Chapter II Review of Related Literature in This Chapter, the Thesis
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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. -
SS Library Anthologies
Titles An Anthology of Greek Drama: First Series (Edited by C.A. Robinson Jr.) Aeschylus: Agamemnon Sophocles: Oedipus the King, Antigone Euripides: Medea, Hippolytus Aristophones: Lysistrata An Anthology of Greek Drama: Second Series (Edited by C.A. Robinson Jr.) Aeschylus: Prometheus Bound, Choephoroe, Eumenides Sophocles: Philoctetes, Oedipus at Colonus Euripes: The Trojan Women, The Bacchae Aristophanes: The Clouds, The Frogs Greek Drama (Edited by Moses Hadas) Aeschylus: Agamemnon, Summary of Choephoroe, Eumenides Sophocles: Antigone, Oedipus the King, Summary of Oedipus at Colonus, Philoctetes Euripides: Medea, Hippolytus, The Trojan War Aristophanes: The Frogs Greek Tragedies, Volume I (Edited by Grene & Lattimore) Aeschylus: Agamemnon, Prometheus Bound Sophocles: Oedipus the King, Antigone Euripides: Hippolytus Classical Comedy, Greek and Roman (Edited by Robert W. Corrigan) Aristophones: Lysistrata, The Birds Menander: The Grouch Plautus: The Menaechmi, Mostellaria Terence: The Self-Tormentor Masters of Ancient Comedy (Edited by Lionel Casson) Aristophenes: The Acharnians Mendander: The Grouch, The Woman of Sarnos, The Arbitration, She Who Was Shorn Plautus: The Haunted House, The Rope Terence: Phormio, The Brothers Farces, Italian Style (Edited by Bari Rolfe) The Phantom Father Dr Arlecchino or the Imaginary Autopsee The Dumb Wife The Kind Father in Spite of Himself The Lovers of Bologna Commedia Dell'Arte (Edited by Bari Rolfe) 20 Lazzi 35 Scenes The Lovers of Verona Drama of the English Renaissance (Edited by M.L. Wine) Christopher Marlowe: Doctor Faustus Thomas Dekker: The Shoemaker's Holiday, A Pleasant Comedy of the Gentle Craft Ben Jonson: Volpone or The Foe Francis Beaumont: The Knight of the Burning Pestle Ben Jonson: The Masque of Blackness Francis Beaumont & John Fletcher: Philaster John Webster: The Duchess of Malfi Thomas Middleton & William Rowley: The Changeling John Ford: The Broken Heart Four English Tragedies (Edited by J.M. -
Representations of Gentility in the Dramatic Works Of
REPRESENTATIONS OF GENTILITY IN THE DRAMATIC WORKS OF THE BEAUMONT AND FLETCHER CANON MARINA HILA THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JUNE 1997 2 TABLE OF CONTENTS page Acknowledgments 4 Abstract 5 Abbreviations 7 INTRODUCTION 8 CHAPTER ONE 29 The Tra-qedvof Bonduca (1609-14): Stoic Gentility CHAPTER TWO 73 The Knight of Malta (1616-18): Chivalric Gentility CHAPTER THREE 105 The Humorous Lieutenant (1619): Kings and Ushers CHAPTER FOUR 129 The Nice Valour (1615-16): Gentility and Political Authority CHAPTER FIVE 150 The Queen of Corinth (1616-17): Gentility and Patronage CHAPTER SIX 171 The Elder Brother (1625): Educating the Gentleman CHAPTER SEVEN 193 The Noble Gentleman (1623-26): Theatre of the Absurd CHAPTER EIGHT 221 The Scornful Lady (c. 1608-1610): Christian Language, Fashionable Manners CHAPTER NINE 248 WitwithoutMone (c. 1614): Gentility and Gender: Masculine Bonding, Feminine Charity CHAPTER TEN 272 The Wild-Goose Chase (1621): Good Manners: Gentlemen and 'Gamesters' CHAPTER ELEVEN 306 The Little French Lawye (1619): Quarrelsome Gentility Conclusion 327 Notes 329 Bibliography 340 4 Acknowledgments I am very grateful to my supervisor, Michael Cordner, for his knowledge, expertise and understanding. Without his help, the obstacles I encountered during my work would have been insurmountable. I would also like to thank my parents, Evangelos Hilas & Maria Hila for their support. 5 ABSTRACT The aim of the thesis is to study the dramatization of the selfhood of gentility in the plays of the Beaumont and Fletcher canon, mainly by focusing on issues of dramatic structure and language but also by examining the social or political context which may have generated a particular representation. -
