DOCSLIB.ORG

Philip Massinger and His Associates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philip Massinger and His Associates - PHILIP MASSINGER AND HIS ASSOCIATES Donald S. Lawless A SAE MOOGA UME E PHILIP MASSINGER AND HIS ASSOCIATES Donald S. Lawless Assistant Professor of English Ball State University A SAE MOOGA UME E bltn n Enlh, . 6 ll Stt Unvrt, Mn, Indn 6 O O SAE ® Donald S. Lawless 1967 Library of Congress Catalog Card Number: 67-65489 r - To Mother and to the memory of Father and Professor Charles Jasper Sisson ..■M■ Preface T HIS WORK IS AN ABRIDGMENT of Part I of my doctoral dissertation for the Shakespeare Institute of the University of Birmingham (England), wherein I treat of Philip Massinger and his known associates. But in this monograph I have, for an obvious reason, been unable to present the de- tailed studies of various members of the playwright's circle, which comprise Part II of the thesis; I have, however, in the notes often referred the reader to this part of the original work. One of the aims of this work is to present as comprehensive an account of Massinger's life as possible; and here I have been able to add to his biography, discovering, among other things, that on his mother's side he was related to the Crompton family of Stafford. I have also been able to show, to cite another example, that the Arthur Massinger who died in the parish of St. Dunstan's-in-the-West, London, in June, 1603, was the poet's father. Besides treating of Massinger's personal life and dramatic activities as fully as possible, I have also tried to see him in relation to his patrons and other members of his circle (whom I have been able to trace), who are considered collectively. While it is dangerous to use the term "circle" in a very specific sense about the dramatist's associates, an attempt is made to group some of them and to determine their relations with him. A consideration of Massinger's associates is rewarding. In the first place, a survey of the friends and acquaintances of a dramatist like Massinger helps us to reconstruct, in a measure, the world in which he lived. It reveals some of his friendships and enables us to understand the kind of man he was. Furthermore, when we become aware of who his associates were and of what they were, numerous questions can be legitimately posed, which have a bearing upon the poet's own life. How, for example, did Massinger become acquainted with John Clavell, an erstwhile highwayman? Was he on friendly terms with Thomas Bellingham when the latter was convicted for duelling in 1617? Might he have discussed matters relating to the New World with George Donne and Sir Henry Moody? Might he have met the Duke of Buckingham through Lord Mohun? Did he discuss Ralegh with Sir Warham St. Leger? Under what circumstances did he meet Sir Thomas Jay, who was, to use the words of Sir James Mann, "a rather shadowy figure in the history of the Royal Armouries"? These examples serve to indicate the kinds of queries which arise from a consideration of his associates and, in turn, such answers as may be found obviously illuminate our knowledge of the poet's activities and of his intellectual interests. Quoted from a letter (23 December 1958) from Sir James Mann, then Master of the Royal Armouries, to this writer. Acknowledgments To the Cornell University Press for permission to quote extracts from The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623-1673, ed. Joseph Quincy Adams, Cornell Studies in English, No. 3 (New Haven, 1917). To the Record Keeper of Principal Probate Registry, Somerset House, London, for permission to make use of various wills preserved there. To Dr. Oscar M. Villarejo for permission to make use of his Ph.D. thesis (Columbia University, 1953) "Lope de Vega and the Elizabethan and Jacobean Drama." To the Governors of Dulwich College, London, for permission to make use of MS. XVIII, no. 8. To the Greater London Record Office for permission to quote from the "Sacramental Token Books" and the "Monthly Account Books" of the Parish of St. Saviour, Southwark. To the Corporation of Wardens of the Parish of St. Saviour, Southwark, for permission to quote from the Parish Registers, the "Sacramental Token Books," and the "Monthly Account Books" of the parish. To the Shakespeare Institute for permission to quote from its Play Register. To the Folger Shakespeare Library for permission to quote from the Gosse Copy of various plays by Massinger. To the Bodleian Library for permission to quote from The Subscription Register of the University of Oxford (1581-1615) and from Philip Massinger's The City-Madam (London, 1658) (Malone 185(4) ). To the Trustees of the British Museum for permission to quote from Lansdowne MSS. 63 and 67 and MS. P. 