DOCSLIB.ORG

Text-In-History: the Tempest and New World Cultural Encounter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Text-In-History: the Tempest and New World Cultural Encounter 7H[WLQ+LVWRU\7KH7HPSHVWDQG1HZ:RUOG&XOWXUDO %-6RNRO(QFRXQWHU George Herbert Journal, Volume 22, Numbers 1 and 2, Fall 1998/Spring 1999, pp. 21-40 (Article) 3XEOLVKHGE\*HRUJH+HUEHUW-RXUQDO DOI: 10.1353/ghj.2013.0062 For additional information about this article http://muse.jhu.edu/journals/ghj/summary/v022/22.1-2.sokol.html Access provided by University of Athens (or National and Kapodistrian Univ. of Athens) (6 Jun 2015 14:56 GMT) B.J. SOKOL Text-in-History: The Tempest and New World Cultural Encounter In the mid-1960s, Edward Tayler's Renaissance poetry seminar at Columbia University "privileged" me with an unforgettable intro- duction to the enigmas of poetry in history. Tayler chose Marvell's "An Horatian Ode" to incite a discussion of a seeming clash between maintaining an honest historical poetic reading, and decency in the terms of present-day political sensibilities.1 The reconciliation of a personal response to works containing both great literary merit and also outworn, now seemingly ugly, attitudes, remains for me a painful enigma. A great teacher leaves the lucky student with a lifetime's problems or questions. As I recall, Tayler's Socratic teaching demonstrated that, typically, great poetry is untypical: hard to use to exhibit generalities, resistant to reduction, even slippery. The best English Renaissance texts tend to show us up, are humbling. I have come to wonder if like the texts themselves, problems over texts-in-history may demand an attentive and malleable approach to history also, untrammeled by stereotyping. My test case will re-examine ways in which the first English colonial ventures in North America connected with (to use a deliberately neutral term) the composition of The Tempest.1 Lately, readings of this play in terms of colonialism have been rife. Some are guided by highly theorized notions of just how The Tempest must be read historically, deriding all "critical practices" that might disagree as "complicit, whether consciously or not, with a colonialist mentality."3 Many other less restrictive readings of the play also suppose that Shakespeare's island sojourners must echo attitudes congruent with the repugnant attitudes of an eventually triumphant (and triumphalist) British imperialism. 22BJ. SOKOL However that triumph was not yet a foreseeable fact when Shakespeare wrote The Tempest, at the time of the very first English encounters with Native Americans. Rather, as we shall see, the circumstances of the first English settlements in North America were very unlike those that may have inspired colonialist jingoism in 1811 or 1911. It will be argued that many readings of The Tempest have overlooked aspects of the actual experiences of the English in "Virginia" between 1584 and 1610, and even more importantly, overlooked the likely vivid responses to these in London in the crucial period 1605-10. They have therefore misread the historical factors which infused Shakespeare's play with its New World theme.4 Elsewhere, together with a co-author, I have illustrated how Shakespeare's contemporaries were very eager to establish proper jurisprudential foundations, and to find legal and ethical justifications, for attempted New World plantation.5 I want to add now consider- ation of another type of ethical perplexity stimulated by the first English New World settlements. The evidence for this is more shadowy than the contentious pamphlets, admonishing sermons, local laws, and major judicial decisions involved in attempts to legitimize and give constitutional form to settlement. It is shadowy because shame by nature hides its face, and also because the matter at issue was truly baffling to the age. In brief, I will argue that The Tempest reproduces the disturbing effects of the emergence of certain indigestible facts that by 1610 could not be suppressed. These were that English settlers in Virginia were shamefully beleaguered largely on account of their own vices, and when their deficiencies were contrasted with the conduct and abilities of antagonistic Virginians, the contrasts effectively produced a living rebuke. I Without enrolling among the very few who have denied Shakespeare intended an allusion to New World cultural encounters in The Tempest, we may still note that source hunters have been unable to make exact cases for many alleged links between The Tempest and specific New World documents.6 So Kenneth Muir judges there is "little doubt" about connections between The Tempest and the events of the 1609 Sea-Adventure shipwreck, but also adds when considering alleged "Bermuda pamphlet" sources of the play that "the The Tempest and New World Cultural Encounter 23 extent of the verbal echoes . has, I think, been exaggerated."7 Geoffrey Bullough similarly suggests that some of the writings imputed as verbal sources of The Tempest may be more "useful in showing what must have been common talk [about