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Contact us with a description of the clipart you are searching for and we'll help you find it. I think every mom has Supermom Moments -- those little successes that make you feel absolutely super! If you're new here, you may want to subscribe to our RSS feed email so you won't miss a thing.
So now that the school year is just about over, I’ve finally got around to making her some printable kindergarten lined paper. Just wanted to say, I discovered our HP printer also prints out school ruled paper, in both wide rule, and child rule. I love this, and it saves time to have a template to print out as needed, especially for my little budding authors. Thank you, just came online to look for kindergarten handwriting paper and was so thankful to come across your website. The authors of this article are amusingly inspired by the coincidence that in 1572 one of the Masters of Shakespeare’s Stratford Grammar School (King’s New School) was Simon Hunt and that the will of a fellow actor named Augustine Phillips bequeathed the Bard thirty gold shillings in 1605. One of the popular colloquial sayings about William Shakespeare is that all his Classical education was second-hand. The niggardly comment from poet and playwright Ben Jonson is from his Eulogy of Shakespeare, conveying that the Bard “had small Latine and lesse Greek”.
Like many, Shakespeare may have been a bit rusty with or forgotten some of his noun declensions, verb conjugations and obscure Latin vocabulary, but he was far from being the illiterate actor that some continue to paint him. That Shakespeare borrowed much from the classics and classical texts, including Ovid and Plutarch as major sources, but also from Livy, Plautus, Sappho, and other ancient writers is not challenged. Some scholars have spent their entire careers researching and debating to what extent Shakespeare used the classics. Because the King’s New School records were lost, possibly in a fire, the “Anti-Stratfordians” are correct in stating no documentation exists for Shakespeare’s education.
While nothing of Shakespeare’s boyhood or even adulthood knowledge of Latin can be explicitly proven, given the product of his own “Rape of Lucrece” and the stylistic similarities he shares with Ovid, it seems fairly easy to reach the conclusion that Shakespeare at lease knew enough Latin to allow him to translate poetry and other materials directly on his own. Some evidence for Shakespeare’s knowledge of Latin and the classics in general lies in his quotations from and fondness for texts of the poet Ovid.
But it is his use of Classical poetry figures here that sets him apart as one who must have known Classical literature fairly intimately. What Shakespeare did for the classics and their influence during Elizabethan England was unique. The efforts of William Shakespeare, always intentional or not, to retain the classics may have been the single most influential causal force for their preservation, especially in English, since ancient times. The all-too-common association of Classics with a stuffy, privileged elite has accompanied the discipline from the beginning. The answer to this question exposes the very reason Shakespeare was so enamored with the classics and why he worked so earnestly to see their stories and traditions preserved.
At the very root of the classical tradition lies the essence of what makes us human.  This goal of capturing and displaying this same essence is what Shakespeare initially pursued in his youth, which once he had begun his career caused him to “read omnivorously and blend what he had absorbed into his work with awesome power and subtlety”.
Shakespeare’s grammar school youth apparently gave him the background in rudimentary Latin to be capable of performing some of his own translations as well as inspiring him with an early appreciation for the works of Ovid through Arthur Golding and Thomas North’s Plutarch along with other ancients. Confirming Shakespeare’s impact on the subtlest minds, brings up a conversation one of the authors recently had with George Hardin Brown, noted Bede scholar and peerless medievalist. ALT text: Jon forgets the famed condiment [Jim Davis spells it catsup] and, in a great insult to Garfield's honor, activates a burglar alarm on the meatloaf before leaving.
I’ve had a hard time finding a pad of the show and tell paper requested for my daughters preschool class.

Without lines on the paper my daughter ends up with huge letters, so I’ve been drawing lines across blank paper myself and I kept thinking that I just needed to sit down and make some lined paper on the computer.
