Shakespeare S Dark Lady

Amelia Bassano Lanier is proved to be a strong candidate for authorship of Shakespeare's plays: Hudson looks at the fascinating life of this woman, believed by many to be the dark lady of the sonnets, and presents the case that she may have written Shakespeare's plays.

A TALE OF SORCERY AND PASSION IN SEVENTEENTH-CENTURY LONDON—WHERE WITCHES HAUNT WILLIAM SHAKESPEARE AND HIS DARK LADY, THE PLAYWRIGHT'S MUSE AND ONE TRUE LOVE The daughter of a Venetian musician, Aemilia Bassano came of age in Queen Elizabeth's royal court. The Queen's favorite, she develops a love of poetry and learning, maturing into a young woman known not only for her beauty but also her sharp mind and quick tongue. Aemilia becomes the mistress of Lord Hunsdon, but her position is precarious. Then she crosses paths with an impetuous playwright named William Shakespeare and begins an impassioned but ill-fated affair. A decade later, the Queen is dead, and Aemilia Bassano is now Aemilia Lanyer, fallen from favor and married to a fool. Like the rest of London, she fears the plague. And when her young son Henry takes ill, Aemilia resolves to do anything to save him, even if it means seeking help from her estranged lover, Will—or worse, making a pact with the Devil himself. In rich, vivid detail, Sally O'Reilly breathes life into England's first female poet, a mysterious woman nearly forgotten by history. Full of passion and devilish schemes, Dark Aemilia is a tale worthy of the Bard.

Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,3, Saarland University (Anglisitik), course: Proseminar: Shakespeare's Love Tragedies, language: English, abstract: 1. Introduction William Shakespeare’s (1564-1616) collection of 154 sonnets belongs surely to one of the greatest and most famous ones, although there are many discrepancies about it; for example, discrepancies in authorship, composition, publication and contents. Shakespeare’s 154 sonnets can be divided into two great sections: The first section contains the sonnets 1-126 which are addressed to a young man, obviously a very good friend of the author who appears again in the second section; and the poems from 127 to 152 are the so-called “dark lady” sonnets. The last two sonnets, 153 and 154, are about Cupid, the god of love, and revisions of an epigram of the Anthologia Graeca . This paper will have a closer look at the “dark lady” sonnets, at what they are about, why they are called this way and what it is that makes them so special. Furthermore, several important images that can be found again and again in these sonnets will be named and analysed, amongst others images of sexuality, hell, darkness, death, religion, illness and so on. There will also be a quick introduction why most people speak of Antipetrarchan sonnets in form and content.

The year: 1580. The scene: Queen Elizabeth's glittering Court. Edward de Vere, Earl of Oxford, has just lost his heart to the Queen's newest maid of honor. Their forbidden love inspires him to compose 25 sonnets and a 5-hour play about his Dark Lady. Yet, this tempestuous love story is ripped from history's pages, creating literature's greatest mystery. Told in her own words, the Dark Lady's stunning story climaxes with a surprisingly satisfying solution to the authorship riddle. "My Dark Lady: Shakespeare's Lost Play": A gloriously intoxicating blend of intellectual thriller, literary fireworks and compelling storytelling. Oscar-winning director, Lynne Littman, describes this powerful, fast-paced novel as "Shakespeare in Love" meets "Braveheart" with a generous sprinkling of "Amadeus" and "Anonymous."

David Schalkwyk offers a sustained reading of Shakespeare's sonnets in relation to his plays. He argues that the la nguage of the sonnets is primarily performative rather than descriptive. In a wide-ranging analysis of both the 1609 quarto of Shakespeare's sonnets and the Petrarchan discourses in a selection of plays, Schalkwyk addresses such issues as embodiment and silencing, interiority and theatricality, inequalities of power, status, gender and desire, both in the published poems and on the stage and in the context of the early modern period.

