Sir John Oldcastle and the Construction of Shakespeare's
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The First Part of Sir John Oldcastle
(the un iversity or a bic ag o FOUNDID BY J OH N D. ROCKEFELLEB T H E FIRS T PA RT OF SIR JOH N OLDCA STLE A H IS TORICAL DRAM A BY MICH ON , TH Y M H THW Y AND AN ON A A , ROBERT WILSON E E DIT D WITH AN IN TROD UCTION , CRITICAL TEXT . AND NOTES A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE OF THE UNIVERS ITY OF CHICAGO IN CAN DIDACY FO R T H E D E G RE E O F DOCTOR OF PHILOSOPHY (DEPARTM EN T OF ENGLIS H ) JOHN ROBERTSON M ACARTHUR J J J J J CHICAGO S C T T F RES M AND C M P Y O , O AN O AN 1 907 E L! CONTENTS ACKNOWLEDGM ENTS HIS TORY OF T H E TEXT AND ITS EDIT IONS ’ Recor ds in Henslowe . Records in the Stationers Re r . E i s : B . R giste d tion A , , C , D , etc elations of ° A B . r E i . r , , C , D Othe d tions The Second Pa t of Sir John Oldcastle . SOURCES AND GROWT H OF T H E PLAY ' The Rea l Sir John Oldcastle . Immediate Sources — h Holinshed . Causes w ich led to the Wr iting of Sir John Oldcastle : Oldcastle and Falsta ff ; Influence of r r r s Foxe ; G owth of the Oldcastle Sto y in two fo m , Catholic and Protestant ; Wr iting of Sir John Old ’ cas tle ; Wee ver s Poem ; Influence of Henry IV and V ’ — on Oldcastle ; Influence of Peele s Edward I Rela ’ tions in detail ; Relation to Gr eene s Pin ner of Wake R rr E field ; elation to the Me y Devil of dmonton . -
The Shakespeare Association of America I » 1982 Meeting ((
THE SHAKESPEARE ASSOCIATION OF AMERICA I » 1982 MEETING (( APRIL 8TH , 10TH MARQUETTE HoTEL MINNEAPOLIS, MINNESOTA THE SHAKESPEARE ASSOCIATION TENTH ANNIVERSARY OF AMERICA OF President, BERNARD BECKERMAN (Columbia Unitersic:v) THE SHAKESPEARE AssociATION oF AMERICA Executit•e Secretary, ANN ) ENNALIE CooK (Vanderbilt University) Adminismuit·e Assistant, RoSEMARY ALLEN (Vanderbilt Unit•ersity) INCORPORATED 1972 TRUSTEES )OHN ANDREWS S. SCHOENBAUM (Folger Shakespeare Library) (Unit·ersity of Maryland) ANNUAL MEETINGS )ONAS BARISH CHARLES SHATTUCK (Unit•ersity of California, Berkeley) (University of Illinois) MARCH 29-31, 1973 STATLER HILTON HoTEL, WASHINGTON, D.C. ANNUAL LECTURER, HARRY LEVIN (Harvard University) STEPHEN BooTH SUSAN SNYDER (University of California, Berkeley) (Swarthmore College) MARCH 28-30, 1974 HuNTINGTON-SHERATON HoTEL, PASADENA, CALIFORNIA ANNUAL LECTURER, RoBERT B. HEILMAN (University of Washington) THELMA GREENFIELD R. W. VAN FossEN (Unit•ersity of Oregon) (University of Toronto) MARCH 20-22, 1975 SHERATON PARK PLAZA HoTEL, NEw HAVEN, CoNNECTICUT ANNUAL LECTURER, HALLETT D. SMITH (Huntington Library) LOCAL ARRANGEMENTS *APRIL 19-25, 1976 STATLER HILTON HOTEL, WASHINGTON, D.C. THOMAS CLAYTON (Unit•ersity of Minnesota) ANNUAL LECTURER, KENNETH MuiR (University of Liverpool) WITH THE ASS ISTANCE OF MARSHA L. RIEBE, ExEcuTivE AssiSTANT, AcADEMIC AFFAIRS, UNIVERSITY OF MINNESOTA APRIL 7-9, 1977 FAIRMONT HoTEL, NEw ORLEANS, LouiSIANA ANNUAL LECTURER, EuGENE W AITH (Yale University) WELCOMING COMMITTEE APRIL 13-15, 1978 HYATT REGENCY HoTEL, ToRONTO, ONTARIO AGNES MARIE FLECK (College of St. Scholastica) ANNUAL LECTURER, VIRGIL WHITAKER (Stanford University) SHIRLEY NELSON GARNER (Unit•ersity of Minnesota) MADELON GoHLKE (University of Minnesota) APRIL 12-14, 1979 SIR FRANCIS DRAKE HoTEL, SAN FRANCISCo, CALIFORNIA LowELL E. JoHNSON (St. Olaf College) ANNUAL LECTURER, G. -
CHOATE-DOCUMENT-2020.Pdf
Copyright Evan Choate 2020 ABSTRACT Fictional Texts, Imaginary Performances, and Historiographic Desire in Renaissance England by Evan Choate This dissertation explores how and why we care about history. I argue that our investment in the past is inseparable from the ways we represent it. Historiographic desire both animates and is animated by a continuous performance of historical proliferation that we experience as exhaustion, frustration, boredom, paranoia, and disappointment. Far from blunting history’s appeal, these affects mark the depth of our investment in it. To understand the dynamics of history as vertiginous webs of fictional texts and imaginary performances, I look to the radical innovations in methodology that emerged from the crucible of the English Reformation, which are too often understudied in the context of literary historicism. By attending the reciprocal evolution of drama and historiography over the course of the sixteenth century, I provide a novel account of the productive tensions among history, desire, and subjectivity that persist to this day. The theater was fundamental to the way Protestant historians such as John Foxe encountered the past. For Foxe, the renewable presence of performance and the duality of theatrical representation provided the basic structure for understanding how and why the past mattered. Theater provided a means of reconciling the objectivity that Foxe wanted from history and his awareness of the inherent subjectivity of actually producing history. Foxe’s influential recentering of history as a mode of experiencing the present was iv essential to the emergence of the commercial theater in London, which produced plays with a level of characterological sophistication and depth unlike anywhere else in sixteenth-century Europe. -
