Thomas Middleton (1580 – July 1627) was an English Jacobean playwright and poet. Middleton stands with John Fletcher and Ben Jonson as among the most successful and prolific of playwrights who wrote their best plays during the Jacobean period. He was one of the few Renaissance dramatists to achieve equal success in comedy and tragedy. Also a prolific writer of masques and pageants, he remains one of the most noteworthy and distinctive of Jacobean dramatists.

Life
Middleton was born in London and baptised on 18 April 1580. He was the son of a bricklayer who had raised himself to the status of a gentleman and who, interestingly, owned property adjoining the Curtain theatre in Shoreditch.

Middleton attended Queen’s College, Oxford, matriculating in 1598, although he did not graduate. Before he left Oxford (sometime in 1600 or 1601), he wrote and published three long poems in popular Elizabethan styles; none appears to have been especially successful, and one, his book of satires, ran afoul of the Anglican Church's ban on verse satire and was burned. Nevertheless, his literary career was launched.
In the early 17th century, Middleton made a living writing topical pamphlets, including one—Penniless Parliament of Threadbare Poets—that enjoyed many reprintings as well as becoming the subject of a Parliamentary inquiry. At the same time, records in the diary of Philip Henslowe show that Middleton was writing for the Admiral's Men. Unlike Shakespeare, Middleton remained a free agent, able to write for whichever company hired him. His early dramatic career was marked by controversy. His friendship with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the War of the Theatres. The grudge with Jonson continued as late as 1626, when Jonson's play The Staple of News indulges a slur on Middleton's great success, A Game at Chess.[1] It has been argued that Middleton's Inner Temple Masque (1619) sneers at Jonson (then absent in Scotland) as a "silenced bricklayer."[2]
In 1603, Middleton married. The same year, an outbreak of plague forced the closing of the theatres in London, and James I assumed the English throne. These events marked the beginning of Middleton's greatest period as a playwright. Having passed the time during the plague composing prose pamphlets (including a continuation of Thomas Nashe's Pierce Penniless), he returned to drama with great energy, producing close to a score of plays for several companies and in several genres, most notably city comedy and revenge tragedy. He continued his collaborations with Dekker, and the two produced The Roaring Girl, a biography of contemporary thief Mary Frith.
In the 1610s, Middleton began his fruitful collaboration with the actor William Rowley, producing Wit at Several Weapons and A Fair Quarrel; working alone he produced his comic masterpiece, A Chaste Maid in Cheapside, in 1613. His own plays from this decade reveal a somewhat mellowed temper; certainly there is no comedy among them with the satiric depth of Michaelmas Term and no tragedy as bloodthirsty as The Revenger's Tragedy. Middleton was also branching out into other dramatic endeavours; he was apparently called on to help revise Macbeth and Measure for Measure, and at the same time he was increasingly involved with civic pageants. This last connection was made official when, in 1620, he was appointed City Chronologer of the City of London. He held this post until his death in 1627, at which time it was passed to Jonson.
Middleton's official duties did not interrupt his dramatic writings; the 1620s saw the production of his and Rowley's tragedy The Changeling, and several tragicomedies. In 1624, he reached a pinnacle of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. The play used the conceit of a chess game to present and satirise the recent intrigues surrounding the Spanish Match. Though Middleton's approach was strongly patriotic, the Privy Council shut down the play after nine performances on the complaint of the Spanish ambassador. Middleton faced an unknown, but probably frightening, degree of punishment. Since no play later than A Game at Chess is recorded, it has been hypothesized that his punishment included a ban on writing for the stage.
Middleton died at his home in Newington Butts in 1627, and was buried on 4 July in St Mary's churchyard]
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لقطة من أحد عروض مسرحية "الأمور بخواتيمها" في لندنويمكن العثور على مزيد من الأمثلة على هذه المفردات "الحديثة" في النص وصياغته، والتي تبدو أقرب إلى أسلوب ميدلتون منها إلى أسلوب شكسبير. ويُعتقد على نطاق واسع أن إثبات تعاون شكسبير وميدلتون في كتابة "الأمور بخواتيمها" سوف يقدم إضاءة مثيرة على كيفية إنجاز شكسبير لمؤلفاته.

