DOCSLIB.ORG

|||GET||| Ben Jonson 1St Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
|||GET||| Ben Jonson 1St Edition BEN JONSON 1ST EDITION DOWNLOAD FREE John Palmer | 9781315302188 | | | | | Ben Jonson folios The playbook itself is a mixture of halfsheets folded and gathered into quarto format, supplemented by a handful of full sheets also gathered in quarto and used for the final quires. Robert Allott contracted John Benson to print the first three plays of an intended second Ben Jonson 1st edition volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Views Read Edit View history. He reinstated the coda in F1. Occasional mispagination, as issued, text complete. See Lockwood, Shipping and insurance charges are additional. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Markings on first page and title page. Each volume in the series, initially under the direction of Willy Bang and later Henry De Vocht, sought to explore how compositors and correctors shaped the work, and included extensive analyses of the press variants between individual copies of a playbook as well as Ben Jonson 1st edition variants between editions. More information about this seller Contact this seller 1. Seemingly unhindered by concerns over time or space or materials, the Oxford editors included along with the texts a Jonson biography summing up all that was known of the poet and playwright at the time, a first-rate set of literary annotations and glosses, invaluable commentary on all the plays, and other essential secondary resources such as a stage history of the plays, Jonsonian allusions, and a reconstruction of Jonson's personal library. Uniform title-page and separate title-page for each play. Reproduced by permission of the National Portrait Gallery, London. At some point he raised his ambitions and commissioned two substantial folios from Stansby, Aaron Rathborne's The Surveyor STCand an even larger volume that would have a significant impact on the progress of the Ben Jonson 1st edition folio through the Stansby printing house: Walter Ralegh's History of the World STC When Jonson died in August ofthe majority of the original publishers had also passed away. Don't have an account? Many pages exist in multiple states, an indication that machining Ben Jonson 1st edition got ahead of proofing. In the textual introductions to the various plays, the editors consistently delineated the changes wrought between quarto and folio, repeatedly emphasizing what they saw as Jonson's conscious intent of improving the work. These developments can be seen in the title-page design and use of paratextual elements, such a dedications, prefaces, and marginal notes; in his habit of marking new scenes with the arrival of new characters, and prefacing each scene with a massed header listing the characters to appear in it as in Fountain and Poetaster ; and in standardizing speech-prefixes and consolidating blank-verse dialogue into single columns of verse as in SejanusVolponeand The Alchemist. Andrew Macdonald-Brown explores how their works adopted the style, genres, aesthetic values and subjects of Greek and Roman writers. Less clear is how Jacob Tonson's three elegant quartos in — of VolponeEpiceneand The Alchemist — Ben Jonson 1st edition Henry Hills's duodecimo editions of CatilineVolponeand Epicene Ben Jonson 1st edition, dated by their advertisements to — relate to the Act. Sejanusentered to Edward Blount 2 November Arber 3. Distribution of this latter edition to individual booksellers was handled by Richard Meighen, a young stationer who had just entered the trade. Add to Cart Save to Wish List. Cosmetic blemishes aside, a very good and well margined copy in a contemporary binding. Volpone: or, the Fox. I Bartholomew Fayre. The Workes of Ben Jonson 1st edition Jonson. Stansby may have begun printing the Works before reaching a final agreement with Burre over the rights to the plays he owned. Three plays were set into type for the Ben Jonson 1st edition collection, and printings of those typecasts were circulated—though whether they were sold commercially or distributed privately Ben Jonson 1st edition Jonson is unclear. Organizing rights for subsequent volumes proved much more difficult. Condition of Book Fine. Add to Basket Used Hardcover. More information about this seller Contact this seller 8. Ask a Question. Gerritsen's two compact articles have dominated views on F1. Prior owner name to ffep. Here, for the first time, Jonson's texts appeared with annotation other than his own. It was a hit with audiences and academics alike, and in the printed dedication of this edition Jonson writes of his gratitude to the universities for their warm reception. He uses the opportunity to explain Ben Jonson 1st edition writing philosophy, distance himself from his contemporaries, and defend his work against criticism:. A number of factors — Stansby's