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Banquo
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This article is about the character in Shakespeare's Macbeth. For the small town in the United States, see Banquo, Indiana.
Banquo
Thane of Lochaber
Macbeth character
Théodore Chassériau (1819–1856), The Ghost of Banquo 1855
Created by
William Shakespeare
Date(s)
ca. 1603–7
Source
Holinshed's Chronicles
Information
Family
Fleance, James I
Associate(s)
Macbeth
Quote
"Or have we eaten on the insane root
That takes the reason prisoner?"
Lord Banquo /ˈbæŋkwoʊ/, the Thane of Lochaber, is a character in William Shakespeare's 1606 play Macbeth. In the play, he is at first an ally to Macbeth (both are generals in the King's army) and they meet the Three Witches together. After prophesying that Macbeth will become king, the witches tell Banquo that he will not be king himself, but that his descendants will be. Later, Macbeth in his lust for power sees Banquo as a threat and has him murdered by two hired assassins ; Banquo's son, Fleance, escapes. Banquo's ghost returns in a later scene [Banquet Scene] , causing Macbeth to react with alarm during a public feast.
Shakespeare borrowed the character of Banquo from Holinshed's Chronicles, a history of Britain published by Raphael Holinshed in 1587. In Chronicles Banquo is an accomplice to Macbeth in the murder of the king, rather than a loyal subject of the king who is seen as an enemy by Macbeth. Shakespeare may have changed this aspect of his character to please King James, who was thought at the time to be a descendant of the real Banquo. Critics often interpret Banquo's role in the play as being a foil to Macbeth, resisting evil where Macbeth embraces it. Sometimes, however, his motives are unclear, and some critics question his purity. He does nothing to accuse Macbeth of murdering the king, even though he has reason to believe Macbeth is responsible.
Contents
[hide]
1 Sources
2 Role in the play
3 Analysis
3.1 Foil to Macbeth
3.2 Ghost scenes
4 Performances and interpretations
5 See also
6 References
Sources[edit]
See also: Holinshed's Chronicles
Macbeth and Banquo meeting the witches in a woodcut from Holinshed's Chronicles
Shakespeare often used Raphael Holinshed's Chronicles of England, Scotland, and Ireland—commonly known as Holinshed's Chronicles—as a source for his plays, and in Macbeth he borrows from several of the tales in that work.[1] Holinshed portrays Banquo as a historical figure: he is an accomplice in Mac Bethad mac Findlaích's (Macbeth's) murder of Donnchad mac Crínáin (King Duncan) and plays an important part in ensuring that Macbeth, not Máel Coluim mac Donnchada (Malcolm), takes the throne in the coup that follows.[2] Holinshed in turn used an earlier work, the Scotorum Historiae (1526–7) by Hector Boece, as his source. Boece's work is the first known record of Banquo and his son Fleance; and scholars such as David Bevington generally consider them fictional characters invented by Boece. In Shakespeare's day, however, they were considered historical figures of great repute, and the king, James I, based his claim to the throne in part on a descent from Banquo.[3] The House of Stuart was descended from Walter fitz Alan, Steward of Scotland, and he was believed to have been the grandson of Fleance and Gruffydd ap Llywelyn's daughter, Nesta ferch Gruffydd. In reality Walter fitz Alan was the son of Alan fitz Flaad, a Breton knight.[4]
Unlike his sources, Shakespeare gives Banquo no role in the King's murder, making it a deed committed solely by Macbeth and his wife. Why Shakespeare's Banquo is so different from the character described by Holinshed and Boece is not known, though critics have proposed several possible explanations. First among them is the risk associated with portraying the king's ancestor as a murderer and conspirator in the plot to overthrow a rightful king, as well as the author's desire to flatter a powerful patron. But Shakespeare may also simply have altered Banquo's character because there was no dramatic need for another accomplice to the murder. There was, however, a need to provide a dramatic contrast to Macbeth; a role that many scholars argue is filled by Banquo.[2] Similarly, when Jean de Schelandre wrote about Banquo in his Stuartide in 1611, he also changed the character by portraying him as a noble and honourable man—the critic D. W. Maskell describes him as "...Schelandre's paragon of valour and virtue"—probably for reasons similar to Shakespeare's.[5]
Banquo's role in the coup that follows the murder is harder to explain. Banquo's loyalty to Macbeth, rather than Malcolm, after Duncan's death makes him a passive accomplice in the coup: Malcolm, as Prince of Cumberland, is the rightful heir to the throne and Macbeth a usurper. Daniel Amneus argued that Macbeth as it survives is a revision of an earlier play, in which Duncan granted Macbeth not only the title of Thane of Cawdor, but the "greater honor"[6] of Prince of Cumberland (i.e. heir to the throne of Scotland). Banquo's silence may be a survival from the posited earlier play, in which Macbeth was the legitimate successor to Duncan.[7][8]
Role in the play[edit]
Macbeth and Banquo with the Witches by Henry Fuseli
Banquo is in a third of the play's scenes, as both a human and a ghost. As significant as he is to the plot, he has fewer lines than the relatively insignificant Ross, a Scottish nobleman who survives the play.[9] In the second scene of the play, King Duncan describes the manner in which Macbeth, Thane of Glamis, and Banquo, Thane of Lochaber, bravely led his army against invaders, fighting side by side. In the next scene, Banquo and Macbeth, returning from the battle together, encounter the Three Witches, who predict that Macbeth will become Thane of Cawdor, and then king. Banquo, sceptical of the witches, challenges them to predict his own future, and they foretell that Banquo will never himself take the throne, but will beget a line of kings. Banquo remains sceptical after the encounter, wondering aloud if evil can ever speak the truth. He warns Macbeth that evil will offer men a small, hopeful truth only to catch them in a deadly trap.[10]
When Macbeth kills the king and takes the throne, Banquo—the only one aware of this encounter with the witches—reserves judgment for God. He is unsure whether Macbeth committed regicide to gain the throne, but muses in a soliloquy that "I fear / Thou play'dst most foully for 't".[11] He offers his respects to the new King Macbeth and pledges loyalty.[12] Later, worried that Banquo's descendants and not his own will rule Scotland, Macbeth sends two men, and then a Third Murderer, to kill Banquo and his son Fleance. During the melee, Banquo holds off the assailants so that Fleance can escape, but is himself killed.[13] The ghost of Banquo later returns to haunt Macbeth at the banquet in Act Three, Scene Four. A terrified Macbeth sees him, while the apparition is invisible to his guests. He appears again to Macbeth in a vision granted by the Three Witches, wherein Macbeth sees a long line of kings descended from Banquo.[14]
Analysis[edit]
Foil to Macbeth[edit]
Macbeth and Banquo Meeting the Three Witches by John Wootton
Many scholars see Banquo as a foil and a contrast to Macbeth. Macbeth, for example, eagerly accepts the Three Witches' prophecy as true and seeks to help it along. Banquo, on the other hand, doubts the prophecies and the intentions of these seemingly evil creatures. Whereas Macbeth places his hope in the prediction that he will be king, Banquo argues that evil only offers gifts that lead to destruction. Banquo steadily resists the temptations of evil within the play, praying to heaven for help, while Macbeth seeks darkness, and prays that evil powers will aid him. This is visible in act two; after Banquo sees Duncan to bed, he says: "There's husbandry in heaven, / Their candles are all out".[15] This premonition of the coming darkness in association with Macbeth's murders is repeated just before Banquo is killed: "it will be rain to-night",[16] Banquo tells his son Fleance.[17]
Banquo's status as a contrast to Macbeth makes for some tense moments in the play. In act two, scene one, Banquo meets his son Fleance and asks him to take both his sword and his dagger ("Hold, take my sword ... Take thee that too"[15]). He also explains that he has been having trouble sleeping due to "cursed thoughts that nature / gives way to in repose!"[18] On Macbeth's approach, he demands the sword returned to him quickly. Scholars have interpreted this to mean that Banquo has been dreaming of murdering the king as Macbeth's accomplice to take the throne for his own family, as the Three Witches prophesied to him. In this reading, his good nature is so revolted by these thoughts that he gives his sword and dagger to Fleance to be sure they do not come true, but is so nervous at Macbeth's approach that he demands them back.[19] Other scholars have responded that Banquo's dreams have less to do with killing the king and more to do with Macbeth. They argue that Banquo is merely setting aside his sword for the night. Then, when Macbeth approaches, Banquo, having had dreams about Macbeth's deeds, takes back his sword as a precaution in this case.[20]
