Enders Game chapter 9 valentines letter

June 8, 2016 / / 0 Comments

Ender,

The bastards wouldn’t put my letter through untill now. To be honest I must of written the same letter about a hundred times. You are probably thinking that I didn’t but I can asure you that I did. I do hope that you believe me. I haven’t forgotten you and you’re birthday. I remember everything. I even remembered that time when you were two and thought the candles on the cake were little cup cakes. Those bastards better not be be to harsh on you. Anyway how’s life out there. I’ve always pictured you in that uniform making mum and dad proud. I know you’re thinking how is mum and dad well there good and cant wait to see you. Just because you are a solider doesn’t mean you are a tuff lad and this big hard man. And that everyone should be scared of you. Well they shouldn’t because you are not like you know who. Anyway I have to go now mum Is calling me for dinner its good writing to you enjoy yourself love you bye xxx

VALENTINE XXX

The globe

February 3, 2016 / / 0 Comments

The Globe

The Globe Theatre was a theatre in London associated William Shakespeare. It was Built in 1599 by Shakespeare’s play company called the lord Chamberlains men. It was built on the land owned by Thomus Brend, who later inherited to his son Nicholas Brend and grandson Sir Matthew Brend, unfortunatly it was destroyed by fire on 29 of june 1613. In 1614 a second globe theatre was built in June and closed in 1642.

A modern remake/reconstruction of the globe, named Shakespears Globe, which opened in 1997 approximently 750 feet (250 meters) from the original theater, it was said to be really noisy and was sort of like a market people would sell stuff thereb would be pickpockets and loads of people would talk through the performance. The higher up in the theatre the more money you would have to pay. The cheapest place to watch a performance would be to stand up on the bottom, which means if they were watching a really long play lets say four hours they would have to stand up for that long. The Globe was owned by actors who were shareholders of the Lord Chamberlains Men. The names of some of them were Richard Burbage, Cuthbert Burbage and John Hemminge. That’s the globe, Shakespeare’s theatre.

 

William Shakespeare

February 3, 2016 / / 0 Comments

William Shakespeare

At 18 Shakespeare married Anne Hathaway in 1556-1616, a woman eight years his senior, in a ceremony which people say was hard to arrange due to her pregnancy. she had a daughter, Susanna, This article is about the poet and playwright.who goes by the name of William Shakespeare.William Shakespeare is one of the world’s greatest writers. He wrote plays for the theaters. He wrote loads of poetry too.William Shakespeare was born in Stratford-upon-Avon, a bustling market town 100 miles northwest of London, and was baptized there on April 26, 1564. His birthday is traditionally celebrated on April 23, which was the date of his death in 1616 and is the feast day of St. George, the patron saint of England. Shakespeare’s father, John, dabbled in farming, wood trading, tanning, leather work, money lending and other occupations; he also held a series of municipal positions before falling into debt in the late 1580s. The ambitious son of a tenant farmer, John boosted his social status by marrying Mary Arden, the daughter of an aristocratic landowner. Like John, she may have been a practicing Catholic at a time when those who rejected the newly established Church of England faced persecution. Considered the greatest English-speaking writer in history and known as England’s national poet, William Shakespeare (1564-1616) has had more theatrical works performed than any other playwright.on his day, countless theater festivals around the world honor his work, students memorize his eloquent poems and scholars reinterpret the million words of text he composed. They also hunt for clues about the life of the man who inspires such “bardolatry” (as George Bernard Shaw derisively called it), much of which remains shrouded in mystery. Born into a family of modest means in Elizabethan England, the “Bard of Avon” wrote at least 37 plays and a collection of sonnets, established the legendary Globe theater and helped transform the English language. William was the third of eight Shakespeare children, of whom three died in childhood. Though no records of his education survive, it is likely that he attended the well-regarded local grammar school, where he would have studied Latin grammar and classics. It is unknown whether he completed his studies or abandoned them as an adolescent to apprentice with his father.who was born less than seven months later in May 1583. Then Twins Hamnet and Judith followed in February 1585. Susanna and Judith would lived to old age while Hamnet, Shakespeare’s only son,unfortunately died at 11. As for William and Anne, it is believed that the couple lived apart for most of the year while the bard pursued his writing and theater career in London. It was not until the end of his life that Shakespeare moved back in with Anne in their Stratford home.

William was the third of eight Shakespeare children, of which three died in childhood. Though no records of his education survive, it is likely that he attended the well-regarded local grammar school, where he would have studied Latin grammar and classics. It is unknown whether he completed his studies or abandoned them as an adolescent to apprentice with his father.

To the dismay of his biographers, Shakespeare disappears from the historical record between 1585, when his twins’ baptism was recorded, and 1592, when the playwright Robert Greene denounced him in a pamphlet as an “upstart crow” (evidence that he had already made a name for himself on the London stage). What did the newly married father and future literary icon do during those seven “lost” years? Historians have speculated that he worked as a schoolteacher, studied law, traveled across continental Europe or joined an acting troupe that was passing through Stratford. According to one 17th-century account, he fled his hometown after poaching deer from a local politician’s estate.

Whatever the answer, by 1592 Shakespeare had begun working as an actor, penned several plays and spent enough time in London to write about its geography, culture and diverse personalities with great authority. Even his earliest works evince knowledge of European affairs and foreign countries, familiarity with the royal court and general erudition that might seem unattainable to a young man raised in the provinces by parents who were probably illiterate. For this reason, some theorists have suggested that one or several authors wishing to conceal their true identity used the person of William Shakespeare as a front. (Most scholars and literary historians dismiss this hypothesis, although many suspect Shakespeare sometimes collaborated with other playwrights.)

Shakespeare’s Plays and Poems

Shakespeare’s first plays, believed to have been written before or around 1592. Shakespeare was likely affiliated with several different theater companies when these early works debuted on the London stage. In 1594 he began writing and acting for a group known as the Lord Chamberlain’s Men ultimately becoming its house playwright and partnering with other members to establish the legendary Globe theater in 1599.