America in Shakespeare's] time."8 It is important to note that Shakespeare and many in his audiences very likely gathered news of Virginia, as Bullough says, "from talking with returned voyagers" or through personal contacts with members of the Virginia Council.9 For we will be considering matters that were likely to be suppressed in publication, but inviting for gossip. Indeed gossip may have flourished in inverse proportion with efforts at its suppression. Adverse public comment on Virginia that did appear in contro- versial pamphlets (mainly of offshore production), or in mocking stage plays, was sternly opposed by Virginia's powerful promoters.10 Among the more vehement replies were a 1608 sermon by William Crashawe, given at Paul's Cross, a venue which has been since described as the "Broadcasting House of its age," and a 1609 sermon by Crashawe opposing various "discouragements" and attacking the "Plaiers" who "abused Virgínea."11 The publicity and scandal of Eastward Hoe (produced and three times published in 1605), which satirizes both the wilder promises of Virginia's promoters and the low motives and personal ethics of would-be settlers, are another index of widespread interest and concern with the personnel, pro- cedures, and promises of the contemporary settlement. Negative publicity also very likely arose in relation to the story of the 1609 wreck of the ship Sea-Adventure, even though the salvation of its crew and passengers was a near-miracle that was the talk of London in 1610. This vessel, carrying the leaders of an expedition conveying hundreds of male and female settlers to Virginia, was driven apart from the rest of the flotilla by a hurricane. Sad news of the believed loss of all on board reached London in 1609. Just so, Ariel reports that following the storm in The Tempest: for the rest o' th' fleet, Which I dispersed, they all have met again, And are upon the Mediterranean float Bound sadly home for Naples, Supposing that they saw the King's ship wrecked, And his great person perish. (1.2.233-38) 24BJ. SOKOL The Sea-Adventure was frantically pumped out by all on board including the expedition's leaders, Sir Thomas Gates and Sir George Summers, which makes a contrast with Shakespeare's idle courtiers aboard the foundering ship in The Tempest. Then the Gates and Summers ship beached amazingly on an island, as did the fictional one, without loss of life. Following a year-long island sojourn, almost all of the Gates and Summers party escaped from the Bermudas to continue onward to Virginia. From there news of their arrival, and Gates himself, reached London by 1610. This adventure, usually taken as a seed for the "shipwreck" plot of The Tempest, has a continuation even more crucial to the play.12 Together with the news of the safety of those thought dead came very worrying intelligence of the Virginia colony. Surviving docu- ments, and doubtless returning voyagers, reported some appallingly undisciplined behavior in Bermuda, and almost fatal mutiny at the Jamestown settlement. The best extant source of this information, a long eyewitness letter from William Strachey to an unknown lady, was published only after Shakespeare's death, and then in a probably toned-down version.13 Like other accounts of the wreck, Strachey's letter lauds the Bermudas as fertile and secure, unpeopled, even by the "Devils and wicked Spirits" reputed to live there.14 Here Strachey repeats the common legend partly inspiring the creation of Prospero's haunted island. But even in such a paradise some of the marooned settlers mutinied. The escape to Jamestown was no improvement. There a "blessedly holp hither" Gates and Summers party arrived to find Jamestown on the point of defeat by a well-organized Algonkian trade boycott. This so-called "conspiracy," amounting to warfare by "sanctions," was greatly aided by the settlers' own depravity. Results were starvation, disease, and insurrection. In fact, when the Gates and Summers party arrived the English fort was on the point of being burned by absconding settlers, in order to prohibit a forced return.15 Such news substantiated rumors about insubordination, laziness, and disorder at Jamestown that, according to Philip Barbour, had been circulating in England for several years.16 The news also matched contemporary gibes that many dragooned Virginia settlers were unfit and unwilling rogues.17 Strachey's and other accounts cannot hide an implicit contrast of the wretched undisciplined settlers with the flourishing, well-focused and united Algonkians. This contrast is highly relevant to The Tempest. At the play's outset, as in Virginia in 1610, sojourning Europeans entirely depended The Tempest and New World Cultural Encounter 25 upon the services of native inhabitants for material survival. As in "reality," so in the play, these services had at first been voluntarily offered, then they were purchased or extorted, and finally there was refusal, resistance, and rebellion. But the exact historical reality was not portrayed in Shakespeare's always prudent and magic theater.
