Appendix 1: Specimens of British Poetesses List of Authors

Total Page:16

File Type:pdf, Size:1020Kb

Appendix 1: Specimens of British Poetesses List of Authors APPENDIX 1: SPECIMENs OF BRITIsH POETEssEs LIST OF AUTHORS Juliana Berners; Anne Boleyn; Anne Askewe; Anne Countess of Oxford; Elizabeth I; Elizabeth Melville; Elizabeth Carey; Mary Sidney; Mary Wroth; Anne Countess of Arundel; Diana Primrose; Mary Fage; Anna Hume; Anne Bradstreet; Anne Collins; Mary Morpeth; Princess Elizabeth of Bohemia; Katherine Philips; Frances Boothby; Margaret Cavendish; Anne Killigrew; Anne Wharton; Anne Taylor, Aphra Behn; Alicia D’Anvers; Mary Pix; Lady Chudleigh; Mary Monk; Anne Winchelsea; Esther Vanhomrigh; Rachel Russell; Susanna Centlivre; De La Riviere Manly; Elizabeth Thomas; Constantia Grierson; Mary Barber; Elizabeth Rowe; Jane Brereton; Mary Chandler; Mary Leapor; Catherine Cockburn; Laetitia Pilkington; Elizabeth Tollet; Eliza Haywood; Henrietta Luxborough; Henrietta Pennington; Mary Masters; Mary Madan; Mary Wortley Montague; Frances Sheridan; Anna Temple; Mary Jones; Frances Brooke; Frances Greville; Henrietta O’Neil; Mary Robinson; Hesther Chapone; Georgiana Duchess of Devonshire; Elizabeth Carter; Ann Yearsley; Charlotte Smith; Elizabeth Trefusis; Hannah Cowley; Anna Seward; Mary Tighe; Mary Brunton; Anne Hunter; Hester Lynch Piozzi; Ann Radcliffe; Anna Laetitia Barbauld; Eleanor Anne Franklin; Anne Barnard; Jane Elliot; Hannah More; Helen Mary Williams; Joanna Baillie; Joanna Scott; Amelia Opie; Anne Grant; Anne Holford; Mary Russell Mitford; Felicia Hemans; L.E. Landon; Gertrude Thimelby; and five anonymous authors presumed female. © The Author(s) 2018 145 P. Salzman, Editors Construct the Renaissance Canon, 1825–1915, Early Modern Literature in History, https://doi.org/10.1007/978-3-319-77902-7 APPENDIX 2: VOlUMES IN DYCE’S LIBRaRY RElaTED TO SPECIMENs OF BRITIsH POETEssEs EIGHTEENTH CENTURY Lady Chudleigh, Poems on Several Occasions (1722). Mary Monk, Marinda: Poems and Translations (1715). Susannah Centlivre, Plays (from which Dyce takes the prologue to A Bold Stroke for a Wife). Delariviere Manley, The Lost Lover, The Royal Mischief, Almyna, and Lucius (plays). Mary Barber, Poems on Several occasions (1734). Elizabeth (Singer) Rowe, Poems upon several occasions (Dyce owned the 1721 edition and also her 1770 collected works). Jane Brereton, Poems on Several Occasions (1744). Mary Leapor, Poems upon several occasions (1748–51). Catherine Cockburn, Works (1751). Elizabeth Tollet, Poems on several occasions (1755). Eliza Haywood, The Tea Table (1715). Mary Masters, Poems on several occasions (1733). Mary Wortley Montague, Poetical works (1785). Anna Temple, A Pill to Purge State melancholy (1715). Mary Jones, Miscellanies (1750). Frances Brooke, Virginia…with odes, pastorals (1756). Anna Williams, Miscellanies (1766). Mary Robinson, Poems (1806). © The Author(s) 2018 147 P. Salzman, Editors Construct the Renaissance Canon, 1825–1915, Early Modern Literature in History, https://doi.org/10.1007/978-3-319-77902-7 148 APPENDIX 2: VOLUMES IN DYCE’S LIBRARY RELATED TO SPECIMENS… Hester Chapone, Works (1807), Miscellanies (1810). Georgiana Cavendish, Passage of the Mountains of St Gothard (1802). Elizabeth Carter, Poems on