Shakespeare's desire to burlesque a hero of early English Protestantism could indicate Catholic sympathies, but Henry Brooke, 11th Baron Cobham was sufficiently sympathetic to Catholicism that in 1603, he was imprisoned as part of the Main Plot to place Arbella Stuart on the English throne, so if Shakespeare wished to use Oldcastle to embarrass the Cobhams, he seems unlikely to have done so on religious grounds.

The Cobhams appear to have intervened while Shakespeare was in the process of writing either The Merry Wives of Windsor or the second part of Henry IV.

Spacey's first professional stage appearance was as a Spear carrier in a New York Shakespeare Festival performance of Henry VI, part 1 in 1981.

Oxfordians, such as Dorothy and Charlton Ogburn, believe Shakespeare created such a role for the 13th Earl because it was the easiest way Edward de Vere could have " advertised his loyalty to the Tudor Queen " and remind her of " the historic part borne by the Earls of Oxford in defeating the usurpers and restoring the Lancastrians to power ".

Sobran suggests that the so-called procreation sonnets were part of a campaign by Burghley to persuade Southampton to marry his granddaughter, Oxford's daughter Elizabeth de Vere, and says that it was more likely that Oxford would have participated in such a campaign than that Shakespeare would know the parties involved or presume to give advice to the nobility.

… in most of the irregular Playes of Shakespeare or Fletcher ( for Ben Johnson's are for the most part regular ) there is a more masculine fancy and greater spirit in all the writing, then there is in any of the French.

On screen he has been portrayed by Eduard Franz in the film Lady Godiva of Coventry ( 1955 ), George Howe in the BBC TV drama series Hereward the Wake ( 1965 ), Donald Eccles in the two-part BBC TV play Conquest ( 1966 ; part of the series Theatre 625 ), Brian Blessed in Macbeth ( 1997 ), based on the Shakespeare play ( although he does not appear in the play itself ), and Adam Woodroffe in an episode of the British TV series Historyonics entitled " 1066 " ( 2004 ).

Given enough time, a hypothetical monkey typing at random would, as part of its output, almost surely produce all of William Shakespeare | Shakespeare's plays.

A semi-autobiographical depiction of his 1940 romance with Kip Kiernan in Provincetown, Massachusetts, it was produced for the first time on October 1, 2006 in Provincetown by the Shakespeare on the Cape production company, as part of the First Annual Provincetown Tennessee Williams Festival.

The Waterside Theatre ( which is not part of the Royal Shakespeare Theatre complex ) re-opened in December 2004, then closed again in September 2008.

In 2006, the Japanese acting trope Ninagawa Company staged a version of the play at the Royal Shakespeare Theatre as part of the Complete Works Festival, under the title Taitasu Andoronikasu.

Lisa S. Starks reads the film as a revisionist horror movie and feels that Taymor is herself part of the process of twentieth century re-evaluation of the play ; " in adapting a play that has traditionally evoked critical condemnation, Taymor calls into question that judgement, thereby opening up the possibility for new readings and considerations of the play within the Shakespeare canon.

In their book Shakespeare Reshaped, 1606 – 1623, Gary Taylor and John Jowett argue that part of the text of Measure that survives today is not in its original form, but rather the product of a revision after Shakespeare's death by Thomas Middleton.

Shown on PBS in the United States as part of the BBC Shakespeare series.

The play will form part of the Summer and Fall 2012 Seasons at the American Shakespeare Center's Blackfriars Playhouse, presented in complementary repertory with William Shakespeare's King John.

Kenneth Muir, for his part, believes that Shakespeare had a laissez-faire attitude to borrowing content from other authors in general, and he cites The Shrew as an instance of this.

Daniel argues that Hortensio's absence suggests that Shakespeare forgot to change this part of the play after making Hortensio a suitor in a later draft.

