Kevin Stilley

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February 23, 2013 by kevinstilley

William Shakespeare – select quotes

* * *

And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betrays In deepest consequence.

* * *

Boldness be my friend!
Arm me, audacity, from heat to foot!
~ in Cymbeline

* * *

Unkindness strikes a deeper wound than steel.

* * *

As soon go kindle fire with snow, as seek to quench the fire of love with words.

* * *

Be great in act, as you have been in thought.

* * *

Oh, what a tangled web we weave,
When first we practice to deceive!

* * *

The quality of mercy is not strained,
It droppeth as the gentle rain from heaven.

* * *

Reputation, reputation, reputation! O, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial.
~ in Othello, Act II, scene iii

* * *

Good name in man and woman, dear my lord,
Is the immediate jewel of their souls:
Who steals my purse steals trash; ’tis something, nothing;
’Twas mine, ’tis his, and has been slave to thousands;
But he that filches from me my good name,
Robs me of that which not enriches him,
And makes me poor indeed.
~ in Othello, Act III, scene iii

* * *

If you can’t get rid of the skeleton in your closet, you’d best teach it to dance.
~ in The Tragedy of King Richard the Second

* * *

Reputation is an idle and most false imposition; oft got without merit, and lost without deserving.

* * *

The purest treasure mortal times afford is spotless reputation.

* * *

Once more into the breach, dear friends,
Once more; …
~ in King Henry V

* * *

No legacy is so rich as honesty.

* * *

How my achievements mock me!
~ Troilus, in William Shakespeare’s play Troilus and Cressida, Act 4, Scene II

* * *

Love all, trust a few, do wrong to none.

Filed Under: Blog, Front Page, Quotes Tagged With: drama, plays, poetry, quotations, Quotes, William Shakespeare

October 21, 2012 by kevinstilley

Sophocles – select quotes

Of all great wonders, none is greater than man. Only for death can he find no cure.

The truth is always the strongest argument.

What you cannot enforce, Do not command.

Wisdom is the supreme part of happiness.

Wisdom outweighs any wealth.

Filed Under: Blog, History, Philosophy, Quotes Tagged With: comedy, drama, Greek, Sophocles, Tragedy

February 15, 2012 by kevinstilley

Antigone – discussion questions

What is the background for this drama? What has happened before the events of this drama?

Ismene says, “You ought to realize we are only women, not meant in nature to fight against men, and that we are ruled, by those who are stronger, to obedience in this and even more painful matters.” (lines 70-74) Do Antigone and Ismene differ in their understanding of what is appropriate for man/woman roles? What about Creon?

Antigone says (line 84), “I would not ask thee. No! if though shouldst wish to do it, and wouldst gladly join with me. Do what thou wilt, I go to bury him; and good it were, this having done, to die. Loved I shall be with him whom I have loved, Guilty of holiest crime.” What does it mean to do holy things criminally?

Ismene says to Antigone, “You have a warm heart for such chilly deeds.” What is her point? (line 101)

Do you think Antigone wants to die? Why, or why not?

Creon is a kind of academic? What do you think, do academics make good leaders?

What is the purpose of the bumbling lines of the Sentry? Is his speech nonsense or wisdom?

When Nelson Mandela was serving time in a South African prison, the prisoners received permission to put on a Christmas play and chose to perform Antigone. Why do you think they selected this play? How do lines 490 and following reflect this element of the play?

How do the words and actions of Antigone compare with those of Jim Elliot?

At what point does standing up for what you believe become insolence?

Is Antigone trying to defend Ismene when she refuses to let her be blamed for Antigone’s actions?

Can it be said that the actions of Creon and Antigone reflect their worldviews? Where do the philosophies of Creon and Antigone clash?

Creon talks about the danger of “pleasure in a woman.” (lines 700-710) Is he right?

The address to Haemon (line 630) is attributed to Ismene in all the oldest manuscripts. How does the drama change if Ismene is actually the speaker for this?

