DOCSLIB.ORG

Cheney 2004 Bibliogr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cheney 2004 Bibliogr WOrks cited Baines, Barbara] . "Effacing Rape in Early Modern Representation." ELH 65 (1998): 69-98. Baker, David. "Cavalier Shakespeare: T he 1640 Poems of John Benson." Studies in Works cited Philology 95 (1998): 152- ?J. Barkan, Leonard . The Gods Made Flesh: Metamorphosis and the Pursuit ofPaganism. New Haven: Yale University Press, 1986. Barnfield, Richard. TIJe Complete Poems: Richard Barnfield. Ed. George Klawitter. Selinsgrove, PA: Susquehanna University Press; London: Associated Univer­ sity Presses, 1990. Barroll, J. Leeds. Politics, Plague, and Shakespeare sTheater: The Stuart Years. Ithaca: Cornell University Press, 1991. Abrams, Rick, and Don Foster. ''Abrams and Foster on 'A Funeral Elegy.'" Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism I730- I8Jo. Shaksper: The GlobaL Electronic Shakespeare Conference. 12 June 2002. Oxford: Clarendon, 1989. www.shaksper. net/archives/2002/1484.html. Shakespeare and Ovid. Oxford: Clarendon, 1993. Adams, Joseph Q uincy, ed. The Passionate Pilgrim. New York: Scribner's, 1939. The Genius a/Shakespeare. London: Macmillan-Picador, 1997. Aeschylus. Aeschylus 1: Oresteia: Agamemuon, The Libation Bearers, The Eumenides. Bate, Jonathan, ed. Titus Andronicus. By W illiam Shakespeare. Arden Shakespeare. Trans. Richmond Lattimore. The Complete Greek Tragedies. Ed. David 3rd Series. London: Thomas Nelson, 1995. Grene and Richmond Lattimore. C hicago: University of Chicago Press, 1953. Bates, Ronald. "Shakespeare's 'The Phoenix and Turtle."' Shakespeare Quarterly 6 Alexander, Catherine M.S. "Province of Pirates: The Editing and Publication of (r955): 19-30. Shakespeare's Poems in the Eightee nth Century." Reading Readings: Essays on Baumlin, T ira French. "T he Birth of the Bard: Venus rmd Adonis and Poetic Shakespeare Editing in the Eighteenth Century. Ed. Joanna Gondris. Madison: Apotheosis." Papers on Language and Literature 26 (1990): 191- 211. Fairleigh Dickinso n University Press; London: Associated University Presses, Bed narz, James P. "Imitations of Spenser in A Midsummer Night's Dream." Renais­ 1998. 345-64. stmce Drama 14 (1983): 79-102. Allen, Don Cameron. "On Vt>nus and Adonis." Eliznbethan and jacobean Studies "Alens;on." Spenser Encyclopedia. (1990). 14-15. Presented to F. P. Wilson on His Seventieth Birthday. Ed. H . Davis and H . Shakespeare and the Poets' Wlr. New York: Colu mbia University Press, 2001. Gardner. Oxford: Clarendon, 1959. Joo-u . Bell , Ilona. "'That which thou hast done': Shakespeare's Sonnets and A Lover's Allen, Michael J. B. "The C hase: The Development of a Renaissance Theme." Complaint." Schiffer, ed. Shakespeare's Sonnets: Critical Essays. 455- 74. Comparative Literatw·e 20 (r968): 301-12. Belsey, Catherine. "Love as Trompe-L'oeil: Taxonomies of Desire in Venus and Alpers, Paul. What is PastoraL? C hicago: University of C hicago Press, 1996. Adonis (1995)." Kolin, ed. "Venw and Adonis':· Critical Essays. 261-85. Andrews, Michael Cameron. "Music's 'Silver Sound': A Note on Romeo and juliet." "Tarquin Dispossessed: Expropriation and Consent in The Rape of Lucrece." Notes and Queries 36 (1989): 322-23. Shakespeare Quarterly 52 (2001): 315-25. Ariosto, Ludovico. Orlando Furioso (The Frenzy ofOrlando): A Romantic Epic by Benson, John, ed. Poems: Written By Wil Shake-speare. Gent. London, 1640. Ludovico Ariosto. Trans. Barbara Reynolds. 2 vols. Harmondsworrh: Penguin, Berger, Harry, Jr. Imaginary Audition: Shakespeare on Stage and Page. Berkeley: 1975· University of California Press, 1989. Aristotle. The Basic Works ofAris totle. Ed. Richard McKeon. New York: Random "Actaeon at the H inder Gate: The Stag Parry in Spenser's Gardens of House, 1941. Adonis." Finucci and Schwartz, eds. Desire in the Renaissance: Psychoanal­ Asquith, C lare. "A Phoenix for Palm Sunday." Times Literary Supplement, 13 April ysis and Litemture. 