William Davenant
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Researching a Single Journalist 1
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Greenwich Academic Literature Archive 1 Researching a single journalist Alfred Austin John Morton In the introduction to the Routledge Handbook to Nineteenth-Century British Periodicals and Newspapers, Alexis Easley, Andrew King, and I identi- fied several periodical types our volume had not dwelt on in detail. Among these were party political journals. While several journals with loose political affiliations were discussed in passing (for example, Blackwood’s Edinburgh Review, which was founded as something of a Tory corrective to the Whig Edinburgh Review), they were not treated primarily as organs of political ideology. Before co-writing the introduction to the Routledge Handbook, I had already decided to undertake a study of Alfred Austin for this chapter; it is a genuine coincidence, although not an unhappy one, that at every stage of his career Austin betrayed a definitively Conservative outlook and founded one of the most influential late Victorian Conservative journals, the National Review. This chapter, in addition to considering Austin as a political journalist and establishing this as the primary factor behind his appointment to the laureateship, will also through practice demonstrate the difficulty – in fact near-impossibility – of researching one nineteenth-century journalist in isolation. Austin is nowadays remembered for what many would term the wrong reasons, chief among these his status as the apparently least deserving poet laureate in British history. I first came across his work when writing my PhD thesis, which investigated the critical and cultural legacy of Alfred Tennyson in the sixty or so years after his death. -
Laureateship Under the Reign of Queen Victoria
English Language and Literature Studies; Vol. 3, No. 4; 2013 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Laureateship under the Reign of Queen Victoria Mohammed Kasim Harmoush1 1 Faculty of Arts, King Abdul Aziz University, Jeddah, Saudi Arabia Correspondence: Mohammed Kasim Harmoush, Associate Professor of English, Faculty of Arts, King Abdul Aziz University, Jeddah, Saudi Arabia. E-mail: [email protected] Received: October 15, 2013 Accepted: November 1, 2013 Online Published: November 28, 2013 doi:10.5539/ells.v3n4p68 URL: http://dx.doi.org/10.5539/ells.v3n4p68 Abstract Many foreign learners of English in our Middle Eastern universities encounter terms such as poet laureate or laureateship without troubling themselves to search for the origin of these terms, or even taking enough time to specify their true meanings or identify the poets honoured with the title of poet laureate, and how the candidates are selected in Victorian times. This paper is designed to give answers to the above speculations. Upon reviewing many sources in this regard, we become sure that the title of Laureateship is often offered by the authority to a man of letters not necessary very well-known poet, but to a man who could serve the Queen by writing poems or articles celebrating her royal occasions and sharing her the same political taste. Keywords: laureateship, Victorian poets, Queen Victoria, Victorian times 1. The Main Discussion We believe that shedding light upon this topic is a useful and interesting undertaking in the present. This paper mainly focuses on the poets laureate of the Victorian period. -
An A2 Timeline of the London Stage Between 1660 and 1737
