Shakespeare notes :D four bodily humors Galen, Hyppocrates black bile blood yellow bile phlegm melancholi c sanguine

e choleric phlegmati c

earth air fire water Poetry

spleen liver bladder brain/lungs

Ptolemaic cosmology and the Great Chain of Being classical cosmology = Ptolemaic, geocentric system --> heliocentric system (Copernicus) Great Chain Of Being order, hierarchy, balance History and politics set ground for Protestant reformation = Erasmus, Jean Calvin, Sir Tomas More began Protestan reformation = Henry VIII, divorce from Catherine of Aragon, his own church, had political and religious power War of the Roses = 1453-1485, the Tudors assumed power 1588 defeat of the Spanish Armada, Catholic Spanish king Phillip; England gained enormous power, found new lands 1603 = James I (Stuart dynasty) becomes king of both Scotland and England; plays with a Scottish theme become popular the Counter-reformation (Catholic dissent) = Puritans flee to America, Gunpowder Plot (1605) pronouns you (+ ye, your, yours, yourself; personal) and thou (+thee, thine, thy, thyself - formal) 1649 Charles I executed by the Puritan government (Oliver Cromwell) Protestants = Republicans = anti-monarchists; opposed the king new scientifix concepts needed new words = imported from different languages from the colonies, Greek and Latin

the earliest sonnet anthology = Tottel's Miscellany, 1557 Shakespeare's sonnets = 14 iambic pentameter lines, three quatrains + rhyming couplet oxymoron & paradox influence = Virgil, Homer two S.'s narrative poems Venus and Adonis (1593) and The Rape of Lucrece (1594) --> his first published works blank verse unrhymed iambic pentameter; first used in Norton & Sackville's Gorboduc

Metaphysical poets =negative connotation from the 18th c. (lack of feeling, range of images, complex language, conceits); motive of transience; John Donne, Thomas Carew, Richard Crashaw Cavalier poets = Thomas Carew, Lovelace; monarchists, supported Charles I Elizabethan drama order of composition: Venus and Adonis, Romeo and Juliet, Hamlet, The Winter's Tale, Henry VIII order of composition: The Comedy of Errors, Romeo and Juliet, Julius Caesar, Macbeth, The Tempest five acts influences = mystery plays, mediaeval miracles, debate drama (precursor to Jeacobean drama, appeals to the audience's intelligence rather than celebrating monarchy) generic division from the First Folio = comedies, tragedies, histories the First Folio = Reade him, therefore; and againe and againe.... S.'s history plays = Henry IV (2 parts), Henry V, Henry VI (3 parts), King John, Richard II, Richard III S.'s first tetralogy = Henry VI (three parts) + Richard III S.'s great, second tetralogy/ Henriad = Richard II, Henry V (battle of Agincourt), Henry IV (two parts) tragedy as a distinct dramatic genre = 1620's; major model = Seneca S.'s first tragedy = Titus Andronicus other tragedies = Coriolanus, Timon of Athens... features of revenge tragedy = secret murder, ghostly visitation, period of intrigue or disguise, madness, violence, catastrophe establishment of comedy as a distinct genre = 1600-1625 (1620's) influence on Reneissance comedy = Terence, Plautus S.'s comedies proper = The Merchant of Venice, Twelfth Night, Two Gentlemen of Verona dark comedies = All's Well That Ends Well, Measure for Measure, Troilus and Cressida romances = Cymbeline, The Tempest, The Winter's Tale, Pericles domestic tragedy = shocking themes, blood, lust and violence comedy of humors = coined by Ben Johnson; characters driven by their emotional force, characters obsessed by something, climax of deceit sons of Ben = followers of Ben Johnson; tribe of Ben = his cirle of poets city comedy = set in London, characters from the city life; subjects of adultery, unhappy marriage, debt, rising of the middle class masque = expensive and elaborate (stage machinery, effects, new stage, lavish costumes)court entertainments (appears in TT), took place in private royal halls, reached its peak during the reign of James I; discussion, debate, moral superiority, good always defeats evil; Ben Johnson wrote them; Inigo Jones = an architect who introduced the proscenium arch (a frame behind which the stage action happens), used for the next three centuries dramatists = John Fletcher, Francis Beaumont (collaborated) + John Webster, Thomas Dekker Elizabethan prose

inkhorn terms/controversy = Latin and Greek words in English whether they should be adapted to English or kept the way they are euphuism = over-elaborate style, artificial; from the character name Euphues (Lyly) translations of the Bible = King James (1611), William Tyndale Works and writers Sir Philip Sidney: Astrophel and Stella Christopher Marlowe: Hero and Leander, The Jew of Malta, Doctor Faustus Edmund Spenser: The Faerie Queene, 1590-1596 Norton and Sackville: Gorboduc (1561) the first English tragedy (issue of dinastic insecurity, performed before Queen Elizabeth I) Thomas Middleton: The Revenger's Tragedy Thomas Kyd: The Spanish Tragedy (resembles Hamlet) John Heywood: The Four PP, The Play of the Weather Thomas Heywood: A Woman Killed with Kindness Nicholas Udall: Ralph Roister Doister (1560's) first English comedy Francis Bacon: The Advancement of Learning (Montaigne's model) John lyly: Euphues Thomas Nashe: The Unfortunate Traveller (1594) one of the earliest novels in English Sir Thomas more: Utopia (in Latin) Sir Walter Raleigh: History of the World (1614) Richard Hooker: On The Laws of Ecclesiastical Politie (against Puritan attacks) Samuel Johnson eighteenth-century editor of S. Tom Stoppard: Rosencratz and Guilderstern are Dead John Ford: 'Tis Pity She's A Whore John Webster: The White Devil (domestic tragedy) Ben Johnson: "The Alchemist" (Sir Epicure Mammon) Thomas Dekker: The Shoemaker's Holiday, A Chaste Maid in Cheapside (city comedies) Robert Burton: The Anatomy of Melancholy Sir Thomas Browne: "Religio Medici" William Prynne: Histriomastix (critique of professional theatre and actors, culmination of Puritan attacks on theatre) John Heywood: Winner and Waster (a debate drama, precursor of the Jacobean masque) John Milton: Paradise Lost (epic that deals with the problem of free will) Shakespeare's life four principal sources of intimate information = his works (time line could be established from the names of actors on the first pages of the First Folio), comments of contemporaries, tradition and gossip, documented records Robert Greene: an upstart crow... official documents as sources for biography = parish register, last will, testimony of lawsuit, diary, letters kind of information provided by official records = date of baptism, wedding, burial