Between the mid_1590s and his retirement around 1612, Shakespeare penned the most famous of his 37-plus plays, including “Romeo and Juliet, “Hamlet,” “King Lear,” “Macbeth” and “The Tempest.” As a dramatist, he is known for his frequent use of iambic pentameter, meditative soliloquies (such as Hamlet’s ubiquitous “To be, or not to be” speech) and ingenious wordplay. His works weave together and reinvent theatrical conventions dating back to ancient Greece, featuring assorted casts of characters with complex psyches and profoundly human interpersonal conflicts. Some of his plays—notably “All’s Well That Ends Well,” “Measure for Measure” and “Troilus and Cressida”—are characterized by moral ambiguity and jarring shifts in tone, defying, much like life itself, classification as purely tragic or comic.

Also remembered for his non-dramatic contributions, Shakespeare published his first narrative poem ,which was dedicated to his close friend, while London theaters were closed due to a plague outbreak in 1593. The many reprints of this piece and a second poem, “The Rape of Lucrece,” hint that during his lifetime the bard was chiefly renowned for his poetry. Shakespeare’s famed collection of sonnets, which address themes ranging from love and sensuality to truth and beauty, was printed in 1609, possibly without its writer’s consent., The sonnets did not enjoy the same success as Shakespeare’s earlier lyrical works.

Shakespeare died at age 52 of unknown causes on April 23, 1616, leaving the bulk of his estate to his daughter Susanna.

In 1623 two of Shakespeare’s former colleagues had published a collection of his plays. Shakespeare’s plays were a big hit and went to loads of theatres. They kept on giving loads of people grace. His plays then became big film and TV hits. Some of his greatest plays were; Macbeth., Othello, the tempest and the biggest , which is only my opinion, Romeo and Juliet.

 

 

February 2, 2016 / / 0 Comments

William Shakespeare

This article is about the poet and playwright.who goes by the name of William Shakespeare.William Shakespeare is one of the world’s greatest writers. He wrote plays for the theaters. He wrote loads of poetry too.William Shakespeare was born in Stratford-upon-Avon, a bustling market town 100 miles northwest of London, and was baptized there on April 26, 1564. His birthday is traditionally celebrated on April 23, which was the date of his death in 1616 and is the feast day of St. George, the patron saint of England. Shakespeare’s father, John, dabbled in farming, wood trading, tanning, leatherwork, money lending and other occupations; he also held a series of municipal positions before falling into debt in the late 1580s. The ambitious son of a tenant farmer, John boosted his social status by marrying Mary Arden, the daughter of an aristocratic landowner. Like John, she may have been a practicing Catholic at a time when those who rejected the newly established Church of England faced persecution. Considered the greatest English-speaking writer in history and known as England’s national poet, William Shakespeare (1564-1616) has had more theatrical works performed than any other playwright.on his day, countless theater festivals around the world honor his work, students memorize his eloquent poems and scholars reinterpret the million words of text he composed. They also hunt for clues about the life of the man who inspires such “bardolatry” (as George Bernard Shaw derisively called it), much of which remains shrouded in mystery. Born into a family of modest means in Elizabethan England, the “Bard of Avon” wrote at least 37 plays and a collection of sonnets, established the legendary Globe theater and helped transform the English language. William was the third of eight Shakespeare children, of whom three died in childhood. Though no records of his education survive, it is likely that he attended the well-regarded local grammar school, where he would have studied Latin grammar and classics. It is unknown whether he completed his studies or abandoned them as an adolescent to apprentice with his father.

At 18 Shakespeare married Anne Hathaway (1556-1616), a woman eight years his senior, in a ceremony thought to have been hastily arranged due to her pregnancy. A daughter, Susanna, was born less than seven months later in May 1583. Twins Hamnet and Judith followed in February 1585. Susanna and Judith would live to old age, while Hamnet, Shakespeare’s only son, died at 11. As for William and Anne, it is believed that the couple lived apart for most of the year while the bard pursued his writing and theater career in London. It was not until the end of his life that Shakespeare moved back in with Anne in their Stratford home.

William was the third of eight Shakespeare children, of whom three died in childhood. Though no records of his education survive, it is likely that he attended the well-regarded local grammar school, where he would have studied Latin grammar and classics. It is unknown whether he completed his studies or abandoned them as an adolescent to apprentice with his father.

At 18 Shakespeare married Anne Hathaway (1556-1616), a woman eight years his senior, in a ceremony thought to have been hastily arranged due to her pregnancy. A daughter, Susanna, was born less than seven months later in May 1583. Twins Hamnet and Judith followed in February 1585. Susanna and Judith would live to old age, while Hamnet, Shakespeare’s only son, died at 11. As for William and Anne, it is believed that the couple lived apart for most of the year while the bard pursued his writing and theater career in London. It was not until the end of his life that Shakespeare moved back in with Anne in their Stratford home.

To the dismay of his biographers, Shakespeare disappears from the historical record between 1585, when his twins’ baptism was recorded, and 1592, when the playwright Robert Greene denounced him in a pamphlet as an “upstart crow” (evidence that he had already made a name for himself on the London stage). What did the newly married father and future literary icon do during those seven “lost” years? Historians have speculated that he worked as a schoolteacher, studied law, traveled across continental Europe or joined an acting troupe that was passing through Stratford. According to one 17th-century account, he fled his hometown after poaching deer from a local politician’s estate.

Whatever the answer, by 1592 Shakespeare had begun working as an actor, penned several plays and spent enough time in London to write about its geography, culture and diverse personalities with great authority. Even his earliest works evince knowledge of European affairs and foreign countries, familiarity with the royal court and general erudition that might seem unattainable to a young man raised in the provinces by parents who were probably illiterate. For this reason, some theorists have suggested that one or several authors wishing to conceal their true identity used the person of William Shakespeare as a front. (Most scholars and literary historians dismiss this hypothesis, although many suspect Shakespeare sometimes collaborated with other playwrights.)

Shakespeare’s Plays and Poems

Shakespeare’s first plays, believed to have been written before or around 1592, encompass all three of the main dramatic genres in the bard’s oeuvre: tragedy (“Titus Andronicus”); comedy (“The Two Gentlemen of Verona,” “The Comedy of Errors” and “The Taming of the Shrew”); and history (the “Henry VI” trilogy and “Richard III”). Shakespeare was likely affiliated with several different theater companies when these early works debuted on the London stage. In 1594 he began writing and acting for a troupe known as the Lord Chamberlain’s Men (renamed the King’s Men when James I appointed himself its patron), ultimately becoming its house playwright and partnering with other members to establish the legendary Globe theater in 1599.