Haemon argues for compromise. (lines 768-775) Is compromise good or bad?

Creon asks, “Should we that are my age learn wisdom from young men such as he is?” How would you answer this?

Creon accuses Antigone of wickedness. What determines whether or not she is wicked?

Does this play pit nomos against physis? Where?

Creon asks, “Should the city tell me how I am to rule them?” Why is this question important? Who does the city belong to?

What is Haemon’s point when he tells Creon, “You would be a fine dictator of a desert”?

Can something be lawful and unjust? (line 805)

The Chorus tell Antigone that it is her own self-willed temper that has destroyed her? Do you agree? If not her temper, then what? Noble action? Something else?

Antigone claims that that a sibling is one’s most important relative? (lines 961-969) Do you agree? Why does Antigone believe this?

Antigone believes that the gods want her brother buried. Creon believes that the gods do not what his nephew buried. (lines 1090 -1101) Why do they both believe something different?

Creon has a record of following the advice of Teiresias. Why does he not follow his advice this time? (lines 1110 and following)

You have been asked to do family counseling for this cast of characters; where do you start?

What do you take away from a reading of Antigone? Have you learned anything? What are the questions raised by the play? Are the questions answered?

Aristotle’s was quite interested in the ambiguity of action. The same action can be understood to be both good and bad, good under one description, bad under another. In Sophocles’ Antigone, for example, the fundamental conflict of action is whether or not Antigone should bury her brother, a deed simultaneously commanded and prohibited. Can you think of events in real life that illustrate this ambiguity of action that is the phenomena of tragic conflict?

_____________

Sophocles’ – A Timeline

500 – Birth of Sophocles
490 – Battle of Marathon
480 – Battle of Salamis
468 – First victory at Dionysia at age 32 with Triptolemus (lost)
461 – Democratic reforms of Ephialtes
447 – Parthenon begun in Athens
443 – Head of the Athenian Treasury
442 – Antigone
440 – Held Athenian Generalship
440s – Ajax
431 – Start of Peloponnesian War between Athens and Sparta
430 – Oedipus Tyrannus
429 – Death of Pericles
420–10 – Electra
425 – Trachinian Women (might be earlier: ca. 450)
415 – Athenian Expedition to Sicily
413 – Special Government Commissioner
409 – Philoctetes
406 – Death of Sophocles
405 – Defeat of Athens by Sparta
404–3 – Rule of Thirty Tyrants in Athens
401 – Oedipus at Colonus

Filed Under: Blog, Books, History, Philosophy, Politics Tagged With: Aristotle, drama, Greek, irony, Sophocles, theater, Tragedy

February 9, 2012 by kevinstilley

Prometheus Bound – Discussion Questions

What is the sin for which Prometheus is being punished? What comes from Prometheus? (lines 504-505)

What emotions or ideas is Aeschylus trying to evoke as he describes the circumstances that led to the prosecution of Prometheus?

Hephaestus does not like the role he is playing in the punishment of Prometheus.  Why? Is he sympathetic with the “cause” of Prometheus, or with Prometheus’ himself?

Might claims that “only Zeus is free” (line 50).  Is this the message of the whole drama?  Who is free?  Is even Zeus free?  The Chorus claims that even Zeus cannot escape what is fated? Prometheus says, “So must I bear, as lightly as I can, the destiny that fate has given me; for I know well against necessity, against its strength, no one can fight and win.” (line 103) Does Aeschylus believe this?  How does this compare with what you believe about God and freewill?

Hephaestus has chosen sides; he is alligned with Zeus and Prometheus is, therefore, the enemy.  Might indicates that it is wrong to pity an enemy.   How might this situation be reflected in our own culture?

Several references to the newness of Zeus’ rule are made (i.e. “the new Prince” – line 97; “new are the statesmen… and new are the customes…” – lines 148, 149, “new” – line 312; etc.).  In what way is Zeus (and the Olympians) new?