Antoon's 1990 production at the New York Shakespeare Festival, starring Morgan Freeman and Tracey Ullman, which was set in the old west ; Bill Alexander's 1992 RSC production at the Barbican, starring Anton Lesser and Amanda Harris, in which the Induction was rewritten in modern language, and the play-within-the-play featured actors carrying scripts and continually forgetting lines ; Delia Taylor's 1999 production at the Clark Street Playhouse, which featured an all female cast, with Diane Manning as Petruchio and Elizabeth Perotti as Katherina ; Phyllida Lloyd's 2003 production at the Globe, again with an all female cast, starring Janet McTeer as Petruchio and Kathryn Hunter as Katherina ; Gregory Doran's 2003 RSC production at the Royal Shakespeare Theatre, where the play was presented with Fletcher's The Tamer Tamed as a two-part piece, with Jasper Britton and Alexandra Gilbreath ( playing both Katherina in The Shrew and Maria ( Petruchio's second wife ) in The Tamer Tamed ); Edward Hall's 2006 Propeller Company production at the Courtyard Theatre as part of the RSC's presentation of the Complete Works, featuring an all-male cast, with Dugald Bruce Lockhart as Petruchio and Simon Scardifield as Katherina ; and Conall Morrison's 2008 RSC production at the Royal Shakespeare Theatre, starring Stephen Boxer and Michelle Gomez.

Extracts were also broadcast in 1925 as part of Shakespeare: Scene and Story, with William Charles Macready and Edna Godfrey-Turner, and in 1926 as part of Shakespeare's Heroines, with Edmund Willard and Madge Titheradge.

In 2000, Radio 4 aired another full-length production as part of their Shakespeare for the New Millennium series, directed by Melanie Harris and starring Gerard McSorley and Ruth Mitchell.

These live transmissions were part of the BBC's experimental service from Alexandra Palace and this is the first known instance of a Shakespeare play performed on television.

Journalist Bee Wilson states that the image of a community of honey bees " occurs from ancient to modern times, in Aristotle and Plato ; in Virgil and Seneca ; in Erasmus and Shakespeare ; Tolstoy, as well as by social theorists Bernard Mandeville and Karl Marx.

The re-creation of word and image which happens fitfully in the poetry of such a poet as Coleridge happens almost incessantly with Shakespeare.

Shakespeare may allude to the image when Lady Macbeth says to her husband, " Look like the innocent flower, but be the serpent under't " ( 1. 5. 74-5 ).. And the Porter's speech ( 1. 3. 1 – 21 ), in particular, may allude to the trial of the Jesuit Henry Garnet in spring, 1606 ; " equivocator " ( line 8 ) may refer to Garnet's defence of " equivocation ", and " farmer " ( 4 ) to one of Garnet's aliases.

Shakespeare uses the image of Proteus to establish the character of his great royal villain Richard III in the play Henry VI, Part Three, in which the future usurper boasts:

" This image occurs in Aristotle and Plato ; in Virgil and Seneca ; in Erasmus and Shakespeare ; in Marx and Tolstoy.

Between 1970 and 1993, an image of Scheemakers's Shakespeare statue appeared on the reverse of Series D £ 20 notes issued by the Bank of England.

This somehow contrasts with the image of the Elizabethan era as the time of William Shakespeare, but compared to the antecedent Marian Persecutions there is an important difference to consider.

* Zürich: Gimpel-Hanover Galerie, Louis le Brocquy, études vers une image de William Shakespeare, January 14-February 19, 1983.

Morrison sings in live performances, probably improvising, referring to " fishes for your friends " and " pearls for your eyes " conjuring an image of a rotten corpse lying at the bottom of the ocean while simultaneously referencing Shakespeare.

image: Pdx_washpark_rosegarden_shakespeare. jpg | Winter in the Shakespeare Garden

Because the images of Shakespeare are either doubtful in provenance or lacking expression, no one image seems to reconcile well with readers ' imaginations.

In Great Britain, the Folger Shakespeare Library claims rights to this image.

That an image of Oxford would be altered to appear as the traditional image of Shakespeare is taken as evidence of their being the same man.

Nonetheless, the image of suicide-by-asp has become inexorably connected with Cleopatra, as immortalized by William Shakespeare:

British author John Donoghue's 2004 book Shakespeare My Butt !, a humorous travel memoir of quirky destinations in Great Britain, also took its name from the album ; Donoghue acknowledges the band's influence in the book, and the cover features a blindfolded image of William Shakespeare in homage to the blindfolded band photo on the album cover.