Between the mid-1590s and his retirement around 1612, Shakespeare penned the most famous of his 37-plus plays, including “Romeo and Juliet,” “A Midsummer Night’s Dream,” “Hamlet,” “King Lear,” “Macbeth” and “The Tempest.” As a dramatist, he is known for his frequent use of iambic pentameter, meditative soliloquies (such as Hamlet’s ubiquitous “To be, or not to be” speech) and ingenious wordplay. His works weave together and reinvent theatrical conventions dating back to ancient Greece, featuring assorted casts of characters with complex psyches and profoundly human interpersonal conflicts. Some of his plays—notably “All’s Well That Ends Well,” “Measure for Measure” and “Troilus and Cressida”—are characterized by moral ambiguity and jarring shifts in tone, defying, much like life itself, classification as purely tragic or comic.

Also remembered for his non-dramatic contributions, Shakespeare published his first narrative poem—the erotic “Venus and Adonis,” intriguingly dedicated to his close friend Henry Wriothesley, Earl of Southampton—while London theaters were closed due to a plague outbreak in 1593. The many reprints of this piece and a second poem, “The Rape of Lucrece,” hint that during his lifetime the bard was chiefly renowned for his poetry. Shakespeare’s famed collection of sonnets, which address themes ranging from love and sensuality to truth and beauty, was printed in 1609, possibly without its writer’s consent. (It has been suggested that he intended them for his intimate circle only, not the general public.) Perhaps because of their explicit sexual references or dark emotional character, the sonnets did not enjoy the same success as Shakespeare’s earlier lyrical works.

Shakespeare’s Death and Legacy

Shakespeare died at age 52 of unknown causes on April 23, 1616, leaving the bulk of his estate to his daughter Susanna. (Anne Hathaway, who outlived her husband by seven years, famously received his “second-best bed.”) The slabstone over Shakespeare’s tomb, located inside a Stratford church, bears an epitaph—written, some say, by the bard himself—warding off grave robbers with a curse: “Blessed be the man that spares these stones, / And cursed be he that moves my bones.” His remains have yet to be disturbed, despite requests by archaeologists keen to reveal what killed him.

In 1623, two of Shakespeare’s former colleagues published a collection of his plays, commonly known as the First Folio. In its preface, the dramatist Ben Jonson wrote of his late contemporary, “He was not of an age, but for all time.” Indeed, Shakespeare’s plays continue to grace stages and resonate with audiences around the world, and have yielded a vast array of film, television and theatrical adaptations. Furthermore, Shakespeare is believed to have influenced the English language more than any other writer in history, coining—or, at the very least, popularizing—terms and phrases that still regularly crop up in everyday conversation. Examples include the words “fashionable” (“Troilus and Cressida”), “sanctimonious” (“Measure for Measure”), “eyeball” (“A Midsummer Night’s Dream”) and “lackluster” (“As You Like It”); and the expressions “foregone conclusion” (“Othello”), “in a pickle” (“The Tempest”), “wild goose chase” (“Romeo and Juliet”) and “one fell swoop” (“Mac

Thomas Brend

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Thomas Brend
Born c. 1516
Died 21 September 1598 (aged 81–82)
Spouse(s) Margery (surname unknown)
Mercy Collet
Children Thomas Brend
Nicholas Brend
Mary Brend
Katherine Brend
Judith Brend
Mercy Brend
Anne Brend
6 other sons
5 other daughters

Thomas Brend (c. 1516 – 21 September 1598) of West Molesey, Surrey, was a London scrivener, and the owner of the land on which the Globe Theatre was built.[1]

Family[edit]

The names of Thomas Brend’s parents[2] and his place of birth are unknown. He is known to have had one brother, also named Thomas, who was alive in 1599.[3] Two nephews, Francis Brend, son of his brother, Thomas, and Ralph Baldwin, are mentioned in his will.[4]

Brend was born about 1516.[5] His family’s social standing appears to have been modest. In a deposition Brend gave in 1582, the examiner described him first as ‘gentleman’, and then as ‘esquire’, both of these being subsequently crossed out and replaced by ‘examinant’.[6] From 1580 on, Brend customarily referred to himself in terms denoting his place of residence and profession, ‘citizen and writer of the court letter of London’, rather than in terms denoting his social status.[7] However he was granted a coat of arms in 1591,[8] and in his memorial inscription is referred to as ‘esquire’.[9]

Career[edit]

In 1548 Brend was living in London in the house of a scrivener named William Cawkett, and was perhaps Cawkett’s journeyman.[10] As was the case with other members of his profession, Brend dealt in the London money market. According to Berry, ‘the Close Rolls are littered with the bonds and mortgages with which he secured the borrowings of his clients’.[11] Most of the bonds with which Brend was involved date from the period 1547–1558.[12]

In 1581 Brend guaranteed a loan for Lord Admiral Howard.[13] Brend had been requested to guarantee Howard’s loan by Richard Drake, a follower of Howard’s and one of the Queen’s equerries. Drake in turn gave Brend a bond of £400. When Howard failed to repay the loan, Brend was forced to do so, but for reasons unknown failed to sue Drake for indemnification on the £400 bond.[14] In 1602 or early in 1603 Brend’s daughter-in-law, Margaret, then newly widowed, attempted to collect the debt from the Lord Admiral personally at Oatlands Palace. He offered a settlement of £100, which was apparently not accepted, as Margaret’s second husband, Sir Sigismund Zinzan, sued Drake’s heir in 1606 for the full £400.[15]

During the years 1554–1591 Brend purchased considerable property in London and elsewhere in England. His first purchase, in October 1554, was of land in Southwark on which the Globe Theatre was later built. Brend acquired the property for £240 from John Yong, a London skinner. The property had come to Yong through his wife, Christian Rede, who had inherited it from her grandparents, Thomas and Christian Rede. Brend purchased the property in the names of himself and his first wife, Margery. Berry suggests that ‘perhaps the money was at least partly hers’. In addition to Brend’s purchases, the Close Rolls also record his sales of six separate pieces of property during the years from 1583 until his death in 1598.[16]