Several Occasions (1766). Ann Yearsley, Poems on Several occasions (1785); Poems on various Subjects (1787). Anna Barbauld, Poems (1773). Charlotte Smith, Beachy Head (1807), Minor Morals (1806), and Elegaic Sonnets (1786, 1797). CONTEMPORaRY Joanna Baillie, A Collection of Poems (London: Longman, 1823). Hannah Cowley, Works (London: Wilkie and Robinson, 1813). Eleanor Franklin, The Veils (London: C. Roworth, 1815), Coeur de Leon (London, 1822). Anne Grant, The Highlanders (London: Printed by C. Whittingham … for Longman, Hurst, Rees, and Orm, 1808). Margaret Holford, Wallace (London: Longman, Hurst, Rees, Orm, and Brown, 1809). Anne Hunter, Poems (London: Printed for T. Payne, Mews Gate, By T. Bensley, Bolt Court, Fleet Street, 1802). Mary Russell Mitford, Poems (London: Printed by A.J. Valpy, Took’s Court, Chancery-Lane, sold by Longman, Hurst, Rees and Orme, Paternoster Row, 1810). Hannah More, Florio (London: T. Cadell, 1786). Amelia Opie, Poems (London: Longman, Hurst, Rees, Orme, and Brown, 1808). Anna Seward, Poetical Works ed. Scott (Edinburgh: Printed by James Ballatyne and Co. for John Ballatyne and Co. Edinburgh and Longman, Hurst, Rees, and Orme Paternoster Row London, 1810). Mary Tighe, Psyche (4th edn., London: Longman, Hurst, Rees, Orme, and Brown, Paternoster Row, 1812). Elizabeth Trefusis, Poems and Tales (London: Printed for Samuel Tipper, Leadenhall Street, by T. Bensley, Bolt Court, 1808). Helen Williams, Poems (London: A. Rivington and J. Marshall for Thomas Cadell in the Strand, 1786), Poems (1791), Poems (London: E. Newbery and Vernor and Hood, 1796), Poems (London: G. and W.R. Whittaker, Ave-Maria Lane, 1823). BIBlIOGRaPHY MaNUSCRIPTS Bodleian Library, MS Phillipps-Robinson.d.2407. Correspondence of Alexander Dyce, National Art Library, Victoria and Albert Museum, MSL 1869/65; 86.Y.10–102. Edinburgh University Library, MS HP. Coll. 301–403 (= Halliwell-Phillipps scrap- books 102 variously bound volumes). Folger Shakespeare Library, Material objects collected by Halliwell-Phillipps: Items numbered by volume: Little Books of Objects (e.g., 12. Piece of mulberry tree); and Some Account of Antiquities (e.g., vol 2 number 68, pomander). Folger Shakespeare Library, V.b.35–7 (Halliwell-Phillipps larger scrapbooks). Folger Shakespeare Library, Manuscripts W.b.137–256 (Halliwell-Phillipps scrap- books: individual volumes by number). Folger Shakespeare Library, Peter W.M. Blayney, unpublished notes on Halliwell-­ Phillipps scrapbooks. Folger Shakespeare Library, Manuscripts Y.d.119–1414 (material originally in Halliwell-Phillipps’s filing drawers). Leigh Hunt, annotated copy of Specimens of British Poetesses, Huntington Library, 472120. Shakespeare Birthplace Trust Library, Stratford-Upon-Avon, Halliwell-Phillipps Notebooks [i.e., scrapbooks], GL 12 (128 volumes). © The Author(s) 2018 149 P. Salzman, Editors Construct the Renaissance Canon, 1825–1915, Early Modern Literature in History, https://doi.org/10.1007/978-3-319-77902-7 150 Bibliography PRIMaRY SOURCES Baker, Ernest A. ed., The Novels of Mrs Aphra Behn (1905). Bell, Ilona ed., John Donne Selected Poems (Harmondsworth: Penguin, 2007). Beloe, William, The Sexagenarian; or, The Recollections of a Literary Life (1817). Bowers, Fredson, ed., The Dramatic