How did Zeus become King of the Gods?

“When first the Gods began their angry quarrel, and God matched god in rising faction” (lines 201-202), Prometheus chose to side with Zeus.  So, why is Zeus not more understanding of someone who has been his ally? (hint: lines 227-229)

Of all the possible deities, demigods, and demons that could have been cast in this drama, why Io?

Zeus loves Io.  Really?  What kinds of love are reflected in this drama?

Prometheus gives hope to mankind, but has no hope that Oceanus can get Zeus to relent.  Why the paradox?  “Prometheus” means “Foreseeing One”.  Io asks him to tell her the fate that awaits here and he indicates it is better not to know.  Do you agree with him?  Would you want to know what awaits you in the future if you could?  How would it change the way you live your life if you knew what awaited you in the future?

Victor Frankl, a Nazi concentration camp survivor, asserted “Freedom to choose one’s attitude in any given set of circumstances.”  Is Prometheus an example of this? Or, is there more to it than that?

In what ways is this drama about “power”.  Political power? Economic power? Sexual power?  Power over ones own circumstances?  Power over ones own will?  Power to effect change?

Filed Under: Blog Tagged With: Aeschylus, classics, drama, Freewill, power, Prometheus, Zeus

March 23, 2011 by kevinstilley

Euripides – select quotes

Euripides

.

The gods have sent medicines for the venom of serpents, but there is no medicine for a bad woman. She is more noxious than the viper, or any fire itself.
~ in Andromache

Man’s greatest tyrants are his wife and children.
~ in Oedipus

Man’s best possession is a sympathetic wife.
~ in Fragments, no. 164

No man is wholly free. He is slave to wealth, or to fortune, or the laws, or the people restrain him from acting according to his will alone.
~ in Hecuba

Plain and unvarnished are the words of truth.
~ in The Phoenissae

The facts speak for themselves.
~ in Fragments

There are three classes of citizens. The first are the rich, who are indolent and yet always crave more. The second are the poor, who have nothing, are full of envy, hate the rich, and are easily led by demagogues. Between the two extremes lie those who make the state secure and uphold the laws.
~ in The Suppliants

Along with success comes a reputation for wisdom.

Among mortals second thoughts are wisest.

Better a serpent than a stepmother!

But learn that to die is a debt we must all pay.

Chance fights ever on the side of the prudent.

Cleverness is not wisdom.

Danger gleams like sunshine to a brave man’s eyes.

Do not plan for ventures before finishing what’s at hand.

Events will take their course, it is no good being angry at them; he is happiest who wisely turns them to the best account.

Fortune truly helps those who are of good judgment.

Happiness is brief. It will not stay. God batters at its sails.

He is not a lover who does not love forever.

He was a wise man who originated the idea of God.

Human misery must somewhere have a stop; there is no wind that always blows a storm.

I would prefer as friend a good man ignorant than one more clever who is evil too.

Impudence is the worst of all human diseases.

It’s not beauty but fine qualities, my girl, that keep a husband.

Leave no stone unturned.

Life has no blessing like a prudent friend.

New faces have more authority than accustomed ones.

Nothing has more strength than dire necessity.

One loyal friend is worth ten thousand relatives.

Question everything. Learn something. Answer nothing.

Silence is true wisdom’s best reply.

Slight not what’s near through aiming at what’s far.

Some wisdom you must learn from one who’s wise.

Talk sense to a fool and he calls you foolish.

Ten soldiers wisely led will beat a hundred without a head.

The best and safest thing is to keep a balance in your life, acknowledge the great powers around us and in us. If you can do that, and live that way, you are really a wise man.

The best of seers is he who guesses well.

The good and the wise lead quiet lives.

The lucky person passes for a genius.

The wisest men follow their own direction.

This is slavery, not to speak one’s thought.

Those whom God wishes to destroy, he first makes angry.

To a father growing old, nothing is dearer than a daughter.