91- u9. 2001: 14- 15. Bernard, John. "'To Constancie Con fin 'de': The Poetics ofS hakespeare's Sonnets." Augustine, St. "Confessions" and "Enchiridion." Trans. Albert C. O utler. The PMLA 94 (1979): 77- 90. Library of Christian Classics. Philadelphia: Westminster Press, 1965. Berry, Edward. "Twentieth-Century Shakespeare Criticism: The Histories." S. Augustine: Concerning the City oJGod against the Pagans. Trans. Henry Bettenson. Wells, ed. Cambridge Companion to Shakespeare Studies. 249-56. 1972; Harmondsworth: Penguin, 1984. Shakespeare and the Hunt: A Cultural and Social Study. Cambridge: Cambridge Axton, Marie. "Miraculous Succession: 'The Phoenix and the Turtle' (1601)." The University Press, 2001. Queens Two Bodies: Drama and the Eliznbethan Succession. London: Royal Berry, Philippa. "Woman, Language, and H isrory in The Rape ofLucrece." Shake­ Historical Society, 1977. u 6-30. speare Survey 44 (1992): 33-39· 286 Works cited WOrks cited Bliss, Lee. "'Don Quixote' in England: The Case for The Knight of rhe Burning Brown, James Neil. "'A Calendar, A Calendar! Look in the Almanac."' Notes and Pestle."' Viator 18 (1987): 361-80. Queries 27 (1980): 162-65. Blissett, William . "Lucan's Caesar and the Elizabethan Villain." Studies in Philology Bruster, D ouglas. Quoting Shakespeare: Form and Culture in Early Modern Drama. 53 (1956): 553-75· Lincoln: University of Nebraska Press, 2000. Bloom, H arold. The Anxiety ofInfluence: A Theory ofPoetry. 2nd edn. New York: Bullman, George. "Shakespeare's Georgie Histories." Shakespeare Survey 38 (1985) : Oxford University Press, 1997. 37-47· Shakespeare: The Invention of the Human. New York: Riverhead-Penguin Burckhardt, Jacob. The Civilization ofthe Renaissance in Italy. 2 vols. 1929; New Purnam, 1998. York: Harper, 1975. Genius: A Mosaic ofO ne Hundred Exemplary Creative Minds. New York: Warner, Burnett, Mark Thornton. Constructing "Monsters" in Shakespearean Drama and 2002. Early Modern Culture. Basingstoke: Palgrave Macmillan, 2002. Bono, Barbara J. Literary Transvaluation: From Vergilian Epic to Shakespearean Burnett, Mark Thornton.fed. Christopher Marlowe: The Complete Plays. Everyman 1i'flgicomedy. Berkeley: University of California Press, 1984. Library. London: Dent; Rutland, VT: Tuttle, 1999. Booth, Stephen, ed. Shakespeare's Sonnets. New H aven: Yale University Press,1977. Burrow, Colin. Epic Romance: Homer to Milton. Oxford: Clarendon, 1993. Bradbrook, M. C. "The Phoenix and the 1imle." Shakespeare Quarterly 6 (1955): "Life and Work in Shakespeare's Poems." Chatterton Lecture on Poetry. Pro­ 356- 58. ceedings ofthe British Academy 97 (1998): 15-50. Shakespeare and Elizabethan Poetry. London: Chatto and Windus, 1961. "The Sixteenth Century." Kinney, ed. Cambridge Companion to English Litem­ "Beasts and Gods: Greene's Groats- Worth of Witte and rhe Social Purpose of ture, rsoo-r6oo. 11-28. Venus and Adonis." Shakespeare Survey 15 (1962): 62-72. "Lucrece: The Politics ofReading." Paper presented at the Shakespeare's Narrative "Shakespeare's Recollections of Marlowe." Shakespeare's Styles: Essays in Honour Poems Conference. University of London, London, England. July 2001. ofKennethMuir. Ed. Philip Edwards, lnga-Stina Ewbank, and G. K. Hunter. Burrow, Colin, ed. William Shakespeare: The Complete Sonnets and Poems. Oxford Cambridge: Cambridge University Press, 1980. 