Works of Thomas Dekker (Cambridge: Cambridge University Press, 1953–1961). Bowers, Fredson, et al., eds, The Dramatic Works in the Beaumont and Fletcher Canon (Cambridge: Cambridge University Press, 1966–96). Brennan, Michael, ed., Lady Mary Wroth’s Love’s Victory: The Penshurst Manuscript (London: Roxburghe Club, 1988). Brydges, Samuel Edgerton, ed., Restituta, or Titles Extracts and Characters of Old Books in English Literature Revived (1814–16). Bullen, A.H., ed., A Collection of Old English Plays (1882–1890). Bullen, A.H., ed., The Works of John Day (1881). Bullen, A.H., ed., The Works of Thomas Middleton (1885–6). Bullen, A.H., ed., The Works of John Marston (1887). Bullen, A.H., The Works of George Peele (1888). Bullen, A.H., ed., Lyrics from the Dramatists of the Elizabethan Age (1889). Bullen, A.H., ed., Lyrics from the Songbooks of the Elizabethan Age (1887). Bullen, A.H., ed., Speculum Amantis (1889). Bullen, A.H., ed., Musa Proterva (1889). Bullen, A.H., ed., The Works of William Shakespeare (1904–7). Clark, W.G. and William Aldis Wright, eds, The Tragedy of King Richard II (Oxford: Clarendon Press, 1868). Clark, William George, John Glover, and William Aldis Wright, eds, The Works of William Shakespeare (1863–7). Clarke, Mary Cowden, Shakespeare’s Works (1860). Clarke, Mrs Cowden, The Complete Concordance to Shakspere (1846). Collier, J.P., ed., The Works of William Shakespeare (1842–4). Collier, J.P., A History of English Dramatic Poetry (1831). Collier, J.P., ed., The Works of Shakespeare (1853). Collier, J.P., Notes and Emendations to the Text of Shakespeare’s Plays (1853). Colman, George and Bonnell Thornton, eds, Poems by Eminent Ladies (1755/1773/1784). Daniel, P.A., ed., Romeo and Juliet (1874). Dodsley, Robert, ed., Select Collection of Old Plays (1724, rpt. 1825). Donne, John, The Variorum Edition of the Poetry of John Donne, ed. Gary A. Stringer et al., vol. 2 (Bloomington: Indiana University Press, 2000). Dyce, Alexander, ed., Richard Bentley, Dissertations Upon the Epistles of Phalaris (1836). Bibliography 151 Dyce, Alexander, ed., Select Translations from the Greek of Quintus Smyrnaeus (Oxford, 1821). Dyce, Alexander, ed., The Works of Beaumont and Fletcher (1843–6). Dyce, Alexander, ed., The Works of Thomas Middleton (1840). Dyce, Alexander, ed., Demetrius and Enanthe, Being The Humorous Lieutenant (1830). Dyce, Alexander, ed., Dramatic Works and Poems of James Shirley with Notes by the Late William Gifford (1833). Dyce, Alexander, ed., Sir Thomas More (1844). Dyce, Alexander, ed., The Dramatic and Poetical Works of Robert Greene and George Peele (1861). Dyce, Alexander, ed., The Dramatic Works of Robert Greene, 2 vols (1831). Dyce, Alexander, ed., The Poetical Works of John Skelton (1843). Dyce, Alexander, ed., The Works of Christopher Marlowe (1850). Dyce, Alexander, ed., The Works of George Peele, 2 vols (1828). Dyce, Alexander, ed., The Works of John Webster, 4 vols (1830). Dyce, Alexander, ed., The Works of William Shakespeare (1857). Dyce, Alexander, ed., The Works of William Shakespeare (1864–7). Dyce, Alexander, Specimens of British Poetesses (1825). Dyce, Alexander, Strictures on Mr Collier’s New Edition of Shakespeare
Recommended publications
  • Editors Construct the Renaissance Canon, 1825–1915
