The Baconian Heresy, a Confutation
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The Turn to Hagiography in Heywood's Reformation
Document généré le 30 sept. 2021 19:52 Renaissance and Reformation Renaissance et Réforme “A Virgine and a Martyr both”: The Turn to Hagiography in Heywood’s Reformation History Play Gina M. Di Salvo Volume 41, numéro 4, fall 2018 Résumé de l'article Cet article se penche sur la narration et sur les stratégies théâtrales qu’utilise URI : https://id.erudit.org/iderudit/1061917ar Thomas Heywood afin de sanctifier Elisabeth Ière en tant que vierge martyre et DOI : https://doi.org/10.7202/1061917ar sainte, dans sa pièce If You Know Not Me, You Know Nobody, Part I, or the Troubles of Queen Elizabeth (c. 1605). Cette pièce porte sur l’histoire de la Aller au sommaire du numéro Réforme et, bien que peu étudiée, constitue une oeuvre remarquable. L’article examine comment Heywood va à l’encontre de Foxe, même lorsqu’il emprunte à l’histoire de la Réforme anglaise prise du Book of Martyrs afin de produire le Éditeur(s) récit du martyre d’une vierge. On y discute de quelle façon la théâtralité miraculeuse de la pièce dramatise des connaissances d’histoire religieuse Iter Press passée, et on montre que la pièce regénère une hagiographie pour le protestantisme anglais. On propose en conclusion que le théâtre ISSN hagiographique stuartien est une invention de Heywood. 0034-429X (imprimé) 2293-7374 (numérique) Découvrir la revue Citer cet article Di Salvo, G. M. (2018). “A Virgine and a Martyr both”: The Turn to Hagiography in Heywood’s Reformation History Play. Renaissance and Reformation / Renaissance et Réforme, 41(4), 133–167. -
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. -
The-Virgin-Martyr-Annotated.Pdf
ElizabethanDrama.org presents the Annotated Popular Edition of THE VIRGIN-MARTYR by Thomas Dekker and Philip Massinger First Published 1622 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2019. This annotated play may be freely copied and distributed. 1 The Virgin-Martyr By Thomas Dekker and Philip Massinger First Published 1622. DRAMATIS PERSONAE INTRODUCTION to the PLAY Dioclesian, Emperor of Rome. Artemia, daughter to Dioclesian. The Virgin Martyr was a popular play, no doubt in part Maximinus, Emperor of Rome. thanks to its bipolar tonality; on the one hand, the play includes, in its story of an early Christian martyr, some of Sapritius, Governor of Caesarea. the most beautiful and exquisite verse in the entire canon; Antoninus, son to Sapritius. on the other hand, the prose dialogues between the two Sempronius, captain of Sapritius' guards. base servants, Hircius and Spungius, are among the most Macrinus, friend to Antoninus. vulgar of the era. Dekker is considered responsible for The Virgin Martyr's rudest sections, while the play's most Theophilus, a zealous persecutor of the Christians. affecting scenes are Massinger's. Calista, daughter to Theophilus. Christeta, daughter to Theophilus. OUR PLAY'S SOURCE Harpax, an evil spirit, following Theophilus in the shape of a Secretary. The text of the play is taken from Arthur Symon's edition Julianus, servant of Theophilus. of the plays of Philip Massinger, cited in the footnotes Geta, servant of Theophilus. below at #4, but with some of the 1622 quarto's original spellings and word choices restored. Dorothea, the Virgin-Martyr. -
Being Seen: an Art Historical and Statistical Analysis of Feminized Worship in Early Modern Rome Olivia J
Macalester College DigitalCommons@Macalester College History Honors Projects History Department Spring 4-21-2011 Being Seen: An Art Historical and Statistical Analysis of Feminized Worship in Early Modern Rome Olivia J. Belote Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/history_honors Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, History of Gender Commons, and the Other Applied Mathematics Commons Recommended Citation Belote, Olivia J., "Being Seen: An Art Historical and Statistical Analysis of Feminized Worship in Early Modern Rome" (2011). History Honors Projects. Paper 9. http://digitalcommons.macalester.edu/history_honors/9 This Honors Project is brought to you for free and open access by the History Department at DigitalCommons@Macalester College. It has been accepted for inclusion in History Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Being Seen: An Art Historical and Statistical Analysis of Feminized Worship in Early Modern Rome Olivia Joy Belote Honors Project, History 2011 1 History Honors 2011 Advisor: Peter Weisensel Second Readers: Kristin Lanzoni and Susanna Drake Contents Page Introduction..................................................................................................................3 Feminist History and Females in Christianity..............................................................6 The -
The Representations of Hercules and Hydra in Shake- Speares Coriolanus
