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ترقبوا التحديث الجديد مزايا عديدة وخيارات تفاعلية سهلة وسريعه.
فتيات اكبر موقع وتطبيق نسائي في الخليج والوطن العربي يغطي كافة المجالات و المواضيع النسائية مثل الازياء وصفات الطبخ و الديكور و انظمة الحمية و الدايت و المكياج و العناية بالشعر والبشرة وكل ما يتعلق بصحة المرأة.
أميرة بلا إمارة
05-03-2022 - 04:20 am
السلام عليكم ورحمة الله وبركاته..
الله يجزاكم خير ابغى مساعدتكم.. ابغى بحث عن مسرحية Everyman and medieval meracle
ابغى بس عن الشخصيات اللي في المسرحية character والله يعافيكم ابغى قبل نهاية الاسبوع.. بليز اللي ما تعرف تكتب للرفع عشان حد يساعدني.
الله يعافيكم ويوفقكم ويحقق لكم ما تتمنوه ويرزقكم الجنة...
الله يجزاكم خير ابغى مساعدتكم.. ابغى بحث عن مسرحية Everyman and medieval meracle
ابغى بس عن الشخصيات اللي في المسرحية character والله يعافيكم ابغى قبل نهاية الاسبوع.. بليز اللي ما تعرف تكتب للرفع عشان حد يساعدني.
الله يعافيكم ويوفقكم ويحقق لكم ما تتمنوه ويرزقكم الجنة...
التعليقات (7)
hello. this is all i could find for you
God : Just but merciful Supreme Being
. Death : Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods : Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds : The only friend willing to accompany Everyman to the afterlife.
Knowledge : Character that tells Everyman what he must do to obtain
salvation.
Confession : Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty : Earthly acquaintances of Everyman who abandon him in his time of need.
Angel : Creature that welcomes Everyman to the celestial realm.
God : Just but merciful Supreme Being
. Death : Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods : Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds : The only friend willing to accompany Everyman to the afterlife.
Knowledge : Character that tells Everyman what he must do to obtain
salvation.
Confession : Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty : Earthly acquaintances of Everyman who abandon him in his time of need.
Angel : Creature that welcomes Everyman to the celestial realm.
الله يعطيكم العافية ويوفقكم ولا يحرمكم من رؤوية وجهه الكريم..آمين
’,
بس لو تترجمونها الله يعافيكم
hello. this is all i could find for you
God : Just but merciful Supreme Being
. Death : Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods : Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds : The only friend willing to accompany Everyman to the afterlife.
Knowledge : Character that tells Everyman what he must do to obtain
salvation.
Confession : Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty : Earthly acquaintances of Everyman who abandon him in his time of need.
Angel : Creature that welcomes Everyman to the celestial realm.
بس لو تترجمونها الله يعافيكم
hello. this is all i could find for you
God : Just but merciful Supreme Being
. Death : Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods : Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds : The only friend willing to accompany Everyman to the afterlife.
Knowledge : Character that tells Everyman what he must do to obtain
salvation.
Confession : Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty : Earthly acquaintances of Everyman who abandon him in his time of need.
Angel : Creature that welcomes Everyman to the celestial realm.
Hi dear.. i have searched the net and found a reasonable explanation for miracle plays in medieval ages.
i
Miracle or Morality Plays are generic terms given to vernacular religious dramas of medieval times (from the 5th century to about the 15th century). These plays, performed in most countries across ****pe, including Spain, developed from the liturgy of the Roman Catholic Church after 1210 when a papal edict forbade members of the clergy from appearing on a stage in public. Such plays had considerable influence on the work of the great English dramatists of the 1500s and 1600s.
When the simple scenes from the Bible that had become part of the liturgy could no longer be performed by the priests early in the 13th century, the miracle plays came into existence. These plays had as subject matter the miracles performed by the saints or, more frequently, scenes from the Old and New Testaments. Miracle plays, also known as Saint Plays, in crude form were presented at Easter and on other holy days. They gained a formalized structure in the late 13th or early 14th century and reached the height of their popularity in the 15th and 16th centuries. Miracle plays dealing with the legends of the saints were less realistic and more religious in tone than those concerned with biblical episodes, and were eventually superseded by the latter.
The plays were generally given in cycles, or sequences of related scenes, each of which required only a short time to perform. Often, each scene was acted by members of one of the trade guilds (then known as mysteries ) of the town. The cycles presented the Christian history of God and humanity, from the creation of human beings and the world to final judgement. The important cycles, named after the towns in which they were notably performed, are the Chester (25 scenes), the Wakefield (30 scenes), the York (48 scenes), the Norwich, and the Coventry plays. The cycles were generally performed outdoors on festival days and particularly on the feast of Corpus Christi . Each guild acted its assigned scene on its own wagon or float on wheels, which could be moved from one place to another for repeated performances.
