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"Chaucer, Marlowe and Shakespeare all three wrote about the Jews in their respective times. Chaucer wrote about the Jews as they appreared to him and his contemporaries in the fourteenth century, Marlowe presented the Jews to us they were regarded by his contemporaries in the sixteenth century and Shakespeare too considered the position of the Jews in the same century as Marlowe, since the two later play wrights were contemporaries, Much, however, had happened in the period separating Chaucer from Shakespeare. Chaucer lived in an exclusively Roman Catholic age. The Pope still had power over both the English monarch as well as the English subject. An Englishman, therefore, owed allegiance to both the king and the Pope; one ruled over the temporal state, the other over the spiritual state. This was the state of affairs when Chaucer wrote his Prioress's Tale. Here he clearly showed his (and also his contemporaries') dislike of the Jews. The Jew was the enemy of the Church; he was an outlaw because he violated the law of the Church wich prolibited the lending out of money on interest..."

"Berdasarkan data yang terkumpul dan analisis yang telah dilakukan dalam bab-bab terdahulu, ada beberapa hal yang bisa disimpulkan yaitu perubahan morfologis, perubahan fonologis, dan asal bahasa Inggris Modern. Perubahan morfologis yang paling utama dalam sejarah perkembangan bahasa Inggris ialah menghilangnya hampir semua sufiks infleksional 1K pada nomina, adjektif dan verba IM. Perubahan fonologis paling banyak terjadi pada vokal, terutama vokal panjang. Sufiks infleksional IK yang masih tersisa dalam nomina IM ialah sufiks penunjuk jamak dan sufiks penunjuk kepunyaan (genetive). Sufiks penunjuk jamak yang umum ialah -(e)s, dan sufiks -en dengan hanya satu nomina yang asli dari IK yaitu oxen, sedangkan kehadiran dua nomina lainnya children (IK cildru) dan brethren (IK brobor) disebabkan analogi. Tanda apostrofe dari sufiks kepunyaan __s mulai digunakan sejak abad delapari bolas, yang..."

"So we have seen that the Breton Lay of 'Sir Orfeo' follows the conventions of medieval courtly-love poetry, except for one feuture,nwnely that hero and heroine are husband and wife. lhi s, however , i. s not an Innovation of the noet's;it was taken from the classical version of the story.Aa a story 'Sir Orfeo' is well told,although I suggest that the churacters,by virtue of the reasons postulated on pages 25 and 2o,ure flat.In the F'rankli n' a Tule,Chuucer has also used the earlier,he uses them in a different way.As a story the Franklin's Wale is also good,and in its plot,as has al-ready been ahown,each event has a cause;the characters especially that of Dorigene,can he said to he round; the supernatural element,?nagic,i.s explained in detail. The explanation might not be a scientific one,but at least it is explained, whereas in 'Sir Orfeo' it is not. The courtly-love conventions too are used to servo a certain purpose,nwnely to illustrate Chats cer's views about marriage relationships..."

"We have now seen something of the state of religion in the time of Chaucer. All England was ostensibly Roman Catholic, but in the period under discussion many people had wandered away from the faith and strayed far from the Church and its rules. That Geoffrey Chaucer was aware of this can be guessed from the ironic way in which he delineates many of the religious figures in his Canterbury Tales..."

"'The poet or the novelist can proceed as long as he has pen, ink, and paper, but the dramatist must have players, a stage, and an audience.' A good playwright, if he wants to be successful, must consider his audience. :arlowe'e and Shakespeare's audience was a very miscellaneous one. 'The average :_lieabethan audience ranged from noblemen, like the young Earl of Southampton, who were daily frequenters of playhouses, to the rabble of apprentice and cutpurecs, who cracked nuts and fought for bitten apples in the pit.' According to : ,en Joneon, a popular playwright had to present something which would: 'Be fit for ladies, some for lords, knights, 'squires; Some for your waiting wench and city wires; Some for your men and daughters of Whitefriare.' (Prologue to : picoene).13th '.arlowe and ,_;hakespeare tried to satisfy their own artistic impulse as well as the different tastes of their audience. A section among the audience, which was called the groundlings, had a great influence on the provision of the comic scenes in - arlowe' e and ahakespeare's tragedies, They were the less educated and less sophisticated masses among the playgoers. -`arce was very much appreciated by these people, even if it was in a tragedy. ='igures like .agner or the horse-courser in :'tau tue, the servants of L,enocrate and ,abina in ,Tanburlaine, or the gravediggers in Hamlet and the porter in ,:acbeth and :ad Tom in Lear were familiar to them from their daily lif..."