    EDITORS CONSTRUCT THE RENAISSANCE CANON, 1825–1915 Paul Salzman EARLY MODERN LITERATURE IN HISTORY General Editors: Cedric C. Brown and Andrew Hadfield Early Modern Literature in History Series editors Cedric C. Brown Department of English University of Reading Reading, UK Andrew Hadfield School of English University of Sussex Brighton, UK Within the period 1520–1740, this large, long-running series, with international representation discusses many kinds of writing, both within and outside the established canon. The volumes may employ different theoretical perspectives, but they share an historical awareness and an interest in seeing their texts in lively negotiation with their own and successive cultures. Editorial board members: Sharon Achinstein, University of Oxford, UK John Kerrigan, University of Cambridge, UK Richard C McCoy, Columbia University, USA Jean Howard, Columbia University, USA Adam Smyth, Birkbeck, University of London, UK Cathy Shrank, University of Sheffield, UK Michelle O’Callaghan, University of Reading, UK Steven Zwicker, Washington University, USA Katie Larson, University of Toronto, Canada More information about this series at http://www.palgrave.com/gp/series/14199 Paul Salzman Editors Construct the Renaissance Canon, 1825–1915 Paul Salzman La Trobe University Bundoora, VIC, Australia Early Modern Literature in History ISBN 978-3-319-77901-0 ISBN 978-3-319-77902-7 (eBook) https://doi.org/10.1007/978-3-319-77902-7 Library of Congress Control Number: 2018935934 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
    [Show full text]
  • The SCORNFUL LADY by Francis Beaumont and John Fletcher Performed C
    ElizabethanDrama.org presents the Annotated Popular Edition of The SCORNFUL LADY by Francis Beaumont and John Fletcher Performed c. 1609-1610 First published 1616 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright ElizabethanDrama.org, 2018 This annotated play may be freely copied and distributed. 1 THE SCORNFUL LADY By Francis Beaumont and John Fletcher Performed c. 1609-1610 First Published 1616 Persons Represented in the Play. INTRODUCTION TO THE PLAY Elder Loveless, a Suitor to the Lady. The Scornful Lady is a "City Comedy", its scene London; Young Loveless, a Prodigal, and brother to Elder thus, its characters are neither royalty nor nobility, but Loveless. "regular" citizens. Almost plotless, our play examines the Savil, Steward to Elder Loveless. need some people have to manipulate their admirers. A very funny play, The Scornful Lady is notable for its extensive Lady, target of Elder Loveless’ suit. use of animal-related insults and imagery. The lecherous old Martha, the Lady’s sister. servant Abigail in particular is the target of a great deal of Abigail Younglove, a waiting Gentlewoman of entertaining abuse. the Lady. NOTES ON THE TEXT Welford, a Suitor to the Lady. Sir Roger, Curate to the Lady. The text of The Scornful Lady is taken from Warwick Bond's edition of the play, as it appears in Volume I of The Hangers-on of Young Loveless: Works of Francis Beaumont and John Fletcher, cited at Captain. #3 below. Traveller. The Scornful Lady was published multiple times in the Poet. 17th century, the first time in 1616; as is the normal practice Tobacco-man.