Macbeth eventually sees that Banquo can no longer be trusted to aid him in his evil, and considers his friend a threat to his newly acquired throne. Thus he has him murdered.[2] Banquo's ability to live on in different ways is another oppositional force, in this case to Macbeth's impending death. His spirit lives on in Fleance, his son, and in his ghostly presence at the banquet.[21]
Ghost scenes[edit]
When Macbeth returns to the witches later in the play, they show him an apparition of the murdered Banquo, along with eight of his descendants. The scene carries deep significance: King James, on the throne when Macbeth was written, was believed to be separated from Banquo by nine generations. What Shakespeare writes here thus amounts to a strong support of James' right to the throne by lineage, and for audiences of Shakespeare's day, a very real fulfilment of the witches' prophecy to Banquo that his sons would take the throne.[22] This apparition is also deeply unsettling to Macbeth, who not only wants the throne for himself, but also desires to father a line of kings.[23]
Banquo's other appearance as a ghost during the banquet scene serves as an indicator of Macbeth's conscience returning to plague his thoughts. Banquo's triumph over death appears symbolically, insofar as he literally takes Macbeth's seat during the feast. Shocked, Macbeth uses words appropriate to the metaphor of usurpation, describing Banquo as "crowned" with wounds. The spirit drains Macbeth's manhood along with the blood from his cheeks; as soon as Banquo's form vanishes, Macbeth announces: "Why, so; being gone, / I am a man again."[24][25]
Like the vision of Banquo's lineage, the banquet scene has also been the subject of criticism. Critics have questioned whether not one, but perhaps two ghosts appear in this scene: Banquo and Duncan. Scholars arguing that Duncan attends the banquet state that Macbeth's lines to the Ghost could apply equally well to the slain king. "Thou canst not say I did it", for example, can mean that Macbeth is not the man who actually killed Banquo, or it can mean that Duncan, who was asleep when Macbeth killed him, cannot claim to have seen his killer. To add to the confusion, some lines Macbeth directs to the ghost, such as "Thy bones are marrowless",[26] cannot rightly be said of Banquo, who has only recently died.[27]
Scholars debate whether Macbeth's vision of Banquo is real or a hallucination. Macbeth had already seen a hallucination before murdering Duncan: a knife hovering in the air. Several performances of the play have even ignored the stage direction to have the Ghost of Banquo enter at all, heightening the sense that Macbeth is growing mad, since the audience cannot see what he claims to see. Scholars opposing this view claim that while the dagger is unusual, ghosts of murdered victims are more believable, having a basis in the audience's superstitions. Spirits in other Shakespeare plays—notably Hamlet and Midsummer Night's Dream—exist in ambiguous forms, occasionally even calling into question their own presence.[25][27][28]
The concept of a character being confronted at a triumphant feast with a reminder of their downfall is not unique to Shakespeare and may originate from the Belshazzar's feast episode of the Bible. The term 'ghost at the feast' has entered popular culture, and is often used as a metaphor for a subject a person would rather avoid considering, or (considering the general plot of Macbeth) a reminder of a person's unpleasant past or likely future.
Performances and interpretations[edit]
Canada Lee as Banquo in the Federal Theatre Project production of Macbeth (1936)
Banquo's role, especially in the banquet ghost scene, has been subject to a variety of interpretations and mediums. Shakespeare's text states: "Enter Ghost of Banquo, and sits in Macbeth's place."[29] Several television versions have altered this slightly, having Banquo appear suddenly in the chair, rather than walking onstage and into it. Special effects and camera tricks also allow producers to make the ghost disappear and reappear, highlighting the fact that only Macbeth can see it.[30]
Stage directors, unaided by post-production effects and camera tricks, have used other methods to depict the ghost. In the late 19th century, elaborate productions of the play staged by Henry Irving employed a wide variety of approaches for this task. In 1877 a green silhouette was used to create a ghostlike image; ten years later a trick chair was used to allow an actor to appear in the middle of the scene, and then again from the midst of the audience. In 1895 a shaft of blue light served to indicate the presence of Banquo's spirit. In 1933 a Russian director named Theodore Komisarjevsky staged a modern retelling of the play (Banquo and Macbeth were told of their future through palmistry); he used Macbeth's shadow as the ghost.[31] In 1936 Orson Welles directed the Federal Theatre Project production of the play, with an African-American cast that included Canada Lee in the role of Banquo.[31]
Film adaptations have approached Banquo's character in a variety of ways. Akira Kurosawa's 1957 adaptation Throne of Blood makes the character into Capitan Miki (played by Minoru Chiaki), slain by Macbeth's equivalent (Captain Washizu) when his wife explains that she is with child. News of Miki's death does not reach Washizu until after he has seen the ghost in the banquet scene. In Roman Polanski's 1971 adaptation, Banquo is played by acclaimed stage actor Martin Shaw, in a style reminiscent of earlier stage performances.[32] Polanski's version also emphasises Banquo's objection to Macbeth's ascendency by showing him remaining silent as the other thanes around him hail Macbeth as king.[33] in the 1990 telling of Macbeth in a New York Mafia crime family setting, Men of Respect, the character of Banquo is named "Bankie Como" and played by American actor Dennis Farina.
See also[edit]
List of ghosts
References[edit]
Jump up ^ Coursen, Herbert (1997). Macbeth. Westport: Greenwood Press. pp. 15–21. ISBN 0-313-30047-X.
^ Jump up to: a b c Nagarajan, S. (October 1956). "A Note on Banquo". Shakespeare Quarterly. Folger Shakespeare Library. 7 (4): 371–6. doi:10.2307/2866356.
Jump up ^ Bevington, David (1988). Four Tragedies. Bantam. p. 714. ISBN 0-553-21283-4.
Jump up ^ Palmer, J. Foster (1886). "The Celt in Power: Tudor and Cromwell". Transactions of the Royal Historical Society. Royal Historical Society. 3 (3): 343–70. doi:10.2307/3677851.
Jump up ^ Maskell, D. W. (January 1971). "The Transformation of History into Epic: The "Stuartide" (1611) of Jean de Schelandre". The Modern Language Review. Modern Humanities Research Association. 66 (1): 53–65. doi:10.2307/3722467.
Jump up ^ Macbeth, Act 1, Scene 3, line 104.
Jump up ^ Amneus, Daniel (1978). "Macbeth's "Greater Honor"". In Barroll, J. Leeds. Shakespeare Studies. New York: Burt Franklin. pp. 223–30. ISBN 0-89102-084-5.
Jump up ^ Tredell, Nicolas, Macbeth
Jump up ^ Braunmuller, A. R. (1997). "Introduction". In Braunmuller, A. R. Macbeth. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. p. 266. ISBN 0-521-29455-X.
Jump up ^ Macbeth. Act 1, Scene 3.
Jump up ^ Macbeth, Act 3, Scene 1, lines 2–3.
Jump up ^ Macbeth. Act 3, Scene 1.
Jump up ^ Macbeth. Act 3, Scene 3.
Jump up ^ Macbeth. Act 4, Scene 1.
^ Jump up to: a b Macbeth, Act 2, Scene 1, lines 4–5.
Jump up ^ Macbeth, Act 3, Scene 3, line 16.
Jump up ^ Watson, Robert N. (1987). ""Thriftless Ambition," Foolish Wishes, and the Tragedy of Macbeth". In Bloom, Harold. William Shakespeare's Macbeth. Modern Critical Interpretations. New York: Chelsea House Publishers. pp. 133–68. ISBN 0-87754-930-3.
Jump up ^ Macbeth, Act 2, Scene 1, lines 8–9.
Jump up ^ Westbrook, Perry D. (January 1946). "A Note on "Macbeth," Act II, Scene 1". College English. National Council of Teachers of English. 7 (4): 219–20. doi:10.2307/371197.
Jump up ^ Henneberger, Olive (October 1946). "Banquo, Loyal Subject". College English. National Council of Teachers of English. 8 (1): 18–22. doi:10.2307/370443.
Jump up ^ Calderwood, James L. (1986). If It Were Done: Macbeth and Tragic Action. Amherst: University of Massachusetts Press. pp. 96–7. ISBN 978-0-87023-534-4.
Jump up ^ Williams, George Walton (May 1982). ""Macbeth": King James's Play". South Atlantic Review. 47 (2): 12–21. doi:10.2307/3199207.
Jump up ^ Crawford, A. W. (November 1924). "The Apparitions in Macbeth, Part II". Modern Language Notes. The Johns Hopkins University Press. 39 (7): 383–8. doi:10.2307/2914760.