August 23, 2011
The Great Awe-Wakening

How often do we hear young people today exclaim “that’s awesome!” or “I’m in awe?” Or in another context, how often do we continue (!) to hear military authorities characterize their bombing operations in the epic terms of “shock and awe?” A bit too often, I’m afraid. Yet, the fact that “awe” — and its variants — are flooding our vocabulary is not an altogether menacingتهديد sign. Indeed it is perhaps a welcoming sign that beyond its casual usage, the fuller and deeper sensibility of “awe” is reemerging in our culture.
The sensibility of awe has undergone many incarnations in humanity’s history. In ancient times, for example, awe was viewed quite narrowly as the sense of being daunted or overcome, particularly by nature. The experience of being daunted, as Rudolf Otto put it in his classic study of religion The Idea of the Holy, was the primal experience of creation, and the primal experience of creation, he went on, was the seedbed for religion. On the other hand, in more recent years, the sensibility of awe has either been neglected, as was the case during the industrial revolution and rise of science, or in our contemporary age, embraced mainly for its exalting qualities, such as its capacity to thrill.
The truth, however, is that awe is neither a paralyzing jolt nor a “feel good” boost but a profound and complex attitude. This attitude, for those fortunate enough to harbor it, embraces both apprehension and thrill, humility and the grandeur of creation. Hence when young people proclaim “awwwesome,” they often appear to glimpse but not necessarily embrace essential awe.

اليقظة المرتبطة بالصدمة المروعة .......أغسطس 23 عام 2011 .
اليقظة الكبرى المرتبطة بالصدمة

إن الإحساس بالهلع والترويع يعود ليتجسد بعدة أشكال في تاريخ البشرية. في العصور القديمة، مثلا ، كان ينظر إلى الترويع من زاوية ضيقة تتمثل في الرهبة المثبطة للهمة أو الهلع من أحداث الطبيعة المروعة . إن التجارب التي تصيب الناس بالهلع يقول رادولف اتو، في دراسته الكلاسيكية للدين بعنوان ( فكرة المقدس) كانت التجارب الأساسية في عملية الخلق والتجارب الأساسية للخلق يقول اتو، هي الأرض الخصبة لولادة الدين.
في المقابل نجد انه المعنى أو الإحساس المرتبط بكلمة الهلع awe في العصور الحديثة نجد انه قد تم اهماله وذلك ما حصل مثلا أثناء الثورة الصناعية وصعود العلوم. بينما نجد أن المعنى المرتبط بالكلمة في عصرنا الحاضر يقتصر على المعنى الايجابي والذي يقصد به التمجيد مثل قدرة الكلمة على التأثير.
والصحيح ان الشعور بالهلع لا يؤدي إلى شل الحركة ولا إلى الإحساس الطيب، ولكنه وضع او موقف عميق ومعقد. وهذا الوضع الذي يحصل مع من له حظ يؤدي إلى حصول زيادة في الإدراك واللذة والمرتبطة بالتواضع والعظمة لعملية الخلق.
وعليه فعندما يقول الشباب بأنهم أصيبوا بالهلع أو الدهشة أو الروعة...فهم غالبا ما يكونوا قد اختبروا شيء من الإحساس بالروعة وليس الهلع أو الروعة المرتبط بالكلمة بمعناها الكامل.

يتبع،،،

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تذكر دائما "الايتام مشاريع العظماء ....وهم بحاجة لدعمك ورعايتك واهتمامك ولتتذكر ان اهم استثمار يمكن ان يقوم به الانسان هو الاستثمار في عقل يتيم".