199-204. World's Classics. Oxford: Oxford University Press, 2002. Braden, Gordon. Renaissance Tragedy and the Senecan Tradition: Anger's Privilege. Bush, Douglas. "Notes on Shakespeare's C lassical Mythology." Philological Quar­ New Haven: Yale University Press, 1985. terly 6 (1927): 301. "Shakespeare's Perrarchism." Schiffer, ed. Shakespeare's Sonnets: Critical Essays. Mythology and the Renaissance Tradition in English Poetry. New York: Norton, 163-84. 1963. "Ovid, Petrarch, and Shakespeare's Sonnets." A. B. Taylor, ed. Shakespeare's "Venus tmdAdonisand Mythology (1932)." Kolin, ed. "VenusandAdonis ':· Critical Ovid: The "Metamorphoses" in the Plays and Poems. 96-112. Essays. 91-102. Braudy, Leo. The Frenzy of Renown: Fame and Its History. New York: Oxford Buxton, John. "Two Dead Birds: A Note on The Phoenix and Ttmle." English University Press, 1986. Renaissance Studies Presented to Dame Helen Gardner in Honour ofH er Seven­ Breitenberg, Mark. Anxious Masculinity in Early Modern England. Cambridge: tieth Birthday. Ed. John Carey. Oxford: Clarendon, 1980. 44-55. Cambridge University Press, 1996. Cain, Thomas H. "Spenser and the Renaissance Orpheus." University of To ronto Bristol, Michael. Big Time Shakespem·e. New York: Routledge, 1996. Quarterly 41 (1971): 24-47. Bromley, Laura G. "Lucrece's Recreation." Shakespeare Quarterly 34 (1983): 200-1 1. Praise in "The Faerie Queene." Lincoln: University of Nebraska Press, 1978. Brooks, Cleanrh. The Well Wrought Urn: Studies in the Stmcture ofPoetry. London: Callimachus. Callimachus: "Hymns " and "Epigmms'; Lycophron; Arrtti/S. Trans. Methuen, 1971. G . R. Mair. Loeb Classical Library. Cambridge, MA: H arvard University Brooks-Davies, Douglas. The Mercurian Monarch: Magical Politics from Spenser to Press; London: Hei nemann, 1955· Pope. Manchester: Manchester University Press, 1983. Cannan, Paul D. "Early Shakespeare Criticism, Charles Gildon, and the Making Brooks-Davies, Douglas, ed. Edmund Spenser: Selected Shorter Poe1m. London: of Shakespeare the Playwright-Poet. " Modern Philology. Forthcoming. Longman, 1995. Cartelli, Thomas. Marlowe, Shakespeare, and the Economy ofTheatrical Experience. Brown, Carleton, ed. Poems by Sirjo/m Salus bury and Robert Chester. Early English Philadelphia: University Pennsylvania Press, 199 1. Text Studies. London: K. Paul,
Load more

Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • Othello, Colin Powell, and Post-Racial Anachronisms
    Othello, Colin Powell, and Post-Racial Anachronisms KYLE G RADY If progressive people, most of whom were white, could so blindly reproduce a version of the status quo and not “see” it, the thought of how racial politics would be played out “outside” this arena was horrifying. — bell hooks1 NWRITINGO THELLO, SHAKESPEARE PROFOUNDLY COMPLICATES ITS I OSTENSIBLE SOURCE, CINTHIO’ S G LI H ECATOMMITHI.This complex- ity is crafted through various additions and, as Coleridge famously observed, key subtractions.2 Removing Iago’s obvious motives, for example, develops a more mercurial and complicated villain, while also amplifying the senselessness of the final tragedy. In Cinthio’s tale, there is a satisfying denouement in which we learn that “all these events were told” by one “who knew the facts.”3 Shakespeare replaces this certitude with loose ends. Iago, the key to better grasping the play’s outcome, is resolutely uncommunicative once implicated, telling his accusers “What you know, you know. / From this time forth I never will speak word.”4 And, in what reads as a final longing for the clarity denied to the play, Othello voices an intractable charge: “Speak of me as I am” (5.2.351). As the drama’s lively critical afterlife demonstrates, there is a three-dimension- ality to Othello that thwarts attempts to fully meet this request. For their insight, I am sincerely grateful to the participants of the 2015 Shakespeare Association of America seminar “Early Modern Race / Ethnic / Diaspora Studies,” especially the seminar leaders, Kim F. Hall and Peter Erickson. Many thanks are also due to Michael Schoenfeldt and Valerie Traub for their generous feedback on this essay.
