The Merchant of Venice تاجر ونیزی

The Merchant of Venice is a tragic comedy by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a tragic 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 'pound of flesh' speech.

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: The moſt excellent Hiſtorie of the Merchant of Venice. With the extreame crueltie of Shylock the Iewe towards the ſayd Merchant, in cutting a iuſt pound of his fleſh: and the obtayning of Portia by the choyſe of three cheſts. 

Performance

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.^[4] In 1701, George Granville staged a successful adaptation, titled The Jew of Venice, 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.

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).^[5] Arthur Sullivan wrote incidental music for the play in 1871.

Julius Caesar :play

 

Gaius Julius Caesar^[2] (13 July 100 BC^[3] – 15 March 44 BC)^[4] was a Roman general and statesman. He played a critical role in the gradual transformation of the Roman Republic into the Roman Empire.

In 60 BC, Caesar entered into a political alliance with Crassus and Pompey that was to dominate Roman politics for several years. Their attempts to amass power for themselves through populist tactics were opposed within the Roman Senate by the conservative elite, among them Cato the Younger with the frequent support of Cicero. Caesar's conquest of Gaul extended Rome's territory to the North Sea, and in 55 BC he conducted the first Roman invasion of Britain. These achievements granted him unmatched military power and threatened to eclipse Pompey's standing. The balance of power was further upset by the death of Crassus in 53 BC. Political realignments in Rome finally led to a stand-off between Caesar and Pompey, the latter having taken up the cause of the Senate. Ordered by the senate to stand trial in Rome for various charges, Caesar marched from Gaul to Italy with his legions, crossing the Rubicon in 49 BC. This sparked a civil war from which he emerged as the unrivaled leader of the Roman world.

After assuming control of government, he began extensive reforms of Roman society and government. He centralised the bureaucracy of the Republic and was eventually proclaimed "dictator in perpetuity". A group of senators, led by Marcus Junius Brutus, assassinated the dictator on the Ides of March (15 March) 44 BC, hoping to restore the constitutional government of the Republic. However, the result was a series of civil wars, which ultimately led to the establishment of the permanent Roman Empire by Caesar's adopted heir Octavius (later known as Augustus). Much of Caesar's life is known from his own accounts of his military campaigns, and other contemporary sources, mainly the letters and speeches of Cicero and the historical writings of Sallust. The later biographies of Caesar by Suetonius and Plutarch are also major sources.

king lear

King Lear is a tragedy by William Shakespeare considered to be one of his greatest works, in which the title character descends into madness from the consequences of foolishly disposing of his estate between two of his three daughters based on their flattery. The play is based on the legend of Leir of Britain, a mythological pre-Roman Celtic king. It has been widely adapted for stage and screen, with the role of Lear played by many of the world's most accomplished actors.

The play is believed to have been written between 1603 and 1606 and later revised. The earlier version, The True Chronicle of the History of the Life and Death of King Lear and His Three Daughters, appeared in quarto in 1608. The Tragedy of King Lear, a more theatrical version, first appeared in the First Folio in 1623. Modern editors usually conflate the two versions, although some argue that each version has its individual integrity that should be preserved.^[1]

After the Restoration, the play was often modified with a happy ending by theatre practitioners who disliked its dark and depressing tone, but since the 19th century it has been regarded as one of Shakespeare's supreme achievements. The tragedy is particularly noted for its probing observations on the nature of human suffering and kinship.

Anton Chekhov : باغ البالو

ON THE HIGH ROAD

A DRAMATIC STUDY

CHARACTERS

     TIHON EVSTIGNEYEV, the proprietor of a inn on the main road
     SEMYON SERGEYEVITCH BORTSOV, a ruined landowner
     MARIA EGOROVNA, his wife
     SAVVA, an aged pilgrim
     NAZAROVNA and EFIMOVNA, women pilgrims
     FEDYA, a labourer
     EGOR MERIK, a tramp
     KUSMA, a driver
     POSTMAN
     BORTSOV'S WIFE'S COACHMAN
     PILGRIMS, CATTLE-DEALERS, ETC.

The action takes place in one of the provinces of Southern Russia

[The scene is laid in TIHON'S bar. On the right is the bar-counter and shelves with bottles. At the back is a door leading out of the house. Over it, on the outside, hangs a dirty red lantern. The floor and the forms, which stand against the wall, are closely occupied by pilgrims and passers-by. Many of them, for lack of space, are sleeping as they sit. It is late at night. As the curtain rises thunder is heard, and lightning is seen through the door.]

[TIHON is behind the counter. FEDYA is half-lying in a heap on one of the forms, and is quietly playing on a concertina. Next to him is BORTSOV, wearing a shabby summer overcoat. SAVVA, NAZAROVNA, and EFIMOVNA are stretched out on the floor by the benches.]

EFIMOVNA. [To NAZAROVNA] Give the old man a nudge dear! Can't get any answer out of him.