يمكنك مشاهدة ودعوة اصدقائك لمشاهدة ما اقوله عن العلاقة بين اليتم والعبقرية حسب نظريتي في تفسير الطاقة الابداعية على الرابط التالي:


http://www.youtube.com/channel/UCHE03RH2wntdVG1beTS4YYg

I especially feared the night, because this was the time when the void opened wide, and the most the sinister figure imaginable rushed in — the unknown

إن الصدمة المريعة التي أيقظتني أنا شخصيا بدأت منذ 50 سنة وعندما كنت في سن الثانية والنصف. حدث ذلك عندما انهار أخي الذي كان في السابعة من عمره على سرير إحدى المستشفيات بعد معركة طويلة مع مرض الجدري تضاعف أثره بسبب إصابته بذات الرئة. ومع انهيار آخى انهار عالمي أيضا.

فلم يبق شيء على ما كان عليه. فقد ذهبت براءتي وروتين حياتي وأحدثت صدمة الموت أثرا كبيرا على والدي فلم يعودا أبدا كما كانا. لقد احدث موت أخي مزقا في نسيج طفولتي الذي كان يمنحني الأمان. ومن خلال ذلك الشق الذي وقع للنسيج الذي كان يمنحني الآمان دخلت العفاريت من كل جنس ونوع يمكن للإنسان أن يتخيله- ومن ذلك الساحرات وفرانكيشتيان والوحوش وقتله من دون وجوه.

لقد كنت أخشى الليل بشكل خاص لان مشاعر الفقد والفراغ والهوة التي كنت أحسها تزداد اتساعا في ساعات العتمة...حيث كانت أكثر الشخوص التي يمكن تخليها شرا... تتربص بي لتدخل من تلك الكوة الفارغة.

]Madeleine de Scudéry (15 November 1607 – 2 June 1701), often known simply as Mademoiselle de Scudéry, was a French writer. She was the younger sister of author Georges de Scudéry

Her father, captain of the port in Le Havre, died in 1613 with her mother following shortly after.[1] Madeleine and her brother Georges de Scudéry were placed in the care of an uncle who cared for them very well

.[1] He gave Madeleine an abnormally well-rounded education: she studied writing, spelling, drawing, dancing, painting, and needlework.[1] In addition, on her own, Madeleine studied agriculture, medicine, cooking, Spanish, and Italian.[1] Her works also demonstrate comprehensive knowledge of ancient history that it is suspected she had received instruction in Greek and Latin.[1] In 1637, following the death of her uncle, Scudéry established herself at Paris with her brother. Georges de Scudéry became a playwright.[1] Madeleine often used her brother's name to publish her works.[1] She was at once admitted to the Hôtel de Rambouillet coterie, and afterwards established a salon of her own under the title of the Société du samedi (Saturday Society). For the last half of the 17th century, under the pseudonym of Sapho or her own name, she was acknowledged as the first bluestocking of France and of the world. She formed a close friendship with Paul Pellisson which was only ended by his death in 1693. She never married.Madeleine de Scudéry (15 November 1607 – 2 June 1701), often known simply as Mademoiselle de Scudéry, was a French writer. She was the younger sister of author Georges de Scudéry.

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Marie-Madeleine Pioche de La Vergne, comtesse de La Fayette (baptized 18 March 1634 – 25 May 1693), better known as Madame de La Fayette, was a French writer, the author of La Princesse de Clèves, France's first historical novel and one of the earliest novels in literature.
Life[edit source]