Load more

Recommended publications
  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
    [Show full text]
  • Tempest Pdf, Epub, Ebook
    TEMPEST PDF, EPUB, EBOOK Mercedes Lackey | 394 pages | 06 Dec 2016 | DAW BOOKS | 9780756409036 | English | United States Tempest PDF Book Restoration: Studies in English Literary Culture, — The chastity of the bride is considered essential and greatly valued in royal lineages. Pure singleplayer Want to be a lone sea wolf? HeroCraft PC. Sign In Sign in to add your own tags to this product. National Council of Teachers of English. In , Derek Jarman produced the homoerotic film The Tempest that used Shakespeare's language, but was most notable for its deviations from Shakespeare. The Tempest was one of the staples of the repertoire of Romantic Era theatres. Ariel was—with two exceptions—played by a woman, and invariably by a graceful dancer and superb singer. Tempest is for anyone who is done with alcohol or wants to be done with alcohol, for anyone who wants to change how they see themselves and their possibilities in life. Without these features the characters of the new fonts are similar each other. Pick a Plan Choose the level of support you need from our three membership options. Pirate cooperation Share the world of Tempest between you and your friends. This article is about the Shakespeare play. Shakespeare remakes. Upon the restoration of the monarchy in , two patent companies —the King's Company and the Duke's Company —were established, and the existing theatrical repertoire divided between them. Gonzalo's description of his ideal society 2. At least two other silent versions, one from by Edwin Thanhouser , are known to have existed, but have been lost.
    [Show full text]
  • A True Reportory of the Wreck and Redemption of Sir Thomas Gates
    Note: Britain was in the earliest stages of exploring and colonizing North America around the time that Shakespeare wrote The Tempest. Many plot elements and themes in the play reflect the beginning of colonialism in Britain. As well, the following document may very well have inspired the story of shipwrecked nobles that makes up the plot to the play. A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight, upon and from the Islands of the Bermudas: His Coming to Virginia and the Estate of that Colony Then and After, under the Government of the Lord La Warr, July 15, 1610, written by William Strachey, Esquire A most dreadful tempest (the manifold deaths whereof are here to the life described), their wreck on Bermuda, and the description of those islands EXCELLENT LADY, Know that upon Friday late in the evening we brake ground out of the sound of Plymouth, our whole fleet then consisting of seven good ships and two pinnaces, all which, from the said second of June unto the twenty-third of July, kept in friendly consort together, not a whole watch at any time losing the sight each of other. Our course, when we came about the height of between 26 and 27 degrees, we declined to the northward, and according to our governor’s instructions, altered the trade and ordinary way used heretofore by Dominica and Nevis in the West Indies and found the wind to this course indeed as friendly, as in the judgment of all seamen it is upon a more direct line, and by Sir George Somers, our admiral, had been likewise in former time sailed, being a gentleman of approved assuredness and ready knowledge in seafaring actions, having often carried command and chief charge in many ships royal of Her Majesty’s, and in sundry voyages made many defeats and attempts in the time of the Spaniard's quarreling with us upon the islands and Indies, etc.