Jump up ^ Macbeth, Act 3, Scene 4, lines 106–107. Archived 3 June 2010 at the Wayback Machine.
^ Jump up to: a b Calderwood, James L. (1986). If It Were Done: Macbeth and Tragic Action. Amherst: University of Massachusetts Press. pp. 126–9. ISBN 978-0-87023-534-4.
Jump up ^ Macbeth, Act 3, Scene 4, line 91. Archived 3 June 2010 at the Wayback Machine.
^ Jump up to: a b Furness, Horace Howard, ed. (2007). Macbeth. Classic Books. pp. 167–9. ISBN 0-7426-5283-1.
Jump up ^ Bradley, A. C. (2003). Shakespearean Tragedy. Boston: Adamant Media. pp. 492–3. ISBN 1-4212-0849-0.
Jump up ^ Macbeth, Act 3, Scene 4.
Jump up ^ Jones, Claude E. (April 1955). "The Imperial Theme: "Macbeth" on Television". The Quarterly of Film Radio and television. University of California Press. 9 (3): 292–8. doi:10.1525/fq.1955.9.3.04a00070.
^ Jump up to: a b Barnet, Sylvan (1963). "Macbeth on Stage and Screen". In Barnet, Sylvan. Macbeth. London: Penguin Books. pp. 186–200. ISBN 0-451-52444-6.
Jump up ^ Braunmuller, A. R. (1997). "Introduction". In Braunmuller, A. R. Macbeth. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. pp. 85–6. ISBN 0-521-29455-X.
Jump up ^ Kliman, Bernice W. (1998). "Gleanings: The Residue of Difference in Scripts: The Case of Polanski's Macbeth". In Halio, Jay L.; Richmond, Hugh. Shakespearean illuminations: essays in honor of Marvin Rosenberg. Newark: University of Delaware Press. pp. 135–6. ISBN 0-87413-657-1.
[hide]
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William Shakespeare's Macbeth
Characters
Macbeth
Lady Macbeth
Banquo
Macduff
King Duncan
Malcolm
Donalbain
Three Witches
Fleance
Lady Macduff
Macduff's son
Third Murderer
Young Siward
Inspirations
Macbeth, King of Scotland
Gruoch of Scotland
Duncan I of Scotland
Malcolm III of Scotland
Donald III of Scotland
Siward, Earl of Northumbria
King James VI and I
Sources
Daemonologie (1597)
The Witch (play)
Holinshed's Chronicles
Darraðarljóð
Film
1908
1909 (French)
1909 (Italian)
1911
1913
1915
1916
1922
1948
1971
2006
2015
Cancelled (Olivier)
Television
1954
1960 US TV
1960 Australian TV
1961
1979
1982
1983
1992
2005
2010
TV / film adaptations
The Real Thing at Last (1916)
Marmayogi (1951)
Joe MacBeth (1955)
Throne of Blood (1957)
Macbeth (Verdi opera) (1987)
Men of Respect (1990)
Scotland, PA (2001)
Makibefo (2001)
Maqbool (2003)
Shakespeare Must Die (2012)
Veeram (2016)
Plays
Voodoo Macbeth (1936)
MacBird! (1967)
uMabatha (1970)
Macbett (1972)
Cahoot's Macbeth (1979)
MacHomer (1995)
Sleep No More (2003)
Sleep No More (2009)
Dunsinane (2010)
Sleep No More (2011)
Just Macbeth!
Operas
Macbeth (1847, Verdi)
discography
Macbeth (1910, Bloch)
Literary adaptations
Wyrd Sisters (1988)
The Last King of Scotland (1998)
The Tragedy of Macbeth Part II (2008)
Albums
Music from Macbeth (1972)
Macbeth (1990)
Thane to the Throne (2000)
Shakespeare's Macbeth – A Tragedy in Steel (2003)
Lady Macbeth (2005)
Art
Pity (1795)
The Night of Enitharmon's Joy (1795)
Ellen Terry as Lady Macbeth (1889)
Scenes and speeches
"On the Knocking at the Gate in Macbeth" (1823)
Sleepwalking Scene (5.1)
"Tomorrow and tomorrow and tomorrow"
Words and phrases
"What's done is done"
"Crack of doom"
"Strange but true"
The Scottish Play
Thane of Cawdor
Story within a story
We Work Again
Light Thickens
The Deadly Affair
"The Movies"
"Sleeping with the Enemy"
"The Shower Principle"
Mécanisme de la physionomie humaine
The Scottish Play
Burke & Hare
Episodes
"A Witch's Tangled Hare" (1959, Looney Tunes)
"The Bellero Shield" (1964, The Outer Limits)
"Sense and Senility" (1987, Blackadder the Third)
"The Coup" (2006, The Office)
"Dial "N" for Nerder" (2008, The Simpsons)
"Four Great Women and a Manicure" (2009, The Simpsons)
"The Understudy" (2014, Inside No. 9)
Other
Macbeth (Strauss)
The Scottish Play
Piano Trios, Op. 70 (Beethoven)
The Ruins of Cawdor
House of Cards (UK, 1990)
House of Cards (US, 2013–present)
Authority control
LCCN: sh2010006869
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As You Like It
From Wikipedia, the free encyclopedia
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This article is about Shakespeare's play. For other uses, see As You Like It (disambiguation).
The first page of As You Like It from the First Folio of Shakespeare's plays, published in 1623
As You Like It is a pastoral comedy by William Shakespeare believed to have been written in 1599 and first published in the First Folio in 1623. The play's first performance is uncertain, though a performance at Wilton House in 1603 has been suggested as a possibility.
As You Like It follows its heroine Rosalind as she flees persecution in her uncle's court, accompanied by her cousin Celia to find safety and, eventually, love, in the Forest of Arden. In the forest, they encounter a variety of memorable characters, notably the melancholy traveller Jaques who speaks many of Shakespeare's most famous speeches (such as "All the world's a stage", "too much of a good thing" and "A fool! A fool! I met a fool in the forest"). Jaques provides a sharp contrast to the other characters in the play, always observing and disputing the hardships of life in the country.
Historically, critical response has varied, with some critics finding the play a work of great merit and some finding the work of lesser quality than other Shakespearean works. The play remains a favourite among audiences and has been adapted for radio, film, and musical theatre. The piece has been a favorite of famous actors on stage and screen, notably Vanessa Redgrave, Juliet Stevenson, Rebecca Hall, Helen Mirren, and Patti LuPone in the role of Rosalind and Alan Rickman, Stephen Spinella, Kevin Kline, Stephen Dillane, and Ellen Burstyn in the role of Jaques.
Contents
[hide]
1 Characters
2 Synopsis
3 Sources
4 Date and text
4.1 External evidence
4.2 Internal evidence
5 Analysis and criticism
5.1 Setting
5.2 Themes
5.2.1 Love
5.2.2 Usurpation and Injustice
5.2.3 Forgiveness
5.2.4 Court life and country life
5.3 Religious allegory
5.4 Music and songs
5.5 Language
5.5.1 Use of prose
5.5.2 All the world's a stage
5.5.3 Pastoral mode
6 Performance history
7 Adaptations
7.1 Music
7.2 Radio
7.3 Film
7.4 Musical theatre
7.5 Graphic novel
7.6 Other musical work
8 References
9 External links
Characters[edit]
Main Characters: The Court of Duke Frederick:
Duke Frederick, Duke Senior's younger brother and his usurper, also Celia's father
Rosalind, Duke Senior's daughter
Celia, Duke Frederick's daughter and Rosalind's cousin
Touchstone, a court fool or jester
Le Beau, a courtier
Charles, a wrestler
Lords and ladies in Duke Frederick's court
The Household of the deceased Sir Rowland de Boys:
Oliver de Boys, the eldest son and heir
Jacques de Boys, the second son
Orlando de Boys, the youngest son
Adam, a faithful old servant who follows Orlando into exile
Dennis, Oliver's servant who called Charles
The Exiled Court of Duke Senior in the Forest of Arden:
Duke Senior, Duke Frederick's older brother and Rosalind's father
Jaques, a discontented, melancholic lord
Amiens, an attending lord and musician
Lords in Duke Senior's forest court
Country folk in the Forest of Arden:
Phoebe, a proud shepherdess
Silvius, a shepherd
Audrey, a country girl
Corin, an elderly shepherd
William, a country man
Sir Oliver Martext, a curate
Other characters:
Hymen, officiates over the weddings in the end; God of marriage, as appearing in a masque
Pages and musicians
Synopsis[edit]
The wrestling scene from As You Like It, Francis Hayman, c. 1750
The play is set in a duchy in France, but most of the action takes place in a location called the Forest of Arden. This may be intended as the Ardennes, a forested region covering an area located in southeast Belgium, western Luxembourg and northeastern France, or Arden, Warwickshire, near Shakespeare's home town, which was the ancestral origin of his mother's family—who incidentally were called Arden.
