THE FUNCTIONS AND THE IMPORTANCE OF "DREAMS" IN SHAKESPEAREAN DRAMA

On 23 April, 1616, a man died, but with his death a legacy was born; one which proved so essential not only to the development of drama and literature, but to language, to thoughts and ideas. To how we profess our love to each other, and to how we express our grief; his influence pervades so much in our lives, because his work has become so timeless in its ability to touch upon human nature. We are talking of no one else other than the Father of English Drama William Shakespeare. This year marks the 400th anniversary of Shakespeare’s death; an event which has brought an appreciation to all edges of the cultural sphere. From television to film, theatre to classic music; the simple breadth and variety of the events being held in his honour speak to magnitiude of his influence. Born in Stratford-upon-Avon in Warwickshire in 1564, Shakespeare wrote 38 plays, 154 sonnets and many other poems before his death in 1616. We all bow in reverence to the bard of Avon. I am very happy to share the fact that the November 2016 issue of Daath Voyage was appreciated by the world of Academia from all over the world for its richness and versatility; the credit for which goes to the entire team of Daath Voyage. We encourage writings from both experienced professors as well as young scholars. In this endeavour we hope to carry the torch of research as well as writing forward. Warm regards to our esteemed Board of Advisors and Review Editors for their tiresome efforts in reviewing the articles very sincerely and enriching each and every article with their valuable remarks resulting in the shaping up of this issue. I am also grateful to my revered contributors who have made this issue an enriching reality. Happy Reading! Saikat Banerjee

Passions of William Shakespeare’s Lesser Known Characters: Tim Crouch I, Shakespeare, 2017

The Upstart Crow: A Shakespeare Journal, Volume XXVIII, 2009

We are grateful to our contributors for making every eff ort to trace all copyright holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangement at the fi rst opportunity. We thank the several festivals and theater companies for their cooperation and assistance in the reproduction of images from recent performances.

Macbeth might be summarized as a man progressing erratically around power and destruction towards the end, an oversight around disbelief and impetuosity. His own reasons seem to be his goals, his misdoubts, and his resignation to his wife's more competent personality.

"This dissertation considers the guests, ghosts and hosts that pervade Shakespeare's tragedies, focusing on*Julius Caesar*, *Titus Andronicus*, *Macbeth*, *Timon of Athens* and *Hamlet*. Characters in these plays have similar ideas about how to act hospitably, but they often do so for very different reasons. The plays, themselves, also seem to take shape in terms of hospitable and inhospitable discourse, places and moments, although these areas frequently haunt each other or become surrounded by violence. For the French thinker, Jacques Derrida, "ethics is hospitality". The dissertation employs this and other thinking on the relation of action and thought in Shakespeare to consider what is meant by the speech acts of welcoming or calling at the door, and what responsibilities they entail for potential hosts or guests, especially when people have ulterior motives. Shakespeare's tragedies, it argues, demonstrate that an ethics of hospitality cannot rely on hospitable etiquette or law and order; hospitality requires a willingness to recognise or reconsider each other within multi-dimensional and overlapping borders, and a readiness to indentify at least partially with people from accross the border, while accepting that they cannot be known completely."

Powers collide in Shakespeare's poetic tragedy Othello, a riveting story of passion, manipulation, and betrayal. Othello reveals a complex world in which social order, racial politics, and personal ambitions push the treacherous lago to destroy Othello and his wife Desdemona. Actors from the London Stage deliver a focused examination of this deeply psychological drama and Illuminate the dynamic, sensual text and themes of this Shakespearean masterpiece.

1972

The teaching and understanding of Shakespeare are the subjects of these essays by (1) Louis B. Wright, wno is concerned with the elements of Shakespearean plays which give them world-wide acceptance and timelessness, (2) Richard Hosley, who explores the use of stage curtains both today and when Shakespeare's plays were first produced, (3) G. L. Barber, who discusses Shakespeare's handling qf farce in "The Comedy of Errors," (4) Stephen A. Shapiro, who examines the reversals and transformations in "Romeo and Juliet" from a psychoanalytic viewpoint, (5) Robert Ornstein, who suggests that in teaching "Hamlet," it is more important to comprehend the beauty and power of the whole dramatic action than to dissect the play, (6) Warren Taylor, who provides guides in the understanding of King Lear and his actions, CO Harriet Dye, who concentrates on the theme of appearance and reality in "King Lear," (8) Louis Marder, who considers the problem of "method" in the teaching of Shakespeare, and (9) Gladys Veidemanis, who suggests ways of teaching Shakespeare in high school that will help students become aware of the complexity, richness, and universality of his drama. (This document previously announced as ED. 033 949.) piq U S. DEPARTMENT OP MEALT11,

The Shakespeare Institute Review, 2012

Masculine rage, violence, and vengeance have an honorable forum in Shakespeare: straightforward physical combat. Hal defeats Hotspur on the battlefield, Romeo challenges Tybalt to avenge Mercutio, and Mowbray and Bolingbroke prepare for a royally sanctioned duel. Shakespeare’s women, however, enjoy no such outlet. Instead, they turn to an indirect weapon: poison. While poison is the method of choice for women committing or attempting murder in Shakespeare, it is consistently framed as an indirect, dishonorable tool in opposition to straightforward violence. This paper considers Shakespeare’s emphasis on poison as a female weapon, gives some historical and critical context regarding its use, addresses contemporary medical texts association of poison and the female body, compares Shakespeare’s use of poison as a plot device to other early modern revenge drama writers’, and explores how Hamlet’s Claudius, the outlier in this pattern, is dishonored by choosing poison as a weapon.