History Creator / WilliamShakespeare

18th Feb '17 7:22:05 PM ImperialMajestyXO
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For most contemporary scholars, this problem has become a quest to find the WordOfGod version of Shakespeare's plays when it seems likely all we really have is the WordOfStPaul at best and the WordOfDante at worst. A lot of the {{Bookworm}} types in their GreatBigLibraryofEverything have been less worried about who The Bard was, and more worried about what was actually written in his own words. While old Bill was alive its hard to tell what publications he might have officially sanctioned: many versions printed during his life-time were shabby bootlegs used as rip-offs by other theater troupes (the so-called "Bad Quartos"). Contemporary versions of the Swan of Avon's plays rely heavily on the WordOfStPaul via what's called the First Folio, a collection of his plays put together in 1623 by some actor pals from The King's Men. Around the 1700s, editors decided that some of the bootleg printed copies were good or complete enough to be WordOfGod, and they started mixing them with the First Folio. Since then, scholars have been in an echo chamber debating what can be considered authentically Shakespearean. For example, the ''Theatre/{{Hamlet}}'' we know and love is actually a patchwork of the 1623 Folio and a longer copy published in 1603. Today some editions of ''Theatre/{{Hamlet}}'' and ''Theatre/KingLear'' have include multiple versions of each play in one book, leaving readers to decide their own WordOfDante version to use. Since the National Poet of England didn't have a Xerox to print off an official copy and fax to his agent, any edition of his plays that claim to be straight from the Upstart Crow's mouth are, as far as we can be absolutely certain, actually just ascended {{Fanon}} with an academic stamp of approval. To make things even more complicated, almost all publications today have spelling and grammar changes to help modernize the text in order to [[YeOldeButcheredeEnglishe avoid misunderstandings]]. With all these changes in mind it becomes increasingly difficult to decide what counts as Shakespeare and what doesn't. Yet, for all these inconsistencies, the genius of the Immortal Bard is hard to deny; "confusion now hathe made his masterpiece."

to:

For most contemporary scholars, this problem has become a quest to find the WordOfGod version of Shakespeare's plays when it seems likely all we really have is the WordOfStPaul at best and the WordOfDante at worst. A lot of the {{Bookworm}} types in their GreatBigLibraryofEverything GreatBigLibraryOfEverything have been less worried about who The Bard was, and more worried about what was actually written in his own words. While old Bill was alive its hard to tell what publications he might have officially sanctioned: many versions printed during his life-time were shabby bootlegs used as rip-offs by other theater troupes (the so-called "Bad Quartos"). Contemporary versions of the Swan of Avon's plays rely heavily on the WordOfStPaul via what's called the First Folio, a collection of his plays put together in 1623 by some actor pals from The King's Men. Around the 1700s, editors decided that some of the bootleg printed copies were good or complete enough to be WordOfGod, and they started mixing them with the First Folio. Since then, scholars have been in an echo chamber debating what can be considered authentically Shakespearean. For example, the ''Theatre/{{Hamlet}}'' we know and love is actually a patchwork of the 1623 Folio and a longer copy published in 1603. Today some editions of ''Theatre/{{Hamlet}}'' and ''Theatre/KingLear'' have include multiple versions of each play in one book, leaving readers to decide their own WordOfDante version to use. Since the National Poet of England didn't have a Xerox to print off an official copy and fax to his agent, any edition of his plays that claim to be straight from the Upstart Crow's mouth are, as far as we can be absolutely certain, actually just ascended {{Fanon}} with an academic stamp of approval. To make things even more complicated, almost all publications today have spelling and grammar changes to help modernize the text in order to [[YeOldeButcheredeEnglishe avoid misunderstandings]]. With all these changes in mind it becomes increasingly difficult to decide what counts as Shakespeare and what doesn't. Yet, for all these inconsistencies, the genius of the Immortal Bard is hard to deny; "confusion now hathe made his masterpiece."
23rd Dec '16 5:26:35 PM Az_Tech341
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** Shakespeare really liked this trope and used it in a number of his comedies. In his day, the practice of men dressing as women for female parts added an [[RecursiveCrossdressing additional meta-level]] to the comedy.

