Shakespeare In The Time Of Plague

Shakespeare in the Time of Plague takes place in England mostly during a period of frequent episodes of bubonic plague, which greatly affected London for long stretches of time. No one was immune to the misery and death the plague produced, particularly in the poorer parishes of London. Daniel Defoe described the great plague in London of 1665 from survivor accounts, but much of the response to that plague was based upon laws and regulations laid down by King James I during the plague visitation of 1603-1609. It was, also, a time when Shakespeare wrote some of his greatest plays, including Hamlet, Macbeth and Lear. Losses animate the lead characters in those plays in complicated ways, e.g.: Hamlet loses his father and becomes obsessed with it, and cannot move on, until he finally is joined with his father in death. Macbeth's ambition leads him to destroy all those who have helped him and blinds him to his own fatal end. Lear rages on when his children abandon him. Shakespeare may have drawn upon responses he observed in reactions to the conditions of the plague around him.

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death by Shakespeare, as Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Kathryn investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure.

Shakespeare produced most of his great tragedies during the politically disturbed and plague-filled decade following the accession of James I, a period of formidable difficulties for the London theater. Focusing not upon Shakespeare's personal biography but upon his professional role as a member of the company of the King's Servants, Leeds Barroll offers a new narrative about the dramatist's relationship to the court of King James, as well as the manner and order in which the Stuart plays were composed. Positioned in terms of contemporary critical and historical theory, rich in historical details, and challenging in its implications, Politics, Plague, and Shakespeare's Theatre will be read with interest by scholars and students of Elizabethan drama, theater history, Renaissance studies, and English history.

Only in the world of the theater can Nat Field find an escape from the tragedies that have shadowed his young life. So he is thrilled when he is chosen to join an American drama troupe traveling to London to perform A Midsummer Night's Dream in a new replica of the famous Globe theater. Shortly after arriving in England, Nat goes to bed ill and awakens transported back in time four hundred years -- to another London, and another production of A Midsummer Night's Dream. Amid the bustle and excitement of an Elizabethan theatrical production, Nat finds the warm, nurturing father figure missing from his life -- in none other than William Shakespeare himself. Does Nat have to remain trapped in the past forever, or give up the friendship he's so longed for in his own time?

How can you maximize success—and limit failure? Wall Street Journal reporter Ben Cohen brilliantly investigates the mystery and science of streaks, from basketball to business. "A feast for anyone interested in the secrets of excellence." —Andre Agassi For decades, statisticians, social scientists, psychologists, and economists (among them Nobel Prize winners) have spent massive amounts of precious time thinking about whether streaks actually exist. After all, a substantial number of decisions that we make in our everyday lives are quietly rooted in this one question: If something happened before, will it happen again? Is there such a thing as being in the zone? Can someone have a “hot hand”? Or is it simply a case of seeing patterns in randomness? Or, if streaks are possible, where can they be found? In The Hot Hand, Wall Street Journal reporter Ben Cohen offers an unfailingly entertaining and provocative investigation into these questions. He begins with how a $35,000 fine and a wild night in New York revived a debate about the existence of streaks that was several generations in the making. We learn how the ability to recognize and then bet against streaks turned a business school dropout named David Booth into a billionaire, and how the subconscious nature of streak-related bias can make the difference between life and death for asylum seekers. We see how previously unrecognized streaks hidden amidst archival data helped solve one of the most haunting mysteries of the twentieth century, the disappearance of Raoul Wallenberg. Cohen also exposes how streak-related incentives can be manipulated, from the five-syllable word that helped break arcade profit records to an arc of black paint that allowed Stephen Curry to transform from future junior high coach into the greatest three-point shooter in NBA history. Crucially, Cohen also explores why false recognition of nonexistent streaks can have cataclysmic results, particularly if you are a sugar beet farmer or the sort of gambler who likes to switch to black on the ninth spin of the roulette wheel.

This collection offers readers a timely encounter with the historical experience of people adapting to a pandemic emergency and the corresponding narrative representation of that crisis, as early modern writers transformed the plague into literature. The essays examine the impact of the plague on health, politics, and religion as well as on the plays, prose fiction, and plague bills that stand as witnesses to the experience of a society devastated by contagious disease. Readers will find physicians and moralists wrestling with the mysteries of the disease; erotic escapades staged in plague-time plays; the poignant prose works of William Bullein and Thomas Dekker; the bodies of monarchs who sought to protect themselves from plague; the chameleon-like nature of the plague as literal disease and as metaphor; and future strains of plague, literary and otherwise, which we may face in the globally-minded, technology-dependent, and ecologically-awakened twenty-first century. The bubonic plague compelled change in all aspects of lived experience in Early Modern England, but at the same time, it opened space for writers to explore new ideas and new literary forms—not all of them somber or horrifying and some of them downright hilarious. By representing the plague for their audiences, these writers made an epidemic calamity intelligible: for them, the dreaded disease could signify despair but also hope, bewilderment but also a divine plan, quarantine but also liberty, death but also new life.

'She's like no one I've ever met... She's like fire and water all at once.' Warwickshire, 1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family. As William moves to London to discover his place in the world of theatre, Agnes stays at home to raise their three children but she is the constant presence and purpose of his life. When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born. This new play based on Maggie O'Farrell's best-selling novel and adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the imagined family life of the greatest writer in the English language. Hamnet is a love letter to passion, birth, grief and the magic of nature. This updated and revised edition was published to coincide with the West End transfer of the original RSC production in October 2023.