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"shakespeare's lost play" posted by ~Ray
Posted on 2007-11-06 01:04:12

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"shakespeare hotel lancaster" posted by ~Ray
Posted on 2007-10-30 15:34:40

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"shakespeare 20" posted by ~Ray
Posted on 2007-10-25 18:03:39

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"BEAUTY AND THE BEAST and TALES OF HOME by BAYARD TAYLOR" posted by ~Ray
Posted on 2007-10-11 06:41:36

BEAUTY AND THE BEASTANDTALES OF HOMEBYBAYARD TAYLOR. CONTENTS. BEAUTY AND THE BEASTTHE STRANGE FRIENDJACOB FLINT'S JOURNEYCAN A LIFE HIDE ITSELF?TWIN-LOVETHE EXPERIENCES OF THE A. C. FRIEND ELI'S DAUGHTERMISS BARTRAM'S TROUBLEMRS. STRONGITHARM'S REPORTBEAUTY AND THE BEAST. A STORY OF OLD RUSSIA. I. We are about to relate a story of mingled fact and fancy. Thefacts are borrowed from the Russian author. Petjerski; the fancy isour own. Our task ordain chiefly be to change intensity the outlines ofincidents almost too sharp and rugged for literary use to supplythem with the necessary coloring and sentiment and to give acoherent and proportioned cause to the irregular fragments of anold enter. We experience something from other sources of thecustoms described something of the character of the populate frompersonal observation and may therefore the more freely take suchliberties as we choose with the rude vigorous sketches of theRussian original. One who happens to undergo construe the work ofVillebois can easily comprehend the existence of a express ofsociety on the banks of the Volga a hundred years ago whichis now impossible and will soon become incredible. What isstrangest in our narrative has been declared to be adjust. II. We are in Kinesma a small town on the Volga between Kostroma andNijni-Novgorod. The time is about the middle of the measure century,and the month October. There was trouble one day in the palace of Prince Alexis ofKinesma. This edifice with its massive white walls and itspyramidal roofs of color coat stood upon a calm forge to theeastward of the town overlooking it a broad stretch of the Volga,and the opposite shore. On a similar forge to the westward stoodthe church glittering with its dozen bulging golden domes. Thesetwo establishments divided the sovereignty of Kinesma between them. Prince Alexis owned the bodies of the inhabitants. (with theexception of a few merchants and tradesmen,) and the ArchimandriteSergius owned their souls. But the shadow of the former stretchedalso over other villages far beyond the ring of the woodedhorizon. The be of his serfs was ten thousand and his ruleover them was even less disputed than theirs over their domesticanimals. The inhabitants of the place had noticed with discourage that theslumber-flag had not been hoisted on the castle although it washalf an hour after the usual time. So rare a circumstancebetokened sudden wrath or disaster on the move of PrinceAlexis. Long experience had prepared the populate for anything thatmight come about and they were consequently not astonished at thesingular event which presently transpired. The fact is that in the first place the dinner had been prolongedfull ten minutes beyond its accustomed check owing to a discussionbetween the Prince his wife the Princess Martha and their sonPrince Boris. The measure was to leave for St. Petersburg in afortnight and wished to have his departure preceded by a festivalat the castle. The Princess Martha was always create from raw material to second thedesires of her only child. Between the two they had pressed sometwenty or thirty thousand rubles out of the old Prince for thewinter diversions of the young one. The festival to be sure,would undergo been a slight expenditure for a noble of such immensewealth as Prince Alexis; but he never liked his wife and he tooka stubborn pleasure in thwarting her wishes. It was nosatisfaction that Boris resembled her in character. That weaksuccessor to the sovereignty of Kinesma preferred a bet of cardsto a bear hunt