entry of the unprinted masques, modern bibliographical analyses of paper stocks and typographic resources, and recent estimates of printing-house production rates — cumulatively demonstrate that production of the folio most likely commenced around January see Gants, Alchemist by Ben Jonson, First Edition For first-time buyers, we prefer a credit card and we will only ship to the billing address on the card. Title handwritten on spine. A number of factors — Stansby's entry of the unprinted masques, modern bibliographical analyses of paper stocks and typographic resources, and recent estimates of printing-house production rates — cumulatively demonstrate that production of the folio most likely commenced around Ben Jonson 1st edition see Gants, Yet the syndicate of stationers behind this up-to-the minute publication was very closely related to the syndicate that had financed the folio. For first-time buyers, we prefer a credit card and we will only ship to the billing address on the card. Ben Jonson 1st edition quite fresh with light scattered foxing, single closed tear to page minimally affecting text. Whalley was also the first editor to speculate in print about the documents and processes that lay behind the early printed texts and manuscripts that his edition reproduced. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Name of previous owner on front. Apparently the dispute over the Ralegh volume lingered untilat which time a final accord was presumably reached, including full transfer to Stansby of the rights to Burre's plays not recorded untilArber 4. Condition of Book Fine. This might affect how the content is displayed. Four years later they purchased Chadwyck-Healey, which had been producing large literary databases encompassing a Ben Jonson 1st edition variety of Ben Jonson 1st edition poetry, drama, prose, bibles, criticism, and journalism and languages English, French, German, Spanish, Italian, and Latin. Robert Allott contracted John Benson to print the first three plays of an intended second folio volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Johan Gerritsen began the debate with a pair of short pieces published in the journal English Studies in the late s. Pforzheimer The Alchemist, written after Volpone and preceding Bartholomew Fair, has neither the full primitive moralism of the former nor the genial acceptance of the latter. In 'The Ben Jonson 1st edition Plays' series. In it was printed in London in the form of a folio. In a preface to Sejanus he states that. Some time beforeJonson and the stationers who owned the rights to his Ben Jonson 1st edition arrived at an agreement to print and publish in folio a compilation of nine plays, two poetry collections, two pieces of pageantry, four entertainments, and thirteen masques. First edition. Jonson created characters that are epitomised by their greed. Ben Jonson. Plain Wraps. All domestic orders shipped protected in a Box. Less clear is how Jacob Tonson's three Ben Jonson 1st edition quartos in — of Ben Jonson 1st editionEpiceneand The Alchemist — Ben Jonson 1st edition Henry Hills's duodecimo editions of CatilineVolponeand Epicenedated by their advertisements to — relate to the Act. The Shakespeare appeared inthe Jonson had to wait another seven years. London: Printed by W. About this Item: Cambridge University Press, In the first four years of Burre's publishing career, he had worked with Stansby at least nine times, producing mainly small- and medium-format volumes of a religious, political, and literary nature. Hidden categories: Articles with short description Short description matches Wikidata. Add to Basket Used Softcover. Inafter the dissolution of his partnership with Andrew Stalker and Alexander Carlisle, he began printing alone and raised the standard for his work. Footnotes indicated those variants which the editors considered important. Likewise the New Mermaids, which issued its first Jonson offering the same year as Regents, offered a basic critical apparatus Ben Jonson 1st edition devoting more bibliographical attention to textual matters. Whitmore Rare Books Ask a Question. Instead, machining began with the second play in the collection, Every Man Ben Jonson 1st editionand proceeded with numerous revisions, resettings, and interruptions for the next eighteen months. Hidden categories: Articles with short description Short description matches Wikidata. While not full-blown scholarly editions, the plays issued under the Revels banner provide a great deal of secondary scholarship not present in other single-work volumes: extensive glossaries; detailed stage, source, and Ben Jonson 1st edition narratives; musical settings; and background context on such contemporary subjects as court politics, the War Ben Jonson 1st edition the Theatres, and the Essex Rebellion. MS and a scattering of previously ungathered poems, are not radical.