    [Show full text]
  • Camden Old Series (1838 – 1872)
    ROYAL HISTORICAL SOCIETY CAMDEN OLD SERIES (1838 – 1872) VOLUME I History of the arrival of Edward IV in England, and the final recovery of his kingdoms from Henry VI, A.D. 1471, ed. John Bruce, Camden Society (1838) II Kynge Johan. A play in two parts by John Bale, ed. J. Payne Collier, Camden Society (1838) III Alliterative poem on the deposition of King Richard II, ed. Thomas Wright, Camden Society (1838) IV Plumpton Correspondence, a series of letters, written in the reigns of Edward IV, Richard III, Henry VII and Henry VIII, from Sir Edward Plumpton’s book of letters, ed. Thomas Stapleton, Camden Society (1839) V Anecdotes and traditions, illustrative of early English history and literature, ed. William J. Thorns, Camden Society (1839) VI The political songs of England, from the reign of John to that of Edward II, ed. Thomas Wright, Camden Society (1839) VII Annals of the first four years of the reign of Queen Elizabeth, by Sir John Hayward, Kent., D.C.L, ed. John Bruce, Camden Society (1840) VIII Ecclesiastical documents, viz. I, A brief history of the bishopric of Somerset from its foundation to the year 1174; II, Charters from the library of Dr. Cox Macro, by Joseph Hunter, Camden Society (1840) IX Speculi Britanniae pars: an historical and chorographical description of the county of Essex by John Norden, 1594, ed. Sir Henry Ellis, Camden Society (1840) X A chronicle of the first thirteen years of the reign of King Edward the Fourth, by John Warkworth, DD., ed. James Orchard Halliwell, Camden Society (1839) XI Kemps nine daies wonder, performed in a dance from London to Norwich, with an introduction and notes by Alexander Dyce, Camden Society (1840) XII The Egerton papers.
    [Show full text]
  • From the Publication of the First Volumes in 1984 the General Editor
    Cambridge University Press 978-0-521-72874-4 - Coriolanus: Updated Edition Edited by Lee Bliss Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. CORIOLANUS This generously annotated updated edition of Coriolanus provides a thorough reconsideration of Shakespeare’s remarkable, and probably his last, tragedy. A substantial introduction situates the play within its contemporary social and political contexts – dearth, riots, the struggle over authority between James I and his first parliament, the travails of Essex and Ralegh – and pays particular attention to Shakespeare’s shaping of his primary source in Plutarch’s Lives. It presents a fresh account of how the protagonist’s personal tragedy evolves within Shakespeare’s most searching exploration of the political life of a community. The edition is alert throughout to the play’s theatrical potential, while the stage history also attends to the politics of performance from the 1680s onwards, including European productions following the Second World War. A new introductory section by Bridget Escolme covers recent productions of Coriolanus, and criticism of the
    [Show full text]
  • The Reminiscences of Alexander Dyce Alexander Dyce
    THE REMINISCENCES OF ALEXANDER DYCE ALEXANDER DYCE FROM AN ENGRAVING BY C. H. JEENS. REPRODUCED BY COURTESY OF THE VICTORIA & ALBERT MUSEUM. THE Reminiscences OF Alexander Dyce EDITED, WITH A BIOGRAPHY BY RICHARD J. SCHRADER OHIO STATE UNIVERSITY PRESS Copyright © 1972 by the Ohio State University Press All Rights Reserved Library of Congress Catalog Card Number 75-157716 Standard Book Number 8142-0160-1 Manufactured in the United States of America FOR MY PARENTS CONTENTS FOREWORD x i ALEXANDER DYCE 3 EDITORIAL PRINCIPLES 2 9 THE REMINISCENCES 3 3 PREFACE TO CHAPTER I 35 CHAPTER ONE : Early Years 39 SCOTLAND. % MARY ANN PATON. J SIR DAVID OCHTERLONY. % MRS. SMOLLETT. $ STRAW BERRY-HILL J LORD WALDEGRAVE. % CUMNOR PLACE (FROM MY DIARY). PREFACE TO CHAPTER II 5 1 CHAPTER TWO: The Stage 55 PART I : MAJOR CHARACTERS 5 5 EDMUND KEAN AND HIS WIFE. { CHARLES KEAN. % JOH N KEMBLE. $ MRS. CHARLES KEMBLE (MISS DE CAMP), t MRS. SIDDONS. PART 2 : MINOR CHARACTERS 9 9 GIOVANNI B. BELZONI. % MRS. MARY ANN DAVENPORT) WILLIAM FARREN, &C. $ MRS. GIBBS. % MRS. DOROTHY Vlll CONTENT S JORDAN. | JAMES KENNEY AND HIS LAST DRAMATIC PRODUCTION, t JOHN HENDERSON'S AND CHARLES MACKLIN'S SHYLOCK ; GEORGE F. COOKE'S RICHARD THE THIRD, SIR PERTINAX MACSYCOPHANT, AND SIR ARCHY MACSARCASM; MACKLIN AND D [ . ] . % MADEMOISELLE MARS. % CHARLES MATHEWS THE ELDER. $ JOSEPH S. MUNDEN. % MRS. PIOZZI AND CONWAY THE ACTOR. { MRS. ELIZABETH POPE (MISS YOUNG) J HOLCROFT'S "FOLLIES OF A DAY OR TH E MARRIAGE OF FIGARO" ; CHARLES BONNOR. J MISS JANE POPE, T GEORGE RAYMOND. PREFACE TO CHAPTER III 12J CHAPTER THREE: The Clerisy 131 THOMAS TAYLOR, THE PLATONIST.