Frederick has usurped the duchy and exiled his older brother, Duke Senior. Duke Senior's daughter, Rosalind, has been permitted to remain at court because she is the closest friend and cousin of Frederick's only child, Celia. Orlando, a young gentleman of the kingdom who at first sight has fallen in love with Rosalind, is forced to flee his home after being persecuted by his older brother, Oliver. Frederick becomes angry and banishes Rosalind from court. Celia and Rosalind decide to flee together accompanied by the court fool, Touchstone, with Rosalind disguised as a young man and Celia disguised as a poor lady.
Rosalind, now disguised as Ganymede ("Jove's own page"), and Celia, now disguised as Aliena (Latin for "stranger"), arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some supporters, including "the melancholy Jaques," a malcontent figure, who is introduced to us weeping over the slaughter of a deer. "Ganymede" and "Aliena" do not immediately encounter the Duke and his companions. Instead, they meet Corin, an impoverished tenant, and offer to buy his master's crude cottage.
Audrey by Philip Richard Morris
Orlando and his servant Adam, meanwhile, find the Duke and his men and are soon living with them and posting simplistic love poems for Rosalind on the trees. (The role of Adam may have been played by Shakespeare, though this story is said to be apocryphal.)[1] Rosalind, also in love with Orlando, meets him as Ganymede and pretends to counsel him to cure him of being in love. Ganymede says that "he" will take Rosalind's place and that "he" and Orlando can act out their relationship.
The shepherdess, Phoebe, with whom Silvius is in love, has fallen in love with Ganymede (Rosalind in disguise), though "Ganymede" continually shows that "he" is not interested in Phoebe. Touchstone, meanwhile, has fallen in love with the dull-witted shepherdess, Audrey, and tries to woo her, but eventually is forced to be married first. William, another shepherd, attempts to marry Audrey as well, but is stopped by Touchstone, who threatens to kill him "a hundred and fifty ways."
Finally, Silvius, Phoebe, Ganymede, and Orlando are brought together in an argument with each other over who will get whom. Ganymede says he will solve the problem, having Orlando promise to marry Rosalind, and Phoebe promise to marry Silvius if she cannot marry Ganymede.
Orlando sees Oliver in the forest and rescues him from a lioness, causing Oliver to repent for mistreating Orlando. Oliver meets Aliena (Celia's false identity) and falls in love with her, and they agree to marry. Orlando and Rosalind, Oliver and Celia, Silvius and Phoebe, and Touchstone and Audrey all are married in the final scene, after which they discover that Frederick also has repented his faults, deciding to restore his legitimate brother to the dukedom and adopt a religious life. Jaques, ever melancholic, declines their invitation to return to the court preferring to stay in the forest and to adopt a religious life as well. Rosalind speaks an epilogue to the audience, commending the play to both men and women in the audience.
Sources[edit]
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The direct and immediate source of As You Like It is Thomas Lodge's Rosalynde, Euphues Golden Legacie, written 1586-7 and first published in 1590.[2] Lodge's story is based upon "The Tale of Gamelyn," wrongly attributed to Geoffrey Chaucer and sometimes printed among his Canterbury Tales. Although it was first printed in 1721,"Gamelyin" must have existed in manuscript form in Shakespeare's time. It is doubtful that Shakespeare had read it, but Lodge must have built his pastoral romance on the foundation of "Gamelyin," giving it a pastoral setting and the artificial sentimental vein, much in fashion at the time. The tale provided the intertwined plots, and suggested all the characters except Touchstone and Jaques.
A watercolor illustration: Orlando pins love poems on the trees of the forest of Arden.
Some have suggested two other minor debts. The first is Michael Drayton's Poly-Olbion, a poetic description of England, but there is no evidence that the poem was written before As You Like It. The second suggested source is The Historie of Orlando Furioso by Robert Greene, acted about 1592. It is suggested that Shakespeare derived the idea of Orlando's carving his lady's name on barks of trees from this play, but a lover carving love-poems on barks of trees was already in Lodge's tale.
Date and text[edit]
The first page of As You Like It, printed in the Second Folio of 1632
As You Like It was first printed in the collected edition of Shakespeare's plays, known as the First Folio, during 1623. No copy of it in Quarto exists, for the play is mentioned by the printers of the First Folio among those which "are not formerly entered to other men." By means of evidences, external and internal, the date of composition of the play has been approximately fixed at a period between the end of 1598 and the middle of 1599.
External evidence[edit]
As You Like It was entered into the Register of the Stationers' Company on 4 August 1600 as a work which was "to be stayed," i.e., not published till the Stationers' Company were satisfied that the publisher in whose name the work was entered was the undisputed owner of the copyright. Thomas Morley's First Book of Ayres, published in London in 1600 contains a musical setting for the song "It was a Lover and his Lass" from As You Like It. This evidence implies that the play was in existence in some shape or other before 1600.
It seems likely this play was written after 1598, since Francis Meres did not mention it in his Palladis Tamia. Although twelve plays are listed in Palladis Tamia, it was an incomplete inventory of Shakespeare's plays to that date (1598). The new Globe Theatre opened some time in the summer of 1599, and tradition has it that the new playhouse's motto was Totus mundus agit histrionem—"all the Globe's a stage"—an echo of Jaques' famous line "All the world's a stage" (II.7).[3] This evidence posits September 1598 and September 1599 as the time frame within which the play was likely written.
Internal evidence[edit]
In Act III, vi, Phoebe refers to the famous line "Whoever loved that loved not at first sight" taken from Marlowe's "Hero and Leander," which was published in 1598.[4] This line, however, dates from 1593 when Marlowe was killed, and the poem was likely circulated in unfinished form before being completed by George Chapman. It is suggested in Michael Wood's In Search of Shakespeare that the words of Touchstone, "When a man's verses cannot be understood, nor a man's good wit seconded with the forward child understanding, it strikes a man more dead than a great reckoning in a little room," allude to Marlowe's assassination. According to the inquest into his death, Marlowe had been killed in a brawl following an argument over the "reckoning" of a bill in a room in a house in Deptford, owned by the widow Eleanor Bull in 1593. The 1598 posthumous publication of Hero and Leander would have revived interest in his work and the circumstances of his death. These words in Act IV, i, in Rosalind's speech, "I will weep for nothing, like Diana in the fountain," may refer to an Alabaster image of Diana which was set up in Cheapside in 1598. However, it should be remembered Diana is mentioned by Shakespeare in at least ten other plays, and is often depicted in myth and art as at her bath. Diana was a literary epithet for Queen Elizabeth I during her reign, along with Cynthia, Phoebe, Astraea, and the Virgin Mary. Certain anachronisms exist as well, such as the minor character Sir Oliver Mar-text's possible reference to the Marprelate Controversy which transpired between 1588-1589. On the basis of these references, it seems that As You Like It may have been composed in 1599-1600, but it remains impossible to say with any certainty.
Analysis and criticism[edit]
Rosalind by Robert Walker Macbeth
Scholars have long disagreed about the merits of the play. George Bernard Shaw complained that As You Like It is lacking in the high artistry of which Shakespeare was capable. Shaw liked to think that Shakespeare wrote the play as a mere crowdpleaser, and signalled his own middling opinion of the work by calling it As You Like It – as if the playwright did not agree. Tolstoy objected to the immorality of the characters and Touchstone's constant clowning. Other critics have found great literary value in the work. Harold Bloom has written that Rosalind is among Shakespeare's greatest and most fully realised female characters. Despite critical disputes, the play remains one of Shakespeare's most frequently performed comedies.
The elaborate gender reversals in the story are of particular interest to modern critics interested in gender studies. Through four acts of the play, Rosalind, who in Shakespeare's day would have been played by a boy, finds it necessary to disguise herself as a boy, whereupon the rustic Phoebe, also played by a boy, becomes infatuated with this "Ganymede," a name with homoerotic overtones. In fact, the epilogue, spoken by Rosalind to the audience, states rather explicitly that she (or at least the actor playing her) is not a woman. In several scenes, "Ganymede" impersonates Rosalind' so a boy actor would have been playing a girl disguised as a boy impersonating a girl.
