Shakespeare's Impossible Doublet
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Sonnets. Edited by C. Knox Pooler
Presented to the LIBRARY of the UNIVERSITY OF TORONTO hy The 'Estate of the late PROFESSOR A. S. P. WOODHOIISE Head of the Department of English -» University College 1944-1964 \ '^/i^ /F. ^r:y r. -1 "^ NiL- ' 7^ ( ^S, U , - ^ ^' ^ ^/f '^i>-, '^Si^6,i(i? THE ARDEN SHAKESPEARE GENERAL EDITOR : W. J. CRAIG 1899-1906: R. H. CASE, 1909 SONNETS J^' THE WORKS OF SHAKESPEARE SONNETS EDITED BY C. KNOX POOLER ? METHUEN AND CO. LTD. 36 ESSEX STREET : STRAND LONDON First Published in igi8 z£4S CONTENTS PAOE Introduction ^* Dedication ^ Sonnets ..... 3 A Lover's Complaint *45 INTRODUCTION According to the Stationers' Registers, a license to print a book called Shakespeare's Sonnets was granted to Thomas Tjiprpe on the 20th of May, 1609. It appeared with the : Sonnets Never before following title-page Shake-speares | | At London G. Eld for T. T. and are to be ] Imprinted. | | by solde William Some instead of by Apsley. \ 1609. copies " " William have " lohn at Christ Apsley Wright, dwelling j Church gate," an indication that these two publishers shared in the venture. The publication cannot have been long delayed, for Edward Alleyn, the actor, bought a copy (for ^d.) in June. " " The words never before imprinted are not strictly accurate, as two of the sonnets, cxxxviii. and cxliv., had already ap- peared in The Passionate Pilgrim (1599). The book seems to have been issued without Shakespeare's his are knowledge, certainly without super\'ision ; misprints the often both sense unusually frequent ; punctuation neglects and and there are other errors of more rhythm ; consequence which no author or competent reader could have overlooked. -
Proem Shakespeare S 'Plaies and Poems"
Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con tinuance of glory to the deserved Author" ("To the Reader," *2v). -
The History, Printing, and Editing of the Returne from Pernassus
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 1-2009 The History, Printing, and Editing of The Returne from Pernassus Christopher A. Adams College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Recommended Citation Adams, Christopher A., "The History, Printing, and Editing of The Returne from Pernassus" (2009). Undergraduate Honors Theses. Paper 237. https://scholarworks.wm.edu/honorstheses/237 This Honors 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 Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The History, Printing, and Editing of The Returne from Pernassus A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Christopher A. Adams Accepted for____________________________ (Honors, High Honors, Highest Honors ) _________________________ ___________________________ Paula Blank , Director Monica Potkay , Committee Chair English Department English Department _________________________ ___________________________ Erin Minear George Greenia English Department Modern Language Department Williamsburg, VA December, 2008 1 The History, Printing, and Editing of The Returne from Pernassus 2 Dominus illuminatio mea -ceiling panels of Duke Humfrey’s Library, Oxford 3 Acknowledgments I am deeply indebted to my former adviser, Dr. R. Carter Hailey, for starting me on this pilgrimage with the Parnassus plays. He not only introduced me to the world of Parnassus , but also to the wider world of bibliography. Through his help and guidance I have discovered a fascinating field of research. -
Edward De Vere and the Two Shrew Plays
The Playwright’s Progress: Edward de Vere and the Two Shrew Plays Ramon Jiménez or more than 400 years the two Shrew plays—The Tayminge of a Shrowe (1594) and The Taming of the Shrew (1623)—have been entangled with each other in scholarly disagreements about who wrote them, which was F written first, and how they relate to each other. Even today, there is consensus on only one of these questions—that it was Shakespeare alone who wrote The Shrew that appeared in the Folio . It is, as J. Dover Wilson wrote, “one of the most diffi- cult cruxes in the Shakespearian canon” (vii). An objective review of the evidence, however, supplies a solution to the puz- zle. It confirms that the two plays were written in the order in which they appear in the record, The Shrew being a major revision of the earlier play, A Shrew . They were by the same author—Edward de Vere, 17th Earl of Oxford, whose poetry and plays appeared under the pseudonym “William Shakespeare” during the last decade of his life. Events in Oxford’s sixteenth year and his travels in the 1570s support composition dates before 1580 for both plays. These conclusions also reveal a unique and hitherto unremarked example of the playwright’s progress and development from a teenager learning to write for the stage to a journeyman dramatist in his twenties. De Vere’s exposure to the in- tricacies and language of the law, and his extended tour of France and Italy, as well as his maturation as a poet, caused him to rewrite his earlier effort and pro- duce a comedy that continues to entertain centuries later. -
2019 Norton Elizabeth 121093
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The Blount Family in the long Sixteenth century Norton, Elizabeth Anna Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 The Blount Family in the Long Sixteenth Century Elizabeth Norton Doctor of Philosophy 2019 King’s College London 1 Abstract This thesis is an extended case study of the lives, attitudes, actions and concerns of one gentry family – the Blounts of the West Midlands –from the second half of the fifteenth century to the early years of the seventeenth, described as the long sixteenth century. -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
1 Shakespeare, the Critics, and Humanism 1