    [Show full text]
  • Postgraduate English: Issue 19
    Heavey Postgraduate English: Issue 19 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 19 March 2009 Editors: Amy Jordan and Eleanor Chatburn Performing “in the likeness of a petticoat”: Playing Helen of Troy and Medea in the Drama of James Shirley Katherine Heavey * * Durham University ISSN 1756-9761 1 Heavey Postgraduate English: Issue 19 Performing “in the likeness of a petticoat”: Playing Helen of Troy and Medea in the Drama of James Shirley Katherine Heavey Durham University Postgraduate English, Issue 19, March 2009 James Shirley’s Poems & c., published in 1646, inspired commendatory verses from many admirers and colleagues. One such admirer, George Bucke, draws attention to Shirley’s use of classical mythology (particularly the story of Echo and Narcissus), and declares Let Ovid boast their story; but their names Will take eternity from thee, dear James.[1] Such praise is obviously hyperbolic, and it would be foolhardy to claim today that Shirley’s retelling of the myth (in Narcissus, or The Self-Lover) has become more popular than Ovid’s rendering in the Metamorphoses. Nevertheless, Bucke’s admiring lines do draw attention to Shirley’s use of mythology (and specifically of Ovidian mythology and themes). The appropriation of classical myth for literary effect was nothing new, but in Shirley’s work it is possible to discern something more original: a cavalier attitude to the stories and characters of myth that is memorable, because different and (often) irreverent. In this essay, I will examine Shirley’s rewriting of two of the best-known classical stories, those of Helen and Paris and Medea and Jason, with specific reference to his use (and misuse) of the two notorious classical women.
    [Show full text]
  • William Shakespeare, Romeo and Juliet. London: John Smethwicke, [1622]
    William Shakespeare, Romeo and Juliet. London: John Smethwicke, [1622]. 7 1/2 inches x 5 inches (191 mm x 127 mm), [88] pages, A–L4. THE MOST | EXCELLENT | And Lamentable Tragedie, | of ROMEO and | IVLIET. | As it hath beene sundrie times publikely Acted, | by the KINGS Maiesties Seruants | at the GLOBE. | Written by W. Shake-speare. | Newly Corrected, augmented, and amended. | [printer’s device] | LONDON, | Printed for Iohn Smethwicke, and are to bee sold at his Shop in | Saint Dunstanes Church-yard, in Fleetestreete | vnder the Dyall. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed.