"The appearance of Revenge Tragedy in Elizabethan Drama - Looking at the historical development of English Drama, we see that the tragic plays of the Elizabethan and Jacobean period are fre_quently concerned with revenge. Plays of this genre reflect man's tendency to defy God's beneficent will. It can be said that the revenge plays have in common a criticism of life, and are in a way a warning to men to choose good rather than evil. The dramatic theme of revenge proved to be popular in the late sixteenth and early seventeenth centuries, because it appeal_ed to the Elizabethan and Jacobean taste for Grand Guignol 1/ - a taste shared by some cinema and theatrical audiences today. Apart from this, Elizabethan and Jacobean playgoers were very eager to witness the revelation of peculiar states of mind and these could nowhere be seen except in plays of this kind.Foreign elements - The Elizabethan and Jacobean plays of revenge are not however entirely original in conception. Their authors_"

"When we review the theatre in its development from the Elizabethan age to the Restoration period, we find that the playhouse changes from one exposed to the open air, dependent for its illumination on the capricious daylight and not altogether protected from the noise from outside, to one covered by a roof. In this covered playhouse, intimacy is secured. Acting took place within an enclosed space. The light of the candles used in the Restoration theatre would have provided an atmosphere of enchantment for an Elizabethan audience used to daylight performances. Whilst the attention of an Elizabethan audience might wander away from the stage-because in the bright light the spectators could see many other things besides the stage, including one another--the attention of the Restoration audience could remain focussed on the stage. We have seen that the scenery was being used on the Elizabethan masque atages and this was also adopted in the Restoration public theatre. It had not. however, yet come to represent an imitation of real life. Scenery was still only used as colourful decoration of the acting area. According to Richard Southern, this refusal to make of the stage a reproduction of reality, should not be interpreted as 'crudeness', a failure on the part of the Restoration stage managers to exploit the potentialities of the scenic stage. They deliberately kept it 'crude', because they realised the difficulties involved in giving a realistic presentation. The Restoration stage, though it included scenery, was fundamentally the same platform stage of the Elizabethan period. It was still a long way from the modern 'picture frame' stage, which often strives to give the stage an illusion of reality. It was only in the nineteenth century that in most productions the apron finally disappeared. The acting was essentially the same in both periods. We noted that the actors of both periods used the 'acted speech' technique, where the speech was also enacted physically, i.e. by gestures and facial expression. Consequently the texts written by the dramatists_"

"Skripsi ini membahas tentang bagaimana unsur-unsur leksikal kelas kata adjektiva, nomina dan verba dalam mendukung tema cerita Typhoon karya Joseph Conrad. Tema cerita ini adalah sebagai berikut: Tindakan yang tepat dalam mengatasi suatu kesulitan atau cobaan berat adalah menghadapinya dengan semangat pantang menyerah dan sikap yang tenang.Tujuan skripsi ini adalah memperlihatkan sejauh mana unsur-unsur leksikal tersebut mendukung tema cerita. Pendekatan yang digunakan adalah pendekatan statistika, yaitu pendekatan yang didasari pada intuisi terhadap teks yang akan dianalisis, kemudian mengumpulkan data-data kongkret untuk mendukung intuisi tersebut. Teori yang digunakan adalah teori gramatika, yaitu teori gramatika fungsional dan teori gramatika tradisional.Dari hasil analisis Dapat ditarik suatu kesimpulan bahwa pemilihan unsur-unsur leksikal oleh pengarang sangat mendukung tema cerita. Dengan demikian apa yang penulis asumsikan tentang peranan penggunaan unsur-unsur leksikal adjektiva, nomina dan verba dalam menunjang penyampaian tema cerita terbukti."