Thomas Middleton and Early Modern Textual Culture
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A Yorkshire Tragedy by William Shakespeare (Apocrypha)
A Yorkshire Tragedy by William Shakespeare (Apocrypha) This etext was produced by Tony Adam. Shakespeare, William. A Yorkshire Tragedy. Not So New as Lamentable and True. In C.F. Tucker Brooke, ed., The Shakespeare Apocrypha (Oxford, 1918). ALL'S ONE, OR, ONE OF THE FOUR PLAYS IN ONE, CALLED A YORK-SHIRE TRAGEDY AS IT WAS PLAYED BY THE KING'S MAJESTY'S PLAYERS. Dramatis Personae. Husband. Master of a College. Knight, a Justice of Peace. Oliver, Ralph, Samuel, serving-men. Other Servants, and Officers. page 1 / 56 Wife. Maid-servant. A little Boy. SCENE I. A room in Calverly Hall. [Enter Oliver and Ralph, two servingmen.] OLIVER. Sirrah Ralph, my young Mistress is in such a pitiful passionate humor for the long absence of her love-- RALPH. Why, can you blame her? why, apples hanging longer on the tree then when they are ripe makes so many fallings; viz., Mad wenches, because they are not gathered in time, are fain to drop of them selves, and then tis Common you know for every man to take em up. OLIVER. Mass, thou sayest true, Tis common indeed: but, sirrah, is neither our young master returned, nor our fellow Sam come from London? RALPH. page 2 / 56 Neither of either, as the Puritan bawd says. Slidd, I hear Sam: Sam's come, her's! Tarry! come, yfaith, now my nose itches for news. OLIVER. And so does mine elbow. [Sam calls within. Where are you there?] SAM. Boy, look you walk my horse with discretion; I have rid him simply. I warrant his skin sticks to his back with very heat: if a should catch cold and get the Cough of the Lungs I were well served, were I not? [Enter Sam. -
Art and Nature in Women Beware Women
Art and nature in Women Beware Women HOPKINS, Lisa <http://orcid.org/0000-0001-9512-0926> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/2534/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HOPKINS, Lisa (1996). Art and nature in Women Beware Women. Renaissance forum, 1 (2). Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk RENAISSANCE forum Volume 1 Number 2, September 1996: Lisa Hopkins, ‘Art and Nature in Women Beware Women’ LISA HOPKINS SHEFFIELD HALLAM UNIVERSITY It has often been observed that during the course of the play, Middleton's Women Beware Women appears to undergo something of a genre shift. It begins very much in the vein of a domestic tragedy, with a tight-knit, bourgeois family group discussing their concerns about money, work, and the suitability or otherwise of a recently contracted marriage alliance - Inga- Stina Ewbank comments that 'the themes of the play are the favourite domestic and social ones of love, money and class' (Ewbank 1969, 197). By the end, it has been transformed almost beyond recognition: the two most obviously middle-class ofthe characters, Leantio and his mother, have both disappeared from the story,one of them dead and the other simply forgotten about, and the domestic setting has given place to a courtly one, where the most elaborate of elite entertainments, complete with complex special effects and arcane mythological and allegorical resonances, rounds off the play with a spectacularly artificial finale. -
AN EXAMINATION of PLAYS in MANUSCRIPT ET ME Begin by Stating As Clearly As I Can the Purpose L.4 of This Exploratory Study
TEXTUAL DEGENERATION OF ELlZABETHAN AND STUART PLAYS: AN EXAMINATION OF PLAYS IN MANUSCRIPT ET ME begin by stating as clearly as I can the purpose l.4 of this exploratory study. It has seemed to me that in accounting for variation among Elizabethan and post-Eliza- bethan dramatic texts too little weight has been given to the activities of prompters and actors as compared with those of printers and copyists. According to R. B. McKerrow and Evelyn Albright,l the incompetence of printers has been greatly exaggerated, and the defense they offer seems sound and just, and, as for copyists, they seem, as a class, to have been the most efficient of those who worked on plays. On the other hand, the conditions of play production, now, in the Elizabethan age and in general, are such as not only to pro- voke alteration of texts but to necessitate it. The simplest in- vestigation of the history of Shakespeare on the stage (and on the screen) will reveal habitual and not infrequently vio- Ient modifications of his texts and even of his intentions. A visit to a production lot will convince any visitor that the pro- ducer feels free to alter the script without any reference to the author or what he has written. I remember a conversa- tion in 1908 with Eugene Walter, whose Paid in Full was then en uogue, and of hearing him describe without the least of- fense, indeed with pride, the great changes made in his play when it was produced on Broadway, Stage aIterations are and have been since the Elizabethan age and before the merest commonplace and by no means inconsiderable. -