Load more

Recommended publications
  • 'The Apish Art': Taste in Early Modern England
    ‘THE APISH ART’: TASTE IN EARLY MODERN ENGLAND ELIZABETH LOUISE SWANN PHD THESIS UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE JULY 2013 Abstract The recent burgeoning of sensory history has produced much valuable work. The sense of taste, however, remains neglected. Focusing on the early modern period, my thesis remedies this deficit. I propose that the eighteenth-century association of ‘taste’ with aesthetics constitutes a restriction, not an expansion, of its scope. Previously, taste’s epistemological jurisdiction was much wider: the word was frequently used to designate trial and testing, experiential knowledge, and mental judgement. Addressing sources ranging across manuscript commonplace books, drama, anatomical textbooks, devotional poetry, and ecclesiastical polemic, I interrogate the relation between taste as a mode of knowing, and contemporary experiences of the physical sense, arguing that the two are inextricable in this period. I focus in particular on four main areas of enquiry: early uses of ‘taste’ as a term for literary discernment; taste’s utility in the production of natural philosophical data and its rhetorical efficacy in the valorisation of experimental methodologies; taste’s role in the experience and articulation of religious faith; and a pervasive contemporary association between sweetness and erotic experience. Poised between acclaim and infamy, the sacred and the profane, taste in the seventeenth century is, as a contemporary iconographical print representing ‘Gustus’ expresses it, an ‘Apish Art’. My thesis illuminates the pivotal role which this ambivalent sense played in the articulation and negotiation of early modern obsessions including the nature and value of empirical knowledge, the attainment of grace, and the moral status of erotic pleasure, attesting in the process to a very real contiguity between different ways of knowing – experimental, empirical, textual, and rational – in the period.
    [Show full text]
  • Proem Shakespeare S 'Plaies and Poems"
    Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor­ tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con­ tinuance of glory to the deserved Author" ("To the Reader," *2v).
    [Show full text]
  • October 8, 2019 Elist MILLER
    RULON~ October 8, 2019 eList MILLER BOOKS To Order: Call toll-free 1-800-441-0076 Outside the United States call 1-651-290-0700 400 Summit Avenue E-mail: [email protected] St. Paul, Minnesota Other catalogues available at our website at Rulon.com 55102-2662 USA Member ABAA/ILAB ~ R a r e & f i n e b o o k s VISA, MASTERCARD, DISCOVER, and AMERICAN EXPRESS accepted. If you have any questions regarding billing, methods of payment, in many fields shipping, or foreign currencies, please do not hesitate to ask. Manuscripts 1. Aesop. Fables of Aesop and other cution of Charles I, and in the midst of the eminent mythologists: with morals and controversy over the oath of loyalty demanded reflections. By Sir Roger L'Estrange, Kt. by the new republican government. Addresses London: printed for R. Sare, T. Sawbridge "Paying taxes," "Personall service," "Taking oaths," etc. Wing A3920. [et al.], 1692. $1,500 First L'Estrange edition, folio, pp. [10], 28, [8], 306, 319-480; gatherings S and T switched but the book is complete; this is a variant as noted by ESTC with p. 144 (first occurrence) misnum- bered 132; engraved portrait frontispiece of L'Estrange and plate of Aesop surrounded by animals; full speckled calf with a 20th-century rebacking, black morocco label on spine; light wear to boards, dampstain to upper right corner, very good. With the armorial bookplate of John Lord De La Warr. Wing A-706. 2. Ascham, Antony. A discourse wherein is examined, what is particularly lawfull during the confusions and revolu- tions of government.
    [Show full text]
  • Egan, Gabriel. 2004E. 'Pericles and the Textuality of Theatre'
    Egan, Gabriel. 2004e. 'Pericles and the Textuality of Theatre': A Paper Delivered at the Conference 'From Stage to Print in Early Modern England' at the Huntington Library, San Marino CA, USA, 19-20 March "Pericles" and the textuality of theatre" by Gabriel Egan The subtitle of our meeting, 'From Stage to Print in Early Modern England, posits a movement in one direction, from performance to printed book. This seems reasonable since, whereas modern actors usually start with a printed text of some form, we are used to the idea that early modern actors started with manuscripts and that printing followed performance. In fact, the capacity of a printed play to originate fresh performances was something that the title-pages and the preliminary matter of the first play printings in the early sixteenth century made much of. Often the printings helped would-be performers by listing the parts to be assigned, indicating which could be taken by a single actor, and even how to cut the text for a desired performance duration: . yf ye hole matter be playd [this interlude] wyl conteyne the space of an hour and a halfe but yf ye lyst ye may leue out muche of the sad mater as the messengers p<ar>te and some of the naturys parte and some of experyens p<ar>te & yet the matter wyl depend conuenytently and than it wyll not be paste thre quarters of an hour of length (Rastell 1520?, A1r) The earliest extant printed play in English is Henry Medwall's Fulgens and Lucrece (Medwall 1512-16) but the tradition really begins with the printing of the anonymous Summoning of Every Man (Anonymous c.1515) that W.
    [Show full text]
  • WRAP Theses Crowther 2017.Pdf
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman.