28875. Roy. 18. A. XX, fols. 1-4; Massinger's The Vnnaturall Combat (London, 1639); Massinger's A New Way to Pay Old Debts (London, 1633); Massinger's The Great Duke of Florence (London, 1636); Massinger, Middleton, and Rowley's The Excel- lent Comedy, called The Old Law: or A New Way to Please You (London, 1656). To Canon J. R. Satterthwaite, Vicar of the Guild Church of St. Dunstan- in-the-West, London, for permission to quote from the Parish Registers. vi To Thomas Nelson & Sons, Ltd., for permission to quote from Thomas A. Dunn's Philip Massinger: The Man and the Playwright (London, 1957). To the Honourable Vice-Chancellor of the University of Ghana for per- mission to quote from Thomas A. Dunn's Philip Massinger: The Man and the Playwright (London, 1957). To Percy Dobell & Son for permission to quote from A Little Ark Con- taining Sundry Pieces of Seventeenth-Century Verse, ed. G. Thorn-Drury (London, 1921). To Dr. Alice Senob for permission to make use of her doctoral dissertation, an edition of Massinger's The Renegado (The University of Chicago, 1939). To the Most Honourable Robert Arthur James Gascoyne-Cecil, Fifth Marquess of Salisbury, for permission to make use of the Calendar of the Manuscripts . Preserved at Hatfield House, Hertfordshire (London, 1883-1940). To Dr. Bertha Hensman for permission to make use of her Oxford D. Phil. thesis, "The Collaboration of Massinger and Fletcher" (The University of Oxford, 1960). To the Historical Manuscripts Commission for permission to make use of various Reports of the Commission. To Dr. Charles Lacy Lockert, Jr., and to Princeton University for permission to make use of The Fatal Dowry by Philip Massinger and Nathaniel Field, ed. Charles Lacy Lockert, Jr. (Lancaster, Pa., New Era Printing Company, 1918)—originally a Ph.D. thesis for Princeton University. To Houghton Mifflin Company for permission to quote from Felix E. Schelling's Elizabethan Drama, 1558-1642 . (Boston and New York, 1908). To the Council of the Bibliographical Society for permission to make use of W. W. Greg's A Bibliography of the English Printed Drama to the Restoration (London, 1939-1959). To Johanne M. Stochholm for permission to quote from her edition of Massinger's The Great Duke of Florence (Baltimore, 1933)—originally a Ph.D. thesis for Bryn Mawr College. To the Oxford Historical Society for permission to make use of the Reg- ister of the University of Oxford, 1571-1622, ed. Andrew Clark (Oxford, 1887-1889). vii To Basil Blackwell for permission to quote from A. H. Cruickshank's Philip Massinger (Oxford, 1920) and William Heminges' Elegy on Randolph's Finger, ed. G. C. Moore Smith (Oxford, 1923). To Professor Cyrus Hoy for permission to use material from his articles entitled "The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon," Studies in Bibliography (1956-1962). To the Malone Society for permission to make use of C. J. Sisson's edition of Believe as You List by Philip Massinger, Malone Society Reprint [Lon- don, 1928) and The Parliament of Love, ed. Kathleen M. Lea and checked by W. W. Greg, Malone Society Reprint [London, 19291 To the Oxford University Press for permission to quote from Donald S. Lawless' "Massinger, Smith, Horner, and Selden," Notes and Queries, n. s., IV (February, 1957), 55-56, and Donald S. Lawless and J. H. P. Pafford's "John Clavell, 1603-42. Highwayman, Author and Quack Doctor," Notes and Queries, n. s., IV ( January, 1957), 9. Transcripts of Crown-copyright records in the Public Record Office, London, and references to and quotations from the printed Calendars of the public records appear by permission of the Controller of Her Majesty's Stationery Office. Quotations from Trinity College, Dublin, MS. G. 2. 21 appear by per- mission of the Board of Trinity College, Dublin. Quotations from G. E. Bentley's The Jacobean and Caroline Stage (Oxford, 1941-1956) and from "Brief Lives," Chiefly of Contemporaries, Set down by John Aubrey, between the Years 1669 & 1696, ed. Andrew Clark (Ox- ford, 1898) are by permission of the Clarendon Press, Oxford. And "for help along the way" (when this work was being prepared as a doctoral thesis), I wish to thank Professors John Cutts, Allardyce Nicoll, T. J. B. Spencer, Mark Eccles, Baldwin Maxwell, Norman Sanders, the late R. C. Bald, and the late C. J. Sisson, as well as Dr. Eric Ives, Dr. Stanley Wells, and Mr. E. A. J. Honigmann. I also wish to express my appreciation for generous help given to me by countless librarians and officials, especially at the British Museum, the Public Record Office, the Literary Department of Somerset House, the Bodleian Library, the University of Birmingham, the University of Oxford, the University of London, Trinity College, and the Greater London Record Office.