    [Show full text]
  • 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.
    [Show full text]
  • Performing Prayer in Shakespeare's Sonnets
    Access Provided by Harvard University at 01/28/13 5:08PM GMT Love’s Rites: Performing Prayer in Shakespeare’s Sonnets R H - Iaddressed to the beloved in Shakespeare’s Sonnets, the poet defends what seems like a penchant for rewriting the same poem over and over. Against the implicit accusations of his beloved, the poet compares his apologia in Sonnet 108 to a kind of spoken prayer, a highly ritualized and publicly performed devo- tional gesture: like prayers diuine, I must each day say ore the very same, Counting no old thing old, thou mine, I thine Euen as when first I hallowed thy faire name. (108.5–8)1 Echoing the beloved’s doubts, he asks whether repeated words have the capacity to express the depth of his love: “What’s new to speake, what now to register, / 6at may expresse my loue, or thy deare merit?” (ll. 3–4). 6ese questions have bothered more than just the poet’s friend. Generations of critics of the Sonnets have shared the beloved’s concern over the repetitive nature of the sequence’s devotional tropes, finding that the blandness of senti- ment betrays a desire that expresses itself “monotheistically, monogamously, monosyllabically, and monotonously.”2 Moreover, the Sonnets’ references to litur- I thank my colleagues at the Renaissance Colloquium at Harvard University for their responses to an earlier version of this essay. In particular, Misha Teramura offered valuable insight about my historical treatment of the antitheatrical tradition. Stephen Greenblatt read a later version of the manuscript in its entirety and clarified and strengthened my argument.
    [Show full text]
  • Sweet Cytherea”
    Proving Oxfordian Authorship in “Sweet Cytherea” The Wind-Up Oxford’s poems do not resemble Shakespeare’s. They were two different writers. Such is Academe’s preclusive claim that a literary chasm exists between the known, usually early, writings of Edward de Vere, 17th Earl of Oxford, and the collected works we recognize by the spectacular epithet ‘Shakespeare’. (Baldrick, l7-18; Elliott, The Shakespeare Files; Kathman, website; Low, letter NY Times; Nelson, quoted, “Shakespeare Matters”, 7; Nelson, website) Since Lord Oxford published under a series of pseudonyms and proxies in order to carry on an artistic vocation shunned by his class, only three subscribed poems after his youth have survived. (“Shakespeare” Vol I, 553) There are no original notes and manuscripts to document an Oxford/’Shakespeare’ stylistic evolution. His plays are said to have been lost. (Sidney Lee, in “Shakespeare” Vol I, 112) The 1951 Encyclopaedia Britannica noted only, “He was a lyric poet of no small merit.” Orthodoxy therefore may prefer the slanted odds of comparing The Sonnets, ‘Shakespeare’s masterpiece, with Oxford’s juvenilia, involving a gap of twenty-five to thirty-five years in a life full of writing and personal change. Lacking the autograph work, critics who credit Oxford as the mind behind the name 'Shakespeare' must build their evidence from logical deduction, similar phrasing and poetic devices, biographical allusion, vocabulary, allegorical reference, and a recombination of previously disparate sources. But these investigative techniques apply to any author’s unprovenanced writings. The literary detective work is no different. Should it link an unattributed work to Francois Marie Arouet, for instance, which means simultaneously to his pseudonym Voltaire, it would be a red-letter day for literature.