    [Show full text]
  • Shakespeare's Impossible Doublet
    Rollett - The Impossible Doublet 31 Shakespeare’s Impossible Doublet: Droeshout’s Engraving Anatomized John M. Rollett Abstract The engraving of Shakespeare by Martin Droeshout on the title page of the 1623 First Folio has often been criticized for various oddities. In 1911 a professional tailor asserted that the right-hand side of the poet’s doublet was “obviously” the left-hand side of the back of the garment. In this paper I describe evidence which confirms this assessment, demonstrating that Shakespeare is pictured wearing an impossible garment. By printing a caricature of the man from Stratford-upon-Avon, it would seem that the publishers were indicating that he was not the author of the works that bear his name. he Exhibition Searching for Shakespeare,1 held at the National Portrait Gallery, London, in 2006, included several pictures supposed at one time or another Tto be portraits of our great poet and playwright. Only one may have any claim to authenticity — that engraved by Martin Droeshout for the title page of the First Folio (Figure 1), the collection of plays published in 1623. Because the dedication and the address “To the great Variety of Readers” are each signed by John Hemmings and Henry Condell, two of Shakespeare’s theatrical colleagues, and because Ben Jonson’s prefatory poem tells us “It was for gentle Shakespeare cut,” the engraving appears to have the imprimatur of Shakespeare’s friends and fellows. The picture is not very attractive, and various defects have been pointed out from time to time – the head is too large, the stiff white collar or wired band seems odd, left and right of the doublet don’t quite match up.
    [Show full text]
  • Sidney, Shakespeare, and the Elizabethans in Caroline England
    Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rachel Ellen Clark, M.A. English Graduate Program The Ohio State University 2011 Dissertation Committee: Richard Dutton, Advisor Christopher Highley Alan Farmer Copyright by Rachel Ellen Clark 2011 Abstract This dissertation argues that during the reign of Charles I (1625-42), a powerful and long-lasting nationalist discourse emerged that embodied a conflicted nostalgia and located a primary source of English national identity in the Elizabethan era, rooted in the works of William Shakespeare, Sir Philip Sidney, John Lyly, and Ben Jonson. This Elizabethanism attempted to reconcile increasingly hostile conflicts between Catholics and Protestants, court and country, and elite and commoners. Remarkably, as I show by examining several Caroline texts in which Elizabethan ghosts appear, Caroline authors often resurrect long-dead Elizabethan figures to articulate not only Puritan views but also Arminian and Catholic ones. This tendency to complicate associations between the Elizabethan era and militant Protestantism also appears in Caroline plays by Thomas Heywood, Philip Massinger, and William Sampson that figure Queen Elizabeth as both ideally Protestant and dangerously ambiguous. Furthermore, Caroline Elizabethanism included reprintings and adaptations of Elizabethan literature that reshape the ideological significance of the Elizabethan era. The 1630s quarto editions of Shakespeare’s Elizabethan comedies The Merry Wives of Windsor, The Taming of the Shrew, and Love’s Labour’s Lost represent the Elizabethan era as the source of a native English wit that bridges social divides and negotiates the ii roles of powerful women (a renewed concern as Queen Henrietta Maria became more conspicuous at court).
    [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]
  • Stuart Debauchery in Restoration Satire
    Stuart Debauchery in Restoration Satire Neal Hackler A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for the PhD degree in English Supervised by Dr. Nicholas von Maltzahn Department of English Faculty of Arts University of Ottawa © Neal Hackler, Ottawa, Canada, 2015. ii Contents Acknowledgements ............................................................................................................ iii Abstract .............................................................................................................................. iv List of Figures and Illustrations.............................................................................................v List of Abbreviations .......................................................................................................... vi Note on Poems on Affairs of State titles ............................................................................. vii Stuart Debauchery in Restoration Satire Introduction – Making a Merry Monarch...................................................................1 Chapter I – Abundance, Excess, and Eikon Basilike ..................................................8 Chapter II – Debauchery and English Constitutions ................................................. 66 Chapter III – Rochester, “Rochester,” and more Rochester .................................... 116 Chapter IV – Satirists and Secret Historians .......................................................... 185 Conclusion
    [Show full text]
  • Reading Shakespeare's Sonnets: John Benson and the 1640 Poems
    This is a repository copy of Reading Shakespeare's sonnets: John Benson and the 1640 poems. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/79005/ Article: Shrank, C. (2009) Reading Shakespeare's sonnets: John Benson and the 1640 poems. Shakespeare, 5 (3). 271 - 291 . ISSN 1745-0918 https://doi.org/10.1080/17450910903138054 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Reading Shakespeare’s Sonnets: John Benson and the 1640 Poems Cathy Shrank (University of Sheffield) [Printed in Shakespeare, 5:3 (2009),271-291; URL: http://dx.doi.org/10.1080/17450910903138054] John Benson’s 1640 edition of Shakespeare’s Poems has found little critical favour in the centuries since its production.1 Benson reorders the sonnets (merging many into longer poems), adds descriptive titles, and publishes them alongside other poems – some of which are not by Shakespeare – from sources such as The Passionate Pilgrime and Englands Helicon.2 The work also includes an appendix of poems ‘By other Gentlemen’, such as Ben Jonson, John Milton, Francis Beaumont and Robert Herrick.
