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John William Tuohy lives in Washington DC

Good words to have


Pittance 

A small portion, amount, or allowance; also : a meager wage or remuneration. Pity and pittance share etymological roots. The Middle English word pittance came from Anglo-French pitance, meaning "pity" or "piety." Originally, a pittance was a gift or bequest to a religious community, or a small charitable gift. Ultimately, the word comes from the Latin pietas, meaning "piety" or "compassion." Our words pity and piety come from pietas as well.


Good words to have




Napery 
NAY-puh-ree 
Household linen; especially: table linen. Napery has been used as a fancy word for our household linens, especially those used to cover a table, since the 14th century. The word derives via Middle English from Anglo-French nape, meaning "tablecloth," and ultimately from Latin mappa, "napkin." You can see part of the word napkin in that root; another, much less obvious relative is apron, which was once spelled as napron in Middle English but gradually evolved to its current spelling by way of English speakers habitually misdividing the phrase a napron as an apron.


Magnanimous 
1: showing or suggesting a lofty and courageous spirit 2:  showing or suggesting nobility of feeling and generosity of mind
The Latin word animus means "soul" or "spirit." In magnanimous, that animus is joined by Latin magnus, meaning "great." Basically meaning "greatness of spirit," magnanimity is the opposite of pettiness. A truly magnanimous person can lose without complaining and win without gloating. Angry disputes can sometimes be resolved when one side makes a magnanimous gesture toward another.


Muse
(myooz) 


A source of inspiration, verb intr.: To be absorbed in thought. To think or say something thoughtfully.
In Greek mythology, the Muses were nine goddesses, each of whom presided over an art or science. A museum is, literally speaking, a shrine to the Muses.
The Muses were the Greek goddesses of inspiration in literature, science and the arts. They were the daughters of Zeus and Mnemosyne (the personification of memory), and they were also considered water nymphs. Some scholars believed that the Muses were primordial goddesses, daughters of the Titans Uranus and Gaea. Personifications of knowledge and art, some of the arts of the Muses included Music, Science, Geography, Mathematics, Art, and Drama. They were usually invoked at the beginning of various lyrical poems, such as in the Homeric epics; this happened so that the Muses give inspiration or speak through the poet's words.
There were nine Muses according to Hesiod, protecting a different art and being symbolised with a different item; Calliope (epic poetry - writing tablet), Clio (history - scroll), Euterpe (lyric poetry - aulos, a Greek flute), Thalia (comedy and pastoral poetry - comic mask), Melpomene (tragedy - tragic mask), Terpsichore (dance - lyre), Erato (love poetry - cithara, a Greek type of lyre), Polyhymnia (sacred poetry - veil), and Urania (astronomy - globe and compass). On the other hand, Varro mentions that only three Muses exist: Melete (practice), Mneme (memory) and Aoide (song).
According to a myth, King Pierus of Macedon named his nine daughters after the Muses, thinking that they were better skilled than the goddesses themselves. As a result, his daughters, the Pierides, were transformed into magpies.




Dog logic: John has a new hat and sunglasses, ergo,I have a new hat and sunglasses




Good words to have



Nemesis
 (NEM-uh-suhs)
1. A formidable opponent or an archenemy. 2. A source of harm or ruin. 3. Retributive justice. In Greek mythology, Nemesis was the goddess of vengeance. From Greek nemesis (retribution), from nemein (to allot). Ultimately from the Indo-European root nem- (to assign or take), which also gave us number, numb, astronomy,renumerate, and anomie.
In the ancient Greek religion, Nemesis also called Rhamnousia/ Rhamnusia ("the goddess of Rhamnous") was the goddess who enacted retribution against those who succumb to hubris (arrogance before the gods). Another name was Adrasteia/ Adrestia, meaning "the inescapable". Her Roman name/ counterpart is Invidia.
The name Nemesis is related to the Greek word νέμειν némein, meaning "to give what is due", from Proto-Indo-European nem- "distribute".
Divine retribution is a major theme in the Hellenic world view, providing the unifying theme of the tragedies of Sophocles and many other literary works.
Nemesis appears in a still more concrete form in a fragment of the epic Cypria. She is implacable justice: that of Zeus in the Olympian scheme of things, although it is clear she existed prior to him, as her images look similar to several other goddesses, such as Cybele, Rhea, Demeter, and Artemis.
As the "Goddess of Rhamnous", Nemesis was honored and placated in an archaic sanctuary in the isolated district of Rhamnous, in northeastern Attica. There she was a daughter of Oceanus, the primeval river-ocean that encircles the world. Pausanias noted her iconic statue there.  She is portrayed as a winged goddess wielding a whip or a dagger.
The word Nemesis originally meant the distributor of fortune, neither good nor bad, simply in due proportion to each according to what was deserved.[citation needed] Later, nemesis came to suggest the resentment caused by any disturbance of this right proportion, the sense of justice that could not allow it to pass unpunished



