Montague mentions how Romeo has been keeping to himself, preferring night to day "Private in his chamber pens himself, shuts up his windows, locks fair daylight out". This illustrates Romeo’s behavior; dividing himself from the real world and without him noticing, adding more grief to his sorrows. Romeo is acting really immature and as a typical teenage boy. We are given and expression as Romeo a spoilt boy, who is very thin-skinned and self-centered. Shakespeare's use of poetic dramatic structure (including effects such as switching between comedy and tragedy to heighten tension, the expansion of minor characters, and numerous sub-plots to embellish the story) has been praised as an early sign of his dramatic skill.


"Then he is near. His anger increases as he comes," Brünnhilde cried in terror. "Now who will lend me a horse to put this poor wife upon?" None dared brave the wrath of the God. "There he comes with all his kinsmen at his back, and they will surely overwhelm thee," she cried in distress; and fell fainting with fear. Now that the Gods had forsaken them, the two lovers, Sieglinde and Siegmund, were in great danger, and Sieglinde, without knowing why, was filled anew with fright.


It is really an idea better suited to a sketch rather than a short play and as the Estuary Players interpreted it rather on the slow side, the whole thing seemed to drag. This fault apart, the cast all performed well and it was realistically staged, with the musicians miming to the specially pre-recorded music. Set on a stage in a cafe of a French Spa, upon which an orchestra of six ladies and a male accompanist are playing, the dialogue consists of the conversation among the players during the intervals between their items of music. The talk is full of gossip, intrigue and cattiness as personal problems and jealousies are unfolded.


What the Estuary Players had to achieve was to create, for the audience, a sense of intimate participation with the play. Readers, musicians and singers gave sensitive performances and the atmosphere was pervasive. However, I'm not certain that it didn't also have the effect of slowing down some of the early scenes, and a sense of the bustle of the lives of 7-year-olds was, to some extent, reduced. The Estuary Players' performance of Bernard Shaw's Arms and the Man
at the Matthews Hall managed to land itself between competent (in the best sense of the
word) and a great success. That might seem to be a rather wide margin of criticism
but it is how it came across. George Bernard Shaw seems to be out of fashion
these days so it was quite a daring decision to attempt the play.


In her ever-increasing rage she called again and again upon Manrico to avenge her. "Follow me," di Luna called, drawing his sword, which he had half sheathed when he had seen that his antagonist was not of noble birth like himself. "Follow me," and he hurried off among the trees, followed by Manrico. "To fight thee? Aye, have at it!" and Manrico stood en garde. She had no sooner gone than a man peered out from the shadow of the trees.



"Oh, spare my life," they yelled in unison, and then,-203- at the same moment each fled from the other, by a different way. At the same instant, Pamina awoke from her swoon, and began to call pitiably for her mother. Germany has given us the greatest musicians, but she leaves other people to take care of them, to love them, and to bury them—or to leave them go "third-class." "Thy time has come!" John of Leyden cried, and the vast hall began to fill with smoke and powder fumes. Riot reigned, and just at that moment Faith, her gray hair streaming about her, pushed through the crowd and threw herself into her son's arms. Nothing could have been more magnificent than the banquet prepared for the coronation.


Stuffed with witty one-liners, this is a funny but thought-proking comedy by the author of Broadway smash End of the Rainbow and the West End hit Glorious! After two years it was wonderful to see live theatre in Matthews Hall, Topsham, once again, performed by the Estuary Players. This was a joyous ensemble production of The Mellstock Quire, which is the alternative title for Thomas Hardy's book Under the Greenwood Tree.


I had no-one sitting next to me on this occasion and felt rather frustrated in this respect - one loves to show off when one recognises a clever touch in the play's dialogue or in the direction. Max Frisch wrote The Fire Raisers in the late 50s and set it, I assume, in Germany or Switzerland - but it is a play which can be true of any time in any place. A city is being terrorised by a mysterious group of arsonists; the houses of the wealthy and respectable go up in flames for no apparent reason and without warning. Fire Watchers, the 'Guardians of the City' have been appointed [and appear on the stage like a Greek chorus to comment on events], but in spite of their presence, the fires continue. My only criticism is that the play was less well-structured in the second half [the Topsham half] where a number of two-handed scenes, all of them excellently played, followed one another - so that we were never quite sure whether or not the play had ended!



"I found thy mother ill in the wood, and brought her to my cave, where I tended her till thou wert born. I know nothing of thy father—except one thing." He paused, considering whether or not he should reveal what he knew about the good sword, Nothung. "Come forth! Naught can save thee from thy punishment." Without hope, Brünnhilde came from the company of her sisters and threw herself on her knees before Wotan. "The enchantment of thy sword is gone!" Siegmund started.

Only if we follow Dahl in lumping together other
phrasings with the ones that actually are specific to Middleton do we find
that such forms of words are not distinctive of authorship.All the same, I have to single out Roger Matthewson's portrayal of Arturo Ui."If it is to be anything like that, I think it more likely to be a roasting. No matter!" Nothing mattered any longer to Papageno, and so he went out as Tamino desired, and the scene changed.His recordings were highly respected, winning innumerable awards including no less than sixteen Grammy Awards (it is believed that the only producer to have won more Grammy Awards than James is Quincy Jones).

In an introduction to the play Harold Pinter claimed that those of us who have sinned against society can never hide from the fates that pursue us. Stanley (Richard Thorne) is on the run and two men, representing the fates are after him. The show is being directed by Sally Green, with the musical direction by Geoffrey Brace, and with Louise Goodbody and Paul Walker in the leading roles. It will take place in the Matthews Hall at the end of November, and promises to be another most entertaining evening from this talented company.