Cropped version of image at: Image: Shakespeare. jpg.

* Educational games like Arthur Saves the Planet, Cleopatra and the Society of Architects, and Shakespeare: The Bard Game

:: Shakespeare: Antony and Cleopatra I. v

"-William Shakespeare, Antony and Cleopatra ' Act I, sc.

It is one of several Roman plays that Shakespeare wrote, based on true events from Roman history, which also include Coriolanus and Antony and Cleopatra.

Antony and Cleopatra is a tragedy by William Shakespeare.

Many critics have noted the strong influence of Virgil ’ s first century Roman epic poem, the Aeneid, on Shakespeare ’ s Antony and Cleopatra.

Given the well-established traditional connections between the fictional Dido and Aeneas and the historical Antony and Cleopatra, it is no surprise that Shakespeare includes numerous allusions to Virgil ’ s epic in his historical tragedy.

As Janet Adelman observes, “ almost all the central elements in Antony and Cleopatra are to be found in the Aeneid: the opposing values of Rome and a foreign passion ; the political necessity of a passionless Roman marriage ; the concept of an afterlife in which the passionate lovers meet .” However, as Heather James argues, Shakespeare ’ s allusions to Virgil ’ s Dido and Aeneas are far from slavish imitations.

James emphasizes the various ways in which Shakespeare ’ s play subverts the ideology of the Virgilian tradition ; one such instance of this subversion is Cleopatra ’ s dream of Antony in Act 5 (“ I dreamt there was an Emperor Antony ” ).

James argues that in her extended description of this dream, Cleopatra “ reconstructs the heroic masculinity of an Antony whose identity has been fragmented and scattered by Roman opinion .” This politically charged dream vision is just one example of the way that Shakespeare ’ s version of the historical tragedy of Antony and Cleopatra destabilizes and potentially critiques the imperialist Roman ideology inherited from Virgil ’ s epic and embodied in the mythic Roman ancestor Aeneas.

These constant shifts in the perception of Cleopatra are well represented in a review of Estelle Parsons ’ adaptation of Shakespeare ’ s Antony and Cleopatra at the Interart Theatre in New York City.

But by sheer brute strength they would hold dominion over principalities and kingdoms .” This assessment of the changing way in which Cleopatra is represented in modern adaptations of Shakespeare ’ s play is yet another example of how the modern and postmodern view of Cleopatra is constantly evolving.

In Antony and Cleopatra Shakespeare uses several literary techniques to convey a deeper meaning about the differences between Rome and Egypt.

Feminist theory, in respect to Antony and Cleopatra, often looks at Shakespeare ’ s use of language when describing Rome and Egypt.

Through his language, he tends to characterize Rome as “ masculine ” and Egypt as “ feminine .” According to Gayle Greene, “ the ‘ feminine ’ world of love and personal relationships is secondary to the ‘ masculine ’ world of war and politics, has kept us from realizing that Cleopatra is the play ’ s protagonist, and so skewed our perceptions of character, theme, and structure .” The highlighting of these starkly contrasting qualities of the two backdrops of Antony and Cleopatra, in both Shakespeare ’ s language and the words of critics, brings attention to the characterization of the title characters, since their respective countries are meant to represent and emphasize their attributes.

Once the Women ’ s Liberation Movement grew between the 1960s and 1980s, however, critics began to take a closer look at both Shakespeare ’ s characterization of Egypt and Cleopatra and the work and opinions of other critics on the same matter.

In their first exchange in Act I, scene 1, Cleopatra says to Antony, “ I ’ ll set a bourn how far to be beloved .” In this case Cleopatra speaks in an authoritative and affirming sense to her lover, which to Shakespeare ’ s audience would be uncharacteristic for a female lover.

Shakespeare critics argue that the metatheatrical references in Antony and Cleopatra seem to critique this trend, and the presentation of Cleopatra as a sexually empowered individual supports their argument that Shakespeare seems to be questioning the oppression of female sexuality in London society.