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* SisterhoodEliminatesCreep: The p
to:
* SisterhoodEliminatesCreep: The pplay is about a CasanovaWannabe who ends up getting taunted by practical jokes.
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Changed line(s) 14 (click to see context) from:
* AbhorrentAdmirer: Falstaff, Slender.
to:
* AbhorrentAdmirer: Falstaff, Slender.AbhorrentAdmirer:
** Falstaff to mistresses Page and Ford.
** Slender to Anne.
** Falstaff to mistresses Page and Ford.
** Slender to Anne.
* EasilyForgiven:
** Once Fenton points out how unhappy Anne would have been in an arranged marriage, neither one of her parents has a single critical word to say about the young lovers' secret wedding.
** Mistress Ford doesn't hold a grudge against her husband for wrongly suspecting her of cheating on him with Falstaff.
** Once Fenton points out how unhappy Anne would have been in an arranged marriage, neither one of her parents has a single critical word to say about the young lovers' secret wedding.
** Mistress Ford doesn't hold a grudge against her husband for wrongly suspecting her of cheating on him with Falstaff.
Changed line(s) 26 (click to see context) from:
* FunetikAksent: Shakespeare writes out Hugh's Welsh accent and Doctor Caius's French accent.
to:
* FunetikAksent: Shakespeare writes out Hugh's Evans's Welsh accent and Doctor Caius's French accent.accent. When Evans is disguised as a fairy, he tries to suppress his accent. He succeeds partially--it's not written out phonetically anymore, but it's still heavyt enough to be recognizable as a Welsh accent.
-->'''Falstaff''': Heavens defend me from that Welsh fairy, lest he transform me to a piece of cheese!
-->'''Falstaff''': Heavens defend me from that Welsh fairy, lest he transform me to a piece of cheese!
* GoldDigger: Falstaff is short on funds. Mistresses Page and Ford are not. So Falstaff sends them identically worded love letter (apart from their names), hoping that they might respond favorably.
Changed line(s) 39 (click to see context) from:
* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, and is less than pleased when he finds out.
to:
* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, ''doesn't'' know this, and is less than none too pleased when he finds out.
Changed line(s) 48,51 (click to see context) from:
* UnsettlingGenderReveal:
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's HumiliationConga.
** CounterZany: In the denouement, the two preferred suitors discover they've eloped with decoy Annes while the real thing has eloped with ''her'' preferred suitor.
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's HumiliationConga.
** CounterZany: In the denouement, the two preferred suitors discover they've eloped with decoy Annes while the real thing has eloped with ''her'' preferred suitor.
to:
* UnsettlingGenderReveal:
ScoobyDooHoax: A bunch of people disguised as fairies scare the living daylights out of Falstaff as revenge for his dishonest behavior.
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff'sHumiliationConga.
** CounterZany:HumiliationConga. In the denouement, the two preferred suitors discover they've eloped with [[CounterZany decoy Annes Annes]] while the real thing has eloped with ''her'' preferred suitor.
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's
** CounterZany:
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** The decoy boy working for Mistress Page fits this trope on multiple levels. He's dressed up as the fairy queen, to scare Falstaff, but he's also pretending that it's Anne, and not him, underneath the costume. In other words, he's playing the role of fairy queen and the role of Anne simultaneously.
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Deleted line(s) 24 (click to see context) :
**
* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, and is less than pleased when he finds out.
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* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, and is less than pleased when he finds out.
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Changed line(s) 40 (click to see context) from:
** During Falstaff's final humiliation by the "fairies" (that are actually normal humans in disguise) Anne's father, George Page, wants to sneak Anne, who will be disguised as the fairy queen, off with Slender so that Anne and Slender can get married like George wants. Anne's mother, Margaret, wants her to marry doctor Caius instead, so she's made arrangements for the role of the fairy queen to be played by [[WholesomeCrossdresser a boy]] instead. That way, the "Anne" in the fairy queen suit will be a decoy to fool George. The real Anne will be another of the masked "fairies," made to dress in green so that Margaret can tell which one is Anne.
to:
** During Falstaff's final humiliation by the "fairies" (that are actually normal humans in disguise) Anne's father, George Page, Page, wants to sneak Anne, who will be disguised as the fairy queen, off with Slender so that Anne and Slender can get married like George wants. Anne's mother, Margaret, wants her to marry doctor Caius instead, so she's made arrangements for the role of the fairy queen to be played by [[WholesomeCrossdresser a boy]] instead. That way, the "Anne" in the fairy queen suit will be a decoy to fool George. The real Anne will be another of the masked "fairies," made to dress in green so that Margaret can tell which one is Anne.
