div>
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All's Well That Ends Well</span></div>
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<i><b>The Merchant of Venice</b></i></div>
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<td align="center"><a href="http://www.mediafire.com/?0bm3v30mednm8ed" target="_blank">download</a></td>
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<i><b>Julius Caesar</b></i></div>
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<td align="center"><a href="http://www.mediafire.com/?qp0dde23qj53zwx" target="_blank">download</a></td>
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<td align="center" width="194"><i><b>As You Like It</b></i></td>
<td align="center"><a href="http://www.mediafire.com/?cy34lccggvvu50v" target="_blank">download</a></td>
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<td align="center" width="194"><i><b>Macbeth</b></i></td>
<td align="center"><a href="http://www.mediafire.com/?w3asgqc1sj00y6u" target="_blank">download</a></td>
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<td align="center" width="194"><i><b>Romeo and Juliet</b></i></td>
<td align="center"><a href="http://www.mediafire.com/?wk13k0bilxj2oe6" target="_blank">download</a></td>
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<td align="center" width="194"><i><b>King Lear</b></i></td>
<td align="center"><a href="http://www.mediafire.com/?1fyuxu7d4iefi25" target="_blank">download</a></td>
</tr>
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<td align="center" width="194"><b><i>Hamlet</i></b></td>
<td align="center"><a href="http://www.mediafire.com/?kdc6a87ahj9colh" target="_blank">download</a></td>
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<td width="194"><div align="center">
<b><i>King John</i></b></div>
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<td align="center"><a href="http://www.mediafire.com/?uskx5j7etd4ubdk">download</a></td>
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<td width="194"><div align="center">
<i><b>Antony and Cleopatra</b></i></div>
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<i><b>The Jew of Malta</b></i></div>
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sherif Kassemhttp://www.blogger.com/profile/14191188168899156406noreply@blogger.com0