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Ulysses (play)

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chambers and slay anyone who dares pass into it. Act three, in which these introductions and plotting take place, closes with a powerful, albeit short speech by Ulysses in which he proclaims his confidence in his scheme. Eventually, Eurymachus comes to the Queen’s chambers, to consummate his desires, but Telemachus is there, guarding his mother. Eurymachus insists that he be permitted to enter, Telemachus refuses, the two draw swords, and Eurymachus is killed. Shortly after this, Telemachus runs for help and in that time away Semanthe arrives and sees her dying father on the floor; Eurymachus tells Semanthe that Telemachus was the one who has mortally wounded him, and, upon his return to the chambers, the two lovers exchange anguished words and part ways.
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she isn't to be swayed by routine appeals to love and tenderness, threatens to have his soldiers kill her son, Telemachus. She relents and promises herself to him later that night, not without a great deal of anguish and self-mortification; she even goes so far as to attempt to stab herself, but Aethon (who appears to her to be an agent of Eurymachus, but who is actually Ulysses in disguise) prevents her from accomplishing the deed. By contrast, in the Homeric epic, Ulysses is disguised as a beggar.
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killed the Samian king, Eurymachus. Invigorated by the support of the Samian army, Ulysses and his men fight the shocked and unsteady Ithacans, led by Antinous, and defeat him. The play closes with a speech by Ulysses on the inevitability of pain in the life of a man, illustrated best by his twenty year voyage preceding the start of the play.
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In the closing scenes of the play, Antinous and the Ithacan army (and mob) confront Ulysses and his diminished band of followers. On the verge of victory, Arcas arrives to announce that Telemachus has been fighting the supporters of Antinous because they were told by Semanthe that it was Antinous who
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Antinous arrives with help and manages to kidnap the Queen from her chamber and announces plans to turn the town against Ulysses (or possibly discredit his identity as Ulysses). He appears to be gaining success in turning the Ithacans against Ulysses, as well as Mentor, Telemachus, and the small band
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Telemachus, meanwhile, is in love with the daughter of the Samian king, Semanthe, who ardently loves him in return, notwithstanding a foreboding dream she has in which Telemachus is replaced with the dead body of her father. Eurymachus attempts to win the Queen's affections, but when he realizes that
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The play begins at the time of Ulysses' return to Ithaca; for the preceding twenty years, he has been away from Ithaca and his Queen, Penelope. In his absence a mob of aspiring consorts to Penelope have gradually taken over the Ithacan Court. These rival suitors, increasingly emboldened by Ulysses'
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Shortly afterwards, Ulysses reveals himself to her, and then to Telemachus, who knows him only as Aethon. Once introduced, Ulysses concocts a plan to descend upon and kill the rival suitors -- "send their guilty Souls to howl below" -- and asks that Telemachus meanwhile stand guard in Penelope's
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absence, cause riot and tumult in the Court and threaten the sovereignty of Ithaca. Chief among the suitors are Eurymachus, King of Samos and Antinous, an Ithacan nobleman and false friend of Penelope and Ulysses' son, Telemachus.
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of faithful, original followers of Ulysses. Meanwhile, the body of Eurymachus is taken into the street; Semanthe is proclaimed Queen of the Samians and the soldiers vow to follow her command.