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** SweetPollyOliver: Shakespeare really liked this trope and used it in a number of his comedies. In his day, the practice of men dressing as women for female parts added an [[RecursiveCrossdressing additional meta-level]] to the comedy.
23rd Dec '16 3:18:50 PM LordGravy
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* SweetPollyOliver: Shakespeare really liked this trope and used it in a number of his comedies. In his day, the practice of men dressing as women for female parts added an [[RecursiveCrossdressing additional meta-level]] to the comedy.

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* SweetPollyOliver: Shakespeare **Shakespeare really liked this trope and used it in a number of his comedies. In his day, the practice of men dressing as women for female parts added an [[RecursiveCrossdressing additional meta-level]] to the comedy.
30th Nov '16 9:25:09 PM Xtifr
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'''William Shakespeare''' (baptized 26 April 1564, died 23 April 1616[[labelnote:]] {both dates are from the old Julian Calendar, used in England throughout his life translated to the modern calendar, it would be May 6th and May 3rd respectively}[[/labelnote]]), [[SmallReferencePools the only playwright most people can name]], has been a major influence on English language fiction for 400 years. While most only know his plays through PopculturalOsmosis or [[SchoolStudyMedia English class]], the tropes he invented or popularized (to say nothing of a significant portion of the English language) are still with us today.

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'''William Shakespeare''' William Shakespeare (baptized 26 April 1564, died 23 April 1616[[labelnote:]] {both dates are from the old Julian Calendar, used in England throughout his life translated to the modern calendar, it would be May 6th and May 3rd respectively}[[/labelnote]]), [[SmallReferencePools the only playwright most people can name]], has been a major influence on English language fiction for 400 years. While most only know his plays through PopculturalOsmosis or [[SchoolStudyMedia English class]], the tropes he invented or popularized (to say nothing of a significant portion of the English language) are still with us today.
28th Oct '16 3:01:49 PM AntoniusMajor
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* CreatorCameo: He played Adam in ''Twelfth Night'' and The Ghost in ''Hamlet''

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* CreatorCameo: He most likely played Adam in ''Twelfth Night'' ''As You Like It'' and The Ghost in ''Hamlet''
3rd Oct '16 11:54:44 AM Nightsky
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For most contemporary scholars, this problem has become a quest to find the WordOfGod version of Shakespeare's plays when it seems likely all we really have is the WordOfStPaul at best and the WordOfDante at worst. A lot of the {{Bookworm}} types in there GreatBigLibraryofEverything have been less worried about who The Bard was, and more worried about what was actually written in his own words. While old Bill was alive its hard to tell what publications he might have officially sanctioned, many printed versions during his life-time were shabby bootlegs used as rip-offs by other theater troupes. Contemporary versions of the Swan of Avon's plays rely heavily on the WordOfStPaul via whats called the First Folio, a collection of his plays put together in 1623 by some actor pals from The King's Men. Around the 1700s, editors decided that some of the bootlegs were so top-notch that they must be the WordOfGod and they started mixing them with the First Folio. Since then, scholars have been in an echo chamber debating what can be considered authentically Shakespearean. For example, the ''Theatre/{{Hamlet}}'' we know and love is actually a patchwork of the 1623 Folio and a longer copy published in 1603. Today some editions of ''Theatre/{{Hamlet}}'' and ''Theatre/KingLear'' have include multiple versions of each play in one book, leaving readers to decide their own WordOfDante version to use. Since the National Poet of England didn't have a Xerox to print off an official copy and fax to his agent, any edition of his plays that claim to be straight from the Crow's mouth are, as far as we can be absolutely certain, actually just ascended {{Fanon}} with an academic stamp of approval. To make things even more complicated, almost all publications today have spelling and grammar changes to help modernize the text in order to [[YeOldeButcheredeEnglishe avoid misunderstandings]]. With all these changes in mind it becomes increasingly difficult to decide what counts as Shakespeare and what doesn't. Yet, for all these inconsistencies, the genius of the Immortal Bard is hard to deny; "confusion now hathe made his masterpiece."

to:

For most contemporary scholars, this problem has become a quest to find the WordOfGod version of Shakespeare's plays when it seems likely all we really have is the WordOfStPaul at best and the WordOfDante at worst. A lot of the {{Bookworm}} types in there their GreatBigLibraryofEverything have been less worried about who The Bard was, and more worried about what was actually written in his own words. While old Bill was alive its hard to tell what publications he might have officially sanctioned, sanctioned: many printed versions printed during his life-time were shabby bootlegs used as rip-offs by other theater troupes. troupes (the so-called "Bad Quartos"). Contemporary versions of the Swan of Avon's plays rely heavily on the WordOfStPaul via whats what's called the First Folio, a collection of his plays put together in 1623 by some actor pals from The King's Men. Around the 1700s, editors decided that some of the bootlegs bootleg printed copies were so top-notch that they must good or complete enough to be the WordOfGod WordOfGod, and they started mixing them with the First Folio. Since then, scholars have been in an echo chamber debating what can be considered authentically Shakespearean. For example, the ''Theatre/{{Hamlet}}'' we know and love is actually a patchwork of the 1623 Folio and a longer copy published in 1603. Today some editions of ''Theatre/{{Hamlet}}'' and ''Theatre/KingLear'' have include multiple versions of each play in one book, leaving readers to decide their own WordOfDante version to use. Since the National Poet of England didn't have a Xerox to print off an official copy and fax to his agent, any edition of his plays that claim to be straight from the Upstart Crow's mouth are, as far as we can be absolutely certain, actually just ascended {{Fanon}} with an academic stamp of approval. To make things even more complicated, almost all publications today have spelling and grammar changes to help modernize the text in order to [[YeOldeButcheredeEnglishe avoid misunderstandings]]. With all these changes in mind it becomes increasingly difficult to decide what counts as Shakespeare and what doesn't. Yet, for all these inconsistencies, the genius of the Immortal Bard is hard to deny; "confusion now hathe made his masterpiece."
2nd Oct '16 10:06:52 AM gemmabeta2
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* MissingEpisode: Records indicate that Shakespeare wrote plays entitled ''The History of Cardenio'' and ''Love Labour's Won'' (which is probably a sequel or something along those lines to ''Love's Labour's Lost''). Unfortunately, no copies of them are known to exist. An 18th-century play called ''Double Falsehood'' is thought to be a rewrite of ''Cardenio'' and was included in the Arden Shakespeare series in 2010. Arden credited the work to Shakespeare, John Fletcher (who appears to have collaborated with Shakespeare on the play or rewrote the play from Shakespeare's original script), and Lewis Theobald (a Restoration dramatist who claims to have "discovered" the play, and probably also rewrote the play to be closer to contemporary tastes). A study published in 2015 confirmed this.

to:

* MissingEpisode: Records indicate that Shakespeare wrote plays entitled ''The History of Cardenio'' and ''Love Labour's Won'' (which is probably a sequel or something along those lines to ''Love's Labour's Lost''). Unfortunately, no copies of them are known to exist. An 18th-century play called ''Double Falsehood'' is thought to be a rewrite of ''Cardenio'' and was included in the Arden Shakespeare series in 2010. Arden credited the work to Shakespeare, John Fletcher (who appears to have collaborated with Shakespeare on the play or rewrote the play from Shakespeare's original script), and Lewis Theobald (a Restoration dramatist who claims to have "discovered" the play, and probably also rewrote further edited the play to be closer make it more palatable to his contemporary tastes).audiences). A study published in 2015 confirmed this.
17th Sep '16 11:13:38 AM xXNoMoreXsXx
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Added DiffLines:

**Many modern readers are often shocked to hear that theatre was as low-brow a form of entertainment as it was in its day. When you consider that watching a Shakespeare play was basically the equivalent to watching The Hangover at its time it makes more sense.
19th Aug '16 12:28:30 AM Az_Tech341
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* PurpleProse: Sonnet 130 ("My mistress' eyes are nothing like the sun") satirizes the tendency of other poets to make overwrought, faux-profound similes.

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* PurpleProse: Sonnet 130 ("My mistress' mistress's eyes are nothing like the sun") satirizes the tendency of other poets to make overwrought, faux-profound similes.
18th Aug '16 10:10:06 PM pyroclastic
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Added DiffLines:

* PurpleProse: Sonnet 130 ("My mistress' eyes are nothing like the sun") satirizes the tendency of other poets to make overwrought, faux-profound similes.
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