‘Twas but my tongue, ’twas not my soul that swore.

Waste not fresh tears over old griefs.

Whoso neglects learning in his youth, loses the past and is dead for the future.

Youth is the best time to be rich, and the best time to be poor.

__________

Book Cover

__________

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Filed Under: Blog, Front Page, History, Quotes Tagged With: ancient, Ancient Western Civ, Blog, drama, Euripides, literature, Philosophy, plays, Quotes, western civilization, wisdom

June 4, 2007 by kevinstilley

The Governor General’s Award for English Language Drama

  • 1981 – Sharon Pollock, Blood Relations
  • 1982 – John Gray, Billy Bishop Goes to War
  • 1983 – Anne Chislett, Quiet in the Land
  • 1984 – Judith Thompson, White Biting Dog
  • 1985 – George F. Walker, Criminals in Love
  • 1986 – Sharon Pollock, Doc
  • 1987 – John Krizanc, Prague
  • 1988 – George F. Walker, Nothing Sacred
  • 1989 – Judith Thompson, The Other Side of the Dark
  • 1990 – Ann-Marie MacDonald, Goodnight Desdemona (Good Morning Juliet)
  • 1991 – Joan MacLeod, Amigo’s Blue Guitar
  • 1992 – John Mighton, Possible Worlds and A Short History of Night
  • 1993 – Guillermo Verdecchia, Fronteras Americanas
  • 1994 – Morris Panych, The Ends of the Earth
  • 1995 – Jason Sherman, Three in the Back, Two in the Head
  • 1996 – Colleen Wagner, The Monument
  • 1997 – Ian Ross, fareWel
  • 1998 – Djanet Sears, Harlem Duet
  • 1999 – Michael Healey, The Drawer Boy
  • 2000 – Timothy Findley, Elizabeth Rex
  • 2001 – Kent Stetson, The Harps of God
  • 2002 – Kevin Kerr, Unity (1918)
  • 2003 – Vern Thiessen, Einstein’s Gift
  • 2004 – Morris Panych, Girl in the Goldfish Bowl
  • 2005 – John Mighton, Half Life
  • 2006 – Daniel MacIvor, I Still Love You