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 RISE of the LIBERTINE HERO on the RESTORATION STAGE by JAMES BRYAN HILEMAN (Under the Direction of Elizabeth Kraft)
THE RISE OF THE LIBERTINE HERO ON THE RESTORATION STAGE by JAMES BRYAN HILEMAN (Under the Direction of Elizabeth Kraft) ABSTRACT Structured in the style of a printed play of the period (though with only three acts), this study focuses on the proto-libertine hero in the plays of the restored stage of the 1660s and on the plays from whence he sprang. My goal is to revise the thinking about this figure, to cleanse him, and the times that produced him, of centuries of cultural effluvia by taking all these accumulations into account. He attained the zenith of his cultural career during the 1670s; his best representations, outside of the poems and the lives of noblemen such as the Earl of Rochester, are on the stage. In a sense he represents and embodies the last full flowering of the aristocracy before the commercial classes and their characteristic, Idealistic, Christian-humanist, bourgeois modes of thinking came to dominate English culture and to alternately effeminize and demonize this figure as ―the Restoration rake.‖ His Epicurean Materialism also parallels the rise of experimental science, though his fall does not. I examine his practice and the theory that informs him, his emphasis on inductive, a posteriori reasoning, the fancy-wit that combines sensations and ideas in order to create new conceptions, his notion that desire for largely physical pleasure is humanity‘s (and even women‘s) primary motivation, and his valuing the freedom to act and think contrary to ―official,‖ moral constraint, often in subversive, playful, and carnivalesque ways. This character‘s primary dramatic precursors are featured most prominently in the plays of John Fletcher, the most popular playwright of the seventeenth century, but also in those of James Shirley, Sir John Suckling, and Thomas Killigrew. -
Contribution of Jonson's Younger Contemporaries
ПРЕГЛЕДНИ РАД УДК: 811.111.09-22"14/15" ИД: 199687180 DOC. DR SLOBODAN D. J OVANOVIĆ1 FACULTY OF L AW AND B USINESS S TUDIES „ DR L AZAR V RKATIC”, DEPARTEMENT OF E NGLISH L ANGUAGE, N OVI S AD CONTRIBUTION OF JONSON’S YOUNGER CONTEMPORARIES TO DEVELOPMENT OF THE ENGLISH RENAISSANCE COMEDY 2 ABSTRACT. The starting point of this article lies in the fact that among the later post- Shakespearean dramatists there are no pure comediographers. Like Shake- speare himself, they wrote all kinds of drama, following not so much their in- clinations as the changing fashions and the taste of the theatre-going public. This means that in the case of Shakespeare’s successors, under Charles I (1625-1642), the word is of authors whose main work lay in other fields. The paper intends to show that although still plentiful in the first two decades of the seventeenth century, the comedy was declining in quality. Its satire grew more superficial, limited to transitory follies of humours – many were imitat- ing Ben Jonson in this. Intrigue and entertainment were growing more im- portant than character or criticism of life. To be singled out deserve authors of the few good comedies produced in Jonson’s times, with the review of their general characteristics. KEY WORDS: comedy, humours , satire, collaboration, entertainers. 1 [email protected] 2 РаM је Vримљен 27. марFа 2013, а Vрихваћен за оXјављивање на сасFанку РеMакције ЗXорника оMржаном 1. јула 2013. 241 ЗБОРНИК РАДОВА Ф ИЛОЗОФСКОГ ФАКУЛТЕТА ХLIII (1)/2013 INTRODUCTION Benjamin, or Ben, Jonson (1573?-1637) was the central literary per- sonality of his time, or, more precisely, during the first two decades of the seventeenth century. -
Shakespeare Was the Tudor Princes Francis Bacon and Edward De Vere Timothy Spearman*
