Tuesday, November 24, 2015

Glasgow Thesis


"All the World's a Stage": William Blake and William Shakespeare

MacPhee, Chantelle L. (2002) "All the World's a Stage": William Blake and William Shakespeare. PhD thesis, University of Glasgow.
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    Shakespeare's presence in Blake's poetry has been virtually unrecognised by scholarly criticism except, of course, for Jonathan Bate's groundbreaking work of 1986. Bate has had no major successors, so this thesis is, then, an attempt to close to lacuna, to restore Shakespeare to the place that was recognized by Blake himself, as a major influence on his work. In my introductory chapter, I offer a brief sketch of the manner in which Shakespeare informed the culture of the later eighteenth century of which Blake was a product. I survey Shakespearean production, staging and acting techniques, and the history of textual reproduction, before turning to an aspect of the Shakespearean tradition of particular importance to Blake, the production of illustrated editions of Shakespeare's work, and the recourse to Shakespearean subject matter of the painters of the later eighteenth century. I end this chapter with an account of Blake's own Shakespearean illustrations. In Chapter 2, I focus on the earliest of Blake's poems to show a clear Shakespearean influence, the dramatic fragments: "Prologue to King John", Edward the Third, and "Prologue to Edward the Fourth". The major model for these early poetic experiments is, of course, the Shakespearean history or chronicle play, but I argue that even in these apprentice works Blake's appropriation of the Shakespearean model is complex. Shakespeare's history plays celebrate the emergence of an England that, as the defeat of the Spanish Armada demonstrated, had emerged as one of Europe's most powerful nation states. The most pressing political context for Blake's dramatic fragments is England's loss of America, its greatest overseas colony. The fragments are addressed, then, not to a confident nation, proud of its newfound position in the world, but to a nation that had very recently suffered a major blow to its confidence. Already evident, too in these early fragments is Blake's distrust of the Shakespearean notion, flamboyantly expressed in a play such as Henry V, that a nation's greatness might appropriately be measured by its military successes, particularly in war against another state.
    Item Type:Thesis (PhD)
    Qualification Level:Doctoral
    Subjects:P Language and Literature > PR English literature
    Colleges/Schools:College of Arts > School of Critical Studies > English Literature
    Supervisor's Name:Cronin, Prof. Richard and Prickett, Prof. Stephen
    Date of Award:2002
    Depositing User:Ms Aniko Szilagyi
    Unique ID:glathesis:2002-3467
    Copyright:Copyright of this thesis is held by the author.
    Date Deposited:21 Jun 2012
    Last Modified:10 Dec 2012 14:07

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    Sunday, November 22, 2015


    Mary Joseph
    Frank Joseph
    Dick Beardsley
    Gene B.
    David Chalmers
    Tim Ray
    Connie Ray
    Tim Fogerty
    David Chalmers
    Jean C

    Friday, November 20, 2015

    King Lear

    Chapter Four of Steven Marx's book is about the play, King Lear; if we examine it we see the Book of Job as the primary source for Shakespeare's story.

    King Lear is a  naked old man, forsaken by his wife and associates,

    very much like a man named Job.  Both had a great deal; now they have nothing.

    Look at this:

    Here's a picture of King Lear.

    King Lear and fool waiting out the storm
    by William Dyce (1806–1864)
    In wikii

    The Plot of the story -1:
    King Lear is deciding to give up his power and divide his realm amongs
     his three daughters, Cordelia, Regan, and Goneril. Lear's plan is to give the largest piece of his kingdom to the child who professes to love him the most, certain that his favorite daughter, Cordelia, will win the challenge.
    Goneril and Regan, corrupt and deceitful, lie to their father with sappy and excessive declarations of affection. Cordelia, however, refuses to engage in Lear's game, and replies simply that she loves him as a daughter should. 

    Her lackluster retort, despite its sincerity, enrages Lear, and he disowns 
    Cordelia completely. When Lear's dear friend, the Earl of Kent, tries to speak on Cordelia's behalf, Lear banishes him from the kingdom.

    Meanwhile, the King of France, present at court and overwhelmed by
    Cordelia's honesty and virtue, asks for her hand in marriage, despite her loss of a sizable dowry. Cordelia accepts the King of France's proposal, and reluctantly leaves Lear with her two cunning sisters. Kent, although banished by Lear, remains to try to protect the unwitting King from the evils of his two remaining children. He disguises himself and takes a job as Lear's servant. Now that Lear has turned over all his wealth and land to Regan and Goneril, their true natures surface at once. Lear and his few companions, including some knights, a fool, and the disguised Kent, go to live with Goneril, but she reveals that she plans to treat him like the 
    old man he is while he is under her roof. So Lear decides to stay instead with his other daughter, and he sends Kent ahead to deliver a letter to Regan, preparing her for his arrival. However, when Lear arrives at 
    Regan's castle, he is horrified to see that Kent has been placed in stocks. Kent is soon set free, but before Lear can uncover who placed his servant in the stocks, Goneril arrives, and Lear realizes that Regan is conspiring with her sister against him. 