    [Show full text]
  • Hamlet on the Screen Prof
    Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting.
    [Show full text]
  • Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(S): Judiana Lawrence Source: Shakespeare Quarterly, Vol
    George Washington University The Shakespeare Association of America, Inc. Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(s): Judiana Lawrence Source: Shakespeare Quarterly, Vol. 35, No. 4 (Winter, 1984), pp. 440-460 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2870163 Accessed: 11-08-2016 14:56 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. George Washington University, The Shakespeare Association of America, Inc., The Johns Hopkins University Press, Folger Shakespeare Library are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly This content downloaded from 66.171.203.97 on Thu, 11 Aug 2016 14:56:57 UTC All use subject to http://about.jstor.org/terms Natural Bonds and Artistic Coherence in the Ending of Cymbe line JUDIANA LAWRENCE YMBELINE, THOUGH ONE OF THE FINEST OF Shakespeare's later plays now on the stage, goes to pieces in the last act": thus George Bernard Shaw justifies his decision to provide a rewritten fifth act for the 1945 pro- duction of the play at the Shakespeare
    [Show full text]
  • I599-I6oi: the Author Brought Into Print Play Scene: "Loves Labors Lost" to "Troilus and Cressida "
    PART THREE I599-I6oi: the author brought into print Play scene: "Loves Labors Lost" to "Troilus and Cressida " "How many tales to please me she hath coined." "W. Shakespere," The Passionate Pilgrim, Poem 7 In his monumental 1790 edition, tided The Plays and Poems of William Shakspeare, Edmund Malone performs a curious editorial procedure. As rhe final poem to William Jaggard's The Passionate Pilgrim (1599, 1612) he prints "The Phoenix and Turtle," lifted from Robert C hester's Love's MartyJ; or Rosa/ins Complaint (r6or). Malone's procedure may obscure the textual independence of these rwo volumes of early modern poetry, bur it nonetheless highlights a shared genealogy for them: the genre of the printed miscellany.' In bringing rhe rwo volumes together, Malone makes available a set of comparisons berween rwo works of erotic verse printed at about rhe same nme. Together, rhe printing of The Passionate Pilgrim and "The Phoenix and Turde" near rhe mid-point ofShal<espeare's professional career represents a second phase of rhe national poet-playwright in print. Unlike rhe 1593-94 Venus and Lucrece, however, these works do nor show the a uthor presenting himself as a poet through the medium of print, but rather they are works rhat show a manuscript poet brought into print by others. The nature of rhe appropriation differs, as do rhe roles of Jaggard and C hester in Eliza­ bethan culture. Jaggard was a publisher and businessman on rhe look for a market success; Chester, an "obscure poet" in search of a patron (Burrow, ed., Sonnets and Poems, 82).