Brend’s prosperity did not pass without comment. In 1578 it was said of him that he had rapidly become wealthy as a result of ‘false or subtylle dealinge’.[17] Against this accusation must be laid the remark of a fellow lodger in the house of William Cawkett, who opined that Brend had become wealthy because of ‘rich mariages he hath had’.[18]

Brend’s first wife, Margery, by whom he had ten children, died 2 June 1564, and Brend married Mercy Collet, widow of Francis Bodley (d. 1566) of Streatham, and daughter of Humphrey Collet, a bowyer who appears to have resided in Southwark, and died in December 1558. By his second wife, Brend had eight children.[19]

Brend outlived most of his eighteen sons and daughters. He had a son and heir named Thomas alive in 1570, but by 1583 his heir was his son, Nicholas.[20] When he made his will on 15 June 1597,[21] he had only one son living, Nicholas, and five daughters, Anne and Judith, who died unmarried; Mary, who married Rowland Maylard and was widowed by 1601; Katherine, who married George Sayers or Seares; and Mercy (born c.1572), who married Peter Frobisher, son of Sir Martin Frobisher.[22] Of his surviving six children, Berry considers that only Mercy was Brend’s child by his second wife.[23]

Included among the properties mentioned in Brend’s will were his manor of West Molesey, Surrey;[24] a house called the Star and other properties in Bread Street, London; a house at St Peter’s Hill in London, and several properties in Southwark, including the site of the Globe.[25]

Brend died at the age of eighty-one on 21 September 1598, according to the inscription in St Peter’s Church, West Molesey.[26]

Here lieth buried the body of Thomas Brend of West Molesey, esquire, who had by his two wives eighteen children, videlicet, by Margery, his first wife, four sons & six daughters, who died the second of June 1564, by Mercy, his last wife, he had four sons and four daughters. She left her life the 13 of April 1597, and lieth here buried. He lived the age of fourscore and one years and departed this world the 21 of September 1598 and left one son & five daughters at his death.[27]

The armorial achievement on the brass is described as follows:

The achievement, 8 1/2 by 7 1/2 inches, bears the arms and crest of Brend, Or, a chevron between three dexter hands couped sable. Crest, out of a coronet or, a cockatrice’s head gules between two wings argent, with the usual helmet and mantling. The arms and crest were granted to Thomas Brend in 1591. The shield, 6 3/4 by 5 3/4, bears Brend impaling sable on a chevron between three hinds argent as many annulets of the field, for Collett.[28]

Sketch by Wenceslas Hollar of second Globe Theatre

Three months after his father’s death, Nicholas Brend leased part of his father’s Southwark property to Cuthbert Burbage, Richard Burbage, William Shakespeare, Augustine Phillips, Thomas Pope, John Heminges, and William Kempe. The lease agreement took effect at Christmas 1598, although it was not signed until 21 February 1599, by which time, according to Berry, ‘the worthwhile pieces of the old Theatre in Shoreditch had probably been lying about the place for some six weeks, ready for assembly’ into the new Globe Theatre.[29]

Nicholas Brend survived his father for only three years. He died on 12 October 1601, leaving the property on which the Globe was built to his infant son, Matthew Brend.[30]

Marriages and issue[edit]

Thomas Brend married firstly a wife named Margery (d. 2 June 1564), whose surname is unknown, by whom he had four sons, including Thomas, who predeceased him,[31] and his eventual heir, Nicholas, and six daughters.

Brend married secondly, Mercy Collet (d. 13 April 1597), widow of Francis Bodley (d. 1566), and daughter of Humphrey Collet. By Francis Bodley, Mercy Collet had two sons, William Bodley and Sir John Bodley of Streatham.[32] Sir John Bodley later became involved in financial matters concerning the Globe Theatre.[33] By his second wife, Thomas Brend had four sons and four daughters, including his daughter Mercy (born c.1572).[34]

About 1595 Brend’s son and heir, Nicholas Brend, married Margaret Strelley, a cousin of John Stanhope, 1st Baron Stanhope, and his sister, Jane Stanhope,[35] wife of Sir Roger Townshend and Henry Berkeley, 7th Baron Berkeley. The marriage took place without Thomas Brend’s consent, and his hostility to the marriage was such that he redrew his will, and struck out his son’s name as executor, although he did not disinherit him.[36]

Thomas Brend’s two unmarried daughters, Anne and Judith, both died in 1599, Judith having made her last will at the house of her uncle, John Collet, on 20 April of that year.[37] Shortly after Thomas Brend’s death, by an agreement dated 17 November 1598, their brother, Nicholas, had purchased for £1150 the properties which Thomas Brend had left Anne and Judith in his will.[38] Judith Brend’s properties included the Pomegranate in Bridge Street and the Peacock in Candlewick Street.[39][40]

Notes[edit]