1660-61 1659-60 1661-62 1662-63 1663-64 1664-65 1665-66 1666-67 William Beeston The United Company The Duke’s Company The Duke’s Company The Duke’s Company @ Salisbury Court Sir William Davenant Sir William Davenant Sir William Davenant Sir William Davenant The Duke’s Company The Duke’s Company & Thomas Killigrew @ Salisbury Court @Lincoln’s Inn Fields @ Lincoln’s Inn Fields Sir William Davenant Sir William Davenant Rhodes’s Company @ The Cockpit, Drury Lane @ Red Bull Theatre @ Lincoln’s Inn Fields @ Lincoln’s Inn Fields George Jolly John Rhodes @ Salisbury Court @ The Cockpit, Drury Lane @ The Cockpit, Drury Lane The King’s Company The King’s Company PLAGUE The King’s Company The King’s Company The King’s Company Thomas Killigrew Thomas Killigrew June 1665-October 1666 Anthony Turner Thomas Killigrew Thomas Killigrew Thomas Killigrew @ Vere Street Theatre @ Vere Street Theatre & Edward Shatterell @ Red Bull Theatre @ Bridges Street Theatre @ Bridges Street Theatre @ The Cockpit, Drury Lane @ Bridges Street Theatre, GREAT FIRE @ Red Bull Theatre Drury Lane (from 7/5/1663) The Red Bull Players The Nursery @ The Cockpit, Drury Lane September 1666 @ Red Bull Theatre George Jolly @ Hatton Garden 1676-77 1675-76 1674-75 1673-74 1672-73 1671-72 1670-71 1669-70 1668-69 1667-68 The Duke’s Company The Duke’s Company The Duke’s Company The Duke’s Company Thomas Betterton & William Henry Harrison and Thomas Henry Harrison & Thomas Sir William Davenant Smith for the Davenant Betterton for the Davenant Betterton for the Davenant @ Lincoln’s Inn Fields -
Dressing to Delight: the Spectacle of Costume and the Character of the Fop on the Restoration Stage, 1660-1714 Lyndsey Bakewell
DRESSING TO DELIGHT: THE SPECTACLE OF COSTUME AND THE CHARACTER OF THE FOP ON THE RESTORATION STAGE, 1660-1714 Lyndsey Bakewell … for costume and ornament are arrived to the heights of magnificence. —Richard Flecknoe The English Restoration theatre has long been associated with lavish spectacles. This is due in part to developments in scenery and machinery following the return of Charles II and the monarchy in 1660. Drawing influence from European practices experienced by playwrights, players, and audiences while in exile, theatrical practice included an increased technical potential for spectacular visual feats of scenographic and mechanical wonder.1 Contemporary research has often defined the theatrical practices of the Restoration in terms of these advances (see Powell 1984, Hume 1976, and Milhous 1984). When considering the spectacular nature of the English stage in this period, these discussions tend to overlook more traditional elements of stage production, such as costume, acting, and scenography. In contrast, accounts from writers during, and immediately after the Restoration, regularly discuss these elements of production, assuring us of the significance of their contribution to this period’s stage spectaculars. This paper will therefore draw on firsthand accounts and playtexts from the period, as well as reflections on stage practices in the decades that immediately followed the Restoration, in order to broaden notions of what spectacle meant to contemporary audiences and how this was achieved—particularly in relation to costume. By paying close attention to the ways in which clothes were exploited for their portrayal of character and their visual appeal, this paper will demonstrate the spectacular qualities of the seventeenth-century stage. -
The Protectorate Playhouse: William Davenant's Cockpit in the 1650S
The protectorate playhouse: William Davenant's cockpit in the 1650s Item Type Article Authors Watkins, Stephen Citation Watkins, S. (2019) 'The protectorate playhouse: William Davenant's cockpit in the 1650s', Shakespeare Bulletin, 37(1), pp.89-109. DOI: 10.1353/shb.2019.0004. DOI 10.1353/shb.2019.0004 Publisher John Hopkins University Press Journal Shakespeare Bulletin Download date 30/09/2021 15:44:41 Link to Item http://hdl.handle.net/10545/624483 1 The Protectorate Playhouse: William Davenant’s Cockpit in the 1650s STEPHEN WATKINS University of Southampton Recent work on the history of the theater during the decade of republican experiment in England (1649–59) has revealed a modest but sophisticated performance culture, centering on the entrepreneurial and politically wily figure of Sir William Davenant. Despite the ban on stage plays enforced in various forms from 1642, by the mid-1650s Davenant, poet laureate to Charles I and Royalist aid during the civil wars, succeeded in gaining the Protectorate’s approval to produce a series of “Heroick Representations” (Davenant, Proposition 2) for public audiences, first at his private residence of Rutland House and later at the Cockpit theater in Drury Lane. These “Representations” embody a unique corpus in the history of English theater. They were radically innovative productions, introducing the proscenium arch, painted, perspectival scenery, and recitative music to London audiences. The Siege of Rhodes even boasted the first English female performer to appear on a professional public stage. Davenant’s 1650s works were not strictly plays in the usual sense—what John Dryden would later term “just drama” (sig. -