Setting[edit]
An 1889 etching of the Forest of Arden, created by John Macpherson for a series by Frederick Gard Fleay
Arden is possibly a toponym for a forest close to Shakespeare's home town of Stratford-upon-Avon, although the play is ostensibly set in France. The Oxford Shakespeare edition rationalises this geographical discrepancy by assuming that "Arden" is an anglicisation of the forested Ardennes region of France, where Lodge set his tale)[5] and alters the spelling to reflect this. Other editions keep Shakespeare's "Arden" spelling, since it can be argued that the pastoral mode depicts a fantastical world in which geographical details are irrelevant. The Arden edition of Shakespeare makes the suggestion that the name "Arden" comes from a combination of the classical region of Arcadia and the biblical garden of Eden, as there is a strong interplay of classical and Christian belief systems and philosophies within the play.[6] Arden was also the maiden name of Shakespeare's mother and her family home is located within the Forest of Arden.
Themes[edit]
Love[edit]
Love is the central theme of As You Like It, like other romantic comedies of Shakespeare. Following the tradition of a romantic comedy, As You Like It is a tale of love manifested in its varied forms. In many of the love-stories, it is love at first sight. This principle of "love at first sight" is seen in the love-stories of Rosalind and Orlando, Celia and Oliver, as well as Phoebe and Ganymede. The love-story of Audrey and Touchstone is a parody of romantic love. Another form of love is between women, as in Rosalind and Celia's deep bond.[7]
Usurpation and Injustice[edit]
This is a significant theme of this play. The new Duke Frederick usurps his older brother Duke Senior, while Oliver parallels this behavior by treating his younger brother Orlando so ungenerously as to compel him to seek his fortune elsewhere. Both Duke Senior and Orlando take refuge in the forest, where justice is restored "through nature."[8]
Forgiveness[edit]
The play highlights the theme of usurpation and injustice on the property of others. However, it ends happily with reconciliation and forgiveness. Duke Frederick is converted by a hermit and he restores the dukedom to Duke Senior who, in his turn, restores the forest to the deer. Oliver also undergoes a change of heart and learns to love Orlando. Thus, the play ends on a note of rejoicing and merry-making.
Court life and country life[edit]
An 1870 print of Act II, Scene iv: Rosalind and Celia in the forest with Touchstone.
Most of the play is a celebration of life in the country. The inhabitants of Duke Frederick's court suffer the perils of arbitrary injustice and even threats of death; the courtiers who followed the old duke into forced exile in the "desert city" of the forest are, by contrast, experiencing liberty but at the expense of some easily borne discomfort. (Act II, i). A passage between Touchstone, the court jester, and shepherd Corin establishes the contentment to be found in country life, compared with the perfumed, mannered life at court. (Act III, I). At the end of the play the usurping duke and the exiled courtier Jaques both elect to remain within the forest.[9]
Religious allegory[edit]
Illustration for Shakespeare's As You Like It by Émile Bayard (1837–1891). "Rosalind gives Orlando a chain."
University of Wisconsin professor Richard Knowles, the editor of the 1977 New Variorum edition of this play, in his article "Myth and Type in As You Like It,"[10] pointed out that the play contains mythological references in particular to Eden and to Hercules.
Music and songs[edit]
As You Like It is known as a musical comedy because of the number of songs in the play. Indeed, there are more songs in it than in any other play of Shakespeare. These songs and music are incorporated in the action that takes place in the forest of Arden, as shown below:
Under the Greenwood Tree: It summarises the views of Duke Senior on the advantages of country life over the amenities of the court. Amiens sings this song.
Blow, Blow, Thou Winter Wind: This song is sung by Amiens. It states that physical suffering caused by frost and winter winds is preferable to the inner suffering caused by man's ingratitude.
What Shall He Have That Killed the Deer: It is another song which adds a lively spectacle and some forest-colouring to contrast with love-talk in the adjoining scenes. it highlights the pastoral atmosphere.
It Was a Lover and his Lass: It serves as a prelude to the wedding ceremony. It praises spring time and is intended to announce the rebirth of nature and the theme of moral regeneration in human life.
Language[edit]
Use of prose[edit]
Shakespeare uses prose for about 55% of the text, with the remainder in verse.[11] Shaw explains that as used here the prose, "brief [and] sure," drives the meaning and is part of the play's appeal, whereas some of its verse he regards only as ornament.[12] The dramatic convention of the time required the courtly characters to use verse, and the country characters prose, but in As You Like It this convention is deliberately overturned.[11] For example, Rosalind, although the daughter of a Duke and thinking and behaving in high poetic style, actually speaks in prose as this is the "natural and suitable" way of expressing the directness of her character, and the love scenes between Rosalind and Orlando are in prose (III, ii, 277).[13] In a deliberate contrast, Silvius describes his love for Phoebe in verse (II, iv, 20). As a mood of a character changes, he or she may change from one form of expression to the other in mid-scene. Indeed, in a metafictional touch, Jaques cuts off a prose dialogue with Rosalind because Orlando enters, using verse: "Nay then, God be with you, an you talk in blank verse" (IV, i, 29).[14] The defiance of convention is continued when the epilogue is given in prose.
All the world's a stage[edit]
Main article: All the world's a stage
Act II, Scene VII, features one of Shakespeare's most famous monologues, spoken by Jaques, which begins:
"All the world's a stage
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts ..."
The arresting imagery and figures of speech in the monologue develop the central metaphor: a person's lifespan is a play in seven acts. These acts, or "seven ages", begin with "the infant/Mewling and puking in the nurse's arms" and work through six further vivid verbal sketches, culminating in "second childishness and mere oblivion,/Sans teeth, sans eyes, sans taste, sans everything,".
Pastoral mode[edit]
Walter Deverell, The Mock Marriage of Orlando and Rosalind, 1853
The main theme of pastoral comedy is love in all its guises in a rustic setting, the genuine love embodied by Rosalind contrasted with the sentimentalised affectations of Orlando, and the improbable happenings that set the urban courtiers wandering to find exile, solace or freedom in a woodland setting are no more unrealistic than the string of chance encounters in the forest which provoke witty banter and which require no subtleties of plotting and character development. The main action of the first act is no more than a wrestling match, and the action throughout is often interrupted by a song. At the end, Hymen himself arrives to bless the wedding festivities.
William Shakespeare’s play As You Like It clearly falls into the Pastoral Romance genre; but Shakespeare does not merely use the genre, he develops it. Shakespeare also used the Pastoral genre in As You Like It to ‘cast a critical eye on social practices that produce injustice and unhappiness, and to make fun of anti-social, foolish and self-destructive behaviour’, most obviously through the theme of love, culminating in a rejection of the notion of the traditional Petrarchan lovers.[15]
The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide opportunities for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for Measure for Measure and The Tempest.
The play, turning upon chance encounters in the forest and several entangled love affairs in a serene pastoral setting, has been found, by many directors, to be especially effective staged outdoors in a park or similar site.
Performance history[edit]
There is no certain record of any performance before the Restoration. Evidence suggests that the premiere may have taken place at Richmond Palace on 20 Feb 1599, enacted by the Lord Chamberlain's Men.[16] Another possible performance may have taken place at Wilton House in Wiltshire, the country seat of the Earls of Pembroke. William Herbert, 3rd Earl of Pembroke hosted James I and his Court at Wilton House from October to December 1603, while Jacobean London was suffering an epidemic of bubonic plague. The King's Men were paid £30 to come to Wilton House and perform for the King and Court on 2 December 1603. A Herbert family tradition holds that the play acted that night was As You Like It.[17]
During the English Restoration, the King's Company was assigned the play by royal warrant in 1669. It is known to have been acted at Drury Lane in 1723, in an adapted form called Love in a Forest; Colley Cibber played Jaques. Another Drury Lane production seventeen years later returned to the Shakespearean text (1740).[18]
Notable recent productions of As You Like It include the 1936 Old Vic Theatre production starring Edith Evans and the 1961 Shakespeare Memorial Theatre production starring Vanessa Redgrave. The longest running Broadway production starred Katharine Hepburn as Rosalind, Cloris Leachman as Celia, William Prince as Orlando, and Ernest Thesiger as Jaques, and was directed by Michael Benthall. It ran for 145 performances in 1950. Another notable production was at the 2005 Stratford Festival in Stratford, Ontario, which was set in the 1960s and featured Shakespeare's lyrics set to music written by Barenaked Ladies. In 2014, theatre critic Michael Billington said his favourite production of the play was Cheek by Jowl's 1991 production, directed by Declan Donnellan.[19]
Adaptations[edit]
Music[edit]
Rosalind and Celia by Hugh Thomson.