Fantasies of Necrophilia in Early Modern English Drama
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Exquisite Corpses: Fantasies of Necrophilia in Early Modern English Drama Linda K. Neiberg Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1420 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXQUISITE CORPSES: FANTASIES OF NECROPHILIA IN EARLY MODERN ENGLISH DRAMA by LINDA K. NEIBERG A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 LINDA K. NEIBERG All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Mario DiGangi Date Chair of Examining Committee Carrie Hintz Date Acting Executive Officer Mario DiGangi Richard C. McCoy Steven F. Kruger Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract EXQUISITE CORPSES: FANTASIES OF NECROPHILIA IN EARLY MODERN ENGLISH DRAMA by LINDA K. NEIBERG Adviser: Professor Mario DiGangi My dissertation examines representations of necrophilia in Elizabethan and Jacobean drama. From the 1580s, when London’s theatres began to flourish, until their closure by Parliament in 1642, necrophilia was deployed as a dramatic device in a remarkable number of plays. -
Mary Frith at the Fortune
Early Theatre 10.1 (2007) MARK HUTCHINGS Mary Frith at the Fortune Sir Alexander Wengrave’s remarks in The Roaring Girl (1611), as he surveys the audience, gesture playfully to the Fortune’s reputation for cutpurses, con- necting the place of performance with the play’s subject. This speech is an early sign of the play’s complex relationship with Mary Frith, and from the scholar’s vantage-point an unwittingly ironic moment of metatheatre.1 Ob- serving to his companions that ‘Th’inner room was too close; how do you like / This parlour, gentlemen?’ (1.2.6–7), he casts his eye on the faces above, below, and around:2 Nay, when you look into my galleries – How bravely they are trimmed up – you all shall swear You’re highly pleased to see what’s set down there: Stories of men and women, mixed together Fair ones with foul, like sunshine in wet weather – Within one square a thousand heads are laid So close that all of heads the room seems made; As many faces there, filled with blithe looks, Show like the promising titles of new books Writ merrily, the readers being their own eyes, Which seem to move and give plaudities; And here and there, whilst with obsequious ears Thronged heaps do listen, a cutpurse thrusts and leers With hawk’s eyes for his prey – I need not show him: By a hanging villainous look yourselves may know him, The face is drawn so rarely. Then, sir, below, The very floor, as ’twere, waves to and fro, And, like a floating island, seems to move Upon a sea bound in with shores above. -
Actes Des Congrès De La Société Française Shakespeare, 33 | 2015 Middleton Beyond the Canon 2
Actes des congrès de la Société française Shakespeare 33 | 2015 Shakespeare 450 Middleton beyond the Canon Daniela Guardamagna Electronic version URL: http://journals.openedition.org/shakespeare/3394 DOI: 10.4000/shakespeare.3394 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Daniela Guardamagna, « Middleton beyond the Canon », Actes des congrès de la Société française Shakespeare [Online], 33 | 2015, Online since 10 October 2015, connection on 08 June 2020. URL : http://journals.openedition.org/shakespeare/3394 ; DOI : https://doi.org/10.4000/shakespeare.3394 This text was automatically generated on 8 June 2020. © SFS Middleton beyond the Canon 1 Middleton beyond the Canon Daniela Guardamagna 1 The old canon of Thomas Middleton1 has been deeply modified in the last forty years by attribution studies, by the analysis of philologists and the work of MacDonald P. Jackson, David Lake and Roger Holdsworth,2 and especially after the issue of what has been defined as “Middleton’s First Folio”, that is his Collected Works and Textual Companion, edited by Gary Taylor and John Lavagnino.3 2 Critics are now aware that there are many clues hinting at the fact that the ‘new Middleton’ is very different from the author that was proposed till the last decades of the 20th century, that is the cold, misogynist, clinical analyst of the society around him (“a 17th-century Ibsen or Zola”, as he was defined4), and that the new figure presents striking features which greatly modify our perception of his work. 3 In this paper I will concentrate on a specific instance concerning the new canon: the modification of female characters that becomes apparent in Middleton’s writing, considering the new plays, the tragedies in particular, that have been definitely attributed to him in the 2007 Collected Works. -
Why Does Plato's Laws Exist?
