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William Shakespeare's A Midsummer Night's Dream in the by Ulrike Küpper

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By Ulrike Küpper

William Shakespeare’s comedy A Midsummer Nights Dream (1595) has survived and flourished as a drama for over 5 centuries. The paintings has additionally loved substantial reputation in tune. Its lyrical verse, its consistent use of musical terminology, and its references to and deployment of songs and dances have served to draw significant composers over greater than 4 centuries. The booklet compares their libretti with the unique textual content, and analyzes how changes in textual content and constitution have affected the character of Shakespeare’s unique play - its plot, characterization and lyricism. The examine additionally bargains with the constituent components of track theater, together with instrumental tune, and, to a lesser quantity, with inventive and cinematic representations of Shakespeare’s comedy.

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12: The Fairy Queen, p. 22. 36 Reinhold Sietz, Henry Purcell, p. 128. , p. 33. 30 The prelude to Act II is a lively symphony, which accompanies a change of scene from Titania’s palace to a moonlit wood, her fairy kingdom. In the stage directions to this second act it is easy to see how and why the Queen’s Theatre Company had spent £3000 on the first production of The Fairy Queen. 1). Whereas in Shakespeare’s day stage settings existed largely in the audience’s imagination, by the late-seventeenth century elaborate stage machinery was much in evidence: The scene changes to a Prospect of Grotto’s, Arbors, and delightful Walks: The Arbors are Adorn’d with all variety of Flowers, the Grotto’s supported by Teams, these lead to two Arbors on either side of the Scene, of a great length, whose prospect runs toward the two Angles of the House.

Although Oberon appears just twice and then only as a name, Spenser’s inclusion of the figure marks Oberon’s re-emergence into English literature. The context is political and the issues involved are those of succession, power, monarchy and patronage. In 1590 Queen Elizabeth, then aged 57, had been in power for 32 years. Talk of marriage and heirs had been abandoned, but the question of succession was becoming an urgent one. Yet courtiers needed to reconcile their desire for royal patronage with the constraints that this imposed on the articulation of their concerns.

12: The Fairy Queen, p. 191. 59 35 as they’re fair’,64 a celebration of marital love. 1). The Fairy King and Queen address the onstage lovers in a suitably elevated manner when they bless their house and marriage. ). The six masques embedded in Purcell’s The Fairy Queen stand securely in the court-masque tradition associated with the courts of James I and Charles I. Noble masque elements stand alongside rustic anti-masque features. Among the former are the allegorical appearances of mythical gods such as Phoebus, Juno and Hymen who symbolize heavenly virtues and universal harmony.

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