Title Jest-Book Formation Through the Early Modern Printing Industry
Title Jest-book formation through the early modern printing industry: the two different editions of Scoggin's Jests Sub Title 二つのScoggin's Jests : 異なる版が語ること Author 小町谷, 尚子(Komachiya, Naoko) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2014 Jtitle 慶應義塾大学日吉紀要. 英語英米文学 (The Hiyoshi review of English studies). No.65 (2014. 10) ,p.45- 85 Abstract Notes Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10030060-2014103 1-0045 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Jest-book Formation through the Early Modern Printing Industry: The Two Different Editions of Scoggin’s Jests Naoko Komachiya The confusion and conflation of differently originated jester figures date back to Shakespeare’s time. Scoggin’s Jests is often seen as the primary source of jesting material along with Tarlton’s Jests. The apparent identity of these jests with named figures somewhat obscured the true identity of jesters.1) Modern editors identify the socially ambiguous jester Scoggin in Shallow’s episodic recollection of Falstaff, who breaks ‘Scoggin’s head at the court gate’ in Henry IV, Part 2 (III. 2. 28–29), as the jester to Edward IV. René Weis, in explaining that Scoggin’s name was ‘synonymous with “buffoon” in Shakespeare’s day through a mid sixteenth-century jestbook, Scoggin, his iestes’, comments that the reference demonstrates that ‘even the young Falstaff was always brawling with various buffoons’.2) Weis and other editors simply deduce that Shakespeare’s misunderstanding resulted from the circulated name of Scoggin, and they do not show any evidence how the conflation occurred. -
Selected Contemporary Allusions
Appendix A Selected Contemporary Allusions 1. Robert Greene, Groats- Worth of Witte ( 1592). Quoted and discussed above, pp. 1-6, 53-4. See also Appendix B. 2. Henry Chettle, Kind-Harts Dreame (1592; SR 8 Dec. 1592), from the Epistle, 'To the Gentlemen Readers'. Discussed pp. 7, 21. he that offendes being forst, is more excusable than the wilfull faultie ... lie shew reason for my present writing, and after proceed to sue for pardon. About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groats worth of wit, in which a letter written to diuers play-makers, is offensiuely by one or two of them taken, and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindred the bitter inueying against schollers, it hath been very well knowne, and how in that I dealt I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other (i.e. Shakespeare], whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory, as if the originall fault had beene my fault, because my selfe haue seene his demeanor no !esse ciuill than he exelent in the qualitie he professes: Besides, diuers of worship haue reported, his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art. -
The First Quarto of King Henry V Edited by Andrew Gurr Excerpt More Information
Cambridge University Press 0521623367 - The First Quarto of King Henry V Edited by Andrew Gurr Excerpt More information 1 Introduction INTRODUCTION The significance of the quarto text of Henry V The character of the text of Henry V printed in the First Folio of 1623 (f) is not seriously in doubt. As the NCS edition and others argue, it was set from an authorial manuscript that had not been through the developmental process of emendation for performance. The version printed in 1600 (q), however, tells a different story. It contains several features that show radical corrections made to the f text either in the course of preparing the play for performance or during its first run on stage. It cuts the total number of lines by a half, eliminating entire scenes and transposing others, and shortens or cuts all the longer speeches. The speed with which it came to the press only a year after its first staging is a mark both of its proximity to the text performed by the company that owned it and of its authority as an official version. Between 1598 and 1600 ten plays owned by Shakespeare’s company came into print, seven of them Shakespeare’s own. With the sole exception of the Henry V quarto, and Jonson’s Every Man Out of his Humour, which Jonson gave to the press himself, all of them were at least three years old. In the speed of its delivery to the press, q Henry V is unique even among the so-called ‘bad’ quartos. What its text can tell us about its origins and its intended function is uniquely valuable for an understanding of what Shakespeare’s company did to adapt the play-manuscripts he sold to them for staging. -