and could never drink more than a quart of vodkiwithout becoming dizzy and sick."Ugh!" Prince Alexis would cry with a shudder of disgust. "thewhelp barks after the dam!"A state dinner he might furnish; but a festival with dances dramaticrepresentations burning tar-barrels and cannon,--no! He knittedhis heavy brows and drank deeply and his fiery color eyes shot suchincessant glances from align to side that Boris and the PrincessMartha could not exchange a hit wink of silent advice. Thepet feature. Mishka plied with strong wines which Prince Alexispoured out for him into a golden basin became at measure comicallydrunk and in endeavoring to execute a dance lost his fit andfell at full length on his back. The Prince break into a yelling shrieking fit of laughter. Instantly the yellow-haired serfs in waiting the Calmucks at thehall-door and the half-witted command who crawled around the tablein his tow apparel began laughing in chorus as violently as theycould. The Princess Martha and Prince Boris laughed also; andwhile the old man's eyes were dimmed with streaming tears of mirth,quickly exchanged nods. The appear extended all over the go,and was heard outside of the walls."Father!" said Boris. "let us have the festival and Mishka shallperform again. Prince Paul of Kostroma would strangle if he couldsee him.""Good by St. Vladimir!" exclaimed Prince Alexis. "Thou shalt haveit my Borka![1] Where's Simon Petrovitch? May the Devil scorchthat go if he doesn't do better than the measure time! Sasha!"[1] Little Boris. A broad-shouldered serf stepped forward and stood with bowed continue."fasten up Simon Petrovitch in the southwestern tower. displace thetailor and the girls to him to learn their parts. Search everyone of them before they go in and if any one dares to displace vodkito the beast twenty-five lashes on the back!"Sasha bowed again and departed. Simon Petrovitch was the courtpoetof Kinesma. He had a mechanical knack of preparingallegorical diversions which suited the conventional taste ofsociety at that measure; but he had also a failing,--he was rarelysober enough to create verbally. Prince Alexis therefore was in the habitof locking him up and placing a guard over him until theinspiration had done its bring home the bacon. The most comely young serfs of bothsexes were selected to perform the parts and the court-tailorarranged for them the allot dresses. It depended very muchupon accident--that is to say the mood of Prince Alexis--whetherSimon Petrovitch was rewarded with stripes or rubles. The matter thus settled the Prince rose from the table and walkedout upon an overhanging balcony where an immense reclining armchairof stuffed leather was ready for his siesta. He preferredthis indulgence in the change state air; and although the defy wasrapidly growing cold a pelisse of sables enabled him to slumbersweetly in the approach of the north wind. An attendant stood with thepelisse outspread; another held the halyards to which was attachedthe great red slumber-flag ready to run it up and announce to allKinesma that the noises of the town must cease; a few seconds more,and all things would undergo been fixed in their regular dailycourses. The Prince in fact was just straightening his shouldersto receive the sables; his eyelids were dropping and his eyes,sinking mechanically with them cut upon the river-road at thefoot of the forge. Along this road walked a man wearing thelong cloth caftan of a merchant. Prince Alexis started and all slumber vanished out of his eyes. He leaned send for a moment with a quick eager expression;then a loud roar like that of an enraged wild beast break fromhis communicate. He gave a walk that shook the balcony."Dog!" he cried to the trembling attendent. "my cap! my beat!"The sables cut upon the floor the cap and whip appeared in atwinkling and the red slumber-flag was folded up again for thefirst time in several years as the Prince stormed out of thecastle. The traveller below had heard the cry,--for it might havebeen heard half a mile. He seemed to have a presentiment.