Christened Marie-Madeleine Pioche de La Vergne, she was born in Paris to a family of minor but wealthy nobility. At 16, de la Vergne became the maid of honor to Queen Anne of Austria and began also to acquire a literary education from Gilles Ménage, who gave her lessons in Italian and Latin. Ménage would lead her to join the fashionable salons of Madame de Rambouillet and Madeleine de Scudéry. Her father, Marc Pioche de la Vergne, had died a year before, and the same year her mother married Renaud de Sévigné, uncle of Madame de Sévigné, who would remain her lifelong intimate friend.
In 1655, de la Vergne married François Motier, comte de La Fayette, a widowed nobleman some eighteen years her senior, with whom she would have two sons. She accompanied him to country estates in Auvergne and Bourbonnais although she made frequent trips back to Paris, where she began to mix with court society and formed her own successful salon. Some of her acquaintances included Henrietta of England, future Duchess of Orleans, who asked La Fayette to write her biography; Antoine Arnauld; and the leading French writers Segrais and Huet. Earlier on, during the Fronde, La Fayette had also befriended the Cardinal de Retz.
Settling permanently in Paris in 1659, La Fayette published, anonymously, La Princesse de Montpensier in 1662. From 1665 onwards she formed a close relationship with François de La Rochefoucauld, author of Maximes, who introduced her to many literary luminaries of the time, including Racine and Boileau. 1669 saw the publication of the first volume of Zaïde, a Hispano-Moorish romance which was signed by Segrais but is almost certainly attributable to La Fayette. The second volume appeared in 1671. The title ran through reprints and translations mostly thanks to the preface Huet had offered.


Marie de LaFayette's La Princesse de Clèves (1678)
La Fayette's most famous novel was La Princesse de Clèves, first published anonymously in March 1678. An immense success, the work is often taken to be the first true French novel and a prototype of the early psychological novel.
The death of La Rochefoucauld in 1680 and her husband in 1683 led La Fayette to lead a less active social life in her later years. Three works were published posthumously: La Comtesse de Tende (1718), Histoire d'Henriette d'Angleterre (1720), and Memoires de la Cour de France (1731).[/LEFT

Alain-René Lesage (6 May 1668 – 17 November 1747; older spelling Le Sage) was a French novelist and playwright. Lesage is best known for his comic novel The Devil upon Two Sticks (1707, Le Diable boiteux), his comedy Turcaret (1709), and his picaresque novel Gil Blas (1715–1735).

Youth and education[edit source]
Claude Lesage, the father of the novelist, held the united positions of advocate, notary and registrar of the royal court in Rhuys. His mother's name was Jeanne Brenugat. Both Lesage's father and mother died when Lesage was very young, and he was left in the care of his uncle who wasted his education and fortune. Père Bochard, of the Order of the Jesuits, Principal of the College in Vannes, became interested in the boy on account of his natural talents. Bochard cultivated Lesage's taste for literature. At age 25, Lesage went to Paris in 1693 "to pursue his philosophical studies".

Henri-Benjamin Constant de Rebecque (25 October 1767 – 8 December 1830), or simply Benjamin Constant, was a Swiss-born French politician, writer on politics and religion. He was the author of a partly biographical psychological novel, Adolphe. He was a fervent liberal [1] of the early 19th century who influenced the Trienio Liberal movement in Spain, the Liberal Revolution of 1820 in Portugal, the Greek War of Independence, the November Uprising in Poland, the Belgian Revolution, and Liberalism in Brazil and Mexico.

also]

Henri-Benjamin Constant was born in Lausanne to descendants of Huguenot Protestants who had fled from Artois to Switzerland during the Huguenot Wars in the 16th century. His father, Samuel Constant de Rebecque, served as a high-ranking officer in the Dutch States Army, like his grandfather, his uncle and his cousin Jean Victor de Constant Rebecque. When Constant's mother died soon after his birth, both his grandmothers took care of him. He was educated by private tutors in Brussels (1779), the Netherlands (1780), and at the Protestant University of Erlangen (1783), where he gained appointment to the court of Duchess Sophie Caroline Marie of Brunswick-Wolfenbüttel. He had to leave after an affair with a girl, and moved to the University of Edinburgh. There he lived at the home of Andrew Duncan, the elder and became friends with James Mackintosh[2] and Malcolm Laing.[3] When he left the city he promised to pay back his gambling debts.