To the scenes from the Bible the anonymous playwrights added interludes consisting of realistic comedy based on situations and ideas of a contemporary nature. The miracle play, therefore, was not only a biblical drama or scene, but also included scenes of realistic medieval comedy. A well-known miracle play is the Second Shepherd's Play of the Wakefield Cycle. This story of the shepherds watching their flock in the fields on the night of Christ's birth is enlivened by the comic episode in which one of the sheep is stolen; the thief hides the sheep in a cradle in his home and, brought to bay, pretends the little animal is a baby girl.
The term mystery play, also called a Corpus Christi play or simply mystery, is sometimes used synonymously with miracle play. Some literary authorities make a distinction between the two, designating as mystery plays all types of early medieval drama that draw their subject matter from Gospel events and as miracle plays all those dealing with legends of the saints.
Sometimes known simply as a morality, the morality play was most popular in the 15th and early 16th centuries. It was designed to instruct audiences in the Christian way of life and the Christian attitude towards death. The general theme of the morality play is the conflict between good and evil for the human soul; the play always ends with the saving of the soul. The characters of the morality play are not the saints or biblical personages of the miracle play, but personifications of such abstractions as flesh, gluttony, lechery, sloth, pride, envy, hope, charity, riches, and strength.
Some of the moralities were anonymous; others were by known authors. The best known of the former type is Everyman (late 15th century), which probably was derived from a Dutch source but was thoroughly Anglicized. In the play the protagonist Everyman learns that everything material he has gained in life deserts him as he journeys into the Valley of Death; n the end only the allegorical personage Good Deeds accompanies him
المسرحية الأخلاقية أو الأعاجيبية هي مصطلحات لمسرحيات دينية متعددة في العصور الوسطى مثلت في دول عدة في أوروبابما فيها اسبانيا ونشأت عن القداس في الكنيسة الكاثوليكية بعد عام1210م حينما منع المرسوم البابوي رجال الدين المسيحي منالظهور على المسرح أمام عامة الناس.وكان لهذه المسرحيات عميق الأثر على عمل كتاب مسرحيين فى ذلك العصر.
i
Miracle or Morality Plays are generic terms given to vernacular religious dramas of medieval times (from the 5th century to about the 15th century). These plays, performed in most countries across ****pe, including Spain, developed from the liturgy of the Roman Catholic Church after 1210 when a papal edict forbade members of the clergy from appearing on a stage in public. Such plays had considerable influence on the work of the great English dramatists of the 1500s and 1600s.
When the simple scenes from the Bible that had become part of the liturgy could no longer be performed by the priests early in the 13th century, the miracle plays came into existence. These plays had as subject matter the miracles performed by the saints or, more frequently, scenes from the Old and New Testaments. Miracle plays, also known as Saint Plays, in crude form were presented at Easter and on other holy days. They gained a formalized structure in the late 13th or early 14th century and reached the height of their popularity in the 15th and 16th centuries. Miracle plays dealing with the legends of the saints were less realistic and more religious in tone than those concerned with biblical episodes, and were eventually superseded by the latter.
The plays were generally given in cycles, or sequences of related scenes, each of which required only a short time to perform. Often, each scene was acted by members of one of the trade guilds (then known as mysteries ) of the town. The cycles presented the Christian history of God and humanity, from the creation of human beings and the world to final judgement. The important cycles, named after the towns in which they were notably performed, are the Chester (25 scenes), the Wakefield (30 scenes), the York (48 scenes), the Norwich, and the Coventry plays. The cycles were generally performed outdoors on festival days and particularly on the feast of Corpus Christi . Each guild acted its assigned scene on its own wagon or float on wheels, which could be moved from one place to another for repeated performances.
To the scenes from the Bible the anonymous playwrights added interludes consisting of realistic comedy based on situations and ideas of a contemporary nature. The miracle play, therefore, was not only a biblical drama or scene, but also included scenes of realistic medieval comedy. A well-known miracle play is the Second Shepherd's Play of the Wakefield Cycle. This story of the shepherds watching their flock in the fields on the night of Christ's birth is enlivened by the comic episode in which one of the sheep is stolen; the thief hides the sheep in a cradle in his home and, brought to bay, pretends the little animal is a baby girl.
The term mystery play, also called a Corpus Christi play or simply mystery, is sometimes used synonymously with miracle play. Some literary authorities make a distinction between the two, designating as mystery plays all types of early medieval drama that draw their subject matter from Gospel events and as miracle plays all those dealing with legends of the saints.
Sometimes known simply as a morality, the morality play was most popular in the 15th and early 16th centuries. It was designed to instruct audiences in the Christian way of life and the Christian attitude towards death. The general theme of the morality play is the conflict between good and evil for the human soul; the play always ends with the saving of the soul. The characters of the morality play are not the saints or biblical personages of the miracle play, but personifications of such abstractions as flesh, gluttony, lechery, sloth, pride, envy, hope, charity, riches, and strength.
