Meet William Shakespeare - J. Ajlouny - E-Book

Meet William Shakespeare E-Book

J. Ajlouny

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Beschreibung

Much has been explored about Shakespeare and his life, but little is known about how this small-town boy with a grammar-school education came to pen masterworks like Hamlet and King Lear. In Meet William Shakespeare, playwright J. Ajlouny creates authentic and plausible explanations that answer centuries-old questions about the man and his work. The result is an educational and fun portrait of Shakespeare, as told by The Bard himself.

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MEET WILLIAM SHAKESPEARE

A superbly entertaining one-person playstarring The Bard himself

Copyright © 2018, 1998by J. AjlounyAll rights reserved

Push Pull PressAn Imprint of:Fresh Ink Group, LLCBox 931Guntersville, AL 35976Email: [email protected]

Edition 1.0 1998

Edition 2.0 2018

Cover art by Anik

Performance: Any performance of this play must be licensed in writing by the publisher, including royalty arrangements. No alterations, deletions, or substitutions of a material nature may be made in this work without prior written permission of Fresh Ink Group, LLC. Authorship credit must appear on all programs and promotions in all media where space permits.

Publication: Except as permitted under the U.S. Copyright Act of 1976, no part of this publication may be reproduced, distributed, or transmitted in any form or by any means, or stored in a database or retrieval system, without prior written permission of Fresh Ink Group, LLC.

BISAC Subject Headings:DRA010000 DRAMA / Shakespeare PER011000 PERFORMING ARTS / Theater / General DRA001000 DRAMA / American / General

Library of Congress Control Number: 2018948578

ISBN-13: 978-1-936442-73-7 PapercoverISBN-13: 978-1-936442-79-9 HardcoverISBN-13: 978-1- 978-1-936442-74-4 Ebooks

Dedicated to the memory of Shakespeare scholars and enthusiasts who have joined him behind the big curtain in the sky

Foreword

BARD BEYOND BELIEF

The Persistent William Shakespeare Mystery

By Jonathon Bate

Professor of English Literature, University of Liverpool

The annoying thing about William Shakespeare is that his life was so mundane and so unpoetic. The only raw materials he required for the creation of his plays were a grammar school education and a lifetime in the theater as an actor, scriptwriter and shareholder of the King’s Men, the most successful playing company of the age. He became the most admired dramatist of his generation, but nobody expressed any surprise when in about 1612 he handed over the role of in-house scriptwriter for the King’s Men to John Fletcher and retired to his hometown of Stratford-upon-Avon, where he died quietly four years later.

Seven years after that, his fellow actors—whom he had remembered with generosity in his will— put together the sumptuous First Folio of his collection “Comedies, Histories and Tragedies.” His friend Ben Jonson contributed a generous prefatory poem, “To the memory of my beloved, the author Mr.William Shakespeare,” in which the “Sweet Swan of Avon” was praised as a poet who outstripped the classical authors of Greece and Rome in spite of his own somewhat limited acquaintance with their works.

Over the next hundred years, Shakespeare’s reputation fluctuated, the frenchified court taste of the reign of Charles II showing a preference for Jonson and Fletcher. But in the course of the 18th century, first in Germany and then in England, there was a reaction against the stultifying “correctness” of French taste, with its demand for tragedy to be kept apart from comedy and high culture from low. The new watchwords were “naturalness” and “original genius” – qualities found above all in Shakespeare’s plays.

By the time of the Romantic movement in the 19th century, Shakespeare had become synonymous with creative genius. But Romanticism brought a new cult of the artist’s life. To be a true genius one had to live on the edge, to be struck dead like Beethoven, to be mad, bad and dangerous to know like Byron, or to wander the Orient in a drug crazed stupor like Rimbaud. So it was that a motley crue of Victorian and Edwardian eccentrics set about reinventing Shakespeare in the image of the Romantic artist.

The most enduring of these reinventions has been the attempt to dress him up as a cross between Byron and the Scarlet Pimpernel. Over the years more than a dozen Elizabethan aristocrats have been dusted off and presented to the public as the true author of the plays. Americans have been especially fascinated by the bizarre pseudo-mystery. Perhaps because the only two things the British have and Americans have not are Blue Blood and William Shakespeare, it has proved all too tempting to suppose that Shakespeare was a “nobleman in disguise.”

Yet their case remains unproved. While it may seem unlikely to some, the fact remains, William Shakespeare, the Warwickshire squire, was indeed the principal author of the poems and plays attributed to him. Though the evidence to prove this fact is admittedly wanting, there is absolutely no proof that anybody other than he was the true author. Yes, many names have been submitted, ranging from Edward deVere, the 17th Earl of Oxford to Francis Bacon, and even to King James I himself. However, not only did they nor their heirs ever claim authorship, the known facts disqualify each one. The true author of Shakespeare’s works was a normal family man who retired into obscurity, tended to his own affairs and enjoyed a natural death far from the madding crowds. Now that’s poetic!

© 1997 Jonathon BateReprinted by permission

Production History

Meet William Shakespeare enjoyed its world premiere at the Queen’s Inn, Stratford, Ontario, on August 11, 1998. The first performance was a benefit for the Stratford Visitors Centre. It was produced by Barbara Ford and directed by Dan Jaroslaw. The play’s U.S. premiere took place at 7th House Concert & Performance Venue in Pontiac, Michigan, on August 21, 1998, with the playwright producing and direction and stage management again by Dan Jaroslaw. Milton Papageorge starred as The Bard. It has since been produced at numerous Shakespeare Festivals and theatres in North America.

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