Thomas Morley (c. 1557–1602) composed music for "It Was a Lover and His Lass"; he lived in the same parish as Shakespeare, and at times composed music for Shakespeare's plays.
In 1942, Gerald Finzi included a setting of "It Was a Lover and His Lass" (V, iii) in his song cycle on Shakespearean texts Let Us Garlands Bring.
Donovan set "Under the Greenwood Tree" to music and recorded it for A Gift from a Flower to a Garden in 1968.
Mark Nichols wrote a musical version of the play in 2007.
In 2008, to celebrate the 450th anniversary of the ascension of Elizabeth I, Lady and Lord Salisbury, descendant of Robert Cecil, commissioned composer Scott Stroman to create a new set of Shakespeare Songs, most which were drawn from As You Like It. They were premiered in the Great Hall in which Elizabeth had held her first council of state in 1558.
Michael John Trotta composed a setting of "Blow, Blow, Thou Winter Wind" for choir in 2013.[20]
Radio[edit]
According to the history of radio station WCAL in the US state of Minnesota, As You Like It may have been the first play ever broadcast. It went over the air in 1922.
On 1 March 2015, BBC Radio 3 broadcast a new production directed by Sally Avens with music composed by actor and singer Johnny Flynn of acclaimed folk rock band Johnny Flynn and The Sussex Wit.[21] The production included Pippa Nixon as Rosalind, Luke Norris as Orlando, Adrian Scarborough as Touchstone, William Houston as Jaques, Ellie Kendrick as Celia and Jude Akuwudike as Corin.
Film[edit]
See also: Shakespeare on screen § As You Like It
As You Like It was Laurence Olivier's first Shakespeare film. Olivier, however, served only in an acting capacity (performing the role of Orlando), rather than producing or directing the film. Made in England and released in 1936, As You Like It also starred director Paul Czinner's wife Elizabeth Bergner, who played Rosalind with a thick German accent. Although it is much less "Hollywoody" than the versions of A Midsummer Night's Dream and Romeo and Juliet made at about the same time, and although its cast was made up entirely of Shakespearean actors, it was not considered a success by either Olivier or the critics.
Helen Mirren starred as Rosalind in the 1978 BBC videotaped version of As You Like It, directed by Basil Coleman.[22]
In 1992, Christine Edzard made another film adaptation of the play. It features James Fox, Cyril Cusack, Andrew Tiernan, Griff Rhys Jones, and Ewen Bremner. The action is transposed to a modern and bleak urban world.
A film version of As You Like It, set in 19th-century Japan, was released in 2006, directed by Kenneth Branagh. It stars Bryce Dallas Howard, David Oyelowo, Romola Garai, Alfred Molina, Kevin Kline, and Brian Blessed. Although it was actually made for cinemas, it was released to theatres only in Europe, and had its U.S. premiere on HBO in 2007. And although it was not a made-for-television film, Kevin Kline won a Screen Actors Guild award for Best Performance by a Male Actor in a Television Movie or Miniseries for his performance as Jaques.[23]
In 2012, Distant Thunder Films [24] produced an award-winning [25] film adaptation of the play set in modern-day San Francisco's Mission District. Directed by Marika Sonja Cotter, a graduate of the USC School of Cinematic Arts, LOVE: As You Like It was produced with a crowd-sourced budget of roughly $16,000.[26] Though deeply abridged, this feature-length adaptation features the original language of the play and offers an interpretation of the play through the use of performance, color, camera movement, space and medium [27] (both Super 8mm film and digital video were used [26]).
Musical theatre[edit]
Daniel Aquisito and Sammy Buck adapted this play into an 1980s themed musical entitled Like You Like It.[28]
For Shakespeare's 450th birthday Scott Stroman adapted the play into a stage musical of the same name, premiered in London, England by Highbury Opera Theatre in June 2014. www.highburyoperatheatre.com Stroman's version edits Shakespeare's original text, removing subplots and combining characters to make room for the jazz-influenced music, which also alludes to the music of William Byrd. In addition to the songs existing in the play he sets some sections of dialogue as songs (All the World's a Stage, What 'Tis to Love, Married Tomorrow), borrows songs from other plays (O Mistress Mine, Sigh No More, Fear No More) and creates a musical prologue (Crabbed Age and Youth, from The Passionate Pilgrim).
Graphic novel[edit]
A manga-style graphic novel was released in January 2009 by Self-Made Hero publishers, where the setting of the Forest of Arden has been transposed to modern-day China. The story has been adapted by Richard Appignanesi and features the illustrations of Chie Kutsuwada.
Other musical work[edit]
The Seven Doors of Danny, by Ricky Horscraft and John McCullough is based on the "Seven Ages of Man" element of the "All the World's a Stage" speech and was premiered in April 2016.
References[edit]
Jump up ^ Dolan, Frances E. "Introduction" in Shakespeare, As You Like It. New York: Penguin Books, 2000.
Jump up ^ The Oxford Companion to English Literature, edited by Dinah Birch, OUP Oxford, 2009
Jump up ^ King Henry V, New Cambridge Shakespeare, Cambridge University Press, page 4, 2005
Jump up ^ Act III, Sc. 6, 80f. Michael Hattaway (Ed.): William Shakespeare: As you like it. The New Cambridge Shakespeare. Cambridge University Press, Cambridge 2009, Pg. 174.
Jump up ^ Bate, Jonathan (2008). Soul of the Age: the life, mind and world of William Shakespeare. London: Viking. p. 37. ISBN 978-0-670-91482-1.
Jump up ^ Dusinberre, Juliet (2006). "Introduction". As You Like it. Arden Shakespeare. London: Thomson Learning. p. 2. ISBN 978-1-904271-21-5.
Jump up ^ Freedman, Penelope (2007). Power and passion in Shakespeare's pronouns. Aldershot, England: Ashgate. p. 89. ISBN 978-0-7546-5830-6.
Jump up ^ Williamson, Marilyn L (1986). "The Comedies in Historical Context". In Habicht, Werner; et al. Images of Shakespeare. University of Delaware Press. pp. 189; 193. ISBN 0-87413-329-7.
Jump up ^ Bloom, Harold (2008). As You Like It. Bloom's Literary Criticism. New York: Infobase. p. 8. ISBN 978-0-7910-9591-1.
Jump up ^ ELH, volume 33, March (1966) pp 1–22
^ Jump up to: a b Bate, Jonathan; Rasmussen, Eric (2010). As You Like It. Basingstoke, England: Macmillan. p. 10. ISBN 978-0-230-24380-4. Reversing dramatic convention, it is the courtly characters who speak prose and the shepherds who court in verse.
Jump up ^ Shaw, George Bernard (1897). "Shaw on Shakespear". In Tomarken, Edward. As You Like It from 1600 to the Present: Critical Essays. New York: Routledge. pp. 533–4. ISBN 0-8153-1174-5.
Jump up ^ Gentleman, Francis (1770). "The dramatic censor; or, critical companion". In Tomarken, Edward. As You Like It from 1600 to the Present: Critical Essays. New York: Routledge. p. 232. ISBN 0-8153-1174-5.
Jump up ^ Pinciss, Gerald M (2005). "Mixing verse and prose". Why Shakespeare: An Introduction to the Playwright's Art. New York: Continuum. p. 101. ISBN 0-8264-1688-8.
Jump up ^ Sarah Clough. "As You Like It: Pastoral Comedy, The Roots and History of Pastoral Romance". Sheffield Theatres. Archived from the original on 28 September 2007. Retrieved 10 August 2008.
Jump up ^ [Julie Dusinberre], "As You Like It (Third Edition)" London: Arden Shakespeare, 2006; p. 37
Jump up ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; p. 531.
Jump up ^ Halliday,Shakespeare Companion, p. 40.
Jump up ^ https://www.theguardian.com/stage/2014/mar/28/best-shakespeare-productions-favourite-as-you-like-it
Jump up ^ "Michael John Trotta's setting for choir". Youtube.com. Retrieved 2014-03-19.
Jump up ^ http://www.bbc.co.uk/programmes/b053zssp
Jump up ^ As You Like It (1978) at the Internet Movie Database
Jump up ^ IMDb.com
Jump up ^ LOVE: As You Like It | Production Information at distantthunderfilms.com
Jump up ^ LOVE: As You Like It | Awards Information at IMDB.com
^ Jump up to: a b LOVE: As You Like It | About Us at loveasyoulikeit.wordpress.com Archived 14 July 2015 at the Wayback Machine.