Filed Under: Blog Tagged With: Awards, drama

June 3, 2007 by kevinstilley

Pulitzer Prize In Drama

  • 2007: David Lindsay-Abaire, Rabbit Hole
  • 2006: no award given
  • 2005: John Patrick Shanley, Doubt, a parable.2004: Doug Wright, I Am My Own Wife
  • 2003: Nilo Cruz, Anna in the Tropics
  • 2002: Suzan-Lori Parks, Topdog/Underdog
  • 2001: David Auburn, Proof
  • 2000: Donald Margulies, Dinner With Friends
  • 1999: Margaret Edson, Wit
  • 1998: Paula Vogel, How I Learned To Drive
  • 1997: no award given
  • 1996: Jonathan Larson, Rent
  • 1995: Horton Foote, The Young Man From Atlanta
  • 1994: Edward Albee, Three Tall Women
  • 1993: Tony Kushner, Angels in America: Millennium Approaches
  • 1992: Robert Schenkkan, The Kentucky Cycle
  • 1991: Neil Simon, Lost in Yonkers
  • 1990: August Wilson, The Piano Lesson
  • 1989: Wendy Wasserstein, The Heidi Chronicles
  • 1988: Alfred Uhry, Driving Miss Daisy
  • 1987: August Wilson, Fences
  • 1986: no award given
  • 1985: James Lapine (book) and Stephen Sondheim (music and lyrics), Sunday in the Park with George
  • 1984: David Mamet, Glengarry Glen Ross
  • 1983: Marsha Norman, ‘Night, Mother
  • 1982: Charles Fuller, A Soldier’s Play
  • 1981: Beth Henley, Crimes of the Heart
  • 1980: Lanford Wilson, Talley’s Folly
  • 1979: Sam Shepard, Buried Child
  • 1978: Donald L. Coburn, The Gin Game
  • 1977: Michael Cristofer, The Shadow Box
  • 1976: Michael Bennett (concept, choreography, and direction), Nicholas Dante and James Kirkwood, Jr. (book), Marvin Hamlisch (music) and Edward Kleban (lyrics), A Chorus Line
  • 1975: Edward Albee, Seascape
  • 1974: no award given
  • 1973: Jason Miller, That Championship Season
  • 1972: no award given
  • 1971: Paul Zindel, The Effect of Gamma Rays on Man-in-the-Moon Marigolds
  • 1970: Charles Gordone, No Place To Be Somebody
  • 1969: Howard Sackler, The Great White Hope
  • 1968: no award given
  • 1967: Edward Albee, A Delicate Balance
  • 1966: no award given
  • 1965: Frank D. Gilroy, The Subject Was Roses
  • 1964: no award given
  • 1963: no award given
  • 1962: Frank Loesser (music and lyrics) and Abe Burrows (book), How To Succeed In Business Without Really Trying
  • 1961: Tad Mosel, All the Way Home
  • 1960: Jerome Weidman and George Abbott (book) Jerry Bock (music), and Sheldon Harnick (lyrics), Fiorello!
  • 1959: Archibald MacLeish, J.B.
  • 1958: Ketti Frings, Look Homeward, Angel
  • 1957: Eugene O’Neill, Long Day’s Journey Into Night
  • 1956: Albert Hackett and Frances Goodrich, Diary of Anne Frank
  • 1955: Tennessee Williams, Cat on a Hot Tin Roof
  • 1954: John Patrick, The Teahouse of the August Moon
  • 1953: William Inge, Picnic
  • 1952: Joseph Kramm, The Shrike
  • 1951: no award given
  • 1950: Richard Rodgers (music), Oscar Hammerstein II (lyrics), Joshua Logan (book), South Pacific
  • 1949: Arthur Miller, Death of a Salesman
  • 1948: Tennessee Williams, A Streetcar Named Desire
  • 1947: no award given
  • 1946: Russel Crouse, Howard Lindsay, State of the Union
  • 1945: Mary Coyle Chase, Harvey
  • 1944: no award given
  • 1943: Thornton Wilder, The Skin of Our Teeth
  • 1942: no award given
  • 1941: Robert E. Sherwood, There Shall Be No Night
  • 1940: William Saroyan, The Time of Your Life
  • 1939: Robert E. Sherwood, Abe Lincoln in Illinois
  • 1938: Thornton Wilder, Our Town
  • 1937: Moss Hart, George S. Kaufman, You Can’t Take It With You
  • 1936: Robert E. Sherwood, Idiot’s Delight
  • 1935: Zoe Akins, The Old Maid
  • 1934: Sidney Kingsley, Men in White
  • 1933: Maxwell Anderson, Both Your Houses
  • 1932: George S. Kaufman, Morrie Ryskind, Ira Gershwin, Of Thee I Sing
  • 1931: Susan Glaspell, Alison’s House
  • 1930: Marc Connelly, The Green Pastures
  • 1929: Elmer Rice, Street Scene
  • 1928: Eugene O’Neill, Strange Interlude
  • 1927: Paul Green, In Abraham’s Bosom
  • 1926: George Kelly, Craig’s Wife
  • 1925: Sidney Howard, They Knew What They Wanted
  • 1924: Hatcher Hughes, Hell-Bent for Heaven
  • 1923: Owen Davis, Icebound
  • 1922: Eugene O’Neill, Anna Christie
  • 1921: Zona Gale, Miss Lulu Bett
  • 1920: Eugene O’Neill, Beyond the Horizon
  • 1919: no award given
  • 1918: Jesse Lynch Williams, Why Marry?

Filed Under: Blog Tagged With: Awards, drama, Pulitzer Prize

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