    [Show full text]
  • The SCOTTISH HISTORY of JAMES the FOURTH
    ElizabethanDrama.org presents the Annotated Popular Edition of The SCOTTISH HISTORY of JAMES the FOURTH By Robert Greene Written c. 1590 Earliest Extant Edition: 1598 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2021. This annotated play may be freely copied and distributed. THE SCOTTISH HISTORY of JAMES THE FOURTH. by Robert Greene. Written c. 1590 Earliest Extant Edition: 1598 DRAMATIS PERSONAE. INTRODUCTION to the PLAY. Scottish Characters: In writing James the Fourth, Robert Greene became one of the earliest English dramatists to adapt an Italian story to James, King of Scots. the Elizabethan stage, an approach for which Shakespeare Sir Bartram. himself was soon to become well known. We also have a Sir Cuthbert Anderson. tale which features a sharp contrast in the characters of the Lady Anderson, wife of Sir Cuthbert. sexes, the leading women being virtuous, and most of the Lord Douglas. men wicked. Lord Morton. In fact, James stars not just one, but two paragons of Lord Ross. moral perfection and purity, the Queen of Scotland and the Bishop of St Andrews. Lady Ida. On the other hand, Greene has populated his play Bohan, a tomb dweller. with males who practice many of the seven deadly sins: Slipper, son of Bohan. they are lechers, ambitious schemers and clowns; the Nano, a dwarf, son of Bohan. primary exception to this point is the delightfully selfless Countess of Arran. and loyal dwarf Nano, a servant of the Scottish queen. Ida, daughter of the Countess. With its colourful cast of well-delineated characters Ateukin, a Parasite.
    [Show full text]
  • Robert Greeneking of the Paper Stage
    Robert Greene King of the Paper Stage by Stephanie Hopkins Hughes I am the spirit of Robert Greene, not unknown to thee (I am sure) by my name, when my writings lately privileged on every post, hath given notice of my name unto infinite numbers of people that never knew me by the view of my person. “B.R.” The Ghost of Robert Greene (1593) Greene lies continually. We wish he were more trustworthy, for it would save us trouble in understanding him. John Clark Jordan Robert Greene (1915) As those of you know who have done some digging in the dusty corners of sixteenth- century English literary history, Robert Greene was one of a group of writers known to present-day scholars as “the University Wits.” They are seen as having formed a group of London-based poets, playwrights and proto-journalists (pamphleteers) who were active for a brief period beginning in the mid-1580s, most active in the late ’80s and early ’90s, and who were, for the most part, like some strange species of human firefly, dead or at least gone from the records, by the late ’90s. Scholars group them together for several reasons: most of them came to London from either Oxford or Cambridge University; there are evident personal and professional connections between some of them, although their real relationships remain unknown; and they share a number of important stylistic similarities. Perhaps more important than anything is the fact, often not accentuated enough by commentators, that it was from this group that the potent force of English journalism, with its cogent and often satirical brilliance, its long history of accomplishment, first flickered, however briefly, into the light of publication.
    [Show full text]
  • Newdad Catalogue
    WILLIAM PICKERING 1796-1854 CATALOGUE OF A COLLECTION PRIVATELY PRINTED • MMXVIII © John Porter 2018 Privately published 2018 Designed and typeset by Francis Porter www.francisporterdesign.com in Monotype Bulmer 10pt For Anne, Catherine and Francis Mr. Pickering is an enthusiast in his profession, to which he is most devoted. He has done more for the advancement of the printing art, and the dissemination of the best class of English literature, than any other man alive. He lives over his shop, as is the habit of some of the wealthiest tradesmen here. We sat at the table, and drank Old Port, and talked of old books, till nearly two o’clock. Mr. Pickering understands the value of both. Diary of James Brown, of Boston, 21 April 1845 INTRODUCTION The genesis of this collection of the publications of William Pickering was in 1946 when I picked out a volume from a tea chest of penny books at the front of Harold Storey’s shop in Cecil Court. It was volume IV only, of Pickering’s edition of Chaucer’s Canterbury Tales , 5 vols. 1830. A worn copy, but the elegant unorthodoxy of the title, with its anchor and dolphin device; the clarity of the typography with wide margins, and the beautiful ribbed laid handmade paper were a revelation to me of how books might look. National Service beginning in 1947, followed by training to be an architect, meant scarcely remembering the odd volume of Chaucer, until it re-surfaced years later to find my original interest undiminished, and the urge to know more about the publisher.