Saudi Journal of Humanities and Social Sciences Abbreviated Key Title: Saudi J Humanities Soc Sci ISSN 2415-6256 (Print) | ISSN 2415-6248 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sjhss Review Article Shaking a Spear at Ignorance: Shakespeare was the Tudor Princes Francis Bacon and Edward de Vere Timothy Spearman* Toronto International College, 400-3550 Victoria Park Ave, North York ON M2H 2N5 DOI: 10.36348/sjhss.2020.v05i10.009 | Received: 24.09.2020 | Accepted: 08.10.2020 | Published: 16.10.2020 *Corresponding author: Timothy Spearman Abstract This paper is the first to link both Tudor princes, changeling children and illegitimate sons of Queen Elizabeth I, Edward de Vere and Francis Bacon, to the Shakespeare plays. The author is also the first to discover a dramatic likeness in the countenance featured in the portraits of Edward de Vere and Shakespeare, which he shares in this paper. In addition, he found a dramatic likeness in the handwriting of four pages of original manuscript material from The Book of Thomas More and that of Francis Bacon, the editor and co-author of the Shakespeare works. In addition, this paper shares the discovery that there are four different spellings of the name William Shakespeare appearing on the title pages of the complete works, which suggests that there is a total of four different hands at work in the authoring of the plays. In addition, the 1623 Folio lists the authors name in all block capitals suggesting that the brand name is being used in the case of the collected works because a team is involved and not just a single author. -
Abstracts for “Performance, Print and Politics in 1621 and Beyond”
Abstracts for “Performance, Print and Politics in 1621 and Beyond” Catherine Clifford (University of North Texas) “James I, Inigo Jones’s Banqueting House, and the New Politics: ‘Republicanising’ 1 Subjects in 1620-22” In a letter dated December 4, 1620, Girolamo Lando, the Venetian ambassador to England, remarked upon James I’s and the (then) Marquis of Buckingham’s reactions to the increasing popular support of English intervention in the Bohemia crisis. The King apparently spoke “wrathfully” about his people “becoming too republicanising”, and Buckingham echoed these sentiments: “Whoever gives rein to the people will make the King of Bohemia laugh” (CSP Ven. 1619-1621: 4 December 1620). At the same time that news of the Bohemian crisis began to gather steam in Britain, Inigo Jones was hard at work rebuilding James’s new Banqueting House at Whitehall, a replacement of the one that had caught fire in January of 1619. In spite of serious Crown financial difficulties that had contributed to a two-month delay in the funeral of Queen Anne, the building of the new Banqueting House was commissioned without delay. To James, it was not simply a functional house to use for courtly celebrations and ceremonies; it was the architectural representation of himself, a monument to his authority, divinity, and taste. Simply put, Whitehall needed the Banqueting House if Whitehall was to serve as James’s seat of power. In this paper, I would like to explore the topical reasons for the king’s discomfort with “republicanising” subjects, and argue that these reasons stood in direct contrast to his commissioning of the new Banqueting House. -
English Renaissance Drama
English Renaissance Drama Peter Womack English Renaissance Drama BLACKWELL GUIDES TO LITERATURE Series editor: Jonathan Wordsworth This new series offers the student thorough and lively introductions to literary periods, movements, and, in some instances, authors (Shakespeare) and genres (the novel), from Anglo-Saxon to the Postmodern. Each volume is written by a leading specialist to be invitingly accessible and informative. Chapters are devoted to the coverage of cultural context, the provision of brief but detailed biographical essays on the authors concerned, critical coverage of key works, and surveys of themes and topics, together with bibliographies of selected further reading. Students new to a period of study (for example, the English Renaissance, or the Romantic period) or to a period genre (the nineteenth-century novel, Vic- torian poetry) will discover all they need to know to orientate and ground them- selves in their studies, in volumes that are as stimulating to read as they are convenient to use. Published The English Renaissance Andrew Hadfield English Renaissance Drama Peter Womack The Victorian Novel Louis James Twentieth-Century American Poetry Christopher MacGowan Children’s Literature Peter Hunt Gothic David Punter and Glennis Byron Forthcoming Literary Theory Gregory Castle Anglo-Saxon Literature Mark C. R. Amodio English Renaissance Drama Peter Womack © 2006 by Peter Womack BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Peter Womack to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. -