Jump up ^ LOVE: As You Like It | View on YouTube.com
Jump up ^ "Sammy Buck". Sammy Buck. 29 May 2007. Archived from the original on 2 June 2011. Retrieved 23 April 2009.
External links[edit]
Wikiquote has quotations related to: As You Like It
Wikisource has original text related to this article:
As You Like It
Wikimedia Commons has media related to As You Like It.
As You Like It at the Internet Broadway Database
As You Like It at the Internet off-Broadway Database
List of 'As You Like It' movies on IMDB
"Modern Translation of the Play" - Modern version of the play
As You Like It – HTML version of this title.
As You Like It at Project Gutenberg
As You Like It public domain audiobook at LibriVox
MaximumEdge.com – scene-indexed, searchable version of the play
Lesson plans for As You Like It at Web English Teacher
"Variations on a Theme of Love" introduction to the play and pastoral comedy as a genre
Text of As You Like It, fully edited by David Bevington, as well as original-spelling texts, facsimiles of the 1623 Folio text, and other resources, at the Internet Shakespeare Editions
Costume and set designs by the Motley Theatre Design Group for the 1949 production at The Old Vic and the 1957 production at the Royal Shakespeare Theatre - Motley Collection of Theatre & Costume Design
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Timeline of the Ottoman Empire
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article provides a timeline of the Ottoman Empire
See also Timeline of the Republic of Turkey, a chronology of the successor state to the Ottoman Empire.
This timeline is incomplete; some important events may be missing. Please help add to it.
Contents
[hide]
1 14th century
2 15th century
3 16th century
4 17th century
5 18th century
6 19th century
7 20th century
8 See also
9 Bibliography
10 See also
11 References
14th century[edit]
Year
Date
Event
c. 1299 The reign of Osman I, founder of the Ottoman Empire, began.
1302 July 27 Battle of Bapheus. The first war between the Ottomans and Byzantines.
1326 Orhan Gazi's accession to the throne.
1326 Siege of Bursa. The Ottomans conquered Bursa. After the conquest the city was the capital.
1329 June 10–11 Battle of Pelekanon. The Ottomans completed their conquest of Bythinia and the north-western corner of Anatolia.
1328-31 Siege of Nicaea. The Ottomans conquered Nicaea.
1362 March Orhan Gazi's to death. Murad I accession to the throne.
1364 Battle of Sırp Sındığı. Bulgaria had to pay taxes, and the decline of the Bulgarian Empire.
1369 Edirne was conquered. From 1413 to 1458 the city was the capital.
1371 September 27 Battle of Maritsa. Serbia was forced to declare loyalty to the Ottoman Empire.
1385-87 Battle of Pločnik..
1389 June 15 Battle of Kosovo. Most of Serbia is conquered. Murad I lost his life in this war.[1][2] Bayezid I accession to the throne.
1396 September 25 Battle of Nicopolis. Bulgaria was conquered.
1399 The Bursa great mosque was built by the Bayezid I. The first to be built by the Ottoman Darü'ş-şifa (worship and education center) Bayezid 1.
15th century[edit]
Year
Date
Event
1402 July 20 Battle of Ankara. Ottomans entered the short-term period of stagnation. The battle is also significant in Ottoman history as being the only time a Sultan has been captured in person.[3]
1402-13 Ottoman Interregnum or Ottoman Civil War. This process Bayezid I 1402 at the Battle of Ankara, Turco-Mongol warlord Tamerlane defeated as a result of falling prisoner appeared. Crumbling Ottoman unity, the year in 1413 was restored by Mehmed I.
1413 July 5 Battle of Çamurlu. Mehmed I accession to the throne.
1421 May 26 Murat I accession to thorne
1422 Siege of Constantinople (1422). The first comprehensive siege of Constantinople by the Ottomans.
1427-28 Germiyanids was conquered by the Ottomans.
1432 March 30 Mehmed the Conqueror's birth.
1443-44 Crusade of Varna.
1444 November 10 Battle of Varna. Morea and Bulgaria were connected to the Ottoman State. This began to increase the authority of the Ottoman Empire in the Balkans.
1448 October 17–20 Battle of Kosovo II. Balkans fully entered the Ottoman domination.
1453 May 29 Mehmed II (the Conqueror) captures Constantinople, and the final Byzantine emperor Constantine XI dies in the fighting.
1460 Mehmed II conquers Morea.
1461 Mehmed II conquers Trabzon thus ends Empire of Trebizond.
1461 Isfendiyarids joined the Ottoman lands.
1462 Mehmed II begins to build his Topkapi Palace.
1463 Bosnia was conquered.
1463-79 Ottoman–Venetian War
1473 Battle of Otlukbeli; Mehmed II defeats Uzun Hasan of Akkoyunlu Turkmens.
1475 Gedik Ahmet Pasha captures Caffa. Crimea becomes vassal of the Ottoman Empire.
1478 Albania is conquered.
1480 Gedik Ahmet Pasha captures Otranto, the southeast corner of Italy as a base for further attacks on Italy (only to evacuate after the death of Mehmet II).
1481 May 3 Mehmed II dies. Bayezid II ascended to the throne.
1481 Sultan Cem and Bayezid II has experienced a struggle for the throne between. This event is important for the Ottoman history. There has been standstill and internal conflicts.
1482 Herzegovina was conquered.
1485-91 Ottoman–Mamluk War.
1487 Karamanids was conquered.
1498 Montenegro was conquered.
1499-1503 Ottoman–Venetian War (1499–1503)
16th century[edit]
Year
Date
Event
1512 April 24 Selim I, the Inflexible asseccion to throne
1514 Battle of Chaldiran; Selim I defeats Ismail I of the Safavids; East Anatolia under Ottoman control for the first time.
1516 Battle of Marj Dabiq; Selim I defeats Al-Ashraf Qansuh al-Ghawri of Mamluk Sultanate of Egypt. Syria and Palestine under Ottoman rule.
1517 Battle of Ridaniya; Selim I defeats Tuman bay II of Mamluk Sultanate of Egypt. Egypt under Ottoman rule.
1517 Piri Reis; presented the first world map of the Selim I.
1519 Hayreddin Barbarossa, ruler of much of Algeria, agrees to become a provincial governor under the Ottomans.
1519 Jelali revolts.
1520 The reign of Suleiman the Magnificent (Suleiman I) begins.
1521 Suleiman I conquers Belgrade.
1522 Suleiman I captures Rhodes.
1526 Battle of Mohács. Suleiman I defeats Louis II of Hungary and Bohemia.
1529 Suleiman I besieges Vienna.
1534-6 Suleiman I leads the Two Iraqs campaign against the Safavids, annexing Baghdad.
1536 Pargalı Ibrahim Pasha was executed.
1538 The Holy League navy is defeated in the Batte of Preveza.
1541 Conquest of Buda and establishment of Ottoman rule over Hungary.
1551 Siege of Tripoli (1551). Tripoli is taken over.
1552 August Capture of Muscat. Muscat in the management of the Portuguese Empire, Seized by the Ottomans.
1553 October 6 Execution of Şehzade Mustafa, the crown peince during the 12th campaign of Suleyman.
1555 Peace of Amasya signed with the Safavid Empire. Western Armenia (Eastern Anatolia), western Georgia (incl. western Samtskhe), and western Kurdistan fall in Ottoman hands. The latter also gained control over most of Mesopotamia (Iraq). Eastern Armenia, Eastern Georgia (incl. eastern Samtskhe), Dagestan, and Shirvan (present-day Azerbaijan Republic) remain under Safavid rule.
1560 Battle of Djerba.
1565 Failed siege of Malta.
1566 September 6 The reign of Suleiman the Magnificent (Suleiman I) ends. Siege of Szigetvár. Selim II accession to throne
1569 The great fire of Istanbul Burns.
1570-73 Ottoman–Venetian War (1570–73). Conquest of Cyprus.
1571 Battle of Lepanto. The Holy League defeat the Ottomans.
1571 Fire of Moscow (1571). Crimean khan Devlet I Giray raided the city of Moscow.
1574 Conquest of Tunis. Selim II death. Murad III accession to the throne.
1575 Selimiye Mosque was built by architect Mimar Sinan between 1569 and 1575.
1578 Ottoman–Safavid War (1578–90). When this war ended, the Ottomans reached the widest extent in the east.
1590 Treaty of İstanbul between Ottoman Empire and the Safavids; Georgia, Azerbaijan and Armenia as well as western Iran under Ottoman rule. Reaching the widest border in the east of the Ottomans.