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output The representations of Hercules and Hydra in Shake- speares Coriolanus http://bbktheses.da.ulcc.ac.uk/59/ Version: Full Version Citation: Nishi, Takashi (2014) The representations of Hercules and Hydra in Shake- speares Coriolanus. PhD thesis, Birkbeck, University of London. c 2014 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email The Representations of Hercules and Hydra in Shakespeare’s Coriolanus Takashi Nishi Department of English and Humanities Birkbeck College, University of London Submitted for the Degree of Doctor of Philosophy, October 2013 Abstract This thesis relates Coriolanus to traditions of Renaissance and Reformation thinking on Hercules and Hydra, which had acquired new connotations in the age after neglect during the Middle Ages; and this study investigates the play’s engagement with that material and more precisely its active relationships to texts and ideas at present under-represented in its critical reception and especially by Shakespearean critics. Coriolanus highlights the conflict between the patricians including heroic Coriolanus and the plebeians, and Coriolanus describes the plebeians as “the many-headed multitude” like “Hydra” (2.3.16-17; 3.1.96). Coriolanus is compared to Hercules (4.6.104), and battle between Hercules and the many-headed Hydra is suggested in the play. If Hydra symbolises subjects, likewise Hercules stands for rulers. In short, the closer examination of Hercules and Hydra leads us to a deeper understanding of Shakespeare’s presentation of rulers and subjects. -
UNIVERSITY of CALIFORNIA Los Angeles Witches
UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. ii The dissertation of Terri Lynn Richter -
The Virgin Martyr</Em>
Early Theatre 7.2 (2004) Nova Myhill Making Death a Miracle: Audience and the Genres of Martyrdom in Dekker and Massinger’s The Virgin Martyr In 1620, audiences at the Red Bull might have witnessed the martyrdom of a ‘blessed virgin’ who died ‘aiming / At an immortall crowne, and in his cause / Who only can bestow it’1 or, perhaps, ‘illusions of the Diull / Wrought by some one of her Religion, / That faine would make her death a miracle’ (4.3.188–90). These descriptions come from the same character, and apply to the same events, of which the theatre audience is also a witness – the decapi- tation of Dorothea, the title character in Thomas Dekker and Philip Massin- ger’s The Virgin Martyr, and the ‘heavenly music’ (4.3.187) that accompanies her apotheosis. For Theophilus, the chief persecutor of Christians, later converted by gifts Dorothea sends him from the heavenly kingdom she has attained, the difference between these positions is the difference between pagan and Christian understanding, and the true narrative of martyrdom supercedes the false narrative of theatrical illusion. For the theatre audience, the situation is more complicated. On the stage, representations of physical suffering and torment are under- stood by the theatre audience to be simultaneously authentic and counterfeit. Dorothea is supernaturally protected from repeated attempts at rape and torture – a sign of both divine protection and careful stage management. Her tormentors repeatedly ascribe her imperviousness to torture to ‘counterfeit’ clubs and slaves who ‘forbeare to hurt her’ (4.2. 99, 114), attempting to use the theatrical to undercut the miraculous. -
Reviving Phillip Massinger
Reviving Philip Massinger SAA Seminar Abstracts Gina M. Di Salvo University of Tennessee [email protected] The Virgin Martyr in Repertory The Virgin Martyr (1619) by Thomas Dekker and Philip Massinger represents the best known saint play of the early modern era because it is frequently understood as the only saint play of the early modern era. Despite the identification of the play as the sole example of a saint play on the professional stage after the English Reformation, recent critics have approached the play with sophistication. Absent are debates over whether or not this is a Catholic or Protestant play. Instead, critics have shifted the conversation to consider the aesthetics, theatricality, and religious performativity of the play more broadly (Myhill, Degenhardt, Pickett, Waldron, and Moretti). In this essay, I build on this exciting work and place The Virgin Martyr in the context of the theatrical repertoire of its time. The Virgin Martyr, which depicts the acts and martyrdom of St. Dorothy, stands as a turning point among six Stuart virgin martyr plays. All of these plays feature angelic apparitions to musical accompaniment, books as apotropaic devices, and the miraculous – and often pyrotechnic – destruction of devils. Dekker and Massinger’s tragedy, however, is the first to stage the particular trial of sanctity that appears in three more saint plays of the Stuart era: a rape test. While these plays might look extraordinarily “religious” when compared to the canonical plays of the era, they rely primarily on rape and its miraculous avoidance as a stable signifier of sanctity. I argue that the scenarios of rape in four Stuart virgin martyr plays, led by The Virgin Martyr, articulate a sort of canonization process for theatrical sanctity. -
“Here Lay My Hope”: Attribution, Collaboration
