Word: bard
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Dates: during 1950-1959
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...today really understand little better than do the characters in the play; the people in Macbeth are constantly baffled (what other play contains such a large proportion of questions?), and so are we. Much of the fantastic effect of Macbeth is due to the uncanny atmosphere of fear the Bard created--and this is a play about fear much more than about the "vaulting ambition" that our schoolteachers emphasize, even though Macbeth and his wife both attempt to explain their drive by invoking the inadequate word "ambition...
...this is one of the Bard's most poorly constructed works, it still has a good many strong points. A great number of profoundly wise statements are constantly being made; there are plenty of well-turned phrases; and some of the passages of verse rank with his best...
Columbia's slim, publicity-shy Robert Frederick Loeb (pronounced Lerb), 64, Bard professor of medicine at the College of Physicians and Surgeons, one of the nation's top medical teachers. Son of famed Physiologist Jacques Loeb, discoverer of artificial parthenogenesis, Robert Loeb left the University of Chicago after his sophomore year in 1915 to enter Harvard Medical School, graduated magna cum laude. After residency at Johns Hopkins, Loeb switched to Manhattan's Presbyterian Hospital in 1921, helped administer the first insulin treatment for diabetes, pioneered in electrolyte physiology, discovered the first effective treatment for Addison...
...choosing the first show, the powers-that-be naturally wanted a festive work of acknowledged merit. They settled on Shakespeare's Twelfth Night, and engaged Herbert Berghof as director. The work is too well known to warrant much comment. It is, of course, the last and subtlest of the Bard's true comedies--a study of (1) unrequited lovers (in which, by rare exception, young love is not opposed by an elder generation), and of (2) poseurs. Every member of the personae is a persona in the old Latin sense of a mask-wearer; and the play...
Merry Wives is not tragedy, nor tragicomedy. It is not even comedy; it is farce pure and simple (also impure and not-so-simple). And it is a most significant item in the canon, through being the only play the Bard ever wrote entirely about the ordinary citizenry of his own day and locale. Actually, it is a transferral to the stage of the comic medieval French verse-tale genre known as the fabliau. The fabliaux and the play depict contemporary society and diction, delight in practical jokes, revel in adultery and cuckoldry, and indulge in frank and often obscene...