1593 June 22 Battle of Sisak.
1593-1606 Long Turkish War. The series of wars that lasted 13 years, ended with the Peace of Zsitvatorok.
1995 January 16 Mehmet III accession to throne
1596 October 23–26 Battle of Keresztes.
17th century[edit]
Year
Date
Event
1603-18 Ottoman–Safavid War. The Ottomans lost all the lands they won with the Ferhat Pasha Treaty.
1609 Kuyucu Murad Pasha suppresses the Jelali revolts.
1612 Treaty of Nasuh Pasha between Ottoman Empire and Safavid Persia. Ottoman Empire gives up all gains made by Treaty of Istanbul of 1590.
1618 Treaty of Serav signed with the Safavid Empire after further losses in the Ottoman–Safavid War (1603–18).
1622 May 20 Regicide of Osman II.
Revolt of Abaza Mehmed Pasha.
1639 Treaty of Zuhab signed with the Safavid Empire. Roughly restored the borders as agreed per the Peace of Amasya (1555). Decisive partition of the Caucasus, recognition of Ottoman control of Mesopotamia (Iraq). Western Georgia (incl. all of Samtskhe this time) and Western Armenia decisively fall in Turkish hands. Eastern Georgia, Eastern Armenia, Dagestan, and Shirvan (present-day Azerbaijan Republic) remain under Iranian control.
1648 Deposition of Sultan Ibrahim, enthronement of Mehmed IV.
1651 Assassination of Kösem Sultan.
1656 Köprülü Mehmed Pasha is appointed Grand Vizier.
1658 Köprülü Mehmed carries out extensive purges of the imperial cavalry.
Revolt of Abaza Hasan Pasha.
Ottoman conquest of Ineu (Yanova).
1661 Death of Köprülü Mehmed Pasha. His son Fazıl Ahmed Pasha becomes Grand Vizier.
1663-64 Austro-Turkish War. War ended with the Peace of Vasvár.
1669 Ottoman conquest of Heraklion (Kandiye).
1672-76 Polish–Ottoman War. Ottoman conquest of Kamianets-Podilskyi (Kamaniçe). The war end of the Ottoman Empire reached its maximum size in europe.
1676 Death of Fazıl Ahmed Pasha. His brother-in-law Merzifonlu Kara Mustafa Pasha becomes Grand Vizier.
1683 September 12 Battle of Vienna. Ottoman defeat.
December 25 Execution of Merzifonlu Kara Mustafa Pasha.
1686 Buda lost to the Austrian Habsburgs.
1687 Deposition of Mehmed IV.
1697 September 11 Battle of Zenta. Ottoman defeat. Grand Vizier was killed.
1699 Ottomans cede most of Hungary to Austria in the Treaty of Karlowitz.
18th century[edit]
Year
Date
Event
1715 Morea recaptured
1718 Treaty of Passarowitz signed.
1718 Beginning of Tulip era (up to 1730)
1729 First printing press in Turkish by Ibrahim Muteferrika
1730 Revolt of Patrona Halil. End of Tulip era. Ahmet III is dethroned.
1739 Treaty of Belgrade signed.
1774 Treaty of Küçük Kaynarca signed.
1791 4 August Treaty of Sistova
1792 9 January Treaty of Jassy
19th century[edit]
Year
Date
Event
1807 May Kabakçı Mustafa rebellion: Reformist sultan Selim III dethroned.
1808 July 21 Alemdar Mustafa Pasha suppresses the rebellion. But Selim III is dead and Mahmut II becomes the new sultan.
1813 April 23 Second Serbian Uprising: The Serbs revolt.
1821 Greek War of Independence: The Greek War of Independence begins.
1826 June 15 Auspicious Incident: centuries old Janissary corps forcibly disbanded after a rebellion against Mahmud II.
1830 Algeria is conquered by the French.
1832 July 21 Greek War of Independence: Greek sovereignty is formalized.
1831–1833 Egyptian–Ottoman War.
1839 Tanzimat period
1853 October 4 Crimean War: The Crimean War with Russia begins, with Britain, France and Sardinia joining on the Ottoman side.
1860 October 21 First newspaper in Turkish published by Agah Efendi.(Tercümen'ı Ahval).
1862 February 5 A united Romanian autonomous state is established.
1876 December 23 Opened the 1876–1877 Constantinople Conference, which ends the Tanzimat reforms after they bankrupt the Empire.[4]
1877 April 24 Russo-Turkish War (1877–1878): Another war with Russia, the Russo-Turkish War of 1877–1878, begins.
1878 March 3 Russo-Turkish War (1877–1878): The Treaty of San Stefano recognizes Romanian and Serbian independence, as well as the establishment of an autonomous Bulgarian principality under nominal Ottoman protection. Austria-Hungary occupies Bosnia by default.
June 4 Cyprus is occupied by Britain.
1881 Tunisia becomes a French colony.
1882 Egypt goes under British protection.
1885 September 6 The province of Eastern Rumelia is transferred to Bulgarian jurisdiction.
20th century[edit]
Year
Date
Event
1908 July 3 Second Constitutional Era (Young Turk revolution)
October 5 Bulgaria obtains full independence.
October 7 Austria-Hungary annexes Bosnia by mere declaration.
1912 The Ottomans are defeated by Italy in a short war, with the Italians gaining Libya and ending the 340-year Ottoman presence in North Africa.
November 28 First Balkan War: Albania declares independence
1913 May 17 First Balkan War: The Ottoman Empire is nearly wiped out from Europe, save for Istanbul and just enough land around to defend it.
1914 August 2 The Empire enters into World War I on the side of the Central Powers. Cyprus is annexed outright by Britain.
1915 April 24 The Ottoman Empire initiates forced deportation of Armenians.
1915 April 25 The Gallipoli Campaign: Britain unsuccessfully invades the Dardanelles in Turkey.
1920 August 10 Treaty of Sèvres. Rejected by Turkish nationalists and eventually leads to the abolition of the monarchy by the Government of the Grand National Assembly based in Ankara.
1922 November 1 Abolition of the Ottoman dynasty by Republic of Turkey.
1923 July 24 Treaty of Lausanne signed.
1924 March 3 Abolition of the Caliphate by Grand National Assembly of Turkey
See also[edit]
List of Ottoman sieges and landings
Timeline of Turks (500-1300)
Timeline of the Seljuk Sultanate of Rûm
List of Ottoman Empire territories
List of cities conquered by the Ottoman Empire
Timeline of Ottoman Syria history
Bibliography[edit]
George Henry Townsend (1867), "Ottoman Empire", A Manual of Dates (2nd ed.), London: Frederick Warne & Co.
Halil İnalcık and Donald Quataert, ed. (1994). "Chronology of Ottoman history, 1260-1914". An Economic and Social History of the Ottoman Empire, 1300-1914. Cambridge University Press. ISBN 978-0-521-34315-2. Karen Armstrong (2001), "Chronology; Chapter 4: Islam Triumphant, The Ottoman Empire", Islam: A Short History, London: Phoenix Publishing
See also[edit]
Rise of the Ottoman Empire
Kayı tribe
Socioeconomics of Enlargement Era (Ottoman Empire)
Classical Age of the Ottoman Empire
Classical Age of the Ottoman Empire
Transformation of the Ottoman Empire
Stagnation of the Ottoman Empire
Decline of the Ottoman Empire
[show]
v
t
e
History of modern states under the Ottoman Empire
Africa
Algeria
Egypt
Egypt Eyalet
Khedivate of Egypt
Tripolitania
Tunisia
Asia
Arabia
Cyprus
Iraq
Israel
Lebanon
Syria
Southern Syria
Europe
Albania
Bosnia and Herzegovina
Bulgaria
Croatia
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[show]
v
t
e
State organisation of the Ottoman Empire
Central system
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Imperial Harem
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)
References[edit]
Jump up ^ Helmolt, Ferdinand. The World's History, p.293. W. Heinemann, 1907.
Jump up ^ Fine, John. The Late Medieval Balkans, p. 410. University of Michigan Press, 1994. ISBN 0-472-08260-4.
Jump up ^ Marozzi, Justin, The Art of War: Great Commanders of the Ancient and Medieval World, Roberts, Andrew (ed.). Quercus Military History, 2008. p. 337. ISBN 978-1-84724-259-4
Jump up ^ Armstrong, Karen (2001). Islam: A Short History. London: Phoenix. pp. xxvi. ISBN 1 84212 583 4.
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