Myrmidon
(MUHR-mi-dahn, -duhn) 
One who unquestioningly follows orders. In Greek mythology, the Myrmidons were led by Achilles in the Trojan War. The name is possibly from Greek myrmex (ant). In a version of the story, Zeus created Myrmidons from ants.

The Achilleis (after the Ancient Greek χιλληΐς, Achillēis, pronounced [akʰillɛːís]) is a lost trilogy by the Athenian dramatist Aeschylus. The three plays that make up the Achilleis exist today only in fragments, but aspects of their overall content can be reconstructed with reasonable certainty. 








Kindness is more important than




Kindness is more important than wisdom, and the recognition of this is the beginning of wisdom. 

-Theodore Rubin, psychiatrist and writer 


We have art in order

  
 “We have art in order not to die of the truth.” 

Friedrich Nietzsche



Good words to have



Widdershins 
In a left-handed, wrong, or contrary direction: counterclockwise
English speakers today are most likely to encounter widdershins as a synonym of counterclockwise. But in earliest known uses, found in texts from the early 1500s, widdershins was used more broadly in the sense of "in the wrong way or opposite direction." To say that one's hair "stood widdershins" was, in essence, to say that one was having a bad hair day. By the mid-1500s, English speakers had adopted widdershins to specifically describe movement opposite to the apparent clockwise direction (as seen from the northern hemisphere) of the sun traveling across the sky, which, at the time, could be considered evil or unlucky. The word originates from the Old High German widar, meaning "back" or "against," and sinnen, meaning "to travel."


Orphic
1. Melodious; entrancing. 2. Mystical; occult.
After Orpheus, a musician, poet, and prophet in Greek mythology. His lyre playing and singing could charm animals, trees, and even rocks. After his wife Eurydice, a nymph, died of a snakebite, he traveled to the underworld to bring her back. His music melted the heart of Hades, the god of the underworld, who allowed him to take his wife back on the condition that he not look back at her until they had reached the world of the living. They had almost made it when he looked back and lost her again. His mother Calliope/Kalliope has also given a word to the English language: calliopean. (kuh-lahy-uh-pee-uh n)
adjective
1.resembling a calliope in sound; piercingly loud: a calliopean voice.
In Greek Kalliópē means ”the beautiful voiced” and is the name of the Muse of eloquence, epic poetry, or even of all poetry.
In Greek mythology, Calliope (/kəˈlaɪ.əpiː/ kə-ly-ə-pee; Ancient Greek: Καλλιόπη, Kalliopē "beautiful-voiced") is the muse who presides over eloquence and epic poetry; so called from the ecstatic harmony of her voice. She is spoken of by Hesiod and Ovid as the "Chief of all Muses." She is mostly stated to be the eldest of the Muses, sometimes vying with her sister Urania for the position.
One account says Calliope was the lover of the war god Ares, and bore him several sons: Mygdon, Edonus, Biston, and Odomantus (or Odomas), respectively the founders of Thracian tribes known as the Mygdones, Edones, Bistones, and Odomantes
Calliope also had two famous sons, Orpheus and Linus, by either Apollo or the king Oeagrus of Thrace. She taught Orpheus verses for singing.
According to Hesiod, she was also the wisest of the Muses, as well as the most assertive. Calliope married Oeagrus close to Pimpleia, Olympus. She is said to have defeated the daughters of Pierus, king of Thessaly, in a singing match, and then, to punish their presumption, turned them into magpies. She was sometimes believed to be Homer's muse for the Iliad and the Odyssey. The Roman epic poet, Virgil, invokes her in the Aeneid
Calliope is usually seen with a writing tablet in her hand. At times, she is depicted carrying a roll of paper or a book or wearing a gold crown. She would also be seen with her children.
A little more about her lesser known son, Linus. In Greek mythology Linus refers to the musical son of Oeagrus, nominally Apollo, and the Muse Calliope. As the son of Apollo and a Muse, either Calliope or Terpsichore, he is considered the inventor of melody and rhythm. Linus taught music to his brother Orpheus and then to Heracles. Linus went to Thebes and became a Theban. According to a legend, he wrote the story of Dionysus and of the other mythical legends in Pelasgic writing. His life was ended by Heracles, who killed Linus with his own lyre after he reprimanded Heracles for making errors.



