Description : Hero changed into a T-shirt, grabbed a book, and padded barefoot into her sister's room. The large windows overlooked the backyard. She could see the moonlight streaming over the trees and bushes, making long, crazy shadows across the grass. Was there a diamond hidden out there somewhere? She looked at Beatrice, already settled under the covers. She wanted to tell her about the Murphys, but at the same time, she didn't. She wanted to keep the secret. To have something that belonged only to her. A missing diamond, a mysterious neighbor, a link to Shakespeare-can Hero uncover the connections? When Hero starts sixth grade at a new school, she's less concerned about the literary origins of her Shakespearean name than about the teasing she's sure to suffer because of it. So she has the same name as a girl in a book by a dusty old author. Hero is simply not interested in the connections. But that's just the thing; suddenly connections are cropping up all over, and odd characters and uncertain pasts are exactly what do fascinate Hero. There's a mysterious diamond hidden in her new house, a curious woman next door who seems to know an awful lot about it, and then, well, then there's Shakespeare. Not to mention Danny Cordova, only the most popular boy in school. Is it all in keeping with her namesake's origin-just much ado about nothing? Hero, being Hero, is determined to figure it out. In this fast-paced novel, Elise Broach weaves an intriguing literary mystery full of historical insights and discoveries. A JUNIOR LIBRARY GUILD SELECTION
Description : Whilst Shakespeare's genius is universally recognized, there is a hidden, secretive side to his work that is little known: the fact that he made use of a mysterious code that figures widely in the esoteric literature of the Elizabethan and Jacobean periods. The Bard of Avon was a master of such encoding, and his methods were continued, in the Folio of 1623 and in his various memorials, by those who had known him. However, Shakespeare was not the inventor of this code. Among the many arcane authors who made use of it before him was Michel Nostradamus, the famous French prophet and savant. As David Ovason reveals, many leading esoteric writers - alchemists, occultists and Rosicrucians -contributed to this 'Secret booke'. Among the more outstanding English literary figures who used the code were the mysterious adviser to Elizabeth I, John Dee, the turbulent author of The Alchemist, Ben Jonson, and the more classically-minded Edmund Spenser, whose poem 'The Faerie Queene' is the best-known esoteric work of the period. Shakespeare's Secret Booke reveals many other literary figures who together form a remarkable underground literary movement, including the most influential esotericist of the period, Jacob Boehme, and alchemists such as the English polymath Robert Fludd. Another was Shakespeare's contemporary, the youthful Johann Valentin Andreae, credited as author of The Chymical Wedding - a Rosicrucian work replete with sophisticated examples of encoding. The fact that all these writers used the same or similar encoding points to a secret teaching designed to be recognized by initiates. Ovason explores and, for the first time, reveals what Shakespeare alluded to as 'a Secret booke'.
Description : Includes essays on Venus and Adonis, A midsummer night's dream, Othello, Macbeth, The tempest, Cardenio, and King Lear.
Description : "The study identifies and interprets the function of several secret schemes important to the plays in which they are found, and also develops an argument about how an appreciation of secret scheming confirms the tendency of recent criticism to emphasize the pervasiveness of political issues in the drama. It shows that behind acts that appear apolitical or idealistic are often schemes based on self-interested or sectarian motives."--BOOK JACKET.
Description : To begin with, Shakespeare had a complete grammar school education, and Euripides, Sophocles and Aristophanes were assigned reading!! This book presents voluminous, striking, unmediated textual correspondences between the Greek and Shakespearean plays, and illuminating historical background. Not only should this prove the Shakespeare-Greek Drama connection, but that William Shakespeare became “Shakespeare” because of his mastery of the ancient Greek treasury of Drama. 3. “Pluck’d my nipple from his boneless gums” Many of us associate Lady Macbeth’s special temper with some of the most blood-curdling lines in literature: I have given suck, and know How tender ’tis to love the babe that milks me; I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out, had I so sworn As you have done to this. Shakespeare’s precise action image appears in Euripides’ Iphigenia in Aulis, from verses spoken by Clytemnestra. She says to Agamemnon: It was not of my own free will but by force that Thou didst take and wed me, after slaying Tantalus, My former husband, and dashing my babe on the ground alive, When thou hadst torn him from my breast with brutal violence. The derivation of Lady Macbeth’s dashing image cannot be in doubt.
Description : Seminar paper from the year 2004 in the subject English Language and Literature Studies - Linguistics, grade: 2,0, University of Trier (FB II Anglistik), course: Stylistics (of literary texts), language: English, abstract: The paper is divided in two parts: the first deals with the poem "The Secret Sits" by Robert Frost. It tries to illustrate and state the aims of linguistic stylstics. The second and bigger part deals with a principle of Stylistics: Stylistics requires “precision of reference to the text in support of a particular interpretation”, and emphatically not “precision of interpretation” (based on H.G. Widdowson). Starting from this principle the paper offers a stylistic interpretation of William Shakespeare's Sonnet 18.
Description : “Rapt in Secret Studies”: Emerging Shakespeares is a collection of new essays in Shakespeare Studies from a generation of scholars presently emerging out of Australia and New Zealand. These 18 essays respond in a myriad of ways to the challenge of Prospero’s phrase from The Tempest, in which he tells his daughter Miranda that in his life before the island he had been “rapt in secret studies”-to an early modern audience, these words were likely to mean much more than a predilection for the black arts, as modern audiences tend to hear in them. Each of the key words used by Prospero evoked a range of meanings in early modern times, to which the emerging scholars represented in this collection responded by imagining new pathways in Shakespeare Studies, a field of study that has in recent times risked being marginalised even within the traditional liberal arts. The “secret studies” of which Prospero speaks are, in fact, more liberal than dark, and so the response by new scholars to a challenge issued by one of Shakespeare’s characters more than four centuries ago has a renewed sense of relevance in the academy today. The essays are divided into three sections, each of which is oriented toward meanings that are specifically associated with one of the key terms in Prospero’s phrase. The “rapt” section has essays concerned with excess in its various forms-jealousy, obsession, sex, violence, and even death-as well as with travel and its impact on ways of knowing about the world. In the “secret” section, the nature of things about which the early modern could scarcely speak are taken into consideration, with essays on prevailing early modern myths, infidelities, stillborn children, contagion, and the instruments of secrecy such as gossip and spies. Finally, in the “study” section, essays cover issues related both to early modern textual practice-the use of historical source materials in Shakespeare’s writing, questions of multiple authorship, and the issue of early modern style and kinds of drama-and to more modern scholarly practice, such as the role of Shakespeare in the New Bibliography and the New Historicism.