  1. Jump up ^ Berry 1987, p. 82.
  2. Jump up ^ Berry notes that the Victoria County History of Surrey mistakenly attributes to him a father named Thomas.
  3. Jump up ^ Berry 1987, p. 112.
  4. Jump up ^ Honigmann & Brock 1993, p. 63.
  5. Jump up ^ Berry 1987, p. 82.
  6. Jump up ^ Berry 1987, pp. 83–4.
  7. Jump up ^ Berry 1987, p. 84.
  8. Jump up ^ Stephenson 1917, pp. 96–8.
  9. Jump up ^ Berry 1987, pp. 111–12.
  10. Jump up ^ Berry 1987, p. 82.
  11. Jump up ^ Berry 1987, p. 82.
  12. Jump up ^ Berry 1987, p. 82.
  13. Jump up ^ In 1582-3 William Brend purchased a lease from the Lord Admiral; Berry notes that William Brend was financed in 1572 by Thomas Cure, ‘who two decades later financed the Swan‘; Berry 1987, p. 111.
  14. Jump up ^ Berry 1987, p. 84.
  15. Jump up ^ Berry 1987, p. 89.
  16. Jump up ^ Berry 1987, p. 82.
  17. Jump up ^ Berry 1987, p. 82.
  18. Jump up ^ Berry 1987, pp. 82–3.
  19. Jump up ^ Berry 1987, pp. 83, 111.
  20. Jump up ^ Berry 1987, pp. 83, 112.
  21. Jump up ^ Honigmann & Brock 1993, p. 63.
  22. Jump up ^ According to McDermott, Peter Frobisher was Sir Martin Frobisher’s heir, but not his son; McDermott 2004.
  23. Jump up ^ Berry 1987, p. 83.
  24. Jump up ^ ‘Parishes: East and West Molesey’, A History of the County of Surrey: Volume 3 (1911), pp. 451-456 Retrieved 30 March 2013.
  25. Jump up ^ Berry 1987, p. 83.
  26. Jump up ^ Berry 1987, p. 84:
  27. Jump up ^ Stephenson 1917, pp. 96–8; Berry 1987, p. 112.
  28. Jump up ^ Stephenson 1917, pp. 96–8.
  29. Jump up ^ Berry 1987, p. 86.
  30. Jump up ^ Berry 1987, pp. 87–8.
  31. Jump up ^ Berry 1987, p. 112.
  32. Jump up ^ Bannerman 1899, p. 147.
  33. Jump up ^ Berry 1987, pp. 87–8.
  34. Jump up ^ Berry 1987, p. 83.
  35. Jump up ^ Berry notes that Lord Stanhope and his sister Jane were nephew and niece of Anne Strelley, wife of Sir Richard Stanhope (d. 1529), elder brother of Sir Michael Stanhope, father of Lord Stanhope and his sister Jane; Berry 1987, pp. 85, 112; Marshall 1871, pp. 7–8, 21–2.
  36. Jump up ^ Berry 1987, pp. 84–5; Honigmann & Brock 1993, pp. 63–4.
  37. Jump up ^ Berry 1987, p. 87.
  38. Jump up ^ Berry 1987, pp. 85–6.
  39. Jump up ^ Conveyance by bargain and sale from Judith Brend to Nicholas Brend Retrieved 29 March 2013.
  40. Jump up ^ Berry 1987, pp. 85–6.

References[edit]

External links[edit]

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beth”).

Globe Theatre

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Jump to: navigation, search
This article is about the Globe Theatre of Shakespeare. For the more modern reconstruction in London, see Shakespeare’s Globe. For other uses, see Globe Theatre (disambiguation).
The Globe Theatre
Hollar Globe.gif

The second Globe, preliminary sketch (c. 1638) for Hollar’s 1647 Long View of London[1]
Address Maiden Lane (now Park Street) Southwark[2][3]
London
England
Designation Destroyed by the Puritans
Type Elizabethan theatre
Construction
Opened 1599
Closed 1642
Rebuilt 1614

The Globe Theatre was a theatre in London associated with William Shakespeare. It was built in 1599 by Shakespeare’s playing company, the Lord Chamberlain’s Men, on land owned by Thomas Brend and inherited by his son, Nicholas Brend and grandson Sir Matthew Brend, and was destroyed by fire on 29 June 1613.[4] A second Globe Theatre was built on the same site by June 1614 and closed in 1642.[5]

A modern reconstruction of the Globe, named “Shakespeare’s Globe“, opened in 1997 approximately 750 feet (230 m) from the site of the original theatre.[6] From 1909, the current Gielgud Theatre was called “Globe Theatre”, until it was renamed (in honour of John Gielgud) in 1994.

Locations[edit]

Examination of old property records has identified the plot of land occupied by the Globe as extending from the west side of modern-day Southwark Bridge Road eastwards as far as Porter Street and from Park Street southwards as far as the back of Gatehouse Square.[7][8] However, the precise location of the building remained unknown until a small part of the foundations, including one original pier base, was discovered in 1989 beneath the car park at the rear of Anchor Terrace on Park Street.[9] The shape of the foundations is now replicated on the surface. As the majority of the foundations lies beneath 67—70 Anchor Terrace, a listed building, no further excavations have been permitted.[10]

History[edit]

Second Globe Theatre, detail from Hollar’s View of London, 1647. Hollar sketched the building from life (see top), but only later assembled the drawings into this View; he mislabelled his images of The Globe and the nearby bear-baiting enclosure. Here the correct label has been restored. The small building to the left supplied food- and ale-sellers at the theatre.[1][11]

The Globe Theatre is shown at the bottom centre of this London street map[12]

Position on modern street plan

Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall beyond is the rear of Anchor Terrace.

The Globe was owned by actors who were also shareholders in the Lord Chamberlain’s Men. Two of the six Globe shareholders, Richard Burbage and his brother Cuthbert Burbage, owned double shares of the whole, or 25% each; the other four men, Shakespeare, John Heminges, Augustine Phillips, and Thomas Pope, owned a single share, or 12.5%. (Originally William Kempe was intended to be the seventh partner, but he sold out his share to the four minority sharers, leaving them with more than the originally planned 10%).[13] These initial proportions changed over time as new sharers were added. Shakespeare’s share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.[14]

The Globe was built in 1599 using timber from an earlier theatre, The Theatre, which had been built by Richard Burbage’s father, James Burbage, in Shoreditch in 1576. The Burbages originally had a 21-year lease of the site on which The Theatre was built but owned the building outright. However, the landlord, Giles Allen, claimed that the building had become his with the expiry of the lease. On 28 December 1598, while Allen was celebrating Christmas at his country home, carpenter Peter Street, supported by the players and their friends, dismantled The Theatre beam by beam and transported it to Street’s waterfront warehouse near Bridewell.[15] With the onset of more favourable weather in the following spring, the material was ferried over the Thames to reconstruct it as The Globe on some marshy gardens to the south of Maiden Lane, Southwark. While only a hundred yards from the congested shore of the Thames, the piece of land was situated close by an area of farmland and open fields.[16] It was poorly drained and, notwithstanding its distance from the river, was liable to flooding at times of particularly high tide; a “wharf” (bank) of raised earth with timber revetments had to be created to carry the building above the flood level.[17] The new theatre was larger than the building it replaced, with the older timbers being reused as part of the new structure; the Globe was not merely the old Theatre newly set up at Bankside.[18][19] It was probably completed by the summer of 1599, possibly in time for the opening production of Henry V and its famous reference to the performance crammed within a “wooden O”.[20] Dover Wilson, however, defers the opening date until September 1599, taking the “wooden O” reference to be disparaging and thus unlikely to be used in the Globe’s inaugural staging. He suggests that a Swiss tourist’s account of a performance of Julius Caesar witnessed on 21 September 1599 describes the more likely first production.[21] The first performance for which a firm record remains was Jonson’s Every Man out of His Humour—with its first scene welcoming the “gracious and kind spectators”—at the end of the year.[17][22]

On 29 June 1613 the Globe Theatre went up in flames during a performance of Henry VIII. A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man whose burning breeches were put out with a bottle of ale. No-one was severely injured in the event.[23] It was rebuilt in the following year.