    [Show full text]
  • Shakespeare's Virgil : Empathy and the Tempest
    chapter 4 Shakespeare’s Virgil : empathy and Th e Tempest Leah Whittington Empathy is a subject that could easily fi nd a home in any one of the sec- tions of this volume. After all, early modern thinking about emotional identifi cation with another person – whether described as pity, compas- sion, or fellow-feeling – draws from the wellsprings of both classical and Christian ethics. To attempt to separate one from the other may be not only impossible but also undesirable, especially given that Shakespearean drama often takes its energy from the very confl ation or juxtaposition of ethical registers. Th e awakening of Hermione’s statue in Th e Winter’s Tale is part Ovidian metamorphosis, part Christian resurrection. Lear’s recon- ciliation with Cordelia derives much of its power from the vertiginous blending of New Testament forgiveness and Seneca’s theory of reciprocal benefi ts. 1 Nevertheless, in this chapter I aim to treat Shakespeare’s ethics of empathy as a facet of his classicism, both because the classical aspects of empathy in Shakespearean drama are less well understood than the Christian and because a classically focused consideration of empathy illu- minates Th e Tempest in a new way. Th e impetus for this approach comes from the rhetorical orientation of the humanist curriculum, in which learning to speak well also meant learning to inhabit and imitate the liter- ary voices of the classical past. 2 While Shakespeare would have had access to ethical assessments of fellow-feeling in a variety of philosophical, reli- gious, and political texts, his education in empathy in the schoolroom began through reading and imitating literary works of classical antiquity.
    [Show full text]
  • Characters from Shakespeare's the Tempest Revisited: Ferdinand And
    Characters from Shakespeare’s The Tempest Revisited: Ferdinand and Caliban in Aldous Huxley’s Brave New World and John Fowles’ The Collector Act 1, Scene II: Caliban, Ferdinand, Prospero and Miranda (Folger Shakespeare Library) BA Thesis English Language and Culture, Utrecht University Name: Chantal van der Zanden Student number: 552725 Supervisor: dr. Paul Franssen Second reader: prof. dr. Ton Hoenselaars April 2017 Van der Zanden 2 Table of contents Introduction 3 Chapter 1: The Tempest and Sigmund Freud 8 Chapter 2: Aldous Huxley’s Brave New World 14 Chapter 3: John Fowles’ The Collector 20 Conclusion 26 Works Cited 28 Van der Zanden 3 Introduction The Tempest belongs to William Shakespeare’s last plays and is argued to be the play in which Shakespeare says his goodbyes to theatre, via the magus Prospero who renounces his magic: Now my charms are all o’erthrown, And what strength I have’s mine own, Which is most faint. Now, ‘tis true I must be here confined by you. (Shakespeare Epilogue 1-4) The Tempest is a play prone to modernised readings and full of innovations which makes that the play has seen many dramatic recreations (Brown 13). Ever since the Restoration period, this play has been appropriated and adapted, for instance in John Dryden and William Davenant’s The Tempest or: The Enchanted Island (Vaughan Literary Invocations 155) or the opera of the same name by Thomas Shadwell in 1673 (Vaughan and Vaughan Shakespeare’s Caliban 174). Modern appropriations and adaptations of The Tempest mainly focus on the themes of postcolonialism, postpatriarchy and postmodernism (Zabus 1).
    [Show full text]
  • How Shakespeare Got His Tempest That Is by Now Wearing Intellectually Threadbare
    Brief Chronicles Vol. I (2009) 205 !"#$%&'()*+)',)$-".$!/*$!"#$"%&0$ 12".&),$345*.$%"6$%.",7 Roger Stritmatter and Lynne Kositsky Abstract !e one-hundred-year tradition identifying William Strachey’s True Reportory (TR)* as a paramount Tempest source and in"uence is rooted in a history of critical error and omission and contradicted by a host of stubborn facts about TR’s genesis and textuality. Alden Vaughan’s recent critique of our Review of English Studies article perpetuates this tradition of error, failing to provide a substantive critique of the theory that TR, as subsequently published in 1625, was not completed until at least 1612, far too late for it to have been a Tempest source. !e recent discovery in Bermuda of an early draft of the Strachey manuscript, lacking in plausible ties to !e Tempest, compounds the crisis of the orthodox paradigm by supplying a textual exemplar con#rming our argument: !at if any version of Strachey’s text returned on the July 1610 Gates’ voyage, it would have been a much abbreviated draft lacking the literary and rhetorical "ourishes of the published document. Neither Vaughan nor the sources on which he depends (Kathman, Cawley, etc.) have established evidence “from sign” of TR’s in"uence on Tempest; a far more persuasive source of Shakespeare’s New World imagery and ethos is Richard Eden’s 1555 translation of Iberian travel narratives, Decades of the Newe Worlde. * Abbreviations used in this article: TR=True Reportory; TD=True Declaration of the Estate of the Colony in Virginia (S122265); B=Hume manuscript of early TR draft; Discovery=Jourdain’s Discovery of the Barmudas (S109240); PP=Purchas His Pilgrimes (S111862); H of T= History of Travail in Virginia.