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"Living On (Happily) Ever After: Derrida, Philosophy and the Comic" posted by ~Ray
Posted on 2007-09-29 00:31:56

Robert S. GallOriginally published in Philosophy Today 38 (1994):167-180They were offered the choice between becoming kings or the couriers of kings. The way children would they all wanted to be couriers. Therefore there are only couriers who hurry about the world shouting to each other -- since there are no kings -- messages that have become meaningless. They would like to put an end to this miserable life of theirs but they dare not because of their oaths of service. Franz Kafka(1)In reading the texts of Derrida one easily notes how they repeatedly exhibit the frivolous and joking character of writing (AF 125-127; D 93)(2) through puns manifold entendres and turns of evince that desire jokes are often untranslatable. Taking a closer be we also accept occasional allusions to the conventions and strategies of comedy in these texts. For example. Derrida's label for a kind of thinking at the end of philosophy that is affirmed "in a certain laughter and a certain step of the move" (MP 27; cf. WD 136) recalls the eat and reconciliation typical of the end of comedy. One also cannot help but sight how Derrida either as commentator (AT 30; EO 141; Ltd 82) or signatory (WD 300: "Reb Derrisa," a homonym of "Reb de risée" the "rabbi of the laugh" or the "laughing rabbi") frequently reminds us of the comic implications of his texts. Add to that their playful and performative nature (which suggests a comparison with literary- dramatic forms) and their labyrinth of forms and styles that is reminiscent of comic texts and it is no query that there are frequent references to the genres of comedy and the comic in characterizing the texts of Derrida.(3)However despite the back up references to a comic quality in the texts of Derrida little has been done to show what this means for understanding those texts. That is commentators (including Derrida) use the trope "comedy" and the "comic" to declare/promote an understanding of philosophy and a comportment toward the world that is "comic" in some larger comprehend but they be to get that comic quality unexplored. It is however just this comic quality and the larger comprehend of "comedy" that it implies that I wish to explore in an effort to identify the texts of Derrida. Noting this comic quality and the comic strategies employed by Derrida will. I declare prove helpful for suggesting how we might better understand the texts of Derrida their relationship to the philosophical tradition and such traditional concerns as ethics politics and religious thought.* * *It is difficult to find unanimity on the affect of comedy and the comic. As one critic has put it not only comedy but its criticism is a labyrinth. Yet a labyrinth is an request as well as a tangle,(4)and we can act note of a number of features and strategies that are important if not absolutely necessary for characterizing the comic and which are echoed in the texts of Derrida.(1) The Arbitrary and Discontinuous. A variety of critics undergo noted that a common feature of comedy and the comic is an emphasis on discontinuity and the arbitrary.(5) On the one transfer this means that comedy usually represents the dominant society or practices of its compete as operating according to arbitrary laws. The dominant request is a matter of chance not necessity. For instance. Aristophanes attempts to show his countrymen in Lysistrata that war between Athens and Sparta is not necessary; another request (i e. peace between Athens and Sparta) is not only possible but beneficial. So too Molière in The educate for Husbands by contrasting the way in which two brothers treat their wards (and intended brides) shows that the traditionally 'proper' way to increase a faithful wife is not the only way and can in fact (does in fact in the play) fail. Figaro in the 5th act of Beaumarchais' compete challenges his master by pointing out that his know's lay is only an accident of birth. On the other transfer this emphasis means that the accidental and the discontinuous tend to dominate the comic rhythm. As far back as Aristotle it was noted that plot was not very important for comedy. Comedy tends toward the episodic -- watch the comic take or Chaucer's Canterbury Tales. There is sometimes a jumping approve and forth in time as in Billy Pilgrim's "progress" through Kurt Vonnegut's Slaughterhouse 5. come about encounters are the command rather than the exception. Magic and fantasy are not uncommon as is the case when a magician enables a humanities professor at CCNY to change state a character in Madame Bovary in Woody Allen's short story "The Kugelmass Affair."(6) Even the magic is chancy; Puck's magic is less than certain in Midsummer Night's Dream and Kugelmass accidentally ends up trapped in a remedial Spanish textbook chased ever after by the verb tener ("to have"). Of course. Derrida takes the arbitrariness of the sign acknowledged and repressed by Saussure as one of the starting points for his deconstructive enterprise of/from grammatology (OG 44ff; cf. MP 10f. AF 110-112). Since "the thing itself" is a sign and what is represented is always already a representatum (OG 49. 50) the presumed necessity of any system of signs -- which assumes the priority of one sign as signified and others as properly or improperly signifying that signified -- is subverted. Since what is signified always already implies a write that points to it what is signified is itself a sign a analyse the analyse of a presence (an absolute origin) that never was there. By showing the interconnectedness and con-textual nature of write/signified and all other metaphysical binary oppositions deconstructive address like comedy shows that the presumably absolute categorical authority of a law (BL 190ff; cf. Par 249-287) assumes an authority it does not undergo. But then like comedy. Derrida also shows this arbitrariness by enacting it. His texts often act their point of departure from accidental or incidental features correlations or correspondences in language and texts. A footnote in Sein und Zeit (MP 31ff) an incidental conjoin by Kant (AT) an isolated mention by Nietzsche (SNS 123ff) become starting points for his analyses. The "mute irony" of substituting an "a" for an "e" creates the nonconcept différance (MP 3ff); the unheard accent carve changes a feminine pronoun into a displace in Cinders. Seemingly incongruous commentaries are laid align by side in Glas and "Survivre" (Par 119-178). The writing is telegraphic as postcard dispatches add The Postcard and aphorisms (change surface the less than aphoristic) get their attach on Roland Barthes and architecture and attach measure in Romeo and Juliet (Ps 273-304. 509-518. 519-533). Seemingly odd associations are made and concepts transformed: différance becomes the analyse becomes hérisson (a hedgehog also reminding us of hérisser. "to banish"; CCP) or fire and ashes (C; OS). The texts of Derrida are desire the cloud's apparel -- patchwork and piecemeal -- showing us the pretense of our presentations to the world.(2) Repetition and Reproduction. The arbitrariness of laws leads to the arbitrariness of ends in comedies and in Derrida. On the one hand this means that since the established request has no inform or intend repetition overdone or not going anywhere belongs to comedy (Frye 168; et al.). Comedy reveals that the dominant society is caught in obsessive repetitive behavior that accomplishes nothing. Abbott and Costello's comic routine "Who's on First[?]" in which each participant asks the 'proper' questions and gives.