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Changed line(s) 8,9 (click to see context) from:
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love," but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
to:
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love," but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who Dennis--who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
* DisguisedInDrag: This is the only Shakespeare play where a man disguises himself as a woman, and not the other way around.
** Falstaff dresses up as the Witch of Branford to safely get out of the Fords' house after Master Ford comes home early.
**
** Falstaff dresses up as the Witch of Branford to safely get out of the Fords' house after Master Ford comes home early.
**
* FunnyForeigner: Both Doctor Caius and Hugh Evans serve as this.
* KansasCityShuffle: Attempted twice, successful once.
** During Falstaff's final humiliation by the "fairies" (that are actually normal humans in disguise) Anne's father, George Page, wants to sneak Anne, who will be disguised as the fairy queen, off with Slender so that Anne and Slender can get married like George wants. Anne's mother, Margaret, wants her to marry doctor Caius instead, so she's made arrangements for the role of the fairy queen to be played by [[WholesomeCrossdresser a boy]] instead. That way, the "Anne" in the fairy queen suit will be a decoy to fool George. The real Anne will be another of the masked "fairies," made to dress in green so that Margaret can tell which one is Anne.
** Or at least that's how Margaret expects things to go. The truth is that "Anne" in green is another decoy, set by Fenton, who Annie is actually in love with and ''wants'' to marry. So while George thinks he's outsmarted Margaret, and Margaret thinks she's outsmarted George, both of them are outsmarted by Fenton, who sneaks away with Anne for a secret wedding.
* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, and is less than pleased when he finds out.
** During Falstaff's final humiliation by the "fairies" (that are actually normal humans in disguise) Anne's father, George Page, wants to sneak Anne, who will be disguised as the fairy queen, off with Slender so that Anne and Slender can get married like George wants. Anne's mother, Margaret, wants her to marry doctor Caius instead, so she's made arrangements for the role of the fairy queen to be played by [[WholesomeCrossdresser a boy]] instead. That way, the "Anne" in the fairy queen suit will be a decoy to fool George. The real Anne will be another of the masked "fairies," made to dress in green so that Margaret can tell which one is Anne.
** Or at least that's how Margaret expects things to go. The truth is that "Anne" in green is another decoy, set by Fenton, who Annie is actually in love with and ''wants'' to marry. So while George thinks he's outsmarted Margaret, and Margaret thinks she's outsmarted George, both of them are outsmarted by Fenton, who sneaks away with Anne for a secret wedding.
* InternalReveal: The audience knows all along that "Anne" who sneaks away with Slender is actually a boy. Slender, of course, doesn't, and is less than pleased when he finds out.
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* PaperThinDisguise: Falstaff as the Witch of Brentford and Ford as Brook.
to:
* PaperThinDisguise: PaperThinDisguise:
** Falstaff dressed up as the Witch of Brentfordand to avoid Ford.
** Ford himself asBrook.Brook, talking to Falstaff.
* UnsettlingGenderReveal:
** Falstaff dressed up as the Witch of Brentford
** Ford himself as
* UnsettlingGenderReveal:
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* DogLatin: Played with during William's Latin exam and Mistress Quickly's comments throughout the lesson:
-->'''Hugh Evans''': What is he, William, that does lend articles?\\
'''William''': Articles are borrowed of the pronoun, and be thus declined: ''Singulariter, nominativo, hic, haec, hoc''.\\
'''Hugh Evans''': ''Nominativo'', ''hig, hag, hog''; pray you, mark: [[GettingCrapPastTheRadar ''genitivo:, hujus''.]] Well, what is your accusative case?\\
'''William''': ''Accusativo, hinc''.\\
'''Hugh Evans''': I pray you, have your remembrance, child; ''Accusativo, hung, hang, hog''.\\
'''Mistress Quickly''': "Hang hog" is Latin for bacon, I warrant you.
-->'''Hugh Evans''': What is he, William, that does lend articles?\\
'''William''': Articles are borrowed of the pronoun, and be thus declined: ''Singulariter, nominativo, hic, haec, hoc''.\\
'''Hugh Evans''': ''Nominativo'', ''hig, hag, hog''; pray you, mark: [[GettingCrapPastTheRadar ''genitivo:, hujus''.]] Well, what is your accusative case?\\
'''William''': ''Accusativo, hinc''.\\
'''Hugh Evans''': I pray you, have your remembrance, child; ''Accusativo, hung, hang, hog''.\\
'''Mistress Quickly''': "Hang hog" is Latin for bacon, I warrant you.