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Why Does Plato's Laws Exist? Harold Parker University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Philosophy Commons Recommended Citation Parker, Harold, "Why Does Plato's Laws Exist?" (2017). Publicly Accessible Penn Dissertations. 2515. https://repository.upenn.edu/edissertations/2515 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2515 For more information, please contact [email protected]. Why Does Plato's Laws Exist? Abstract If the ideal city described at length in Plato’s Republic is a perfect and philosophically attractive encapsulation of Plato’s political philosophy, why does Plato go on to write the Laws – which also describes an ideal city, albeit one very different from the Republic? The fundamental challenge of scholarship concerning the Laws is to supply a comprehensive account of the dialogue that explains all aspects of it while also distinguishing the Laws from the Republic in a way that does not devalue the Laws as a mere afterthought to the Republic. Past attempts at meeting this challenge, I argue, can be classified under the headings of the democratic, legal, and demiurgic approaches. Although each is prima facie plausible, each also faces its own set of problems. Furthermore, none are truly capable of explaining the Laws in its full specificity; the intricate array of customs, regulations, and practices making up the life of the city described form a complex totality not reducible to the concept of democracy, the rule of law, or demiurgy. -
The Prosecution and Punishment of Animals and Lifeless Things in the Middle Ages and Modern Times
THE PROSECUTION AND PUNISHMENT OF ANIMALS AND LIFELESS THINGS IN THE MIDDLE AGES AND MODERN TIMES. The Prytaneum was the Hotel de Ville of Athens as of every Greek town. In it was the common hearth of the city, which represented the unity and vitality of the community. From its perpetual fire, colonists, like the American Indians, would carry sparks to their new homes, as a symbol of fealty to the mother city, and here in very early times the prytanis or chief- tain probably dwvelt. In the Prytaneum at Athens the statues of Eirene (Peace) and Hestia (Ilearth) stood; foreign ambassa- dors, famous citizens, athletes, and strangers were entertained there at the public expense; the laws of the great law-giver Solon were displayed within it and before his day the chief archon made it his home. One of the important features of the Prytaneum at Athens were the curious murder trials held in its immediate vicinity. Many Greek writers mention these trials, which appear to have comprehended three kinds of cases. In the first place, if a murderer was unknown or could not be found, he was never- theless tri'ed at this court.' Then inanimate things-such as stones, beams, pliece of iron, ctc.,-which had caused the death of a man by falling upon him-were put on trial at the Pry- tancuni ;2 and lastly animals, which had similarly been the cause 3 of death. Though all these trials were of a ceremonial character, they were carried on with due process of law. Thus, as in all murder trials at Athens, because of 'the religious feeling back of them that such crimes were against the gods as much as against men, they took place in the open air, that the judges might not be contaminated by the pollution supposed to exhale from the 'Aristotle, Constitulion (if :thens, 57, 4; Pollux, Vill, x2o; cf. -
The Economics of Gender Relations in London City Comedy
THE ECONOMICS OF GENDER RELATIONS IN LONDON CITY COMEDY BY KRISTIN WEISSE A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English May, 2015 Winston-Salem, North Carolina Approved By: Sarah Hogan, Ph.D., Advisor Olga Valbuena, Ph.D., Chair Susan Harlan, Ph.D. ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Hogan— not only for her helpful input and guidance throughout the process of writing this thesis, but also for inspiring my interest in Elizabethan and Jacobean literature through her remarkable energy and enthusiasm. In addition, a special thanks to Dr. Harlan and Dr. Valbuena, whose Renaissance drama classes further solidified my desire to research London city comedy and whose suggestions were also integral to the completion of this project. I am immensely grateful to have had the opportunity to work with such an intelligent and lively group of women. Moreover, I would like to thank my friends and teammates for their constant love and encouragement throughout my entire time as a graduate student at Wake Forest. Thank you especially to my “soulmates” Lizzie and Kelly for the endless trips to Camino (which made thesis writing so much more enjoyable), the ice cream dates, the epic road-trips, and for always being there for me to lean on and to learn from. Thank you also to Sam, Kaitlyn, Kathleen, Aubrey, and Chandler for the constant motivation both intellectually and physically (whether out on the trails, on the track, or even just lounging around the kitchen of 1022 Polo), and for the much-needed distractions from writing and reading. -