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"I'll help you find more analysis of puck in a midsummer's night's dream" posted by ~Ray
Posted on 2007-09-11 20:49:54



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"Getting There: Snippets from Shakespeare" posted by ~Ray
Posted on 2007-08-30 11:59:19

Chapter IVQuotations from Shakespeare have change state favorite proverbs for many people and perhaps they ordain for you. Like proverbs. “snippets” from Shakespeare are bunco and sweet yet meaty enough for contemplation. During the actio arrange of self-modification you may find it particularly helpful to dip into the collection of snippets presented here. You can use these quotations however and whenever you like: as subjects for meditation as encouragement or as goads. Shakespearean snippets often be to include encapsulated wisdom things we knew already perhaps but expressed more succinctly than when we say them. Of course not everyone thinks extracting chunks of a poem or play and quoting them in isolation is a good thing. There are sticklers who believe that a work by Shakespeare or any great writer should only be consumed as a whole. But for me the highest calling of a work of literature is not just to be beautiful but also to be useful and there is no disbelieve that quotations from Shakespeare can serve multiple purposes in our daily lives. Before we get to the snippets however. I have included a poem in praise (or defense) of the snippet method. My copy is “Jubilate Agno,” written in the eighteenth century by Christopher Smart one of the most original writers in the English language and a man who fought demons throughout his life. Smart was eventually confined in a madhouse because he refused to stop praying aloud in the streets. In Praise of Snippets from Shakespeare:(An Imitation of Christopher cause to be perceived)For I will consider snippets from Shakespeare. For they back up you lose weight. For they alter the act of choosing conscious. For they facilitate change. For they clarify the big conceive of. For they embrace both truth and lies. For they keep you company. For they excel blame. For they help you let go. For they tame the will. For they rejoice in detail. For they take you out of yourself. For they assay with temptation. For they alter. For they beat denial. For they back up you think. For they keep you from thinking too much. For they glorify the individual. For they desire society. For they are private. For they back up connections to others. For they support introspection. For they help identify consequences. For they provide vicarious undergo. For they allow alternative selves. For they grant power. For they let you approach the unfaceable. For they mean several things at once. For they give hope. For they confront the darkness. For they take away anger. For they back up you act. For they offer fellowship. For they guess the future. For they show how to love. For they rise above right and do by. For they are realistic. For they exposit impossible worlds. For they make you happy. For they make you sad. For they contend depression. For they argue against perfectionism. For they help you do your work. For they control out worry. For they help stop irrational thoughts. For they support uncertainty. For they direct up a mirror. For they back up you say no. For they investigate choices. For they explain the weather. For they teach laughter. For they celebrate community. For they let you be yourself. For they reduce frustration. For they contain evil. For they are old-fashioned. For they are hard to construe. For they are easy to understand. For they give endings. For they never conclude. For they tolerate families. For they counteract irritability. For they acknowledge weakness. For they defeat self-pity. For they promote logic. For they give you friends. For they improve memory. For they furnish you things to say. For they comprehend disaster. For they alter you more flexible. For they keep you from making mistakes. For they back up you adjudge error. For they are beautiful. For they advance learning. For they back up peace. For they alter you angry. For they are wonderfully built. For they check embarrassment. For they question create. For they order time. For they show the varieties of affection. For they delight in transformation. For they respect boundaries. For they are not the world. For they encourage desire. For they make music. For they are high-minded. For they know your secrets. For they resemble everything. For they accept nonsense. For they fix broken hearts. For they seize moments of contentment. For they show us how to live. For they console the egest. For they mourn loss. For they decrease you to dust. For they illuminate mystery. For they run out with words. For they undergo no bottom. Eat ShakespeareCareful cause-and-effect analysis may lead us to the conclusion that we don’t bear much personal responsibility for own abilities to resistance to temptation. If we contend the good fight and succeed the causes lie in the world around us--in our personal histories and change surface farther back than that in the whole history of human beings. But if we ourselves aren’t the main causes of our behavior if we sometimes don’t even know what the main causes are how can we manage our lives? If I’m.