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** HilarityEnsues with quite a number of DoubleEntendre puns during the Latin pop quiz, bordering on DogLatin:
-->'''Hugh Evans''': What is your genitive case, William?\\
'''William''': Genitive case?\\
'''Hugh Evans''': Ay.\\
'''William''': Genitive, ''horum, harum, horum''.\\
'''Mistress Quickly''': Vengeance of Jenny's case! Fie on her! Never name her, child, if she be a whore.\\
'''Hugh Evans''': For shame, 'oman!\\
'''Mistress Quickly''': You do ill to teach the child such words! He teaches him to hick and to hack, which they'll do fast enough of themselves, and to call "horum", fie upon you!
-->'''Hugh Evans''': What is your genitive case, William?\\
'''William''': Genitive case?\\
'''Hugh Evans''': Ay.\\
'''William''': Genitive, ''horum, harum, horum''.\\
'''Mistress Quickly''': Vengeance of Jenny's case! Fie on her! Never name her, child, if she be a whore.\\
'''Hugh Evans''': For shame, 'oman!\\
'''Mistress Quickly''': You do ill to teach the child such words! He teaches him to hick and to hack, which they'll do fast enough of themselves, and to call "horum", fie upon you!
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* AbhorrentAdmirer: Falstaff, Slender
to:
* AbhorrentAdmirer: Falstaff, SlenderSlender.
* ExactWords: "To Master Brook [i.e. Ford] you yet shall keep your word/For he tonight shall lie with Mistress Ford."
* ExactWords: "To Master Brook [i.e. Ford] you yet shall keep your word/For he tonight shall lie with Mistress Ford."
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* ExactWords: "To Master Brook [i.e. Ford] you yet shall keep your word/For he tonight shall lie with Mistress Ford."
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* BeamMeUpScotty: This is the origin of the phrase, "The world is my oyster" - and of course, the phrase bears only a minor resemblance to the source;
-->'''Pistol''': Why, then the world's mine oyster. Which I with sword will open.
** ...and it ''doesn't'' mean "[[MoneyForNothing I can have anything I want]]", it means, "I can ''[[MightMakesRight take]]'' anything I want."
-->'''Pistol''': Why, then the world's mine oyster. Which I with sword will open.
** ...and it ''doesn't'' mean "[[MoneyForNothing I can have anything I want]]", it means, "I can ''[[MightMakesRight take]]'' anything I want."
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* BeamMeUpScotty: This is the origin of the phrase, "The world is my oyster" - and of course, the phrase bears only a minor resemblance to the source;
-->'''Pistol''': Why, then the world's mine oyster. Which I with sword will open.
**...and it ''doesn't'' mean "[[MoneyForNothing I can have anything I want]]", it means, "I can ''[[MightMakesRight take]]'' anything I want."
-->'''Pistol''': Why, then the world's mine oyster. Which I with sword will open.
**...and it ''doesn't'' mean "[[MoneyForNothing I can have anything I want]]", it means, "I can ''[[MightMakesRight take]]'' anything I want."
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This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest'' is the only other one of significance). At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams, and one, under the title of ''Falstaff'', by Giuseppe Verdi.
to:
This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest'' is the only other one of significance).plot[[note]] along with ''Theatre/LovesLaboursLost'', ''Theatre/AMidsummerNightsDream'', and ''Theatre/TheTempest''[[/note]]. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams, and one, under the title of ''Falstaff'', by Giuseppe Verdi.
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* TheMusical: Or rather, The {{Opera}}. It was adapted by both [[https://en.wikipedia.org/wiki/Falstaff_(opera) Giuseppe Verdi]] and [[https://en.wikipedia.org/wiki/Falstaff_(Salieri) Antonio Salieri.]]
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* FunetikAksent: Shakespeare writes out Hugh's Welsh accent.
to:
* FunetikAksent: Shakespeare writes out Hugh's Welsh accent and Doctor Caius's French accent.
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* ExecutiveMeddling: If an urban legend is true, literally--and in the cause of {{shipping}}, to boot: The existence of the (most likely untrue) urban legend that [[TheVirginQueen Queen Elizabeth]] ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
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* PaperThinDisguise
to:
* PaperThinDisguisePaperThinDisguise: Falstaff as the Witch of Brentford and Ford as Brook.