Like all the other theatres in London, the Globe was closed down by the Puritans in 1642. It was pulled down in 1644-45; the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery—to make room for tenements.[24]

A modern reconstruction of the theatre, named “Shakespeare’s Globe“, opened in 1997, with a production of Henry V. It is an academic approximation of the original design, based on available evidence of the 1599 and 1614 buildings,[25] and is located approximately 750 feet (230 m) from the site of the original theatre.[6]

Layout[edit]

Conjectural reconstruction of the Globe theatre by C. Walter Hodges based on archeological and documentary evidence

The Globe’s actual dimensions are unknown, but its shape and size can be approximated from scholarly inquiry over the last two centuries.[26] The evidence suggests that it was a three-storey, open-air amphitheatre approximately 100 feet (30 m) in diameter that could house up to 3,000 spectators.[27] The Globe is shown as round on Wenceslas Hollar‘s sketch of the building, later incorporated into his etched Long View of London from Bankside in 1647. However, in 1988–89, the uncovering of a small part of the Globe’s foundation suggested that it was a polygon of 20 sides.[28][29]

At the base of the stage, there was an area called the pit,[30] (or, harking back to the old inn-yards, yard)[31] where, for a penny, people (the “groundlings”) would stand on the rush-strewn earthen floor to watch the performance.[32] During the excavation of the Globe in 1989 a layer of nutshells was found, pressed into the dirt flooring so as to form a new surface layer.[9] Vertically around the yard were three levels of stadium-style seats, which were more expensive than standing room. A rectangular stage platform, also known as an apron stage, thrust out into the middle of the open-air yard. The stage measured approximately 43 feet (13.1 m) in width, 27 feet (8.2 m) in depth and was raised about 5 feet (1.5 m) off the ground. On this stage, there was a trap door for use by performers to enter from the “cellarage” area beneath the stage.[33]

The back wall of the stage had two or three doors on the main level, with a curtained inner stage in the centre (although not all scholars agree about the existence of this supposed “inner below”),[34] and a balcony above it. The doors entered into the “tiring house”[35] (backstage area) where the actors dressed and awaited their entrances. The floors above may have been used to store costumes and props and as management offices.[36] The balcony housed the musicians and could also be used for scenes requiring an upper space, such as the balcony scene in Romeo and Juliet. Rush matting covered the stage, although this may only have been used if the setting of the play demanded it.[23]

Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof was called the “heavens,” and was painted with clouds and the sky.[37] A trap door in the heavens enabled performers to descend using some form of rope and harness.[38]

Name[edit]

The name of the Globe supposedly alludes to the Latin tag totus mundus agit histrionem, in turn derived from quod fere totus mundus exerceat histrionem—”because all the world is a playground”—from Petronius,[39] which had wide circulation in England in the Burbages’ time. Totus mundus agit histrionem was, according to this explanation, therefore adopted as the theatre’s motto. Another allusion, familiar to the contemporary theatre-goer, would have been to Teatrum Mundi, a meditation by the twelfth-century classicist and philosopher John of Salisbury, in his Policraticus, book three.[40] In either case, there would have been a familiar understanding of the classical derivation without the adoption of a formal motto.[40]

It seems likely that the link between the supposed motto and the Globe was made only later, originating with the industrious early Shakespeare biographer William Oldys, who claimed as his source a private manuscript to which he once had access. This was repeated in good faith by his literary executor George Steevens, but the tale is now thought “suspicious”.[41][42]

Notes[edit]

