Also, in his play, the Enchanted Island, Dryden expands on the prologue from Troilus and Cressida. However, this time Shakespeare is a king whose poetic monologue unveils contemporary anxieties about royal succession (Dobson 74). In this sense, Shakespeare is depicted in this particular play as an old Hamlet (Ibid.), a royal ghost, and a direct reference to contemporary royal turmoil. This was only the first of Shakespeare's many posthumous appearances

Moreover, and this is where the tone takes its turn, the poet derides summer for its temporary nature. In all of its delighted qualities, the poet suggests, it is a fleeting sensation compared to the lasting statement of her loveliness. Again, we find that exaggeration is a common feature of the love poem. In this instance, there is an overly grand sentiment in the characterization of the subject and, likewise,

This final dinner scene and the ensuing bloodbath wrings ever last possible ounce of gory drama out of the script; the talking ceases for a time while the camera observes the members of the dinner party all enjoying the pies that contain the blood and bones (and possibly the meat, although this isn't made explicit in either the script or the film) of Tamora's two sons. This makes the

Technology: Is it Moving Too Fast? Technology is reshaping the way people live their lives today in profound and sometimes unexpected ways. Indeed, the concept of using something new is always frightening for some people, and even the proponents of technological solutions caution that they can actually do more harm than good when they are not used in appropriate and meaningful ways that justify the investment required to apply them in

Yes, the Oedipus complex aspect of Shakespeare it gives us and which in turn invites us to think about the issue of subjectivity, the myth and its relation to psychoanalytic theory. (Selfe, 1999, p292-322) Hemlet and Postcolonial theory Postcolonial theory was born as a result of the publication of the famous work of Edward Said, Orientalism (1978). This theory claim that some authors (Paul Gilroy, Achille Mbembe, Francoise Verges, etc.) and

A hut on top of the 'Tiring House' was there for apparatus and machines. Flag above the hut was there to indicate concert day. Musicians' veranda was beneath the hut at the third level and spectators would have to sit on 2nd level. (the Elizabethan Theatre: Introduction to Theatre Online Course) The performance sites are also original. First managed in suitable public places like inn courtyards, in the fashion of