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A Checklist of New Plays and Entertainments on the London Stage, 1700-1737
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as Semanthe. Many of the actors also appeared in Rowe's following work
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The Plays and Poems of Nicholas Rowe, Volume I: The Early Plays
119:. Focusing on a succession dispute at the Greek court, the 382: 343: 259: 61: 53: 43: 35: 25: 20: 402: 237: 123:Rowe shows his support for both the proposed 8: 127:between England and Scotland and the coming 377:This article on a play from the 1700s is a 409: 395: 244: 230: 222: 17: 90:of the previous year. The cast included 352:A Poem Upon the Late Glorious Successes 211:. Fairleigh Dickinson Univ Press, 1992. 169: 7: 367: 365: 14: 369: 334: 115:It is set during the reign of 1: 218:. Taylor & Francis, 2016. 381:. You can help Knowledge by 469: 364: 332: 268:The Ambitious Stepmother 453:18th-century play stubs 433:Plays by Nicholas Rowe 80:by the British writer 131:in preference to the 129:Hanoverian Succession 207:Burling, William J. 214:Caines, Michael in 390: 389: 362: 361: 308:The Royal Convert 284:The Fair Penitent 109:The Royal Convert 69: 68: 54:Original language 460: 411: 404: 397: 373: 366: 338: 246: 239: 232: 223: 195: 192: 186: 183: 177: 174: 104:Anne Bracegirdle 102:as Penelope and 92:Thomas Betterton 39:23 November 1705 18: 468: 467: 463: 462: 461: 459: 458: 457: 418: 417: 416: 415: 363: 358: 339: 330: 255: 250: 204: 199: 198: 193: 189: 184: 180: 175: 171: 166: 100:Elizabeth Barry 98:as Telemachus, 48:Queen's Theatre 44:Place premiered 12: 11: 5: 466: 464: 456: 455: 450: 445: 440: 438:West End plays 435: 430: 420: 419: 414: 413: 406: 399: 391: 388: 387: 374: 360: 359: 357: 356: 347: 345: 341: 340: 333: 331: 329: 328: 324:Lady Jane Grey 320: 312: 304: 296: 288: 280: 272: 263: 261: 257: 256: 251: 249: 248: 241: 234: 226: 220: 219: 212: 203: 200: 197: 196: 187: 178: 168: 167: 165: 162: 67: 66: 63: 59: 58: 55: 51: 50: 45: 41: 40: 37: 36:Date premiered 33: 32: 27: 23: 22: 13: 10: 9: 6: 4: 3: 2: 465: 454: 451: 449: 448:Tragedy plays 446: 444: 443:English plays 441: 439: 436: 434: 431: 429: 426: 425: 423: 412: 407: 405: 400: 398: 393: 392: 386: 384: 380: 375: 372: 368: 354: 353: 349: 348: 346: 342: 337: 326: 325: 321: 318: 317: 313: 310: 309: 305: 302: 301: 297: 294: 293: 289: 286: 285: 281: 278: 277: 273: 270: 269: 265: 264: 262: 258: 254: 253:Nicholas Rowe 247: 242: 240: 235: 233: 228: 227: 224: 217: 213: 210: 206: 205: 201: 191: 188: 182: 179: 173: 170: 163: 161: 157: 153: 149: 145: 141: 140: 136: 134: 130: 126: 122: 118: 113: 111: 110: 105: 101: 97: 93: 89: 88: 83: 82:Nicholas Rowe 79: 75: 74: 64: 60: 56: 52: 49: 46: 42: 38: 34: 31: 30:Nicholas Rowe 28: 24: 19: 16: 383:expanding it 376: 350: 322: 314: 306: 299: 298: 290: 282: 274: 266: 215: 208: 202:Bibliography 190: 181: 176:Burling p.41 172: 158: 154: 150: 146: 142: 138: 137: 125:Act of Union 114: 107: 96:Barton Booth 94:as Ulysses, 85: 72: 71: 70: 15: 194:Caines p.17 185:Caines p.17 135:claimants. 428:1705 plays 422:Categories 316:Jane Shore 164:References 76:is a 1705 26:Written by 292:The Biter 276:Tamerlane 87:The Biter 133:Jacobite 300:Ulysses 139:SUMMARY 117:Ulysses 78:tragedy 73:Ulysses 65:Tragedy 57:English 21:Ulysses 355:(1707) 327:(1715) 319:(1714) 311:(1707) 303:(1705) 295:(1704) 287:(1702) 279:(1701) 271:(1700) 344:Other 260:Plays 62:Genre 379:stub 121:Whig 424:: 112:. 410:e 403:t 396:v 385:. 245:e 238:t 231:v

Index

Nicholas Rowe
Queen's Theatre
tragedy
Nicholas Rowe
The Biter
Thomas Betterton
Barton Booth
Elizabeth Barry
Anne Bracegirdle
The Royal Convert
Ulysses
Whig
Act of Union
Hanoverian Succession
Jacobite
v
t
e
Nicholas Rowe
The Ambitious Stepmother
Tamerlane
The Fair Penitent
The Biter
Ulysses
The Royal Convert
Jane Shore
Lady Jane Grey

A Poem Upon the Late Glorious Successes
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