Load more

Recommended publications
  • THE ALCHEMIST THROUGH the AGES an Investigation of the Stage
    f [ THE ALCHEMIST THROUGH THE AGES An investigation of the stage history of Ben Jonson's play by JAMES CUNNINGHAM CARTER B.Sc., University of British Columbia, 196 8 A THESIS SUBMITTED IN PARTIAL FULFILMENT. OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date 27 QclAtt ii ABSTRACT THE ALCHEMIST THROUGH THE AGES An Investigation of the Stage History of Ben Jonson's Play This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 197 0 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception.
    [Show full text]
  • The Cultural and Ideological Significance of Representations of Boudica During the Reigns of Elizabeth I and James I
    EXETER UNIVERSITY AND UNIVERSITÉ D’ORLÉANS The Cultural and Ideological Significance Of Representations of Boudica During the reigns of Elizabeth I and James I. Submitted by Samantha FRENEE-HUTCHINS to the universities of Exeter and Orléans as a thesis for the degree of Doctor of Philosophy in English, June 2009. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ..................................... (signature) 2 Abstract in English: This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people.
    [Show full text]
  • From Ben Jonson and Shakespeare (1921)
    Greenwood - Ben Jonson and Shakespeare 61 From Ben Jonson and Shakespeare (1921) Sir George Greenwood HE sheet anchor of the traditional belief with regard to the authorship of t he plays and poems of Shakespeare is undoubtedly Ben Jonson. It is to the Jonsonian utterances that the apostles of the Stratfordian faith always makeT their appeal. That faith we are told is based on the “irrefragable rock” of Ben Jonson’s testimony. Well, it was not so very long ago that we used to be told that the truth of a universal deluge and the preservation of mankind and animals of every kind and species, in Noah’s Ark, was established on the “impregnable rock” of Holy Scripture, and yet to-day we find even high Church digni taries—with whom Mr. J. M. Robertson would certainly be in entire agreement here—disavowing any belief in this interesting mythological tradition. Is it not, then, possible that the Jonsonian testi mony may prove no more “irrefragable” or “impregnable” than that of those old chronicles, which age-long tradition has ascribed to the authorship of “Moses”? As a distinguished writer, well-known both in the political and the literary world, has written to me, the difficulties in the way of the orthodox “Shakespearian” belief seem to be insuperable. Are the Jonsonian utterances of such weight as to outweigh them all? I reply, put Jonson in one scale and all the difficulties and improbabilities — if not impossibilities — of the “Stratfordian” hypothesis in the other, and old Ben will kick the beam. Now let us briefly consider this Jonsonian testimony.