Dissembling Disability: Performances of the Non-Standard Body in Early Modern England
- Dissembling Disability: Performances of the Non-Standard Body in Early Modern England. Row-Heyveld, Lindsey Dawn https://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730596670002771?l#13730827500002771 Row-Heyveld, L. D. (2018). Dissembling Disability: Performances of the Non-Standard Body in Early Modern England [University of Iowa]. https://doi.org/10.17077/etd.zso0fphw https://iro.uiowa.edu Copyright 2011 Lindsey Row-Heyveld Downloaded on 2021/09/28 04:31:53 -0500 - DISSEMBLING DISABILITY: PERFORMANCES OF THE NON-STANDARD BODY IN EARLY MODERN ENGLAND by Lindsey Dawn Row-Heyveld An Abstract Of a thesis submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in English in the Graduate College of The University of Iowa 1 July 2011 Thesis Supervisor: Professor Claire Sponsler 1 ABSTRACT The fear of able-bodied people pretending to be disabled was rampant in early modern England. Thieves were reputed to feign impairment in order to con charity out of well-meaning Christians. People told stories about these deceptive rogues in widely circulated prose pamphlets, sung about them in popular ballads, and even recorded their purported actions in laws passed to curb their counterfeiting. Feigned disability was especially prevalent—and potent—on the stage. Over thirty plays feature one or more able-bodied characters performing physical impairment. This dissertation examines the theatrical tradition of dissembling disability and argues that it played a central role in the cultural creation of disability as a category of identity. On the stage, playwrights teased out stereotypes about the non-standard body, specifically the popular notion that disability was always both deeply pitiful and, simultaneously, dangerously criminal and counterfeit. -
English Renaissance Drama, 1642-1660 by Heidi Craig a Thesis Submitted in Conformity with the Requiremen
A Play Without a Stage: English Renaissance Drama, 1642-1660 by Heidi Craig A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto ⃝c Copyright 2017 by Heidi Craig Abstract A Play Without a Stage: English Renaissance Drama, 1642-1660 Heidi Craig Doctor of Philosophy Graduate Department of English University of Toronto 2017 A Play Without a Stage: English Renaissance Drama, 1642 to 1660, focuses on the pro- duction of early modern drama during the English Civil War and Interregnum, when commercial playing was outlawed. Despite the prominence of book history as a method- ology over the last three decades, the era of the theatre ban { when performance declined but dramatic publication flourished { remains understudied. It is in this era, I argue, that the genre, indeed even the critical field, of early modern drama as we know it was created. While the prohibition on playing in many respects killed the English Renaissance stage { the theatres were closed, demolished, converted into tenements, and once famous actors and playwrights, now unemployed, died in poverty { the professional drama of 1576-1642 not only lived on, but thrived, in print. In the absence of contemporary performances, stationers presented pre-war plays as relics of an absent, idealized theatrical culture. The theatre ban prematurely aged the genre of English drama, but at the same time, sta- tioners began publishing previously unprinted Tudor and Stuart plays. These plays, at once new and old, were marketed in terms of novelty and finitude: they represented the latest offerings of a tradition that had drawn to a close.