By Jane Smiley

A profitable Iowa farmer makes a decision to divide his farm among his 3 daughters. while the youngest items, she is minimize out of his will. This units off a series of occasions that brings darkish truths to gentle and explodes long-suppressed feelings. An formidable reimagining of Shakespeare’s King Lear forged upon a standard American group within the overdue 20th century, A Thousand Acres takes on subject matters of fact, justice, love, and satisfaction, and divulges the attractive but treacherous topography of humanity.

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Rabb, The Struggle for Stability in Early Modern Europe (New York: Oxford University Press, 1975), 116. 5. Valerie I. J. : Princeton University Press, 1991), 4. 6. G. G. Coulton, Five Centuries of Religion, 4 vols. (Cambridge: Cambridge University Press, 1923), 1:66. 7. Flint, Rise of Magic, 71, 107. 8. The story is powerfully retold, and the linkages detailed, in Gary Wills, Witches and Jesuits: Shakespeare’s “Macbeth” (New York: Oxford University Press, 1995), 13– 31. 9. Wills, Witches and Jesuits, 97.

Without any hesitation whatever, she pounces on this weaseling excuse. 47– 60). ” She soars: “What cannot you and I perform . . 60, 70). 73),he assures her, and then delightedly chortles about how well the whole thing will surely work. She agrees, and he ends the act by affirming,“I am settled,” accepting without further protest the remainder of the banquet’s inevitable burdens of active duplicity. 80– 83). They go back to the banquet together, manifestly blithe and resolved. Macbeth does, later in the play, like to think of himself as a victim, when things start to go wrong.

13. : Bobbs-Merrill, 1971), 135. 14. See Burton Raffel,“Metrical Dramaturgy in Shakespeare’s Earlier Plays,” CEA Critic 57, no. 3 (1995): 51– 65, and Raffel,“Who Heard the Rhymes, and How: Shakespeare’s Dramaturgical Signals,” Oral Tradition 11, no. 2 (1996): 190 –221. xxxvii some essentials of t h e s h a k e s p e a r e a n s tag e Q The Stage • There was no scenery (backdrops, flats, and so on). • There were virtually no on-stage props, only an occasional chair or table, a cup or flask. • Costumes (which belonged to and were provided by the individual actors) were very elaborate.

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