London, 1583. When young, aspiring playwright William Shakespeare encounters Lucy Morgan, one of Queen Elizabeth I’s ladies-in-waiting, the two fall passionately in love. He declares Lucy the inspiration for his work, but what secret is Will hiding from his muse? Meanwhile, Lucy has her own secret – and one that could destroy her world if exposed. No longer the chaste maid so valued by the Virgin Queen, she also bore witness to the clandestine wedding of Lettice Knollys and Robert Dudley, a match forbidden by the monarch. England is in peril. Queen Elizabeth’s health is deteriorating, her throne under siege from Catholic plotters and threats of war with Spain. Faced with deciding the fate of her long-term prisoner, Mary, Queen of Scots, she needs a trusted circle of advisors around her now more than ever. But who can she turn to when those closest to her have proved disloyal? And how secure is Lucy’s position at court, now that she has learned the dangerous art of keeping secrets?

Shakespeare scholars give an account of particularly important or interesting features of Shakespeare's use of language.

Under The Crooked Cross the swastika is a story about one middleclass German family in the Hitler era and World War II. More than that: it is a story of a whole nation's promise, asserted and corrupted, pain inflicted and suffered and eventually found "guilty" for its march of folly and fury. Pain and promise belong together. Expiation, redemption and reconciliation are not only worthwhile but possible for persons and nations that have sinned against their neighbors. At least, decades later, such hopes abides.

MEET THE REAL AEMILIA BASSANO LANYER: ENGLAND'S FIRST FEMALE POET...AND THE WOMAN WHO IS BELIEVED TO HAVE BEEN THE DARK LADY OF SHAKESPEARE'S SONNETS. The real Aemilia Basano Lanyer was Renaissance woman, centuries ahead of her time. England's first professionally-published female poet, she is also suspected to have inspired the poetry of one our greatest and most beloved writers, William Shakespeare—and she continues to inspire writers to this day. With Dark Aemilia, Sally O'Reilly gives us a richly imagined novel of this mysterious, and nearly forgotten, woman, and now, she invites us to discover Ameilia Lanyer first-hand. A collection of Shakespeare's famed "Dark Lady" sonnets; fascinating and hard-to-find historical details; and Aemilia's own provocative poetry, as well as exclusive excerpts from the novel; Shakespeare's Dark Lady is a must-read for poetry lovers and the ideal companion to Sally O'Reilly's stunning debut—a novel "filled with all the passion, drama, and magic of Elizabethan England" (Paula Brackston, New York Times bestselling author of The Witch's Daughter and The Midnight Witch).

Though Sonnets Are, Generally, Easy Poems, Shakespeare S Sonnets Are Not, And Very Naturally, He Being A Master-Mind, His Sonnets Are Far From Easy To Understand. The Principal Objective Of This Book Is To Explain The Sonnets For Common Readers, And To Discuss Some Very Topical Questions About Them. The Author Persistently Kept In Mind The Difficulties Of General Readers In Understanding The Sonnets, And So He Meticulously Avoided Pedantry. The Book May Be Deemed To Be Divided Into Two Parts : The First Part Discusses Some Very Important General Topics Relating To The Sonnets; And The Second Part Devotes Itself Entirely To Explaining, Line By Line, The Sonnets, Keeping Close To The Themes Of Them. Difficult Words And Concepts Have Been Carefully Explained. The Texts Of All The 154 Sonnets Have Been Given For The Benefit Of Readers.

This Companion represents the myriad ways of thinking about the remarkable achievement of Shakespeare’s sonnets. An authoritative reference guide and extended introduction to Shakespeare’s sonnets. Contains more than 20 newly-commissioned essays by both established and younger scholars. Considers the form, sequence, content, literary context, editing and printing of the sonnets. Shows how the sonnets provide a mirror in which cultures can read their own critical biases. Informed by the latest theoretical, cultural and archival work.

A natural storyteller with a vision of his own. THE DARK LADY, Akala's debut novel for teens, will enthuse and entertain teenagers and young adults, showing that reading is a true super-power. A PICKPOCKET WITH AN EXCEPTIONAL GIFT A PRISONER OF EXTRAORDINARY VALUE AN ORPHAN HAUNTED BY DREAMS OF THE MYSTERIOUS DARK LADY Henry is an orphan, an outsider, a thief. He is also a fifteen-year-old invested with magical powers ... This brilliant, at times brutal, first novel from the amazing imagination that is Akala, will glue you to your seat as you are hurled into a time when London stank and boys like Henry were forced to find their own route through the tangled streets and out the other side.