Hyperbole 
Extravagant, exaggeration
The noun comes from the Greek verb hyperballein, meaning "to exceed," not from the name of the Athenian demagogue. Hyperballein itself was formed from hyper-, meaning "beyond," and ballein, "to throw." Unrelated is that in the 5th century B.C. there was a rabble-rousing Athenian, a politician named Hyperbolus, who often made exaggerated promises and claims that whipped people into a frenzy. But even though it sounds appropriate, Hyperbolus' name did not play a role in the development of the m

*** PLAYWRIGHTS OPPORTUNITIES ***




Mad Apple Collective seeks one-act plays (UK - open to all playwrights)
The Locked Room
Four intriguing one-act plays set in the confines of a locked room…
We are looking for four brand-new one-act plays, which bring a sense of dark intrigue and mystery to our theme The Locked Room.
What can happen when people find themselves locked in a room? Who are they, how did they come to be there and is there a purpose to their incarceration? Yet more intriguing do they (all) get out?

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Pride Films and Plays is delighted to announce that submissions for the 2017 LezPlay Contest are now open.
The mission of LezPlay is to enhance the visibility and advance the viability of lesbian-centered stories for the stage. To that end, LezPlay honors excellence in storytelling by women-identified writers who present lesbian characters and themes—past, present, and future—in a pivotal, positive way.

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Balkan Regional Playwrights Contest for Children’s Drama 2017 play submission window will be open. Anybody over the age of 18, regardless of education, country or region may submit a play to the Balkan Regional Playwrights Contest for Children’s Drama 2017. Plays must be intended for children and teens


*** FOR MORE INFORMATION about these and other opportunities see the web site at http://www.nycplaywrights.org ***


*** WAR OF THE THEATRES ***

The War of the Theatres is the name commonly applied to a controversy from the later Elizabethan theatre; Thomas Dekker termed it the Poetomachia

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War of the theatres, in English literary history, conflict involving the Elizabethan playwrights Ben Jonson, John Marston, and Thomas Dekker. It covered a period when Jonson was writing for one children’s company of players and Marston for another, rival group.

In 1599 Marston presented a mildly satirical portrait of Jonson in his Histriomastix. That same year Jonson replied in Every Man Out of His Humour, ridiculing Marston’s style as “fustian.” Some scholars have thought that the character of Brabant Senior in Marston’s Jack Drum’s Entertainment (1599) was a lampoon on Jonson, though this is disputed. Marston certainly thought himself attacked in Jonson’s Cynthia’s Revels (c. 1600), and he satirized Jonson as Lampatho Doria in What You Will (1601). Meanwhile, in Poetaster (1601) Jonson represented Marston as an inferior poet and a plagiarist; he also extended the attack to Dekker, satirized as a hack playwright. Dekker replied with Satiro-mastix (1601), which lampooned Jonson as “the humorous poet.” The quarrel had been patched up by 1604, when Marston dedicated The Malcontent to Jonson.

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Shakespeare and the Poets' War In a remarkable piece of detective work, Shakespeare scholar James Bednarz traces the Bard s legendary wit-combats with Ben Jonson to their source during the Poets War. Bednarz offers the most thorough reevaluation of this War of the Theaters since Harbage’s Shakespeare and the Rival Traditions, revealing a new vision of Shakespeare as a playwright intimately concerned with the production of his plays, the opinions of his rivals, and the impact his works had on their original audiences. Rather than viewing Shakespeare as an anonymous creator, Shakespeare and the Poets War re-creates the contentious entertainment industry that fostered his genius when he first began to write at the Globe in 1599. Bednarz redraws the Poets War as a debate on the social function of drama and the status of the dramatist that involved not only Shakespeare and Jonson but also the lesser known John Marston and Thomas Dekker. 

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Comical Satire and the War of the Theatres

At the same time that Jonson was competing with Daniel and Drayton for patronage for his lyric poetry, he was also redirecting his theatrical energies toward the more literate and sophisticated members of the Elizabethan public. In Every Man out of His Humour (1599) and Cynthia’s Revels (1600) he extended the comedy of humours into a distinctive form of ‘comical satire’ orientated toward the taste of the London gallants and wits with whom he increasingly associated. Yet while his poetic skill and classical learning gained him entry into elite social and intellectual circles, his poverty and low status made his position tenuous, and his ridicule of fashionable folly risked offending the very groups from whom he sought patronage.