“HERE LAY MY HOPE”: ATTRIBUTION, COLLABORATION, AND THE AUTHORSHIP OF THE THIRD ADDITION TO THE SPANISH TRAGEDY Keegan Cooper Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University October 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________________ Dr. Terri Bourus, Chair ______________________________________ Dr. Jonathan Eller ______________________________________ Dr. April Witt ii Dedication For Mom, who first introduced me to Shakespeare and inspired me to imagine and create. For Char, Beeg, and Pops. Without your company and counsel, this thesis might not have been completed. iii Acknowledgements A huge thank you to my thesis committee: Dr. Jonathan Eller and Dr. April Witt. Your feedback in and out of class has been vital these past few years. And I cannot thank my mentors enough: my thesis chair, Dr. Terri Bourus, and Dr. Gary Taylor. Without your support and guidance over the past three years, I would not have been able to finish my educational career as successfully as I have. (And thanks for employing me too!) iv Table of Contents Introduction 1 Part 1: Backstory 3 Part 2: Control Tests 19 First Segment 25 Second Segment 42 Part 3: Conclusion 50 Bibliography 52 Curriculum Vitae v Introduction The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. -
This Essay Is Not for Wider Distribution. Thank You. The
This essay is not for wider distribution. Thank you. The Dearth of the Author Eoin Price ([email protected]) (@eoin_price) 1613 was an annus horribilis for the King’s Men. On June 29, the Globe burned down during a production of Shakespeare and Fletcher’s Henry VIII. By the end of the year, one half of that play’s collaborative team had retired. While the King’s Men rebuilt the Globe, replacing Shakespeare – a writer, a sharer, an actor – was a tougher task. It was a task made harder by the untimely retirement of the stroke-stricken Francis Beaumont, Fletcher’s younger but more senior collaborative partner.1 Beaumont was by this point a big draw for the King’s Men. Having moved from the boy companies, he and Fletcher co-wrote Philaster (1609), A King and No King (1611) and The Maid’s Tragedy (1611) for the King’s Men. Each was apparently a significant success and remained in the company’s repertory for decades.2 These losses surely represented bad news for the King’s Men, but Fletcher may have felt more ambivalent: the dual retirements of Shakespeare and Beaumont afforded him the opportunity to hold a more prominent position within the King’s Men. If there was such a thing as an immediate successor to Shakespeare, then it was Fletcher who best fit the bill. Unlike most writers of his generation, who moved from company to company in a bid to earn a living as a playwright, Fletcher wrote almost exclusively for the King’s Men from 1613. -
The Globe Theatre 1599-1608
THE GLOBE THEATRE 1599-1608 THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY WAYNE CLINTON HAYvVARD UNIVERSITY OF BIRMINGHAM MARCH 1951 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. TABLE OF CONTENTS VOLUME ONE The Plays - Selection and Use 1 The Theatre and Stage 2? The Stage Entrances Ul The Curtained Space 61 The Upper Playing Space 7h The Stage Properties 100 Appendix - The Closing of the London Theatres 1599-1608 107 VOLUME TWO Criticism of The Globe Playhouse Its Design and Equipment by J. C. Adams Bibliography THE PLAYS - SELECTION AND USE This study is based on plays known to have been produced under the auspices of the Chamberlain's Men (after 19 'ky> 1603> the King's Lien) while they were giving their public London performances exclusively at the first Globe theatre. It is limited, therefore, to the period 1599-1608. There can be little question as to the choice of the date l£99> since the first Globe was built in that year, but some explanation of the more arbitrary choice of 1608 mayhH 1be* necessary. -
Brian Jay Corrigan 27.1.2010.Proofed
7 The Repertoire of the Renaissance Playing Companies Brian Jay Corrigan INTRODUCTION In the process of a decades-long labor of love I call The Compendium of Renaissance Drama, I have been able, perhaps for the first time, to create several comprehensive lists of extant plays in their original settings. Several years ago one such series of lists, covering playhouses and their repertoires, appeared in Discoveries, and I offer now another series of lists indicating playing companies and their repertoires. This compendium is now online at cord.ung.edu. These lists are a comprehensive reflection of the place of extant plays in the repertoires of the various playing companies, adult and children, from the time of Westminster’s Boys (1564) until the closing of the theatres in 1642. Company histories are taken from Gurr and from my own notes to be found also online in the Compendium of Renaissance Drama. Companies are listed alphabetically while the plays are listed below each company chronologically. The dates listed are keyed to Harbage and Schoenbaum’s Annals and are therefore only approximate. A question mark before an entry indicates there is debate over whether the company in question performed that play. A question mark after a date indicates doubt that the play in question was performed at or around that date. The note [later] indicates that the play is known or thought to have been performed by that company but in a year sometime after its original production. The following lists will contain repetitions where a play is known or strongly suspected to have been performed by more than one company.