Sir John Oldcastle Downloaded From
484 July Sir John Oldcastle Downloaded from INCE the early days of the English Reformation Sir John S Oldcastle has held a high place in the traditions of his country. Two of the chief advocates of protestantism, seeking edification in the history of their Lollard predecessors, published accounts of http://ehr.oxfordjournals.org/ his Bufferings; and his renown, proclaimed by Tyndale's work,1 and doubtless increased by the issue of Bale's Bre/e Chronyclc* grew higher and higher till he came to be regarded as a, national heTo. Early in the reign of Elixabeth, however, Foxe had to defend his eulogy of Oldcastle against the criticism of a Roman catholic historian ; and a generation or so later the Lollard advocates broke a lance with the dramatist*, whose traditions made Oldcastle fl. roystering buffoon. The sympathies of the ascendant at University of Manitoba on August 31, 2015 party were on Foxe's side; his reply succeeded in silencing hiB opponent, and Shakespeare was driven to change the surname of a famous character from Oldcastle to Falstaff.1 Oldcastle'a fame has been kept alive down to modern times by fresh editions of old works and the publication of new ones. He has been associated with Wycliffe, HUB, and Latimer as one of the heroes of the Reformation,4 and with "W»t Tyler and John Ball as a ' popular leader' of the middle ages;' and in the hands of one writer the lAf* and Time$ of Lord Cobham have been made to fill two sub- 1 This nrk, which tu poMbhwl in 1AM, U unfortunately lori. -
Introduction
Notes Introduction 1. Andrew Gurr, The Shakespearean Stage, 1574–1642, 3rd edition (Cambridge: Cambridge University Press, 1994), p. 191. 2. For further discussion of the myth of the bare stage see Chapter 1 of this book; Jonathan Gil Harris and Natasha Korda, ‘Introduction: Towards a Materialist Account of Stage Properties’, in Jonathan Gil Harris and Natasha Korda (eds.), Staged Properties in Early Modern English Drama (Cambridge: Cambridge University Press, 2002), pp. 2–7. 3. Aristotle Poetics (trans. Stephen Halliwell) (London: Harvard University Press, 1995), VII.16–20, p. 55. 4. Glynne Wickham, ‘Heavens, Machinery, and Pillars in the Early Theatre and Other Early Playhouse’, in Herbert Berry (ed.), The First Public Playhouse: The Theatre in Shoreditch, 1576–1598 (Montreal: McGill-Queen’s University Press, 1979), p. 6. 5. Thomas H. Dickinson (ed.), Robert Greene (London: Fisher Unwin, 1911), pp. lix–lxi. 6. Kenneth Muir, ‘Robert Greene as Dramatist’, in Richard Hosley (ed.), Essays on Shakespeare and Elizabethan Drama in Honor of Hardin Craig (London: Routledge & Kegan Paul, 1963), p. 48; Charles W. Crupi, Robert Greene (Boston: Twayne Publishers, 1986), p. 115; Charles Mills Gayley, Representative English Comedies (London: Macmillan, 1903), p. 419. 7. Bernard Beckerman, Shakespeare at the Globe, 1599–1609 (New York: Macmillan, 1962); Gerald Eades Bentley, The Professions of Dramatist and Player in Shakespeare’s Time, 1590–1642 (Princeton: Princeton University Press, 1986); T. J. King, Shakespearean Staging, 1599–1642 (Cambridge, MA: Harvard University Press, 1971); Andrew Gurr, Playgoing in Shakespeare’s London, 3rd edition (Cambridge: Cambridge University Press, 2004); S. P. Cerasano, ‘Editing the Theatre, Translating the Stage’, Analytic and Enumerative Bibliography, 4 (1990), pp. -
Schuler Dissertation Final Document