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* ExecutiveMeddling: If an urban legend is true, literally--and in the cause of {{shipping}}, to boot: The existence of the (most likely untrue) urban legend that [[ElizabethI Queen Elizabeth]] ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
to:
* ExecutiveMeddling: If an urban legend is true, literally--and in the cause of {{shipping}}, to boot: The existence of the (most likely untrue) urban legend that [[ElizabethI [[TheVirginQueen Queen Elizabeth]] ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
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Changed line(s) 10 (click to see context) from:
This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest'' is the the only other one of significance). At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
to:
This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest'' is the the only other one of significance). At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is Williams, and one, under the title of ''Falstaff'', with music by Giuseppe Verdi.
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* ExactWords: "To Master Brook [i.e. Ford] you yet shall keep your word/For he tonight shall lie with Mistress Ford."
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Changed line(s) 10 (click to see context) from:
This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
to:
This appears to be one of the few plays for which Shakespeare came up with an original plot (''Theatre/TheTempest.(''Theatre/TheTempest'' is the the only other one of significance). At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
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Changed line(s) 10 (click to see context) from:
This appears to be one of the few plays for which Shakespeare came up with an original plot. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
to:
This appears to be one of the few plays for which Shakespeare came up with an original plot.plot (''Theatre/TheTempest. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
* ExecutiveMeddling: If an urban legend is true, literally--and in the cause of {{shipping}}, to boot: The existence of the (most likely untrue) urban legend that [[ElizabethI Queen Elizabeth]] ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
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* {{Shipping}}: The existence of the (most likely untrue) urban legend that Queen Elizabeth ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
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Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''{{Henry IV Part 1}}'' and ''[[{{Henry IV Part 2}} Part 2'', but here appears in a contemporary setting.
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Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''{{Henry IV ''Theatre/HenryIVPart1'' and ''[[Theatre/HenryIVPart2 Part 1}}'' and ''[[{{Henry IV Part 2}} Part 2'', 2]]'', but here appears in a contemporary setting.
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Falstaff is just mentioned as dead in Henry V
Changed line(s) 6,9 (click to see context) from:
Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''HenryIV'' and ''HenryV'', but here appears in a contemporary setting.
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love", but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love", but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
to:
Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''HenryIV'' ''{{Henry IV Part 1}}'' and ''HenryV'', ''[[{{Henry IV Part 2}} Part 2'', but here appears in a contemporary setting.
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff inlove", love," but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in
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* {{Shipping}}: The existence of the (most likely untrue) urban legend that Queen Elizabeth ordered Shakespeare to write a play where her favorite character Falstaff falls in love does at least show that fans meddling in fictional characters' love lives was not a foreign concept in the 1700s.
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Changed line(s) 10 (click to see context) from:
This appears to be one of only two plays for which Shakespeare came up with an original plot; the other is ''Theatre/TheTempest''. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
to:
This appears to be one of only two the few plays for which Shakespeare came up with an original plot; the other is ''Theatre/TheTempest''.plot. At least three operas have been based on the play: one with music by Otto Nicolai, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by Giuseppe Verdi.
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[[quoteright:273:http://static.tvtropes.org/pmwiki/pub/images/winsor_1828.jpeg]]
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[[quoteright:273:http://static.tvtropes.org/pmwiki/pub/images/winsor_1828.jpeg]]
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This appears to be one of only two plays for which Shakespeare came up with an original plot; the other is ''Theatre/TheTempest''. At least two operas have been based on the play: one with music by Otto Nicolai, the other, ''Falstaff'', with music by GiuseppeVerdi.
to:
This appears to be one of only two plays for which Shakespeare came up with an original plot; the other is ''Theatre/TheTempest''. At least two three operas have been based on the play: one with music by Otto Nicolai, the other, one by Ralph Vaughn Williams. The third is ''Falstaff'', with music by GiuseppeVerdi.Giuseppe Verdi.
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At least two operas have been based on the play: one with music by Otto Nicolai, the other, ''Falstaff'', with music by GiuseppeVerdi.
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This appears to be one of only two plays for which Shakespeare came up with an original plot; the other is ''Theatre/TheTempest''. At least two operas have been based on the play: one with music by Otto Nicolai, the other, ''Falstaff'', with music by GiuseppeVerdi.
