Davenant, Sir William
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ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A
ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A HISTORY OF LAUREATE POETICS, 1399-1616 Christine Maffuccio, Doctor of Philosophy, 2018 Dissertation directed by: Professor Theresa Coletti Department of English My dissertation analyzes lowbrow literary forms, tropes, and modes in the writings of three would-be laureates, writers who otherwise sought to align themselves with cultural and political authorities and who themselves aspired to national prominence: Thomas Hoccleve (c. 1367-1426), John Skelton (c. 1460-1529), and Ben Jonson (1572-1637). In so doing, my project proposes a new approach to early English laureateship. Previous studies assume that aspiration English writers fashioned their new mantles exclusively from high learning, refined verse, and the moral virtues of elite poetry. In the writings and self-fashionings that I analyze, however, these would-be laureates employed literary low culture to insert themselves into a prestigious, international lineage; they did so even while creating personas that were uniquely English. Previous studies have also neglected the development of early laureateship and nationalist poetics across the fifteenth, sixteenth, and seventeenth centuries. Examining the ways that cultural cachet—once the sole property of the elite—became accessible to popular audiences, my project accounts for and depends on a long view. My first two chapters analyze writers whose idiosyncrasies have afforded them a marginal position in literary histories. In Chapter 1, I argue that Hoccleve channels Chaucer’s Host, Harry Bailly, in the Male Regle and the Series. Like Harry, Hoccleve draws upon quotidian London experiences to create a uniquely English writerly voice worthy of laureate status. In Chapter 2, I argue that Skelton enshrine the poet’s own fleeting historical experience in the Garlande of Laurell and Phyllyp Sparowe by employing contrasting prosodies to juxtapose the rhythms of tradition with his own demotic meter. -
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. -
Download Master List
Code Title Poem Poet Read by Does Note the CD Contain AIK Conrad Aiken Reading s N The Blues of Ruby Matrix Conrad Aiken Conrad Aiken Time in the Rock (selections) Conrad Aiken Conrad Aiken A Letter from Li Po Conrad Aiken Conrad Aiken BEA(1) The Beat Generation (Vol. 1) Y San Francisco Scene (The Beat Generation) Jack Kerouac Jack Kerouac The Beat Generation (McFadden & Dor) Bob McFadden Bob McFadden Footloose in Greenwich Village Blues Montage Langston Hughes Langston Hughes / Leonard Feather Manhattan Fable Babs Gonzales Babs Gonzales Reaching Into it Ken Nordine Ken Nordine Parker's Mood King Pleasure King Pleasure Route 66 Theme Nelson Riddle Nelson Riddle Diamonds on My Windshield Tom Waits Tom Waits Naked Lunch (Excerpt) William Burroughs William Burroughs Bernie's Tune Lee Konitz Lee Konitz Like Rumpelstiltskin Don Morrow Don Morrow OOP-POP-A-DA Dizzy Gillespie Dizzy Gillespie Basic Hip (01:13) Del Close and John Del Close / John Brent Brent Christopher Columbus Digs the Jive John Drew Barrymore John Drew Barrymore The Clown (with Jean Shepherd) Charles Mingus Charles Mingus The Murder of the Two Men… Kenneth Patchen Kenneth Patchen BEA(2) The Beat Generation (Vol.2) Y The Hip Gahn (06:11) Lord Buckley Lord Buckley Twisted (02:16) Lambert, Hendricks & Lambert, Hendricks & Ross Ross Yip Roc Heresy (02:31) Slim Gaillard & His Slim Gaillard & His Middle Middle Europeans Europeans HA (02:48) Charlie Ventura & His Charlie Ventura & His Orchestra Orchestra Pull My Daisy (04:31) David Amram Quintet David Amram Quintet with with Lynn Sheffield Lynn Sheffield October in the Railroad Earth (07:08) Jack Kerouac Jack Kerouac / Steve Allen The Cool Rebellion (20:15) Howard K. -
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. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
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. -
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. -
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 ..