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Shakespeare in the text of the Parnassus plays

William Shakespeare is alluded to often, and his works are quoted by one count at least 95 times in the three Parnassus plays.[17] He is explicitly mentioned by name in the last two plays. At almost every turn he is satirized or mocked, which is to be expected in a satire, and also when the target of the satire has become very successful and well known.[18]

The Parnassus plays are seen, at least in part, as extending the war of words that had been occurring between the university men and those who were not part of that group. The university men would include Cambridge alumni Thomas Nashe and Robert Greene, who both had attacked Shakespeare in print: Nashe in his pamphlet, Pierce Penniless, and Greene in Greene's Groats-Worth of Wit. Shakespeare had replied in turn with some mockery of Nashe in his play Loves Labours Lost.[19]

Shakespeare and his theatre company, were on tour probably in 1601, and visited Oxford and Cambridge, sometime between the performances of parts two and three of the trilogy. This is indicated on the title-page of the first quarto of Hamlet (1603), where the play is said to have been acted “in the two Universities.”[20]

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The pilgrimage to Parnassus with the two parts of The return from Parnassus. Three comedies performed in St. John's college, Cambridge, A.D. 1597-1601. Ed. from mss. by the Rev. W.D. Macray"


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The War of the Theatres
1897


"The War of the Theatres" is a term which has been applied to the quarrels of Marston and Dekker with Ben Jonson, which found expression in satirical plays. To this "war" is due the close relationship which exists between the works of these dramatists between 1598 and 1602. Whether any other dramatists took part in this contest is almost wholly conjectural, and the present discussion of the subject will be confined chiefly to the works of the three authors mentioned. 
That Shakespeare may have taken a hand in the quarrel seems altogether likely from the well-known passage in The Rctiun frovi Parnassus ; but there is no other direct evidence that he did, and the indirect evidence is, unfortunately, inconclusive. 

This monograph is an attempt to show the relationship of the plays of which it treats, as regards the personal satire contained in them, by setting forth such evidence as has been found for the identification of the characters. The plays which will be discussed, in whole or in part, are Every Man in his Humour, Histrioniastix, The Case is Altered, Every Man out of his Humour, Patient Grissil, Jack Drum, Cynthia’s Revels, Antonio and Mellida, Part I., Poetaster, Satiromastix, What you Will, The Return from Parnassus, and Troilus and Cressida. 

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THE JONSON ALLUSION-BOOK
A COLLECTION OF ALLUSIONS TO BEN JONSON FROM 1597 TO 1700
1922

This volume proposes to do for Jonson what The Shakespeare Allusion-Book does for Shakespeare. While primarily intended to set forth the materials, within the limits specified, relating to Jonson's career as a man of letters, and to disclose the estimates of his genius as expressed by his contemporaries and immediate successors, it will also incidentally supply information on a variety of subjects connected with the literature of the time. For example, it will be of service as a partial allusion book to many poets of the Elizabethan and Jacobean ages; and it will be of no little
value as a body of seventeenth-century dramatic criticism.

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HISTRIO-MASTIX

Full text of "Histrio-Mastix : The players scourge, or, Actors Tragaedie, divided into two parts : wherein it is largely evidenced, by divers Arguments ... that popular stage-playes ... are sinfull, heathenish, lewde, ungodly spectacles, and most pernicious corruptions ... and that the profession of play-poets, of stage players, together with the penning, acting, and frequenting of stage-playes, are unlawfull, infamous and misbeseeming Christians"


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EVERY MAN OUT OF HIS HUMOUR


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JACK DRUM’S ENTERTAINMENT


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CYNTHIA’S REVELS


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WHAT YOU WILL


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THE POETASTER


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SATIRO-MASTIX


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THE MALCONTENT


Dedication of The Malcontent from John Marston to Ben Jonson

BENIAMINO JONSONIO POETAE ELEGANTISSIMO GRAVISSIMO
AMICO SVO CANDIDO ET CORDATO, JOHANNES MARSTON 
MUSARUM ALUMNUS ASPERAM HANC SVAM THALIAM D. D.


Roughly translated by Google Translate:

Poet Benjamin Jonson
Honest and wise  to his friend,
John Marston
Student of the Muses
Tart for it is Thalia
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