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''The Merry Wives of Windsor'' is a comic play by WilliamShakespeare.
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''The Merry Wives of Windsor'' is a comic play by WilliamShakespeare.
Creator/WilliamShakespeare.
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Namespace move.
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''The Merry Wives of Windsor'' is a comic play by WilliamShakespeare.
Sir John Falstaff attempts to seduce two married ladies, Mistress Page and Mistress Ford; neither is impressed by him, and they conspire to subject him to a succession of practical jokes. A subplot concerns Mistress Page's daughter Anne, whose parents want her to marry, but can't agree on which of her suitors she should choose, while she herself prefers a man neither of her parents approves of.
Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''HenryIV'' and ''HenryV'', but here appears in a contemporary setting.
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love", but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
At least two operas have been based on the play: one with music by Otto Nicolai, the other, ''Falstaff'', with music by GiuseppeVerdi.
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!!''The Merry Wives of Windsor'' provides examples of:
* AbhorrentAdmirer: Falstaff, Slender
* FunetikAksent: Shakespeare writes out Hugh's Welsh accent.
* GettingCrapPastTheRadar: When Sir Hugh Evans teaches the boy William Page what the "''focative'' case" is, [[http://www.cracked.com/article_19271_8-filthy-jokes-hidden-in-ancient-works-art.html which is a play on the word "vocative" and the offending "f-word"]], according to Cracked.com.
* GracefulLoser: Falstaff happily accepts that he deserves his humiliation at the end.
* HumiliationConga: Falstaff's entire plotline is this.
* MistakenForCheating: Ford learns of Falstaff's intentions toward his wife, and spends part of the play believing that she reciprocates them.
* PaperThinDisguise
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's HumiliationConga.
** CounterZany: In the denouement, the two preferred suitors discover they've eloped with decoy Annes while the real thing has eloped with ''her'' preferred suitor.
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Sir John Falstaff attempts to seduce two married ladies, Mistress Page and Mistress Ford; neither is impressed by him, and they conspire to subject him to a succession of practical jokes. A subplot concerns Mistress Page's daughter Anne, whose parents want her to marry, but can't agree on which of her suitors she should choose, while she herself prefers a man neither of her parents approves of.
Falstaff had previously appeared as a supporting character in Shakespeare's historical plays, ''HenryIV'' and ''HenryV'', but here appears in a contemporary setting.
Not one of Shakespeare's stronger efforts, the play is thought to have been commissioned for a specific occasion and written in a hurry. The characters are all stock, the A-plot and B-plot are barely even aware of each other, the exposition gets especially clunky in the build-up to the finale and it's all StrictlyFormula. But Falstaff remains a joyously UnsympatheticComedyProtagonist, and the unsuccessful suitors are two of the purest buffoons in the Shakespearean canon. With a few edits and a good cast it's a great way to kill an hour and a half. There is a persistent story that Queen Elizabeth, after seeing ''Henry IV'', ordered Shakespeare to write a play about "Falstaff in love", but this story first appeared decades after Shakespeare's death in the writings of the dramatist John Dennis -- who just happened to be promoting his own rewrite of the play at the time. (It was a flop.)
At least two operas have been based on the play: one with music by Otto Nicolai, the other, ''Falstaff'', with music by GiuseppeVerdi.
----
!!''The Merry Wives of Windsor'' provides examples of:
* AbhorrentAdmirer: Falstaff, Slender
* FunetikAksent: Shakespeare writes out Hugh's Welsh accent.
* GettingCrapPastTheRadar: When Sir Hugh Evans teaches the boy William Page what the "''focative'' case" is, [[http://www.cracked.com/article_19271_8-filthy-jokes-hidden-in-ancient-works-art.html which is a play on the word "vocative" and the offending "f-word"]], according to Cracked.com.
* GracefulLoser: Falstaff happily accepts that he deserves his humiliation at the end.
* HumiliationConga: Falstaff's entire plotline is this.
* MistakenForCheating: Ford learns of Falstaff's intentions toward his wife, and spends part of the play believing that she reciprocates them.
* PaperThinDisguise
* ZanyScheme: Anne's parents each come up with one to let their respective preferred son-in-law-to-be elope with Anne while everybody's preoccupied with Falstaff's HumiliationConga.
** CounterZany: In the denouement, the two preferred suitors discover they've eloped with decoy Annes while the real thing has eloped with ''her'' preferred suitor.
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