    [Show full text]
  • Early Modern Piracy 1/8
    MS Early Modern Piracy 1/8 Corsairs, Privateers, Renegados: Early Modern Piracy Syllabus Let’s get this out of the way: Like the last two terms, summer term 201 will be yet another experiment in pandemic pedagogics. I look forward to experimenting with new forms of (online) teaching, but I will need your help. Please keep in touch, take part in the Zoom classes, and use the forum for asynchronous coursework (study questions, book reviews – tasks specified below). Most importantly, please let me (and the other course members) know if something does not work for you or if you have different ideas about how to do things. Let’s do this together! class: - Wednesday, 16:15-17:45 [online] As Zoom is not the perfect medium for everyone (and some of you might struggle with technical issues) the seminar will combine synchronous Zoom classes and asynchronous sessions (see schedule & tasks below). contact: - [office: 4.154 IG-Farben-Haus] - e-mail: - office hours: Thursday, 9:00-10:30 (and on appointment) – please send me an e-mail for the Zoom link. - twitter: @susannegruss (#PiracyMS) resources: - OLAT: literature: - Please buy and read the following primary texts (listed in the order of discussion in class): (1) George Peele, The Battle of Alcazar () (in The Stukeley Plays, Revels Plays, Manchester UP); The Life and Death of the Famous Thomas Stukely (broadside ballad, c.1693-96, http://ebba.english.ucsb.edu/search_combined/?ss=thomas+stukely) (2) Thomas Heywood & Philip Rowley, Fortune by Land and Sea (1607-09) (copy on OLAT) (3) John Fletcher and Philip Massinger, The Double Marriage (c.1619-22) (copy on OLAT) (4) Philip Massinger, The Renegado (1624) (Arden Early Modern Drama) - All other texts that are mandatory reading are available on OLAT.
    [Show full text]
  • Christopher Marlowe and the Golden Age of England
    The Marlowe Society Christopher Marlowe and the Research Journal - Volume 05 - 2008 Golden Age of England Online Research Journal Article Michael J. Kelly Christopher Marlowe and the Golden Age of England Poet, spy and playwright, Christopher Marlowe was the embodiment of the Elizabethan Golden Age. Marlowe’s work was the product of his ‘Erasmian,’ or Christian humanist, education, the state of affairs in England and his own ability and readiness to satirize the world around him. Marlowe and his fellow contemporaries were a testament to the development of English drama, its pinnacle at the end of the English Renaissance and its eventual decline and suppression at the outbreak of the English Civil War. Their work is historically important because it illustrates, in addition to the development of English theatre, the dramatic political and social events of the time through the public medium of the playhouse. Specifically, the development of the theatre helps explain key features of the English Renaissance such as the creation of English self-identity, adoption of humanistic ideal, the advancement of English over Latin, the role of religion, the intellectual development of a people and parliament and their gradual alienation from the monarchy, the ultimate assertion of parliamentary power, and Civil War. Furthermore, the development of commercial playwriting, acting, stage management and private investment in theatres, an aspect of life today taken for granted, began during this Golden Age in English drama. The history of English playwriting and performance stretches back to at least the ninth century trope ‘Alle Luia’ sung at Easter masses. However, post-classical Christian ritual performance itself probably developed from the ritualistic repetitions of the Empirical Roman Senate.1 This tradition, established in the Church at some point during the early formation of Roman successor states, likely spread to England from Spain, via Ireland, through missionaries.