Some of the moralities were anonymous; others were by known authors. The best known of the former type is Everyman (late 15th century), which probably was derived from a Dutch source but was thoroughly Anglicized. In the play the protagonist Everyman learns that everything material he has gained in life deserts him as he journeys into the Valley of Death; n the end only the allegorical personage Good Deeds accompanies him
المسرحية الأخلاقية أو الأعاجيبية هي مصطلحات لمسرحيات دينية متعددة في العصور الوسطى مثلت في دول عدة في أوروبابما فيها اسبانيا ونشأت عن القداس في الكنيسة الكاثوليكية بعد عام1210م حينما منع المرسوم البابوي رجال الدين المسيحي منالظهور على المسرح أمام عامة الناس.وكان لهذه المسرحيات عميق الأثر على عمل كتاب مسرحيين فى ذلك العصر.
Heinrich-Heine-Universität
PS: Middle English Drama
WS: 2003/04
Dozent: Achim Helbig; M.A.
Referentinnen: Christina Kirschbaum, Ines Henne
Datum: 21.01.04
Everyman
Background:
- Everyman is the best surviving example of the type of medieval drama known as the morality play
- The author is unknown
- Probably a translation of the Flemish play Elckerlijc which was written for a Rhetoricians´ festival in Antwerp held in 1495
- The English version is preserved in only four printed copies which date roughly from the period between 1508 and 1537
- Very short play of some 900 lines
- Both plays are a product of Catholic ****pe (not of England or Holland in particular) and show the continental reformist religious movement
- Nowadays the German play Jedermann by Hugo von Hofmannsthal (between 1909 and 1911) is the best-known play following the example of the English Everyman. Since 1920 the Salzburger Festspiele are opened with Jedermann.
The Plot:
- In the beginning God complains about the sinful people in the world who pay more attention to wordly riches than to Christian values
- In God´s name Death has to tell Everyman that he has to go on a pilgrimage to his reckoning and he orders him to make a book of accounts for the judgement.
- As he is afraid to make this pilgrimage alone, he first asks Fellowship to accompany him. In the beginning Fellowship promises to do everything for him, but as soon as he realizes that it is a journey to death, he deserts Everyman.
- Then Everyman goes to his Kindred and his Cousin but they are not willing to come with him either and they make up excuses.
- He turns to his Goods but he tells him that it is not his duty to save Everyman´s soul.
- In his desperation he goes to his Good Deeds who is willing to come with him but too weak because of Everyman´s sins. In order to strengthen Good Deeds he receives -supported by Knowledge- the sacraments via Confession and the gown of contrition and Good Deeds recovers.
- Then he calls Beauty, Strength, Discretion and his Five Wits who accompany him to his grave after he has received the last sacraments from a priest. But when they see the grave they desert him also and only Good Deeds stays with him, though Knowledge accompanies him to the graveside.
PS: Middle English Drama
WS: 2003/04
Dozent: Achim Helbig; M.A.
Referentinnen: Christina Kirschbaum, Ines Henne
Datum: 21.01.04
Everyman
Background:
- Everyman is the best surviving example of the type of medieval drama known as the morality play
- The author is unknown
- Probably a translation of the Flemish play Elckerlijc which was written for a Rhetoricians´ festival in Antwerp held in 1495
- The English version is preserved in only four printed copies which date roughly from the period between 1508 and 1537
- Very short play of some 900 lines
- Both plays are a product of Catholic ****pe (not of England or Holland in particular) and show the continental reformist religious movement
- Nowadays the German play Jedermann by Hugo von Hofmannsthal (between 1909 and 1911) is the best-known play following the example of the English Everyman. Since 1920 the Salzburger Festspiele are opened with Jedermann.
The Plot:
- In the beginning God complains about the sinful people in the world who pay more attention to wordly riches than to Christian values
- In God´s name Death has to tell Everyman that he has to go on a pilgrimage to his reckoning and he orders him to make a book of accounts for the judgement.
- As he is afraid to make this pilgrimage alone, he first asks Fellowship to accompany him. In the beginning Fellowship promises to do everything for him, but as soon as he realizes that it is a journey to death, he deserts Everyman.
- Then Everyman goes to his Kindred and his Cousin but they are not willing to come with him either and they make up excuses.
- He turns to his Goods but he tells him that it is not his duty to save Everyman´s soul.
- In his desperation he goes to his Good Deeds who is willing to come with him but too weak because of Everyman´s sins. In order to strengthen Good Deeds he receives -supported by Knowledge- the sacraments via Confession and the gown of contrition and Good Deeds recovers.
- Then he calls Beauty, Strength, Discretion and his Five Wits who accompany him to his grave after he has received the last sacraments from a priest. But when they see the grave they desert him also and only Good Deeds stays with him, though Knowledge accompanies him to the graveside.
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http://en.wikipedia.org/wiki/Everyman_(play)