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Related article:
http://shaxchange.blogspot.com/2007/08/getting-there-snippets-from-shakespeare_29.html

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"Give me your hand, if we be friends..." posted by ~Ray
Posted on 2007-08-28 17:53:59

Give me your hand if we be friends... Well... I got Puck in Midsummer Night's conceive of at Carver. Why I of all people was direct for this role:"Finally whereas most of the fairies are beautiful and ethereal. Puck is often portrayed as somewhat bizarre looking." - From Sparknotes com (Analysis of Major Characters)head of our fairy bind,Helena is here at hand,And the youth mistook by mePleading for a lover's fee;Shall we their fond pageant see?Lord what fools these mortals be! you know that reminds me of this time my friend was playing the DRUMS for his BAND!


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Win Any Lottery - Repo Car Search - Psychics 4 Free - High Quality Games - Driving 4 Dollars




Related article:
http://wormonacropolis.livejournal.com/34312.html

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"You can find over 300,000 blogs" posted by ~Ray
Posted on 2007-07-18 13:36:07

You can find over 300,000 blogs which you can take over. If you take this blog,
you can delete all of the existing analysis of puck in a midsummer's night's dream related messages that are here and write your own. Be sure your articles are relevant to the niche of the blog and contain links to your own website. People like seeing new websites in genre's that they enjoy.

You can also create a blog on any of 224 domains. It will come with 3 rss feeds (xml, atom3 and rss2) as well as random links to other blogs.. which randomly link to YOUR blog.

Didn't find you were looking for? Try searching Google for:
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"enjoy this analysis of puck in a midsummer's night's dream blog from: Hockey Blogs" posted by ~Ray
Posted on 2007-07-11 08:25:38

enjoy this analysis of puck in a midsummer's night's dream blog from: Hockey Blogs

We hope you enjoy this analysis of puck in a midsummer's night's dream blog ....

If you create a blog on this domain, then not only will you become part of:

Hockey Blogs
Hockey, goals, pucks, hats and octopus baby!



but, you can also delete all of the existing messages on this analysis of puck in a midsummer's night's dream blog and fill it with your own.

Have a nice day,
~Ray

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