    [Show full text]
  • Bibliography
    206 Fletcherian Dramatic Achievement Bibliography Primary sources Apology for Actors Thomas Dekker, An Apology for Actors (1612), ed. Richard H. Per- kinson, New York 1941 Aristotle Poetics, tr. W. Hamilton Fyfe, The Loeb Classics Library, Cam- bridge, Mass., London 1927 St Augustine St Augustine, The Teacher, in Against the Academicians; and, The Teach- er, trans. Peter King, Indianapolis, Cambridge 1995 Bellenden The Chronicles of Scotland: Compiled by Hector Boece: Translated into Scots by John Bellenden, 1531, ed. R. W. Chambers and Edith C. Batho, vol. I, Edinburgh and London 1938 Bowers I-X The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 10 vols, Cambridge UP 1966–1996 [Cicero] Ad Herennium, tr. Harry Caplan; The Loeb Classical Library, Cambridge, Mass., London 1954 Demetrius and Enanthe MS John Fletcher, Demetrius and Enanthe, ed. Margaret McLaren Cook and F. P. Wilson, The Malone Society Reprints 1950 (1951) Dio Dio Cassius, Dio’s Roman History, tr. Earnest Cary, vol. vii, The Loeb Classical Library, Cambridge, Mass., London 1961 Faithful Friends The Faithful Friends, ed. G. R. Proudfoot and G. M. Pinciss, The Malone Society Reprints 1970 (1975) Henslowe’s Diary Henslowe’s Diary, ed. R. A. Foakes, 2nd edition, Cambridge UP 2002. Howard-Hill (1980) Sir John Van Olden Barnavelt: by John Fletcher and Philip Massinger, ed. T. H. Howard-Hill, The Malone Society Reprints 1979 (1980) Bonduca MS Bonduca: by John Fletcher, ed. W. W. Greg, The Malone Society Re- prints, 1951 Mann Thomas Mann, Doctor Faustus, tr. H. T. Lowe-Porter, Everyman’s Library, vol.80, 1992 Masque of Queens Ben Jonson, The Masque of Queens (1609), published in his Workes (1616): 945–964 Meres Francis Meres, Palladis Tamia (1598), Scholars’ Facsimiles & Re- prints, New York 1938 Metrical Boece (1858) The Buik of the Chroniclis of Scotland; or, A Metrical Version of the History of Hector Boece; By William Stewart (1535), ed.
    [Show full text]
  • Introduction
    introduction Romance is a twilight zone in studies of late sixteenth-century literary genres in England. Half-way between the nostalgia of medieval chivalry and the enterprising spirit of early modern exploration, piracy and com- merce as preludes to a future empire, it is both very old-fashioned and innovatively modern. Appearing in narrative as well as in dramatic forms, romance lays simultaneous claims to history and imagination, which were not necessarily in opposition in the period, and caters for a readership of servants and citizens while equally fi nding its way into Spenserian epic, Sidneyan pastoral or even late Shakespearian tragicomedy and Miltonian poetry. The three plays grouped in this volume are early modern attempts at conquering that twilight zone in a context of expanding contacts with Muslim lands around the Mediterranean. romance and conquest in early modern england ‘The structural core of all fi ction’ for Northrop Frye, who sees it as a means to translate mythical archetypes into human experience, 1 romance is also ‘a notoriously slippery category’, as Barbara Fuchs warns. 2 The basic defi nition with which Helen Cooper starts her authoritative study of the genre is a primarily narrative fi ction in the vernacular which appears from the twelfth century onward, characterised by exotic settings, distant in time and/or place, concerned with love and/or chivalry, and involving high-ranking individuals engaged in some ideal quest. It may include such recurrent patterns as encounters with the supernatural, obscured identities or miraculous conversions. 3 Patricia Parker’s earlier deconstructionist approach complicates this defi nition by insisting on the proliferating digressions which form the structure of romance and defer its closure and collective coherence.
    [Show full text]
  • Download [ 11,08 MB ]
    ACKNOWLEDGEMENT Part of the materials used in this block is drawn from self-learning materials developed by IGNOU, New Delhi and few other Open Education Resources duly acknowledge in the reference section at the end of the unit. BACHELOR OF ARTS (HONOURS) IN ENGLISH (BAEG) BEG-2 British Poetry and Drama: 17th And 18th Centuries BLOCK-3 17TH AND 18TH CENTURIES DRAMAS UNIT 1 BEN JONSON: VOLPONE (PART I) UNIT 2 BEN JONSON: VOLPONE (PART II) UNIT 3 JOHN DRYDEN: ALL FOR LOVE (PART I) UNIT 4 JOHN DRYDEN: ALL FOR LOVE (PART II) UNIT 1 BEN JONSON: VOLPONE (PART I) STRUCTURE 1.1 Learning Objectives 1.2 Introduction 1.3 Ben Jonson: The Playwright 1.3.1 His Life 1.3.2 His Dramatic Career 1.3.3 Few Famous works Of Ben Jonson 1.4.4 Few Quotes on Jonson 1.4 Jonsonian Comedy 1.5 Critical Reception of Jonson 1.6 Let us Sum up 1.7 Answers to Check Your Progress (Hints Only) 1.8 Possible Questions 1.1 LEARNING OBJECTIVES After going through this unit, you will be able to discuss Ben Jonson as an important English playwright of the 16th century make an assessment of Jonson and his works explain the nature of Jonsonian type of comedy provide a critical reception of Jonson 1.2 INTRODUCTION Volpone is Ben Jonson's most famous comedy . Written in 1606 and represented in March of the same year at the Globe Theatre in London by the King's Men , it was published for the first time in 1616 .