COUNSEL, POLITICAL RHETORIC, AND THE CHRONICLE HISTORY PLAY: REPRESENTING COUNCILIAR RULE, 1588-1603 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Anne-Marie E. Schuler, B.M., M.A. Graduate Program in English The Ohio State University 2011 Dissertation Committee: Professor Richard Dutton, Advisor Professor Luke Wilson Professor Alan B. Farmer Professor Jennifer Higginbotham Copyright by Anne-Marie E. Schuler 2011 ABSTRACT This dissertation advances an account of how the genre of the chronicle history play enacts conciliar rule, by reflecting Renaissance models of counsel that predominated in Tudor political theory. As the texts of Renaissance political theorists and pamphleteers demonstrate, writers did not believe that kings and queens ruled by themselves, but that counsel was required to ensure that the monarch ruled virtuously and kept ties to the actual conditions of the people. Yet, within these writings, counsel was not a singular concept, and the work of historians such as John Guy, Patrick Collinson, and Ann McLaren shows that “counsel” referred to numerous paradigms and traditions. These theories of counsel were influenced by a variety of intellectual movements including humanist-classical formulations of monarchy, constitutionalism, and constructions of a “mixed monarchy” or a corporate body politic. Because the rhetoric of counsel was embedded in the language that men and women used to discuss politics, I argue that the plays perform a kind of cultural work, usually reserved for literature, that reflects, heightens, and critiques political life and the issues surrounding conceptions of conciliar rule. -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608. -
“But Is It Any Good?”: Evaluating Shakespeare Adaptation
Abstracts, SAA 2020 Seminar. Evaluating Shakespeare Adaptations (Session I) ‘All for your delight, we are not here’: Questioning the preeminent role of the traditional theatre critic Gemma Kate Allred, Université de Neuchâtel Whether through an immersive experience, diversity casting, celebrity casting or updating the text, it is very much of the Zeitgeist for Shakespeare on stage to be adapted for the modern audience. Add into the mix celebrity casting, and questions of authenticity and value are brought to the fore. Within British theatre, we have an established system to assess the worth or merit of a production. Reviewers, often male, upper middle class, and Oxbridge educated, write a few paragraphs for a broadsheet, award a star rating, and the production is rated. However, is this system still fit for purpose? Notions that the audience attracted by these modern productions are simply incapable of understanding is endemic in the critical reviews, with critics placing themselves as an intellectual counterpoint to the uneducated masses. Increasingly, theatre companies make explicit a desire to attract new audiences to Shakespeare. However, in appealing to new audiences, the self-appointed educated elite are implicitly excluded. These established critics frequently don’t get it – but when they are not the intended market for the production, why should they? It’s not for them. In most things we accept when people’s personal preferences differ, and we accept when someone likes something different – coffee or tea we ask – are you a dog person or a cat person? However, with theatre there is a tendency to insist that it is for everyone. -
INTRODUCTION the First Part of King Henry IV
Cambridge University Press 978-0-521-86801-3 - The First Part of King Henry IV: Updated Edition Edited by Herbert Weil and Judith Weil Excerpt More information INTRODUCTION The First Part of King Henry IV Reputation In the most highly regarded twentieth-century study of history plays from different periods and nationalities, Herbert Lindenberger argues: ‘Henry IV surely provides the supreme example of a complex and serious approach to history that diverts in the very act of instructing.’1 G. R. Hibbard represents many leading critics and directors when he expands this evaluation beyond the confines of genre: ‘In size, in significance, and above all, in the sheer wealth of invention that has gone into its making, Henry IV is among the major achievements.’2 For 1 Henry IV, undisputed facts concerning the play’s reception support these superlatives. From its first appearance, probably in 1597, Part One has enjoyed great popularity and has been performed with exceptional frequency. Between 1598 and 1622, before the First Folio of 1623, there were seven quarto editions – more than for any other play by Shakespeare. Part One continues to be among the plays most often published in general texts and anthologies of literature for students around the world. Readers and audiences familiar with the reputation of 1 Henry IV will often be surprised when they approach the play itself for the first time. If they anticipate stirring action or expect to laugh whole-heartedly with Falstaff, the first two scenes may seem relatively subdued. They contain a stimulating but unstable mixture of serious and comic qualities.