Many imply that his education lacked a fundamental element of at least some Latin, the mark of an educated man in Elizabethan England.  Even then, rudimentary knowledge of Classics through Latin and Greek language study had long been a mark of privilege and education. The authors of this article believe that not only was Shakespeare’s knowledge of Latin probably sufficient to translate some of his sources or at least peruse them keenly in the original Latin, but he also regularly borrowed copiously from ancient texts and re-told the great histories and stories of the ancient Greeks and Romans. In seeking to answer this question of how the classical world influenced William Shakespeare, it is important look at three main points. This undocumented Shakespearian Classical education may not suffice for the Anti-Shakespeare, “Anti-Stratfordian” camp, but it is sufficient for the mainstream “Stratfordians.” The authors of this brief summary in Electrum hold that the controversy unflaggingly pushing non-Shakespearian authorship sometimes boils down to an insult to his high intelligence and unique creative genius. Ovid, by many accounts, was “Shakespeare’s favorite author”, [15]  and the one source which many critics liken the most to Shakespeare: “By studying Shakespeare’s reading of Ovid we may come to a remarkably full – though not, of course, complete – picture of the sort of artist that Shakespeare was”.
Looking at the entire collection of the works of William Shakespeare, one glance across his titles gives a true sense to just how deep classical influences like Plutarch reach with Shakespeare’s creations. Looking at language, plot and details, Shakespeare’s primary source for the Lucretia story is clearly Livy’s account of Roman emancipation from the Etruscans who had squelched their younger Roman “cousins” under the arrogant Tarquins [24] but he also uses Ovid as a source for his “Lucrece”.[25] Even the epithet of Tarquinius (535-496 BC) as Superbus or “Proud” is relevant as Lucretia’s suicide provided a pivotal fulcrum for Rome to overthrow their haughty Etruscan overlords and start the Republic in 509 BC.
Here Shakespeare as a master poet used “Haply” (“by chance”) in counterpoint against its euphonic double antithesis of “unhappily”.
Through his numerous plays and mentions of classical themes, stories, and myths, he not only preserved an invaluable tradition, but he also gave the classics a different face.
Classics is a discipline dedicating its entire focus and energies on the events of the past, whether it be the study of dead languages or the happenings of societies extinct for thousands of years. We mused about the sort of choristers the boy Shakespeare would have heard at the King’s New School in Stratford as a student or in Holy Trinity Church; one wonders if he possibly sang himself in such a setting.
The Early History of King Edward VI School, Stratford-upon-Avon, Dugdale Society Occasional Papers No 29, Oxford: Dugdale Society, 1984. During quieter moments, she enjoys art, retro-modern design, photography and making new things.
Even if acknowledged an independent genius, Shakespeare’s supposed absence of even rudimentary Latin would be curious given his near encyclopedic command of English – some estimates suggest the Bard had a possible vocabulary of around 30,000 words – and the impact he had on the world of literature especially on the subtlest and most highly trained minds.
They posit instead a variety of well-educated candidates like Christopher Marlowe, Francis Bacon or Edward de Vere – 17th Earl of Oxford, whose gentry or university education are better attested than Shakespeare’s.[2]  Like Samuel Johnson, the mainstream camp holds that Shakespeare may not have been an erudite Classics savant but was still a genius with stunning powers of original observation and wit, a universal poet for all time. Shakespeare used the classics across a wide spectrum, and indeed it is impossible to imagine what he would have produced had he not relied so heavily on the classics.
First, we should explore Shakespeare’s likely education and how it is unfair to pin Shakespeare in a corner regarding his knowledge of Latin and Greek.
From British county and church records of his baptism in the parish register of Holy Trinity Church, Stratford-upon-Avon, it is easy to attest that Shakespeare’s parents were John and Mary Shakespeare, who lived on Henley Street in Stratford-upon–Avon.[4]  William’s mother Mary Arden was from a prominent gentrified landowning family in Warwickshire known since before the Norman Conquest. William Lily’s Shorte Introduction of Grammar, printed in London, was the Latin text authorized by Henry VIII in 1552 to be used in this and other schools. That there are difficulties even with any good biography of Shakespeare is a given, particularly if the many lacunae are treated as fairly as the fewer known, documentable facts. Much has long been published on Shakespeare’s ample use of Thomas North’s 1579 edition of Plutarch’s Lives. Shakespeare rendered this tragic Lucretian moment in poetry that is as much historical as lyrical.
Why is this direction from the academy to the public so important, and exactly what did Shakespeare see in the classics that was worth preserving?