    [Show full text]
  • The Whirlwind of Passion
    The Whirlwind of Passion New Critical Perspectives on William Shakespeare The Whirlwind of Passion New Critical Perspectives on William Shakespeare Edited by Petar Penda The Whirlwind of Passion: New Critical Perspectives on William Shakespeare Edited by Petar Penda This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Petar Penda and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9046-4 ISBN (13): 978-1-4438-9046-5 CONTENTS Introduction ................................................................................................. 1 Petar Penda Translation as Empowerment of Cultural Mediation: Revaluing Relevance, Equivalence and Discourse Shift ............................................ 10 Željka Babić Unfrequented Woods: Taking The Two Gentlemen of Verona Seriously .................................................................................................... 28 Nicholas Birns Hamlet Torn between Catholicism and Protestantism ............................... 48 Nick Ceramella The Virginia Company’s Role in The Tempest ......................................... 71 Barry R. Clarke Manifest
    [Show full text]
  • Shakespeare Seminar
    Shakespeare Seminar Deutsche Shakespeare-Gesellschaft Ausgabe 9 (2011) Shakespeare’s (Un)fortunate Travellers: Maritime Adventures across the Genres http://shakespeare-gesellschaft.de/publikationen/seminar/ausgabe-9-2011.html Shakespeare Seminar 9 (2011) EDITORS The Shakespeare Seminar is published under the auspices of the Deutsche Shakespeare-Gesellschaft, Weimar, and edited by: Christina Wald, Universität Augsburg, Fachbereich Anglistik und Amerikanistik, Universitätsstr. 10, D-86159 Augsburg ([email protected]) Felix Sprang, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) PUBLICATIONS FREQUENCY Shakespeare Seminar Online is a free annual online journal. It documents papers presented at the Academic Seminar panel of the spring conferences of the Deutsche Shakespeare-Gesellschaft. It is intended as a publication platform especially for the younger generation of scholars. You can find the current Call for Papers on our website. INTERNATIONAL STANDARD SERIAL NUMBER ISSN1612-8362 © Copyright 2011 Deutsche Shakespeare-Gesellschaft e.V. CONTENTS Introduction Christina Wald and Felix Sprang .................................................................................... 1 The Young Man and the Sea: Shakespeare’s Hope of a Dry Death Paul J.C.M. Franssen ..................................................................................................... 3 Medieval vs. Early Modern: Travel Narratives and other Genres in The Tempest Kirsten Sandrock
    [Show full text]
  • A Second Eden: the Promotion and Perception of Virginia, 1584-1624
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 A Second Eden: The Promotion and Perception of Virginia, 1584-1624 Jennifer Lynn Blahnik College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the United States History Commons Recommended Citation Blahnik, Jennifer Lynn, "A Second Eden: The Promotion and Perception of Virginia, 1584-1624" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626566. https://dx.doi.org/doi:10.21220/s2-bdna-9q63 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. A Second Eden The Promotion and Perception of Virginia, 1584-1624 Jennifer Lynn Blahnik Celebration, Florida Master of Arts, Ohio University, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts Department of History The College of William and Mary January, 2008 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Blahnik Approved by the Committee, June 2007 r. James P. Whittenburg,/td^isor Dr. Kevin P. KrHv O* Dr. Dale E. Hoak ABSTRACT Summertime in Tidewater Virginia is brutal. I learned this unpleasant fact during a summer archeology apprenticeship hunched over what was once an eighteenth century dairy. As I labored under the unrelenting sun, I began to wonder why any English man or woman would settle in such a hostile environment.