    [Show full text]
  • Simon Smith Music's Mobility
    University of Birmingham The many performance spaces for music at Jacobean indoor playhouses Smith, Simon DOI: 10.1017/9781316488768.003 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Smith, S 2017, The many performance spaces for music at Jacobean indoor playhouses. in D Lindley & B Barclay (eds), Shakespeare, Music and Performance. Cambridge University Press, Cambridge, pp. 29-41. https://doi.org/10.1017/9781316488768.003 Link to publication on Research at Birmingham portal Publisher Rights Statement: This material has been published in revised form in Shakespeare, Music and Performance edited by Bill Barclay, David Lindley https://doi.org/10.1017/9781316488768.003. This version is free to view and download for private research and study only. Not for re- distribution or re-use. © Cambridge University Press. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.
    [Show full text]
  • 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.
    [Show full text]
  • Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
    Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on ​Twelfth Night​ 2017 with Alex LaGrand who worked on ​King Lear​ 2016 with Zack Powell who worked on ​Henry IV Part II ​2015 with John Ahlin who worked on ​Macbeth​ 2000 with Jerry Hands who worked on ​Much Ado About Nothing​ 1984 with Derek Jacobi who worked on ​Othello ​1964 with Laurence Olivier who worked on ​Romeo and Juliet​ 1935 with Edith Evans who worked on ​The Merry Wives of Windsor​ 1918 with Ellen Terry who worked on ​The Winter’s Tale ​1856 with Charles Kean who worked on ​Richard III 1776 with David Garrick who worked on ​Hamlet ​1747 with Charles Macklin who worked on Henry IV​ 1738 with Colley Cibber who worked on​ Julius Caesar​ 1707 with Thomas Betterton who worked on ​Hamlet​ 1661 with William Davenant who worked on ​Henry VIII​ 1637 with John Lowin who worked on ​Henry VIII ​1613 with John Heminges who worked on ​Hamlet​ 1603 with William Shakespeare.
    [Show full text]
  • The Spanish Match and Jacobean Political Thought, 1618-1624
    Opposition in a pre-Republican Age? The Spanish Match and Jacobean Political Thought, 1618-1624 Kimberley Jayne Hackett Ph.D University of York History Department July 2009 Abstract Seventeenth-century English political thought was once viewed as insular and bound by a common law mentality. Significant work has been done to revise this picture and highlight the role played by continental religious resistance theory and what has been termed 'classical republicanism'. In addition to identifying these wider influences, recent work has focused upon the development of a public sphere that reveals a more socially diverse engagement with politics, authority and opposition than has hitherto been acknowledged. Yet for the period before the Civil War our understanding of the way that several intellectual influences were interacting to inform a politically alert 'public' is unclear, and expressions of political opposition are often tied to a pre-determined category of religious affiliation. As religious tension erupted into conflict on the continent, James I's pursuit ofa Spanish bride for Prince Charles and determination to follow a diplomatic solution to the war put his policy direction at odds with a dominant swathe of public opinion. During the last years of his reign, therefore, James experienced an unprecedented amount of opposition to his government of England. This opposition was articulated through a variety of media, and began to raise questions beyond the conduct of policy in addressing fundamental issues of political authority. By examining the deployment of political ideas during the domestic crisis of the early 1620s, this thesis seeks to uncover the varied ways in which differing discourses upon authority and obedience were being articulated against royal government.
    [Show full text]