A logical question accompanying the study of classics is a simple one, but it reflects the attitude many have held against the classical tradition: why?  Why bother studying about people long gone in a society different from our own? As Muir and others have noted, even the transformation of Bottom into a donkey is a well-known borrowing from The Golden Ass of Apuleius (circa AD 150) where the protagonist Lucius is likewise bestialized for his errant explorations in magic.

Whether in a character like Titus Andronicus eroding before our eyes, a story within a story like Pyramus and Thisbe, or in the plot of an entire tragedy, one does not need to look far to see Shakespeare’s use of the classics.
This sensory power of observation and poetic invention is the sort that strikes a universal note even if we are removed from Elizabethan England. Noting especially Shaekespeare’s use of Plutarch’s Julius Caesar, Antony and Cleopatra, Coriolanus, as well as to Timon of Athens; E.
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Although it is now accepted that Shakespeare co-authored a few plays, new studies using stylometrics such as the Claremont Shakespeare Clinic employ complex computer analyses of many elements of style in order to demonstrate to most scholars that single authorship suffices to explain who wrote the bulk of the work attributed to Shakespeare alone. How reliable was Shakespeare’s knowledge of the ancient languages, and would he have been in the position to learn them properly?
While not true gentry, prior to 1577 John Shakespeare was respectively a member of the Stratford Town Council in 1557, a Constable in 1558, a Chamberlain in 1561, Alderman in 1565, the year after William’s birth, High Bailiff in the year 1568, and Chief Alderman in 1571, which would have made John Shakespeare equivalent to town mayor. An extant 1552 copy of William Lily’s A Shorte Introduction of Grammar can be found in the Bavarian State Library (Bayerische Staatsbibliothek) in Munich. He also did it in a way to make the classics accessible, removing the prestige associated with the academic nature of the classics as a discipline. Surely his lines can strike every human with such recollected imagery or deja-vu force as if by the contagious power of eidetic imagination. Second, we should look at how Shakespeare used the classics for direct inspiration or re-told ancient stories. Photographs of its pages show noun and adjective declensions and verb conjugation tables as well as inflections for the “Eight Partes of Speache” and one line translation exercises from the Latin Vulgate Bible. The Anti-Shakespeare argument from snobbery, however, as magisterial Shakespeare authority James Shapiro demonstrates in his superb Contested Will: Who Wrote Shakespeare (2010), demeans intelligent people everywhere who have brilliance without upper class privilege yet have made great literary contributions nonetheless. Then he allowed the reconnecting of “bateless” and “appetite” by inserting in the middle another internal transferred epithet for the “keen-edged” sword of Tarquinius, all of which is driven by the virtue of “chaste” Lucretia.
By doing so he committed his works to the preservation of the same immortal questions first asked by the ancients, and did it in a way that the average person could see and appreciate.
Lastly, we can look at Shakespeare’s efforts in preserving Classical tradition in a variety of ways, and in turn add his own legacy to the tradition begun by the ancients long ago.
John Shakespeare only received a heraldic coat-of-arms in 1596, after which date he could be called a gentleman.
Timon of Athens also derives much from Plutarch’s Antony; moreover Titus Andronicus may owe something to Plutarch’s Scipio and Seneca’s Thyestes and Hippolytus. Lust and its euphemized “appetite” are thus linked to the sword he brings to her bed, which sword is a metaphor for his violent lust that is all the stronger given her expected resistance. Shakespeare not only helped to popularize the classical tradition in his own time, but he may have done more than any person in the history of English literature to keep Classics alive through time and make these stories from antiquity as famous and dramatic to readers of English as they were in the original languages.
Thomas Jenkins was the Master of the King’s New School for some years during Shakespeare’s youth; the Master in 1572 when Shakespeare would have been also in attendance was Simon Hunt, and a junior master or usher would have also been Shakespeare’s Latin tutor. It is also most likely that Shakespeare knew William Adlington’s 1566 translation of Apuleius’ The Golden Ass as a source text for A Midsummer’s Night’s Dream and ‘Titania’ is also used as a name three times in Ovid’s Metamorphoses (III.173, XIV 382 and 438).

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