The Poets and the Poetry of the Century
The Poets and the Poetry of the Century Alfred H. Miles *a*^. Southern Branch of the of University California ; Los Angeles Form L I V.Q, 'JUL 2 9 1984 Form L9-15/(<-10,'25 The POETS and the POETRY of the CENTURY The POETS and the POETRY of the CENTURY William Morris to Robert Buchanan Edited by ALFRED H. MILES HUTCHINSON & CO. 25, PATERNOSTER SQUARE, LONDON '" /^' r> ') i> •'5 .* ^, ^ n PREFATORY. This volume contains selections from the works of poets who were born during the fourth decade of the century,— poets, who at the time of this writing, are in most in cases the prime of life, and in the full vigour of their working powers ;—poets from whom much has been received, and from whom more may " yet be expected, whose names are as familiar in our ears as household words," and whose v.-ork has exercised more influence over the poetic literature of the latter part of the Victorian era, than that of any others, excepting only the work of Lord Tennyson and Robert Browning. The Editor's obligations in this connection are numerous and heavy. The high courtesy he has experienced at the hands of Mr. William Morris and Mr. Swinburne, would hardly find, in the delicacy and grace of the one or the torrent-force of the other, an adequate verbal equivalent. His sense of indebtedness to Mr. Theodore Watts, one of whose sonnets in this appears volume for the first time, be recorded but may not expressed. Dr. Garnett, the Hon. Roden Noel, Mr. -
Age of Dryden Summary
AGE OF DRYDEN SUMMARY John Dryden, (born August 9 [August 19, New Style], 1631, Aldwinkle, Northamptonshire, England—died May 1 [May 12], 1700, London), English poet, dramatist, and literary critic who so dominated the literary scene of his day that it came to be known as the Age of Dryden. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. When in May 1660 Charles II was restored to the throne, Dryden joined the poets of the day in welcoming him, publishing in June Astraea Redux, a poem of more than 300 lines in rhymed couplets. -
Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on Twelfth Night 2017 with Alex LaGrand who worked on King Lear 2016 with Zack Powell who worked on Henry IV Part II 2015 with John Ahlin who worked on Macbeth 2000 with Jerry Hands who worked on Much Ado About Nothing 1984 with Derek Jacobi who worked on Othello 1964 with Laurence Olivier who worked on Romeo and Juliet 1935 with Edith Evans who worked on The Merry Wives of Windsor 1918 with Ellen Terry who worked on The Winter’s Tale 1856 with Charles Kean who worked on Richard III 1776 with David Garrick who worked on Hamlet 1747 with Charles Macklin who worked on Henry IV 1738 with Colley Cibber who worked on Julius Caesar 1707 with Thomas Betterton who worked on Hamlet 1661 with William Davenant who worked on Henry VIII 1637 with John Lowin who worked on Henry VIII 1613 with John Heminges who worked on Hamlet 1603 with William Shakespeare. -
The Heroic Tragedy
The Heroic Tragedy Heroic Tragedy is a name given to the form of tragedy which had some vogue in the beginning of the Restoration period (1660-1700). It was drama in the epic mode – grand, rhetorical and declamatory at its best and often bombastic at its worst. Its themes were love and honour, and it was considerably influenced by French classical drama, especially by the works of Corneille and Racine. John Dryden thus defined it in the preface to The Conquest of Granada (1672) : “ An heroic play ought to be an imitation, in little, of an heroic poem ; and consequently … love and valour ought to be the subject of it”. In these plays, as in an epic, the protagonist is a large-scale warrior whose actions involve the fate of an