NAZAROVNA. [Lifting the corner of a cloth covering of SAVVA'S face] Are you alive or are you dead, you holy man?

SAVVA. Why should I be dead? I'm alive, mother! [Raises himself on his elbow] Cover up my feet, there's a saint! That's it. A bit more on the right one. That's it, mother. God be good to us.

NAZAROVNA. [Wrapping up SAVVA'S feet] Sleep, little father.

SAVVA. What sleep can I have? If only I had the patience to endure this pain, mother; sleep's quite another matter. A sinner doesn't deserve to be given rest. What's that noise, pilgrim-woman? 

برای دیدن ادامه نمایشنامه به سایت زیر مراجعه کنید

رومئو و ژولیت

The play, set in Verona, begins with a street brawl between Montagues and Capulets 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 is wary of the request because Juliet is only thirteen. Capulet asks Paris to wait another two years and invites him to attend a planned Capulet ball. Lady Capulet and Juliet's nurse try to persuade Juliet to accept Paris's courtship.

Meanwhile, Benvolio talks with his cousin Romeo, Lord 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. 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 courtyard and overhears Juliet on her balcony 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.

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,"^[2] 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.

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 and declares that if Romeo returns, "that hour is his last."^[3] 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."^[4] When she then pleads for the marriage to be delayed, her mother rejects her.

Juliet visits Friar Laurence for help, and he offers her a drug that will put her into a death-like coma for "two and forty hours."^[5] 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.

The messenger, however, does not reach Romeo and, instead, he 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."^[ 

  Critical history 

The earliest known critic of the play was diarist Samuel Pepys, who wrote in 1662: "it is a play of itself the worst that I ever heard in my life."^[58] Poet John Dryden wrote 10 years later in praise of the play and its comic character Mercutio: "Shakespear show'd the best of his skill in his Mercutio, and he said himself, that he was forc'd to kill him in the third Act, to prevent being killed by him."^[58] Criticism of the play in the 18th century was less sparse, but no less divided. Publisher Nicholas Rowe was the first critic to ponder the theme of the play, which he saw as the just punishment of the two feuding families. In mid-century, writer Charles Gildon and philosopher Lord Kames argued that the play was a failure in that it did not follow the classical rules of drama: the tragedy must occur because of some character flaw, not an accident of fate. Writer and critic Samuel Johnson, however, considered it one of Shakespeare's "most pleasing" plays.^[59]

In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play. Actor and playwright David Garrick's 1748 adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless. Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was, and that this was the reason for his tragic end. Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of the 20th century, these moral arguments were disputed by critics like Richard Green Moulton. He argued that accident, and not some character flaw, led to the lovers' deaths

اثار شکسپیر

The Complete Works of William Shakespeare

Welcome to the Web's first edition of the Complete Works of William Shakespeare. This site has offered Shakespeare's plays and poetry to the Internet community since 1993.

For other Shakespeare resources, visit the Mr. William Shakespeare and the Internet Web site.

The original electronic source for this server was the Complete Moby(tm) Shakespeare. The HTML versions of the plays provided here are placed in the public domain.

Hamlet

From Wikipedia, the free encyclopedia 

This article is about the Shakespeare play. For other uses, see Hamlet (disambiguation).

The American actor Edwin Booth as Hamlet, c. 1870

The Tragedy of Hamlet, Prince of Denmark, or more simply Hamlet, is a tragedy by William Shakespeare, believed to have been written between 1599 and 1601. The play, set in the Kingdom of Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius for murdering the old King Hamlet, Claudius's own brother and Prince Hamlet's father, and then succeeding to the throne and marrying Gertrude, the King Hamlet's widow and mother of Prince Hamlet. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption.

Despite much research, the exact year Hamlet was written remains in dispute. Three different early versions of the play have survived: these are known as the First Quarto (Q1), the Second Quarto (Q2) and the First Folio (F1). Each has lines, and even scenes, that are missing from the others. Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar François de Belleforest. He may have also drawn on, or perhaps written, an earlier (hypothetical) Elizabethan play known today as the Ur-Hamlet.

The play's structure and depth of characterization have inspired much critical scrutiny, of which one example is the centuries-old debate about Hamlet's hesitation to kill his uncle. Some see it as a plot device to prolong the action, and others see it as the result of pressure exerted by 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.

Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language. It provides a storyline capable of "seemingly endless retelling and adaptation by others."^[1] During Shakespeare's lifetime, the play was one of his most popular works,^[2] and it still ranks high among his most-performed, topping, for example, the Royal Shakespeare Company's list since 1879.^[3] It has inspired writers from Goethe and Dickens to Joyce and Murdoch and has been described as "the world's most filmed story after Cinderella."^[4] The title role was almost certainly created for Richard Burbage, the leading tragedian of Shakespeare's time.^[5] In the four hundred years since, it has been performed by highly acclaimed actors and actresses from each successive age.