At the same time Dennis, who had the most difficult part to play, was on tenterhooks about his wife's obsession with viewing and buying houses."Thy duty to me and to thy people and to thyself. Make Radames join us. I shall wait near thee." So saying, he stepped within the shadow of the trees as Radames approached.She had become very old and trembling since that night when she had last seen her son.And a well-deserved ovation was also given to the skilful handling by Joan Bowditch as Lady Bracknell of the inquisition of her daughter's suitor.

"Ho, ho! Then you get nothing out of my basket," she answered, walking off. Again the boys mocked him, and he grew very angry, telling them to be off about their business. The quarrel grew so loud that finally Sachs,-413- coming home unexpectedly, burst into the midst of them and scattered them.

As the afternoon sun grows hot the citizens begin to creep within doors for the siesta, as all Spanish life seems to grow tired and still in the burning day.On the waves, the three Rhein-daughters swam and hovered over the place where the bodies were.All were lounging in the vestibule of the palace gossiping till it was time to go on duty within."I am thy Prophet," he declared with hardly less contempt in his tone than before.It was his last play for by the time he began writing he was seriously ill - but he drove himself to complete the script in 6 weeks, having received £30 in advance for the copyright.

From that
perspective, the most salient fact is that is
appears immediately after then in both cases and that too appears
three words after and in Arden of Faversham and five words after and
in The Spanish Tragedy. That Freebury-Jones includes such examples
shows that he does not agree with Vickers's claim that the highly common
function words are useless as evidence for authors--Vickers is sure that only
rare words and phrases matter--and that independence of approach should be
credited. The essay illustrates a new method for authorship attribution based on
capturing a writer's distinct habits for placing particular function words near
to other function words. Across the whole of an author's canon these habits were
captured for all the occurrences and UK news (fintnews.com) all the proximities of over 100 function
words, the data being stored in a Markov Chain called a Word Adjacency Network
(WAN) for each candidate.


"A grave cause, my child. Naught escapes my eye. I know thy heart. I know that Radames loves thee and that thou art here to meet him;—also that thou art in the grasp of this Princess, who hates thee." Amneris had no sooner disappeared within than Aïda approached the place. It was the last night of Radames's freedom, and he and she had arranged to meet near the Temple to speak together, perhaps for the last time of their lives. "I wish thee every ill. Come, now, while I exhibit thee before Radames and all the court as my slave and servant. You shall see me triumph." "I cannot wish thee ruin, yet what a wicked wish, since victory must mean my father's loss. If Radames shall conquer, I may see my father brought here in chains."-292- The unhappy girl prayed in turn for her father and Radames.


By this time the apprentices had erected a small stage with a chair and a desk upon it and a blackboard behind, with a piece of chalk hanging from a long string upon the board, and all about that funny arrangement were black curtains which could be drawn close. He was quite certain if he knew anything about music, it could not be the kind that shoe-makers, and boiler makers, and the like were acquainted with. "Oh, heaven! I am all of a fright. I fear I shall never understand what is expected of me," Walther cried distractedly. "There, Sir Knight, is your opportunity! You must be the pupil. Eva, we must be gone and leave Sir Walther to try for thee." Meantime, after the church had become empty, David, the apprentice of Hans Sachs, came in with a great piece of-402- chalk stuck in his belt, and carrying a big rule. Magdalene was quite in love with David, so that when Eva appealed to her for help, she had turned her attention to the apprentice.


The third and final Act is at breakfast the next morning. Petey, who was not at the party tells Meg, who had been high on Irish whiskey (I.R.A.?) that he had tidied up and put a coin in the electric light meter. Lulu accuses Goldberg of dirty work during the night (my masonic theory goes by the board) and utters the most apposite line in the play 'I've had enough'. The two men bring in Stanley reduced to a human jelly by the party and Goldberg's verbosity. They take him away in a car to face a life sentence of Goldberg. The tinkling Beatle tunes of Gerry Swainger at the piano (the appropriateness of 'She's Leaving Home', in particular!) were a melodic, well-chosen accompaniment to the action on stage.

"I am mother of the three Fates—of her who weaves—her who watches—and her who cuts the cord of life. They are my daughters. Thy fate is spread out before me; give up thy ring." The Gods trembled before one who knew both good and evil.He saw before him the loss of that which was to win him back his gold and power.So too generally were the switches from one format to another."Again sound thy trumpets," the King directed the Herald, and again they called to the four points of the compass.Then Arline begged to be left alone with her father that she might have a private word with him.The two complement each other perfectly - just like Terry and June.

The Estuary Players' production used two narrators (Mary Jones and Dick Dann) plus 26 players who portrayed a cast of more than twice that number by doubling and trebling up. In their productions over the past three or four years, the Topsham-based Estuary Players have proved themselves to be a group of very competent performers, always ready to show originality in their choice of plays, and painstakingly meticulous in their staging. The poverty and the pride, the humour and the despair, the pleasures and the fears-all these sensations of the folk living the simple, rural life in Victorian times were sharply conveyed to the audience as we watched the ordinary day's happenings unfold. Practically the whole of Matthews Hall at Topsham was transformed into the hamlet of Lark Rise 101 years ago, and under the capable direction of Keith Palmer, the players and musicians transported us back to the first day of harvest in 1880.