N OTES 1 Shakespeare, the Critics, and Humanism 1 . Virgil Heltzel, for example, in his “Introduction,” to Haly Heron’s The Kayes of Counsaile, A Newe Discourse of Morall Philosophie of 1579 (Liverpool: University of Liverpool Press, 1954), p. xv, describes the work as “bringing grave and sober moral philosophy home to men’s business and bosoms.” 2 . W i l l i a m B a l d w i n , A Treatise of Morall Philosophie . enlarged by Thomas Palfreyman , 20th ed. (London: Thomas Snodham, [?]1620), in Scholars’ Facsimiles and Reprints (Gainesville, Florida, 1967), with an introduction by Robert Hood Bowers. For the editions, see STC 1475–1640, Vol. I, 2nd ed., 1986, Nos. 1253 to 1269; and STC, 1641–1700 , 2nd ed., Vol. I, 1972, Nos. 548, 1620. Also see Bowers, “Introduction,” pp. v–vi. For the purposes of the present work, I will refer to the treatise as Baldwin’s rather than Baldwin- Palfreyman’s. The volume appears as “augmented” or “enlarged” by Palfreyman only with the fifth edition of 1555 (STC 1255.5) and the 1620 edition (first of the two in that year) says it is “the sixth time inlarged” by him but there has been no comparative study of what was originally Baldwin’s and what was Palfreyman’s and what the successive “enlargements” entailed. Baldwin’s treatise, along with Thomas Crewe’s The Nosegay of Morall Philosophie , for example, are purported sayings and quotations from a great num- ber of scattered Ancient and more recent writers, but they are organized into running dialogues or commentaries designed to express the compiler’s point of view rather than to transmit faith- fully the thought of the original writer. -
An Introduction to William Shakespeare's First Folio
An Introduction to William Shakespeare’s First Folio By Ruth Hazel Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. 2 Brush up your Shakespeare The comic gangsters in Kiss Me Kate, Cole Porter’s 1948 musical based on Shakespeare’s The Taming of the Shrew, offer Shakespeare’s poetry – by which they actually mean his plays – as a guaranteed way to a woman’s heart: quoting Shakespeare will impress her and be a sure-fire aphrodisiac. Today, Shakespeare has become a supreme icon of Western European high culture, which is ironic since in his own day Shakespeare’s craft – jobbing playwright – was not a well-regarded one. Indeed, those who wrote plays to entertain the ‘groundlings’ (as the people who paid just one penny to stand in the open yard round the stage in public playhouses were called) were often considered little better than the actors themselves – who, in their turn, were only one level up, in the minds of Puritan moralists, from whores. Shakespeare himself did not seem eager to advertise authorship of his plays by seeing them into print, and when some of his plays were printed, in the handy quarto-sized editions for individual consumption, his name was not always on the title page. (The terms ‘folio’ and ‘quarto’ refer to the size of the pages in a book: in a Folio, each sheet of paper was folded just once, with a page height of approx. -
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. -
|||GET||| Ben Jonson 1St Edition
BEN JONSON 1ST EDITION DOWNLOAD FREE John Palmer | 9781315302188 | | | | | Ben Jonson folios The playbook itself is a mixture of halfsheets folded and gathered into quarto format, supplemented by a handful of full sheets also gathered in quarto and used for the final quires. Robert Allott contracted John Benson to print the first three plays of an intended second Ben Jonson 1st edition volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Views Read Edit View history. He reinstated the coda in F1. Occasional mispagination, as issued, text complete. See Lockwood, Shipping and insurance charges are additional. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Markings on first page and title page. Each volume in the series, initially under the direction of Willy Bang and later Henry De Vocht, sought to explore how compositors and correctors shaped the work, and included extensive analyses of the press variants between individual copies of a playbook as well as Ben Jonson 1st edition variants between editions. More information about this seller Contact this seller 1. Seemingly unhindered by concerns over time or space or materials, the Oxford editors included along with the texts a Jonson biography summing up all that was known of the poet and playwright at the time, a first-rate set of literary annotations and glosses, invaluable commentary on all the plays, and other essential secondary resources such as a stage history of the plays, Jonsonian allusions, and a reconstruction of Jonson's personal library. -
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal. -
Why Was Edward De Vere Defamed on Stage—And His Death Unnoticed?
Why Was Edward de Vere Defamed on Stage—and His Death Unnoticed? by Katherine Chiljan dward de Vere, 17th Earl of Oxford, died on June 24, 1604. To our knowledge, there was neither public recognition of his death nor Enotice made in personal letters or diaries. His funeral, if one oc- curred, went unremarked. Putting aside his greatness as the poet-playwright “William Shakespeare,” his pen name, Oxford was one of the most senior nobles in the land and the Lord Great Chamberlain of England. During his life, numerous authors dedicated 27 books on diverse subjects to Oxford; of these authors, seven were still alive at the time of his death,1 including John Lyly and Anthony Munday, his former secretaries who were also dramatists. Moreover, despite the various scandals that touched him, Oxford remained an important courtier throughout his life: Queen Elizabeth granted him a £1,000 annuity in 1586 for no stated reason—an extraordinary gesture for the frugal monarch—and King James continued this annuity after he ascend- ed the throne in 1603. Why, then, the silence after Oxford had died? Could the answer be because he was a poet and playwright? Although such activity was considered a déclassé or even fantastical hobby for a nobleman, recognition after death would have been socially acceptable. For example, the courtier poet Sir Philip Sidney (d. 1586) had no creative works published in his lifetime, but his pastoral novel, Arcadia, was published four years after his death, with Sidney’s full name on the title page. Three years after that, Sidney’s sister, the Countess of Pembroke, published her own version of it.