Horton1987.Pdf (4.307Mb)
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Effectiveness of the Stylometry of Function Words in Discriminating between Shakespeare and Fletcher Thomas Bolton Horton Ph D University of Edinburgh 1987 rj Abstract A number of recent successful authorship studies have relied on a statistical analysis of language features based on function words. However, stylometry has not been extensively applied to Elizabethan and Jacobean dramatic questions. To determine the effectiveness of such an approach in this field, language features are studied in twenty-four plays by Shakespeare and eight by Fletcher. The goal is to develop procedures that might be used to determine the authorship of individual scenes in The Two Noble Kinsmen and Henry VIII. Homonyms, spelling variants and contracted forms in old-spelling dramatic texts present problems for a computer analysis. -
Telling, Showing and Interpreting Mad Discourse in Renaissance Drama », « Theta XI, Théâtre Tudor », 2013, Pp
Marie-Hélène Besnault, « Telling, Showing and Interpreting Mad Discourse in Renaissance Drama », « Theta XI, Théâtre Tudor », 2013, pp. 41-62 mis en ligne en septembre 2014, <https://sceneeuropeenne.univ-tours.fr/theta/theta11>. Theta XI est publié par le Centre d’Études Supérieures de la Renaissance, dirigé par Philippe Vendrix, Université François-Rabelais de Tours, CNRS/UMR 7323 Responsable scientifique Richard Hillman Mentions légales Copyright © 2014 – CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. Date de création septembre 2014 Theta XI – Théâtre Tudor Marie-Hélène BESNAULT pp. 41-62 CESR, Tours Telling, Showing and Interpreting Mad Discourse in Renaissance Drama Marie-Hélène Besnault Université François-Rabelais de Tours/CESR-CNRS n both Christopher Marlowe’s Tamburlaine the Great, Part One, and Thomas Kyd’s The Spanish Tragedy, the plays which made Itheir authors famous in the late 1580s, mad discourse is pre- sent, to a lesser extent in the first case, and more so in the sec- ond. Such discourse must have proved very popular, since Hieronimo’s mad speeches received five anonymous addi- tions in 1602, after Kyd’s death, and after the appearance of other memorable mad scenes in the plays of Shakespeare and his fellow dramatists. By the closing of the theatres in 1642, many more mad scenes, which were often not present in the sources of the playwrights, came to be written. Mad- ness was given both comic and tragic treatments in plays intended for performance by professional male actors or trained young choristers, and intended for a paying audi- ence in a public theatre. -
James Mabbe's Translation of the Exemplarie Novells (1640)
Maybe Exemplary? James Mabbe’s Translation of the Exemplarie Novells (1640) Alexander Samson University College London ervantes’s influence on seventeenth-century European prose fiction was unique and exemplary. His writing was a catalyst, perhaps even paradigmatic, in the formation of the republic of letters itself. After publication, his stories were taken up, both within Cand beyond Spain, with unprecedented rapidity for works of vernacular prose fiction. In his homeland, at least twenty adaptations of his works appeared before 1680, including adaptations of two of the stories from the Novelas ejemplares (1613) by his rival Lope de Vega, as plots for his plays La ilustre fregona (Parte XXIV, 1641) and El mayor imposible (Parte XXV, 1647, based on El celoso extremeño). A French translation of the Novelas ejemplares came out within a year of its publication in Spain,1 and there were a further eight editions of this translation before 1700. The popularity of Cervantine material in France can be gauged equally from there being no fewer than twenty-three stage adaptations of his work during the same period.2 In England, the case of John Fletcher typifies how rich a vein writers found in Cervantes’s prose: roughly a quar- ter of Fletcher’s extant output of just over fifty plays was based on Cervantine prose originals, 1 Les nouvelles, trans. François de Rosset and Vital d’Audiguier (Paris: Jean Richer, 1615), with an additional story by Sieur de Bellan. Vital d’Audiguier was also the translator of El peregrino en su patria into French. 2