    In Lear he had 3 faithless daughters while Job's progeny just died.

    King Lear: General Introduction

    The epic tragedy, King Lear, has often been regarded as Shakespeare's greatest masterpiece, if not the crowning achievement of any dramatist in Western literature. This introduction to King Lear will provide students with a general overview of the play and its primary characters, in addition to selected essay topics. Studying a Shakespearean play deepens students' appreciation for all literature and facilitates both their understanding of themes and symbolism in literary works and their recognition of effective characterization and stylistic devices. 

    lily of the Valley

    1. I’ve found a friend in Jesus, He’s everything to me,
      He’s the fairest of ten thousand to my soul;
      The Lily of the Valley, in Him alone I see
      All I need to cleanse and make me fully whole.
      In sorrow He’s my comfort, in trouble He’s my stay;
      He tells me every care on Him to roll.
      • Refrain:
        He’s the Lily of the Valley, the Bright and Morning Star,
        He’s the fairest of ten thousand to my soul.
    2. He all my grief has taken, and all my sorrows borne;
      In temptation He’s my strong and mighty tow’r;
      I’ve all for Him forsaken, and all my idols torn
      From my heart and now He keeps me by His pow’r.
      Though all the world forsake me, and Satan tempt me sore,
      Through Jesus I shall safely reach the goal.

    From  wiki

    Legend and tradition[edit]

    Christian legend[edit]

    The flower is also known as Our Lady's tears or Mary's tears from Christian legends that it sprang from the weeping of the Virgin Maryduring the crucifixion of Jesus. Other etiologies have its coming into being from Eve's tears after she was driven with Adam from theGarden of Eden[26] or from the blood shed by Saint Leonard of Noblac during his battles with a dragon.[citation needed]
    The name "lily of the valley" is used in some English translations of the Bible in Song of Songs 2:1, but the Hebrew phrase "shoshannat-ha-amaqim" in the original text (literally "lily of the valleys") does not refer to this plant. It is possible, though, that the biblical phrase may have had something to do with the origin or development of the modern plant-name.
    It is a symbol of humility in religious painting. Lily of the valley is considered the sign of Christ's second coming. The power of men to envision a better world was also attributed to the lily of the valley.

    Thursday, November 19, 2015


    ‎Sunday, ‎November ‎8, ‎2015

    This wil hopefully be a record of my "daily bread":
    First set:
    Susan Don
    Paul Larsen

    Second set:

    Third set:
    Marie Smith
    Levi Smith
    Loren Smith

    Fourth set:
    Paul Clayton
    Joe and Marsha

    Fifth set:
    Rebecca Carter 
    Andrew Carter
    Austin Carter

    Sixth set:
    Joel Bullock
    David Bullock
    Jack Bullock
    Hugh Roy Bullock

    Seventh set:
    Hugh Babylon
    Evelyn Babylon

    Eighth set:
    Rob Clayton
    Julie Clayton
    Ryan Clayton

    Mary Joseph

    Jesse McCune
    Randy (nurse-practioner) will help indefinitly

    The Tempest

    The first play that Steven Marx dealt with was The Tempest.  The 'Tempest' has a tremendous amount of biblical source.
    In particular 'The Tempest' is related to 'Genesis', especially the 'Beginning':
    "1n the beginning God created the heavens and the earth. 
    Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters.

    And God said, “Let there be light,” and there was light. 
    God saw that the light was good,and he separated the light from the darkness. 
    God called the light “day,” and the darkness he called “night.” And there was evening, and there was morning—the first day."

    In 'The Tempest' Prospero (which relates to Prosperity):

    From wiki:

    In it, Prospero states his loss (magic) and his continuing imprisonment if the audience is not pleased. Many feel that since The Tempest was the last play that Shakespeare wrote alone, Prospero's feelings echo Shakespeare's own, or perhaps may even have been his "retirement speech"

    Also from Wiki:

    The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where the sorcererProspero, rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand.

    Tuesday, November 17, 2015


    "No Man Can
    Improve An Original Invention.
    Drawn with a firm and
    decided hand at once with all its Spots & Blemishes which
    are beauties & not faults like Fuseli & Michael Angelo
    Shakespeare & Milton"
    William Blake, Public Address, (E 576)