  1. ^ Jump up to: a b Cooper, Tarnya, ed. (2006). “A view from St Mary Overy, Southwark, looking towards Westminster, c.1638”. Searching for Shakespeare. London: National Portrait Gallery. pp. 92–93. ISBN 978-0-300-11611-3. 
  2. Jump up ^ Wilson, Ian (1993). Shakespeare the Evidence. London: Headline. xiii. ISBN 0-7472-0582-5. 
  3. Jump up ^ Bowsher and Miller (2009: 87)
  4. Jump up ^ Nagler 1958, p. 8.
  5. Jump up ^ Encyclopædia Britannica 1998 edition.
  6. ^ Jump up to: a b Measured using Google earth
  7. Jump up ^ Mulryne; Shewring (1997: 69)
  8. Jump up ^ Braines, William (1924). The site of the Globe Playhouse Southwark (2 ed.). London: Hodder and Stoughton. OCLC 3157657. 
  9. ^ Jump up to: a b Simon McCudden ‘The Discovery of The Globe
  10. Jump up ^ Bowsher and Miller (2009: 4)
  11. Jump up ^ Bowsher; Miller (2009:112)
  12. Jump up ^ Location taken from Bowsher; Miller (2009:107)
  13. Jump up ^ Gurr (1991: 45–46)
  14. Jump up ^ Schoenbaum, pp. 648–9.
  15. Jump up ^ Shapiro, James (2005). 1599—a year in the life of William Shakespeare. London: Faber and Faber. p. 7. ISBN 0-571-21480-0. 
  16. Jump up ^ Shapiro (2005: 122-3; 129)
  17. ^ Jump up to: a b Bowsher and Miller (2009: 90)
  18. Jump up ^ Allen’s court proceedings against Street and the Burbages noted that the timber from The Theatre was “sett up…in an other forme” at Bankside. Quoted in Bowsher and Miller (2009: 90)
  19. Jump up ^ Adams, John Cranford (1961). The Globe Playhouse. Its design and equipment (2 ed.). London: John Constable. OCLC 556737149. 
  20. Jump up ^ Bate, Jonathan; Rasmussen, Eric (2007). William Shakespeare Complete Works. London: Macmillan. p. 1030. ISBN 978-0-230-00350-7. 
  21. Jump up ^ Dover Wilson, John (1968). The Works of Shakespeare—Julius Caesar. Cambridge New Shakespeare. Cambridge, England: Cambridge University Press. p. ix. ISBN 0-521-09482-8. 
  22. Jump up ^ Stern, Tiffany (2010). “The Globe Theatre and the open-air amphitheatres”. In Sanders, Julie. Ben Jonson in Context. Cambridge, England: Cambridge University Press. p. 113. ISBN 0-521-89571-5. 
  23. ^ Jump up to: a b Wotton, Henry (2 July 1613). “Letters of Wotton”. In Smith, Logan Pearsall. The Life and Letters of Sir Henry Wotton Two. Oxford, England: Clarendon Press. pp. 32–33. 
  24. Jump up ^ Mulryne; Shewring (1997: 75)
  25. Jump up ^ Martin, Douglas. “John Orrell, 68, Historian On New Globe Theater, Dies”, The New York Times, 28 September 2003, accessed 19 December 2012
  26. Jump up ^ Egan 1999, pp. 1–16
  27. Jump up ^ Orrell 1989
  28. Jump up ^ Mulryne; Shewring (1997: 37; 44)
  29. Jump up ^ Egan 2004, pp. 5.1–22
  30. Jump up ^ Britannica Student: The Theater past to present > Shakespeare and the Elizabethan Theater
  31. Jump up ^ Dekker, Thomas (1609), reprinted 1907, ISBN 0-7812-7199-1. The Gull’s Hornbook: “the stage…will bring you to most perfect light… though the scarecrows in the yard hoot at you”.
  32. Jump up ^ Dekker (1609)
  33. Jump up ^ Nagler 1958, pp. 23–24.
  34. Jump up ^ Kuritz, Paul (1988). The making of theatre history. Englewood Cliffs, N.J: Prentice Hall. pp. 189–191. ISBN 0-13-547861-8. 
  35. Jump up ^ from attiring—dressing: “tiring, n.3“. Oxford English Dictionary (2 ed.). Oxford, England: Oxford University Press. 1989. 
  36. Jump up ^ Bowsher and Miller (2009: 136–137)
  37. Jump up ^ Mulryne; Shewring (1997: 139)
  38. Jump up ^ Mulryne; Shewring (1997: 166)
  39. Jump up ^ Ingleby, Clement Mansfield; Toulmin Smith, Lucy; Furnival, Frederick (1909). Monro, John, ed. The Shakespere allusion-book : a collection of allusions to Shakespere from 1591 to 1700 2. London: Chatto and Windus. p. 373. OCLC 603995070. 
  40. ^ Jump up to: a b Gillies, John (1994). Shakespeare and the Geography of Difference. Cambridge, England: Cambridge University Press. p. 76. ISBN 9780521417198. 
  41. Jump up ^ Stern, Tiffany (1997). “Was ‘Totus mundus agit histrionem’ ever the motto of the Globe Theatre?”. Theatre Notebook (The Society for Theatre Research) 51 (3): 121. ISSN 0040-5523. 
  42. Jump up ^ Egan, Gabriel (2001). “Globe theatre”. In Dobson, Michael; Wells, Stanley. The Oxford Companion to Shakespeare. Oxford, England: Oxford University Press. p. 166. ISBN 978-0-19280614-7. 

References[edit]

External links[edit]

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January 27, 2016 / / 0 Comments

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| The Van   Truck!               |||””‘|””\__,_     
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Who loves their job the most?

January 26, 2016 / / 0 Comments

 

scene starts with 4 suspected bank robbers in a black van.

The boss: Stick your foot on the bloody pedal or ill give you two shots through your skull.

Rego: I’m going as fast as I can and if you shoot me my squad be coming after you.

Gon: (using hand gestures) Bruv shut your mouth or ill shut it for you.

Rego: (Angrily) Ok! jeez.

Gon: Dats what I like.

Cordi: Stop arguing and get us out of the city before they call the po po!

Joker: He’s right. Keep on acting like this and your cut will be as small as the amount I can put into a plastic bag.

Rego: Bu..

Joker: No buts. If there’s any complains Ill just give you the bag and that’ll be your share.

Gon : That’s a good 5p in the 5p jar.

police sirons

Cordi: Too late pass the AK47 now you better get ready.

Gun fire.

Rego: If we survive who shall get the bigger share?

Joker: That’s for me to know and you to find out.

Gon: He does have a point doe.

Joker: Well my brudas I’ve got a question for yawl. yawl better give me a good reason why ok. Who should get the bigger share?

Rego: (In a sly voice)Boss I love this more than words can wield the matter; Dearer than eye sig…

Gon: Bruv he’s lieng you can see it in his face and he’s reading Shakespeare’s Goneril part and…

Joker: Shut up and let him finish.

Rego: Dearer than eyesight space and liberty ; Beyond the money what ever it is valued, rich or rare; as much as I love my own family, even my father; No less than life, with everything I own, beyond all manner Boss I love this job.

Gon: What a load of garbage.

Joker: Well if you think you can do better lets see.

Gon: Boss fam, I am made of crime and everything you turned me into. You took me in when nobody wanted me. you taught me the way of crime. I thank you very much and wish to be just like you.

Joker: (Sarcastically) Ok not bad not bad.

Rego: What a joker!

Gon: Shut your mouth. Now dats what I like.

Joker: keep your eye on the road, and you keep on shooting.

More gun fire.

Rego and Gon: Yes Boss.

Joker: Now what do you have to say.

Cordi: Nothing.

Joker: (In shock)What??? Make your speech a bit more complex and you’ll get a good share.

Cordi: You cant possible tell me to put my mouth where my heart is and besides..

Joker: I understand.

Cordi; You do.

Joker; Of course.

TO BE CONTINUED

 

 

 

How does Shakespeare use language to present the love of Goneril, Regan and Cordelia in King Lear?