    [Show full text]
  • The Sonnets and Shorter Poems
    AN ANALYSIS OF A NOTEBOOK OF JAMES ORCHARD HALLIWELL-PHILLIPPS THE SONNETS AND SHORTER POEMS by ELIZABETH PATRICIA PRACY A thesis submitted to the Faculty of Arts of The University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Faculty of Arts The University of Birmingham March 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. O t:O SYNOPSIS The thesis starts with an Introduction which explains that the subject of the work is an analysis of the Notebook of J. O. Halliwell-Phillipps dealing with the Sonnets and shorter poems of Shakespeare owned by the Shakespeare Centre Library, Stratford-upon- Avon. This is followed by an explanation of the material and methods used to examine the pages of the Notebook and a brief account of Halliwell-Phillipps and his collections as well as a description of his work on the life and background of Shakespeare. Each page of the Notebook is then dealt with in order and outlined, together with a photocopy of Halliwell-Phillipps1 entry. Entries are identified where possible, with an explanation and description of the work referred to.
    [Show full text]
  • Mucedorus and the Birth of Merlin at the Los Angeles Globe
    368 SHAKESPEARE QUARTERLY with the attitudes of the other male characters in the production. The tribunes, Sicinius and Junius Brutus, were urban hustlers who confidently sported fashionable walking sticks, d la 1890s, when it seemed apparent that Marcius had lost his bid for power against them. In the final scene the envelope containing the terms for peace between Rome and the Volsces was refused and silently returned to the briefcase in which it was delivered. War would continue, as would the irrational forces that shape such conflicts, with or without proud and unresponsive leaders like Marcius. His life was given a wider perspective in this final, silent moment with the envelope, a perspective in which neither his guilt nor Downloaded from https://academic.oup.com/sq/article/41/3/368/5085016 by guest on 29 September 2021 our affection really figured. Peace is finally out of Marcius's hands, carried instead by the unseen and unspoken forces that have controlled people and events throughout history. Mucedorus and The Birth of Merlin at the Los Angeles Globe JOSEPH H. STODDER The plan of Globe Playhouse producers R. Thad Taylor and Jay Uhley to perform the fifteen most noteworthy of the apocryphal plays is continuing, but they are being offered at a slower pace than had originally been intended. After a promising beginning (Sir Thomas More in 1984, then seven plays between July 1985 and March 19871), the Globe was confronted by the restrictions imposed by the new Actors' Equity Association rules. The Los Angeles Theatre Plan of October 1988 removed the equity waiver (a release permitting low-budget houses to function without paying directors, actors, and crews) under which small theatres such as the Globe had been operating.
    [Show full text]
  • Shakespeare Apocrypha” Peter Kirwan
    The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C.
    [Show full text]
  • The Passionate Pilgrim
    CHAPTE R 5 "TJ.ates ' . cozne· d" : ''W. S''-na kespeare , zn· Jagg' ar,d 's The Passionate Pilgrim [William Jaggard was] an infamous pirate, liar, and thief [who pro­ duced a] worthless litrle volume of stolen and mutilated poetry, parched up and padded our with dirty and dreary doggerel. Algernon Charles Swinburne, Studies in Prose and Poetry (1894), 90 W ith the 1623 First Folio and rhe 1599 and 1612 editions of The Passionate PiLgrim, William Jagga rd had primed the first collecrions of both Shakespeare's plays and his poems. Margrcra de Grazia, Sbakespeare Verbntim (1991). 167 T he above epigraphs pi npoint changing critical perceptions of William Jaggard's role in Shal(espeare's professional career. At the end of the nineteenth century, Swinburne works from a "Romantic" view of the autonomous author to judge Jaggard morally and The Passionate Pilgrim aesthetically. Jaggard is a cheat and the poetry poor. Since the poems' only begetter is a pirate, liar, and thief, and his li ttle volume stolen, mutilated, patched, padded, dirty, dreary, and worthless, who could find interest in the enterprise? A hundred years later, de Grazia helps us begin to under­ stand why. Even if we condemn Jaggard, he occupies a historic position in the printing of the national poet-playwright. He is the first to anticipate modern editors, including Malone, in the publication of both "the plays and poems ofWill iam Shakspeare." In between Swinburne and de Grazia, W illiam Empson gets at the crux of the histori cal matter when he remarks, "The Passionate Pilgrim (1599) is a cheat, by a pirate who is very appreciative of the work of Shakespeare" ("Narrative Poems," u ).
    [Show full text]