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By the late sixteenth century more than fifty chroniclers and poets had produced versions of a fable that first appeared in Geoffrey of Monmouth's twelfth century Historia Regum Britanniae--the story of the British king who decided to divide his kingdom among his three daughters. Shakespeare's two versions (1608, 1623) are perhaps the clearest example of his transformation of a simple and thinly-drawn apprenticeship play into one of the masterpieces of the canon. In none of the four other wholesale revisions of his early plays does he so completely rethink and rewrite a story so as to change its genre, its message and its outcome. The evidence presented above demonstrates that the two Lear plays were written by the same person--the playwright who used the pseudonym William Shakespeare. His first version of King Leir was a pleasant romance intended to instruct and entertain. It reflected his basic Protestant beliefs, his recent exposure to the law, and his substantial plotting ability, but also his undeveloped poetic skills.

(177) There is yet a different solution, however: although \"light\" is an important point of modulation, readings of this line should connect it both to its predecessor (\"Yet she must die, else she'll betray more men\") and to its successor (\"If I quench thee, thou flaming minister\"), where, for the first time, Othello addresses the torch in his hand. Just as \"eye\" blends into \"I\" and out again-and \"sole\" elides imperceptibly with \"soul,\" requiring some body language on the part of Gratiano and Shylock to make the distinction clear-so, one might argue, Othello initially uses \"cause\" in the echt causal sense (the cause of his decision to kill) and then \"cause\" in the litigable sense (the cause that he presenting before a jury in the court of his own mind).

The distinctive theology of the Disciples of Christ prepared John Muir to understand nature as an agent of egalitarian, unifying, and primitive redemption. Because of God's immanent presence in the Yosemite, Muir believed that by immersing himself in the Sierra he could partake in its divinely natural redemption. This wild baptism imparted a more effective redemption than even the baptism offered by the Disciples, so Muir preached \"the gospel of glaciers,\" seeking to bring as many people as possible to the wilds where they would be cleansed by divine love. Because Muir feared some people were too encrusted by civilization to participate in wild religion, he developed a unique, second-person rhetoric to directly immerse his readers in \"Godful beauty\".

In the 1960s, Kenneth Muir and MacD. P. Jackson independently argued that William Shakespeare was the author of \"A Lover's Complaint\" and had written it in the 17th century. Most scholars have accepted their case. However, research by the Claremont McKenna College Shakespeare Clinic, run by Ward E. Y. Elliott and Robert J. Valenza, has been casting fresh doubt on Shakespeare's responsibility for the sonnet. The pair evolved a variety of tests for Shakespearean authorship, starting with his undisputed plays and establishing, for each of the linguistic phenomena counted, a range within which rates of occurrence for any authentic play should fall. Elliott and Valenza then applied the methodology to Shakespeare's poems and concluded that \"A Lover's Complaint\" may have been written by someone else. Jackson examines the methodology and defends the sonnet's authorship, making connections to Shakespeare's dramatic works. He concludes that unless an alternative candidate whose work shows even more points of contact with the poem than does Shakespeare's can be found, authorship should stand.

[...]Muir's work does generate an axiom of adaptation, which is as follows: a superior writer (Le., Shakespeare) revives an already existing story by bathing it in the purifying waters of his genius and artistry. In her analysis of Venice Preserved, Jessica Munns points out that in the wake of the Rye House Plot, which was supposed to be a scheme to assassinate Charles II and his brother James, Restoration audiences demonstrated an \"enthusiasm for discovering plots against the state\" (167). [...]Jaffeir's strange vow reprises the 'betrothal scene' between Othello and Iago. Venice Preserved makes it much easier to believe that murder is performed in the service of love, because the speedy death Jaffeir imparts to Pierre does enable the latter to escape torture.

Mr. Muir was hired in BGH's accounting department on July 16, 1951. He also served as a personnel and office manager, as well as assistant administrator, before being named acting administrator in 1961. Actively involved in the community for many years, he had been a member of the Dunsdon Legion and a member of the Doric Masonic Lodge. He also served as a director with the Ontario Hospital Association and a member of the Brant County Board of Education. Mr. Muir was also a member of the Brantford Rotary Club and the Brant Curling Club.

She was born July 2, 1912 in Woodruff, Utah, the daughter of William and Pearl Luella Porter Rees. She married Kenneth Earl Muir on August 27, 1930 in the Salt Lake LDS Temple.

\"KUBRICK wanted to show, not tell. He preferred to leave motive or `psychology' to be divined by the spectator. What he `meant' was never explicit. Ambiguity left him free but not responsible.\" (Frederic Raphael, The Times, July 12, 1999) Shakespeare, I suspect, went the same way as Kubrick. It would not have been a decisive inclination. All playwrights have to choose between show and tell, all the time. It is not possible to discard one or the other mode. But one can see direction in Shakespeare's journey. The Black Adder parody is close enough to Shakespear ean reality: Messenger Three: \"My lord, news! Lord Wessex is dead!\" King: \"I like it not: bring me some other news.\" Whereupon the Messenger obediently exits in search of better news. Shakespeare, who is perfectly aware of the Black Adder possibilities, soon gives up this kind of formula writing. One solution is to incorporate the Messenger, as an individual, into the dramatic situation. Thidias, the Messenger from Octavius, gets saucy with Antony. He soon learns his error. \"Take hence this jack and whip him.\" (Antony and Cleopatra, 3.13.95) He is brought back, too, for Antony's inspection, undoubtedly in poor shape: Still, a purely mechanical device is not welcome to Shakespeare. He prefers to make Chorus a genuine character, to absorb Chorus into the play. The trend-line begins in Romeo and Juliet, where Chorus, for Act 2, is acquiring a persona: \"Now old desire doth in his deathbed lie,/ And young affection gapes to be his heir.\" The tone of voice is mellow, understanding, sympathetic yet detached. Gielgud did it perfectly for the BBC-Time/Life version. By Henry V (five years later) Chorus is a fully- fledged character, fit for a major actor. He is spokesman for the Elizabethan Ministry of Defence but must reflect some reservations of his own. How else can he speak the Chorus from Act 5,