January 20, 2016 / / 0 Comments

Essay

In this striking essay, which is situated on Shakespeare’s play called King Lear, I will be talking about what king Lear (a father) asked his three tender daughters who loves him the most and what and why they said. I shall be translating Shakespearean English to modern English. The story is all about a king called King Lear and his three daughters named Gonirel, who is the oldest,Regan and the youngest of them all Cordelia. The story starts with king Lear asking his three dear daughters “who doth love us most” asking the question to see who would get the biggest part of land…

Gonirel

Gonirel claims to love him more than words can wield the matter, meaning that she loves king Lear more than she can say. But then she goes on to  say this. Sir I love you more than words can wield more than the matter; Dear than eyesight space and liberty(she loves him more than (more than anything in the world)Beyond what can be valued , rich or rare; No less than life (the same as life alone) with grace, health beauty and honour, As much as a child e’er loved or father found; A love that breath poor and speech unable; Beyond all manner of so much I love you. In my opinion I think that this is way out of proportion saying that you love someone more than words than all that wow way out of proportion. I also think that was all fake and I think Gonirels reputation and personality is plainly twofaced.

King Lear than asks his second daughter a little younger than Gonirel and he says “Of all these bounds, even from this line to this, with shadowy forests and with chapaind rich’d with plentaniouse rivers and wide skirted meads we make thy lady: to thine and Albany issue be this perpetual. What says our second daughter our dearest Regan,, wife to corn wall speak.” He is asking Regan to say her piece.”

Regan

Regan says ”Sir I am made of the self same metal that my sister’s,and prize me at her worth. In my true heart I find she names my very deed of love; only she comes to short; that I proffer myself an enemy to all other joys, which the most precise square of ensue of possession; and find I am alone felicitate in your dear highness love.” Regan also claims to love King Lear the same and more as Gonirel. When Regan says of the safe same metal that my sister is she is saying she loves King Lear more even tho she is from the same non harmless daughter that Gonirel and Cordilia is.

To these and thine hereditary ever remain this ample third of our fare kingdom; No less in space, validtary and pleasure, Then that conferred on Gonirel Now our joy. although the last, not least; to whose young love. The vines of France and milk and burgundy. Strive to be interested; what can you say to draw a third more opulent than your sisters? Speak.

Cordilia

Cordelia says “Nothing my lord” King Lear reply’s In shock “NOTHING” she then reply’s again “nothing” King Lear reply’s for a second time “nothing will come of nothing: speak again”  she than replies “Unhappy that I am, I cannot heave my heart into my mouth: I love you majesty  according to my bond; nor more no less. Meaning she is unhappy with the question that is being asked. She then says she can’t put her mouth into her heart, she can’t say how she feels.” King Lear says ” How, how, Cordelia mend your speech a little, Lest it may mar your fortunes. Cordilia says ” Good my lord, you have begot me, bred me, loved me: I return those duties back as are right fit, obey you love, you and most honor you. Why have my sisters husbands, if they say they love you all? Haply, when I shall wed. That lord whose hand must take my plight shall carry. half my love with him, half my care and duty: sure, I shall never marry like my sisters, to love my father all.”

In my opinion Shakespeare presents; king Lear as unburthend crawl toward death, Cordelia as a women who’s love is more richer than her tongue, Regan as the self made metal that my sister is, Goniril as false and manipulative.

Conclusion

To summarize Regan and Goniril are twofaced as Cordelia is a true and honest young women. Therefore she should have the biggest part of land. The two small parts of land can be divided between the  girls. Unfortunately the two still get land even when the two lied which shows that they won’t be good leaders.

Warrens’ autobiography

October 30, 2015 / / 1 Comment

My name is warren Sparkes I am 12 years old and am a skateboarder who lives in north London. I’ve got a younger sister and older brother. As you’ll expect from a family with brothers and sisters we argue alot and I mean alot. The other day we argued about who ate the last biscuit. In my autobiography I will be speaking about when I first started nursery and school I hope you enjoy.

I went to summers town nursery following my older brother. Its been so long since I’ve seen the place but I still have so many memories. I remember walking into the building for the first time with a massive smile on my face. I don’t know if it was because I had a massive round lollipop ? in my hand,which would have made me hyper. I went in to the room were all the other children were and made two friends in a snap one was a boy called Aron and the other a girl named Isabella who ended up being my best friends from start to finish. U had been in the nursery playing for about half an hour now and I was lunch time I still hadn’t finished my lollipop. I sat down next ito Aron and Isabella at the big table we started eating and I had my lollipop in my right hand and in my left I had my plastic blue fork,and yes it was blue if it wasn’t blue I wouldn’t have eaten, then some random kid comes up to me and takes a massive bite out of my lollipop! I got so angry and chucked the massive thing in the bin,meaning the lollipop I know what you were thinking. The few years there were unforgettable. As it came to sports day I was very nervous I didn’t know what to expect. It was a running race. The adult

blew the whistle and off we went it was only then I found my true talent I came first whilst I was at the finish line everyone else was at the middle of the track and who would think that this movement would start something magical.

I left moving to primary where I went to st Michaels c of e primary school were I I found another talent which would be used in pure anger. I first walked into the classroom with a smile upon my face but this time I held a orange in my hand,nope I’m just kiddin I had another massive lollipop which my name and something else all over it. I soon realized I had my lollipop taken off me and given back to me at the end of the day which was calm because I didn’t want to be the odd one out. I had a good first day and made loads of friends. If I skip a few years up to year 6 then all I could Tell you is that nobody would mess with me because i got into alot of fights and got very angry and left people as my victims. So that has been my life so far this is my autobiography thank you for reading

This is Your Online Domain

May 26, 2014 / / 0 Comments

Hello and welcome to your personal online journal.

Edutronic has been created to enhance and enrich your learning at the London Nautical School. Its purpose is to provide you with an audience for your work (or work-in-progress) and you have the choice (by altering the ‘visibility’ of your posts) of whether your work on here is visible to the world, or only to your teacher.

Anything you post here in the public domain represents you and thus it’s important that you take care with that decision, but don’t be afraid to publish your work – as the feedback you may get from people at home, your peers and people from around the internet is only likely to enhance it.

Remember you can always access your class blog and all manner of resources through the Edutronic main website – and by all means check out the sites of your peers to see what they’re getting up to as well.

If you have any questions for your teacher, an excellent way to get an answer is to create a new private post on this journal. Your teachers are am notified of any new posts and will reply swiftly to any queries.

Make the most of, and enjoy this new freedom in your English learning!

May 25, 2014

“There is nothing to writing. All you do is sit down at a typewriter and bleed.” ― Ernest Hemingway