    [Show full text]
  • Dyce Collection : a Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings, and Miscellaneous Objects Bequeathed By
    SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION, SOUTH KENSINGTON MUSEUM. DYCE COLLECTION. A' CATALOGUE OF THE PAINTINGS, MINIATURES, DRAWINGS, ENGRAVINGS, RINGS, AND MISCELLANEOUS OBJECTS BEQUEATHED BY THE REVEREND ALEXANDER DYCE. LONDON: PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’S MOST EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. MDCCCLXXIV. Digitized by the Internet Archive in 2016 https://archive.org/details/dycecollectioncaOOsout DYCE COLLECTION PAINTINGS, MINIATURES, DRAWINGS, ENGRAVINGS, RINGS, AND MISCELLANEOUS OBJECTS. 25991a. A SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION, SOUTH KENSINGTON MUSEUM. DYCE COLLECTION, A CATALOGUE OF THE PAINTINGS, MINIATURES, DRAWINGS, ENGRATINGS, RINGS, AND MISCELLANEOUS OBJECTS BEQUEATHED BY THE REVEREND ALEXANDER DYCE. LONDON: PRINTED BY GEORGE E. EYRE AND WILLIAM SPOTTISWOODE, PRINTERS TO THE QUEEN’S BIOS! EXCELLENT MAJESTY. FOR HER MAJESTY’S STATIONERY OFFICE. MDCCCLXXIV. SI — — V NOTE. This catalogue refers to the Art portion of the Collection bequeathed to the South Kensington Museum by the Reverend Alexander Dyce, the well-known Shakespearian scholar, who died May 15, 1869. A companion volume contains a catalogue of the remainder of the Bequest, the printed books and manuscripts. The following is an extract from Mr. Dyce s will : “ This is the last will of me, the Rev. Alexander Dyce, of Oxford Terrace, Paddington, Middlesex. As to all my books, works of art, and other such effects, I dispose of them as herein-after specially mentioned. And I appoint my friends, John Forster, of Palace Gate House, Kensington, esquire, and William Macpherson, of Lancaster Gate, esquire, executors of this my will.
    [Show full text]
  • John Fletcher of Corpus Christi College: New Records of His Early Years
    Early Theatre 13.2 (2010) Arata Ide John Fletcher of Corpus Christi College: New Records of His Early Years Little is known for certain about John Fletcher’s birth and college education. The earliest information comes from Humphrey Moseley, the London sta- tioner, who first provided some pieces of biographical information roughly twenty years after Fletcher’s death. In 1647, Moseley published Comedies and Tragedies Written by Francis Beaumont and Iohn Fletcher and, in ‘the sta- tioner to the readers’, made brief reference to the age of the playwright at his death: ‘Mr. Beaumont … dyed young, for (which was an invaluable losse to this Nation) he left the world when hee was not full thirty yeares old. Mr. Fletcher survived, and lived till almost fifty; whereof the World now enjoyes the benefit’.1 ‘Almost fifty’ could in all honesty mean any age past forty-five, ie, nearer to fifty than to forty; however, some grounds indicate that Moseley intended to pinpoint Fletcher’s age at forty-nine. Moseley prefixed Comedies and Tragedies with a portrait of Fletcher and inscribed onto this picture a record of his death: ‘Obijt 1625 Ætat: 49’. According to this inscription, the playwright’s birth can be dated 1575 or 1576. Although his source is difficult to pin down, Moseley may have learned about Fletcher’s death either from some members of the King’s Men or from friends of the playwright, judging from his explanation as to where he acquired the picture of Fletcher: ‘this fig- ure of Mr. Fletcher was cut by severall Originall Pieces, which his friends lent me, but withal they tell me, that his unimitable Soule did shine through his countenance in such Ayre and Spirit, that the Painters confessed it, was not easie to expresse him’.2 Moseley and his contemporaries seem to have con- sidered this inscription reliable; in fact, no one challenged the authenticity of ‘Obijt 1625 Ætat: 49’ before Alexander Dyce.
    [Show full text]