    [Show full text]
  • AMS Rochester 2017 Abstracts Thursday Afternoon
    American Musicological Society & Abstracts Program 2017 Rochester Richard Strauss – Werke – Kritische Ausgabe (RSW) Published by the Richard Strauss Verlag in collaboration with Boosey & Hawkes, Edition Peters Group and Schott Music This series provides the first scholarly edition of the composer’s complete musical oeuvre. All compositions in major genres: the complete stage works, orchestral works, lieder and songs (with piano and orchestral accompaniment) and chamber music, are newly edited. Different versions and fragments along with documentation of the sources, the genesis of individual works and performance variations authorized by the composer are included. The edition consists of printed musical volumes with critical reports and is supplemented by an online platform featuring text comparisons and annotations. SERIES I: STAGE WORKS – 18 volumes in 28 SERIES II: VOCAL MUSIC FOR ONE VOICE – 9 volumes SERIES III: SYMPHONIES AND TONE POEMS – 12 volumes SERIES IV: SMALL ORCHESTRAL WORKS AND WORKS FOR WINDS – 5 volumes SERIES V: CONCERTOS – 3 volumes SERIES VI: CHAMBER MUSIC – 5 volumes Recently Published: MacMacbeth, Op. 23 : 2. und 3 Fassung / edited by Stefan Schenk and Walter Werbeck. Lieder Mit Klavierbegleitung, Op. 10 Bis Op. 29 / edited by Andreas Pernpeintner. 15% off retail prices for full subscriptions to the entire series 10% off retail prices for partial subscriptions 26362 Ruether Ave. American Musicological Society Santa Clarita, CA 91350 Tel: 661•250•7189 Rochester Fax: 661•250•7195 www.tfront.com 9–12 November 2017 [email protected] Program & Abstracts g Program and Abstracts of Papers Read at the American Musicological Society Eighty-third Annual Meeting 9–12 November 217 Rochester Riverside Convention Center Radisson and Hyatt Hotels Rochester, New York g AMS 2017 Annual Meeting Edited by Jonathan Glixon Local Arrangements Liaison Michael Alan Anderson Performance Committee Christina Baade, Chair, Michael Alan Anderson, Laurie Stras, Steven Zohn Program Committee Jonathan Glixon, Chair, Thomas Christensen, Carol A.
    [Show full text]
  • The Virginia Company's Role in the Tempest Barry R. Clarke
    Barry R. Clarke, ‘The Virginia Company’s role in The Tempest’ in Petar Penda, editor, The Whirlwind of Passion: New Critical Perspectives on William Shakespeare (Cambridge Scholars Publishing, 2016). The Virginia Company’s role in The Tempest Barry R. Clarke In December 1606, the London Virginia Council succeeded in persuading several merchant companies and noblemen to finance a new settlement in Virginia.1 Assured of a share in the gold that the Spanish had earlier reported, 2 the adventurers committed enough money to despatch three ships and 144 planters from Blackwall stairs on the Thames across the Atlantic.3 After being delayed for six weeks by strong winds, Captain James Newport found a long passage past the Canaries and the West Indies, and although his navigation eventually failed him, a storm fortuitously delivered him to the Virginia coastline. As the first wave of colonists sailed into Cape Henry on 26 April 1607, the tide of expectation was high, and after sailing forty miles down the River James they pitched a three- sided fort on the north side. Unfortunately, the marshy ground proved to be unwholesome, and typhoid and dysentery soon struck down the new settlers.4 Disease, native attacks, a divided governing body, but mainly famine, eventually brought them to desperation, and only Captain John Smith’s ingenuity and persistence in trading for corn with the Indian chief Powhaton saved the colony from extinction. 1 The voyages sent to Virginia were partly funded by merchant companies such as the Clothworkers Company, the Fishmongers Company, and the Stationer's Company. 2 Alexander Brown, Genesis of the United States, Vol.
    [Show full text]
  • "Brave New World": Latin American Appropriations of "The Tempest"
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Representing Shakespeare's "Brave New World": Latin American Appropriations of "The eT mpest". Ximena Gallardo Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gallardo, Ximena, "Representing Shakespeare's "Brave New World": Latin American Appropriations of "The eT mpest"." (1997). LSU Historical Dissertations and Theses. 6484. https://digitalcommons.lsu.edu/gradschool_disstheses/6484 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]