    [Show full text]
  • Encrypted Testimony of Ben Jonson and His Contemporaries for Who “William Shakespeare” Really Was*
    Shanxi Agricultural University Centennial Presentation ENCRYPTED TESTIMONY OF BEN JONSON AND HIS CONTEMPORARIES FOR WHO “WILLIAM SHAKESPEARE” REALLY WAS* Albert W. Burgstahler Department of Chemistry, Malott Hall, 1251 Wescoe Hall Drive, The University of Kansas, Lawrence, KS 66045-7582, USA. Email: [email protected] (MS updated October 15, 2009) ABSTRACT: Concealed messages in three authentic Early Modern English sources reveal that Ben Jonson (1572–1637) and his contemporaries recognized “William Shakespeare” was a pen name of Edward de Vere, 17 th Earl of Oxford (1550–1604). This view is supported and augmented by new, wide-ranging cryptographic testimonial evidence based on a rigorous extension of incomplete and inexact earlier findings of U.S. Patent attorney Ralph L. Tweedale (1904–1977). Compared with their significantly lower occurrence in appropriate controls, the name-identifying block-letter initials EO or EOX (for Edward Oxenford or the Earl of Oxford) formed by the intersection of diagonal alignments of the letters of his name V-e-r-e or E-V-e-r (with Elizabethan era spelling variants of them) over four consecutive lines of print have been found in original publications of more than a dozen poetical tributes to “Shakespeare.” This same two-stage acrostic monogram identity device is also abundant in poetry reliably attributed to Lord Oxford as well as in poems he evidently wrote anonymously or under various pseudonyms including the name “William Shakespeare.” By contrast, it is much less often present (by accident) in poems not written by him and in poems not written about or in tribute to him by others.
    [Show full text]
  • Shakespeare and Hospitality
    Shakespeare and Hospitality This volume focuses on hospitality as a theoretically and historically cru- cial phenomenon in Shakespeare’s work with ramifications for contempo- rary thought and practice. Drawing a multifaceted picture of Shakespeare’s numerous scenes of hospitality—with their depictions of greeting, feeding, entertaining, and sheltering—the collection demonstrates how hospital- ity provides a compelling frame for the core ethical, political, theological, and ecological questions of Shakespeare’s time and our own. By reading Shakespeare’s plays in conjunction with contemporary theory as well as early modern texts and objects—including almanacs, recipe books, hus- bandry manuals, and religious tracts—this book reimagines Shakespeare’s playworld as one charged with the risks of hosting (rape and seduction, war and betrayal, enchantment and disenchantment) and the limits of gen- erosity (how much can or should one give the guest, with what attitude or comportment, and under what circumstances?). This substantial volume maps the terrain of Shakespearean hospitality in its rich complexity, offering key historical, rhetorical, and phenomenological approaches to this diverse subject. David B. Goldstein is Associate Professor of English at York University, Canada. Julia Reinhard Lupton is Professor of English and Comparative Literature at the University of California, Irvine. Routledge Studies in Shakespeare 1 Shakespeare and Philosophy 10 Embodied Cognition and Stanley Stewart Shakespeare’s Theatre The Early Modern 2 Re-playing Shakespeare in Asia Body-Mind Edited by Poonam Trivedi and Edited by Laurie Johnson, Minami Ryuta John Sutton, and Evelyn Tribble 3 Crossing Gender in Shakespeare Feminist Psychoanalysis and the 11 Mary Wroth and Difference Within Shakespeare James W.
    [Show full text]