Shakespeare's Plays
Shakespeare's Plays Before the publication of the First Folio in 1623, nineteen of the thirty-seven plays in Shakespeare's canon had appeared in quarto format. With the exception of Othello (1622), all of the quartos were published prior to the date of Shakespeare's retirement from the theatre in about 1611. It is unlikely that Shakespeare was involved directly with the printing of any of his plays, although it should be noted that two of his poems, Venus and Adonis and The Rape of Lucrece were almost certainly printed under his direct supervision. Here you will find the complete text of Shakespeare's plays, based primarily on the First Folio, and a variety of helpful resources, including extensive explanatory notes, character analysis, source information, and articles and book excerpts on a wide range of topics unique to each drama. Tragedies Coriolanus (1607-1608) The last of Shakespeare's great political tragedies, chronicling the life of the mighty warrior Caius Marcius Coriolanus.
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Textsuche bei Gutenberg-DE: Geboren vermutlich am 23.4.1564 in Stratford-upon-Avon; gestorben am 23.4.1616 in Stratford-upon-Avon. Shakespeare entstammte einer begüterten Bürgerfamilie und besuchte wahrscheinlich die Stratforder Lateinschule. 18jährig heiratete er die 8 Jahre ältere Anne Hathaway, mit der er drei Kinder hatte. Um 1586 ging er möglicherweise mit einer der vielen reisenden Schauspielertruppen nach London. Als der erfolgreichste Bühnenautor seiner Zeit und Teilhaber am Globe Theatre kam er rasch zu Wohlstand. Obwohl er fast ausschließlich für das Theater des Volkes schrieb, war er auch am Hof geschätzt, wo mehrere seiner Stücke zu festlichen Anlässen aufgeführt wurden und seine Truppe zeitweilig als "King's Men" königliche Protektion genoß. Werke u.a.
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Culture - Murillo and de Neve: The art of friendship
Andrew Graham-Dixon examines the works of the 17th century painter Bartolomé Esteban Murillo on show at the Dulwich Picture Gallery in London. Murillo lived his whole life in Seville; records suggest he left it only once, in 1658. During the artist’s lifetime, plague, famine and crop failure all ravaged the city, halved its population and left the streets teeming with vagabonds and beggar children. Murillo encountered a life of personal hardship himself. De Neve used his considerable wealth to found religious sanctuaries for the needy, and in Murillo he recognised a painter capable of both sensitively capturing the plight of Seville’s poor and creating symbols of spiritual salvation through art. Murillo’s work has been derided in recent times as too “chocolate box” – but Andrew Graham-Dixon shows how the relationship with de Neve and their mutual desire to help the people of Seville adds a new perspective to the artist’s work.
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