From the author of Ecstasy, a novel of Renaissance England’s first female poet, and her collaboration—and love affair—with William Shakespeare. Aemilia Bassano Lanier is beautiful and accomplished, but her societal conformity ends there. She frequently cross-dresses to escape her loveless marriage and to gain freedoms only men enjoy—and then a chance encounter with a ragged, little-known poet named Shakespeare changes everything. The two outsiders strike up a literary bargain: they leave plague-ridden London for Italy, where they begin secretly writing comedies together and where Will falls in love with the beautiful country—and with Aemilia, his Dark Lady. Their Italian idyll, though, cannot last. Will gains fame and fortune for their plays back in London and years later publishes the sonnets mocking his former muse. Not one to stand by in humiliation, Aemilia takes up her own pen in her defense, and in defense of all women. Named One of the Best Books of the Year by the St. Paul Pioneer Press “An absorbing bildungsroman that grapples with strikingly contemporary issues of gender and religious identification”—New York Times Book Review “An exquisite portrait of a Renaissance woman pursuing her artistic destiny in England and Italy, who may—or may not—be Shakespeare’s Dark Lady.”—Margaret George, best-selling author of The Splendor Before the Dark “The idea of a smart, beautiful, artistic woman telling Shakespeare, ‘We shall write comedies, you and I’ is as heady as the elderflower wine Aemilia’s household staff brews.”—Washington Post “Atmospheric, well-researched, carefully plotted…and, like Shakespeare’s plays, chock-full of equal parts mirth and pith to please all.”—Minneapolis Star Tribune

Examines representations of Anne Hathaway from the eighteenth century to contemporary portrayals in theatre, biographies and novels.

Shakespeare's Sonnets: Critical Essays is the essential Sonnets anthology for our time. This important collection focuses exclusively on contemporary criticism of the Sonnets, reprinting three highly influential essays from the past decade and including sixteen original analyses by leading scholars in the field. The contributors' diverse approaches range from the new historicism to the new bibliography, from formalism to feminism, from reception theory to cultural materialism, and from biographical criticism to queer theory. In addition, James Schiffer's introduction offers a comprehensive survey of 400 years of criticism of these fascinating, enigmatic poems.

Poems by the apparent subject of Shakepseare's sonnets. Text of the poems based on copies in the Bodleian Library and the British Library, which were originally published in 1611.

Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Erfurt, language: English, abstract: For about thirty years sonnet sequences were popular in England (1580s to the 1610s) . A sonnet is a poem of 14 lines of iambic pentameter with an elaborate rhyme scheme. The poets of these forms of poems wrote in order to express their deep human emotions. Especially, poets in Renaissance revealed the philosophy of humanism. Poets of Elizabethan time are mainly concerned with the subject of love. Thereby, they made use on metaphoric and poetic conventions which were developed by Italian poets of the fourteenth century like Petrarch or Dante. The Petrarchan, or Italian sonnet, consists of two quatrains and two tercets. To emphasize the idea of the poem, the rhyme scheme and structure work together. William Shakespeare reshaped the sonnet structure. The English, or Shakespearean sonnet, consists of three quatrains and a concluding couplet. Shakespeare used, like Petrarch, the structure of the sonnet to explore multiple facets of a topic in short. He, despite his high status as a dramatist, attracted no attention as a sonneteer . William Shakespeare was born in 1564 in Stratford upon Avon. In 1609 he retracted from the London live in theatre back to the city of his birth. In the very same year the publisher Thomas Thorpe announced the book “Shake-Speares Sonnets Never before Imprinted”. “When [Shakespeare] published his sonnets – or allowed them to be published – in 1609, the sonnet vogue was all but over [...]” . About the background and the reliability of this edition prevails disagreement. It is not resolved whether Shakespeare had wanted the publication. It is also uncertain whether the order of the sonnets is right or does it make any sense to rearrange the sequence. Even the division of the sequence into two parts – sonnet one till 126 address a young man and sonnet 127 till 154 address the Dark Lady – is questionable because many of the sonnets have no gender-markers. However, most editors accept the ordering from the 1609 edition . With 154 poems, Shakespeare wrote the longest sonnet cycle of the Elizabethan age. If we comply with the assumption of most editors, the poems one till 126 focuses a young blonde man, and the sonnets 127 till 152 are aimed at a Dark Lady who is the “conceptual antithesis of the young man” . The whole sequence ends with two rather insignificant love sonnets which have nothing to do with the previous sonnets.