scarce information = loss of many parish registers anti-stratfordians = argued against Shakespeare's authorship (plays attributed to Queen Elizabeth, Francis Bacon, Christopher Marlowe) bardolatry = excessive adoration of S. contemporaries = John Webster, Thomas heywood; written in collaboration? = Pericles, Henry VII the First Folio (1623) = generic division of plays; edition of a work consisting of twice as many leaves as the standard (paper folded) quatro = smaller, printed leaves folded twice, four times as many leaves as the standard Elizabethan theatre, stage etc. yard = pit = part of the theatre poorer theatregoers (groundlings) stand in during the performance; they sourrounded the platform stage groundlings = had the best viewing position in the public theatres; soldiers, law students, market women, prostitutes roofed galleries = more expensive seats, upper classes upper-class women wore masks and were accompanied by a man threats to the theatre = the plague, the Puritan censorship, seen as places for potential riot, were closed down The Master of Revels = the courtly official responsible for licensing actors patronage = Queen Elizabeth, Lord Chamberlain; actors protected from hatred of city officials acting companies = Lord Strange's Men, Lord Chamberlain's Men (The King's Men = S.'s patron in the 1590s), Lord Pembroke's Men, Lord Admiral's Men theatres = The Rose, The Globe, Blackfriars (private, 1599) basci features for staging = stage platform, trap door, heavens other static scenery = candle (night scene), canopied chair (trone), bed (courtroom scene) natural light of the Sun used (plays in the early afternoon) 1576 the first public theatre, The Theatre, Shoreditch, north of London The Rose, Southwark, south of London The globe, 1599, south side of the Thames May 1596 ban of acting companies from the city inns, Lord Mayor; theaters located in suburbs the platform or thrust stage = extended into the pit, sourrounded by groundlings on three sides the trap door = gateway to hell, underworld, entry door for ghosts (eg. king Hamlet) tiring house = used as a dressing room for actors; curtain frons scenae gallery = for audience, staging (speeches above), music; above the curtained space of the frons scenae balcony = for the wealthiest spectators; lords' room; occupied by those who visited theatres primarily to be seen, and not only to enjoy the play canopied roof = heavens, protected actors from the weather pillars/posts = actors hiding in eavesdropping scenes; supported the canopy above the stage entry doors = two door on each flank of the frons scenae (minor), the curtained space (major) p 22

audience = working, middle and upper classes upper classes attended plays to be seen; food provided by peddlers, walls and bottles used to take a pee women = went in groups, upper class wore masks boys played roles of women doubling = one actor in several roles in one play (MND) soliloquy = a series of unspoken reflections (Hamlet = 7) aside = a brief speech to the audience, supposedly unheard by other characters skimpy stage directions = S. never wanted to publish his plays in print, most of them were understood exeunt = all or named characters leave the stage hair about her ears = grief small talk = helps to set the scene, let audience know the time and place (first scene of Hamlet) trumpets and fanfare = flourish (a king enters), tucket (marching or annonuncing a character), sennet (entrance or exit of a character, a procession), alarum (call to arms) drums and colors = the army enters Puritan censhorship = opposing theatre because Spain was made fun of in the plays, and it was important to maintain good relations; 1642 First Ordinance of the Long Parliament against Stage-plays and Interludes by the extreme Puritans Kings' Men = James I 1603-1625, Charles I 1625-1642 university wits Marlowe, Green, Peele, Nashe, Lodge, Lyly, Johnson broader-based popular appeal of the English Renaissance drama educated at Oxford or Cambridge

(nadam se da je ovo tono) 1. the tiring-house front/frons scenae - odvaja tiring-rooms ili garderobu od pozornice, koristi se za scene u sceni, pozadinsku radnju, skuene prostore i za dramatical discovery scenes raznoraznih trupala 2. platform stage - oito vrlo velik prostor za kojekakve aktivnosti, moe sadravati i trap door (kojeg ovdje nema a meni ga se ne da crtati) koji glumi grob (u Hamletu), iz kojeg izlaze duhovi i negativci odlaze u pakao

3. entry (flank) doors - za ulaske manje bitnih likova, oni preruenih itd. 4. curtain - kroz njega ulaze malo vee zvjerke, a i moe se koristiti za scene prislukivanja (dok Hamlet ubija Polonija) 5. pit - ovdje groundlingsi pozorno promatraju radnju i grickaju oraie 6. heavens - nebeski svod, ujedno i zatita glumaca i njihove skupe obleke 7. gallery/balcony - za dranje govora, muziare i bogate theatregoerse (koji sjede ispod) 8. stepenice koje vode u tiring rooms 9. pillars - supportaju heaven i isto mogu posluiti za prislukivanja i skrivanja, a mislim da i u MNDu mogu glumiti drvee