By Ian Doescher

In time see you later in the past starts our play,
In clash-strewn galaxy a long way, a long way away.

To Shmi or to not Shmi? Torn among accountability to the Jedi, charm to Padmé, and trouble for his cherished mom, yeoman Jedi Anakin Skywalker struggles to be grasp of his destiny. the trail he chooses will make certain not only his personal future, yet that of the complete Republic. And thereby hangs a tale.

Alack the day! A noble girl at risk. A knight and squire in conflict. And a forbidden love that’s written within the stars. once more, the quill of William Shakespeare meets the galaxy of George Lucas in an insightful reimagining that units the big name Wars saga at the Elizabethan degree. The characters are known, however the masterful meter, insightful soliloquies, and interval illustrations will persuade you that the Bard himself penned this epic event.

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Extra resources for William Shakespeare's The Clone Army Attacketh: Star Wars Part the Second (William Shakespeare's Star Wars Book 2)

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Of drawings, only the so-called de Witt drawing (c. 1596) of the Swan—really his friend Aernout van Buchell’s copy of Johannes de Witt’s drawing—is of much significance. The drawing, the only extant representation of the interior of an Elizabethan theater, shows an amphitheater of three tiers, with a stage jutting from a wall into the yard or center of the building. The tiers are roofed, and part of the stage is covered by a roof that projects from the rear and is supported at its front on two posts, but the groundlings, who paid a penny to stand in front of the stage or at its sides, were exposed to the sky.

And exactly why Jonson, who elsewhere also spoke of Shakespeare as a playwright, and why Heminges and Condell, who had acted with Shakespeare for about twenty years, should speak of Shakespeare as the author in their dedication in the 1623 volume of collected plays is never adequately explained by Oxfordians. Either Jonson, Heminges and Condell, and numerous others were in on the conspiracy, or they were all duped—equally unlikely alternatives. Another difficulty in the Oxford theory is that Oxford died in 1604, and some of the plays are clearly indebted to works and events later than 1604.

In Middle English thou, thy, and thee were used among familiars and in speaking to children and inferiors; ye, your, and you were used in speaking to superiors (servants to masters, nobles to the king) or to equals with whom the speaker was not familiar. Increasingly the “polite” forms were used in all direct address, regardless of rank, and the accusative you displaced the nominative ye. Shakespeare sometimes uses ye instead of you, but even in Shakespeare’s day ye was archaic, and it occurs mostly in rhetorical appeals.

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