empire. A noble hero and an equally noble heroine are typically placed in a situation in which their passionate love is in conflict with the demands of honour and with the hero’s patriotic duty to his country. When the conflict ends in a disaster, the effect is a tragedy. Heroic drama was staged in a spectacular and operatic fashion, and in it one can detect the influences of opera which, at this time, was establishing itself. The two main early works of this genre were The Siege of Rhodes (1656) and The Spaniards in Peru (1658) by Sir William Davenant who was virtually the pioneer of English opera and who promoted heroic drama. The main plays thereafter were Robert Howard’s The Indian Queen (1665) and those by Dryden. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
“A Poor Player That Struts and Frets His Hour Upon the Stage…”
“A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Christin N. Gambill May, 2016 “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION Christin N. Gambill Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Dean of the College Mr. James Slowiak Dr. John Green _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. Adel Migid Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Date Dr. Hillary Nunn _______________________________ School Director Dr. J. Thomas Dukes ii TABLE OF CONTENTS Page CHAPTER I. “THIS ROYAL THRONE THIS SCEPTERED ISLE…” THE THEATRE OF THE ENGLISH RENAISSANCE ............................................................................................... 1 II. THE COMING STORM .............................................................................................. 14 III. THE AXE FALLS ...................................................................................................... 29 IV. UNDER THEIR NOSES ............................................................................................ 42 V. THE NEW ORDER ..................................................................................................... 53 VI. FUTURE CONSIDERATIONS -
Poison, Medicine, Or Nutrition an Ebook Is
ALCTS "When are eBooks THE Books?" 2004 ALA Annual Conference Orlando Forum E-Books: Poison, Medicine, or Nutrition When Are E-Books the Books? Kimberly Parker ALA 2004 Annual Meeting 28 June 2004 Its varied scenes, its many hopes and fears … Thomas Cole. Thomas Cole's poetry. “Voyage of Life” 1972 An Ebook Is … • Individual • Package • Historical/Textual • Reference Work • Textbook ALA 2004 Orlando www.ala.org/alcts 1 ALCTS "When are eBooks THE Books?" 2004 ALA Annual Conference Orlando Forum Heav'n grant we be not poison to each other … John Dryden, Sir William Davenant , Thomas Shadwell. The Tempest. Act II Scene 2. 1674 The Metaphor • Poison • Medicine • Nutrition ALA 2004 Orlando The swelling tide of time ... Robert Anton. The Philosophers Satyrs. The Philosophers Third: Satyr of Iupiter. 1616 Timeline • 1991 Patrologia Latina • 1994 PastMasters • 1996 Oxford English Dictionary (1) • 1997 English Prose Drama • 1999 Early English Books Online (>100,000), Eighteenth Century Fiction, ENGnetBASE, STAT!Ref(9) ALA 2004 Orlando www.ala.org/alcts 2 ALCTS "When are eBooks THE Books?" 2004 ALA Annual Conference Orlando Forum And cause and sequence, and the course of time ... Sir Edwin Arnold. The Light of Asia or The Great Renunciation (Mahâbhinishkramana). Book the Eighth. 1879 Timeline (cont.) • 2000 Early English Prose Fiction, etc. • 2001 Books@Ovid(growing to 167), Classic Protestant Texts • 2002ACLS History E-book Project (500), Gutenberg-e, Knovel(174), Wright American Fiction ALA 2004 Orlando What's to be done? Nor time nor tide will wait. Alfred Austin. The Golden Age. 1871 Timeline (cont.) • 2003 Acta Sanctorum, Books 24x7 (2,526), CogNet, Digital Dissertations, Evans Digital Edition (>36,000), netLibrary(3500), SourceOECD, World Bank e-Library(1260) • 2004 BioMedProtocols (373), CinemaGoing, Dekker Ebooks(55), Eighteenth Century Collections Online (>130,000), Safari Tech Books (125) ALA 2004 Orlando www.ala.org/alcts 3 ALCTS "When are eBooks THE Books?" 2004 ALA Annual Conference Orlando Forum It was the crave for intellectual food ..