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Introduction to the 1645 Volume: Poems of Mr. John Milton
C01.qxd 8/18/08 14:44 Page 1 Introduction to the 1645 Volume: Poems of Mr. John Milton In 1645, Milton published most but not all of the poems he had composed by that date. The publisher Humphrey Moseley had been bringing out volumes of lyric poetry by royalist poets such as Edmund Waller, and it was likely, as he claims in the intro- duction to the volume, that he approached Milton and encouraged him to publish his verse. Moseley also arranged for the engraved portrait of Milton by William Marshall (see Figure 1), beneath which Milton, who considered the engraving unflattering, placed a witty Greek epigram ridiculing it in a language neither Marshall nor Moseley under- stood. Unlike most contemporary poets, Milton neither wrote a preface, solicited commendatory poems, nor acknowledged a patron. He organized his volume more or less chronologically, thus displaying his poetic development, but also carefully grouped together poems of similar themes and genres. With the Latin tag from Virgil’s Eclogues on the title page (“Baccare frontem / Cingite, ne vati noceat mala lingua futuro” – “Bind my forehead with foxglove, lest evil tongues harm the future Bard”), he promises future poems on even greater themes. In the Latin ode sent with a replacement copy of the volume to John Rouse, librar- ian of the Bodleian Library at Oxford, Milton describes the 1645 volume as a “twin book, rejoicing in a single cover, but with a double title page.” The first section of the volume presents his vernacular poems (mostly in English, but also including a mini-sonnet sequence in Italian), and concludes with A MASK Presented At LUDLOW- Castle. -
From Ben Jonson and Shakespeare (1921)
Greenwood - Ben Jonson and Shakespeare 61 From Ben Jonson and Shakespeare (1921) Sir George Greenwood HE sheet anchor of the traditional belief with regard to the authorship of t he plays and poems of Shakespeare is undoubtedly Ben Jonson. It is to the Jonsonian utterances that the apostles of the Stratfordian faith always makeT their appeal. That faith we are told is based on the “irrefragable rock” of Ben Jonson’s testimony. Well, it was not so very long ago that we used to be told that the truth of a universal deluge and the preservation of mankind and animals of every kind and species, in Noah’s Ark, was established on the “impregnable rock” of Holy Scripture, and yet to-day we find even high Church digni taries—with whom Mr. J. M. Robertson would certainly be in entire agreement here—disavowing any belief in this interesting mythological tradition. Is it not, then, possible that the Jonsonian testi mony may prove no more “irrefragable” or “impregnable” than that of those old chronicles, which age-long tradition has ascribed to the authorship of “Moses”? As a distinguished writer, well-known both in the political and the literary world, has written to me, the difficulties in the way of the orthodox “Shakespearian” belief seem to be insuperable. Are the Jonsonian utterances of such weight as to outweigh them all? I reply, put Jonson in one scale and all the difficulties and improbabilities — if not impossibilities — of the “Stratfordian” hypothesis in the other, and old Ben will kick the beam. Now let us briefly consider this Jonsonian testimony. -
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 King's Men's Shakespearean Repertory Meghan C. Andrews
1 The King’s Men’s Shakespearean Repertory Meghan C. Andrews, University of Texas at Austin My paper will focus on the immediately post-Shakespearean seventeenth century: the King’s Men’s repertory in the wake of Shakespeare’s retirement, and specifically the plays written by Fletcher (and his co-authors) while he was principal dramatist for the King’s Men. I will argue that the company was the first group to make Shakespeare “Shakespeare” and to imagine themselves in a specifically post-Shakespearean moment, for even after Shakespeare’s death the company self-consciously cultivated a Shakespearean repertory style in order to provide continuity with their earlier drama. In this way, Shakespeare became a guiding ideal for the company as much as a former sharer, his descendants’ works less derivative and more working within a specific house style. Particularly, I plan to examine two moments in Fletcher’s career. The first is the period 1620-22, in which Fletcher wrote a cluster of plays that were heavily influenced by The Tempest. I will argue that these plays served as a form of advance marketing for the First Folio, and constructed a particular image of “Shakespeare” that a reader opening to the first page of the Folio would immediately recognize. The second moment concerns the group of plays written by Fletcher (and Beaumont) for the King’s Men from Philaster on. The influence of Beaumont and Fletcher’s tragicomedy on Shakespeare has long been acknowledged, but I will argue that as Fletcher began to write for the King’s Men before, during, and after Shakespeare’s quasi-retirement in 1610, he cultivated a Shakespearean style, especially intrigued by the elder playwright’s focus on active heroines. -
LITERARY EDITING of SEVENTEENTH-CENTURY ENGLISH DRAMA by MARIKO NAGASE
LITERARY EDITING OF SEVENTEENTH-CENTURY ENGLISH DRAMA by MARIKO NAGASE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English, Drama and American & Canadian Studies University of Birmingham January 2012 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. INFORMATION FOR ABSTRACTING AND INDEXING SERVICES The information on this form will be published. Surname: Nagase First names: Mariko Degree: PhD College/Department: The Shakespeare Institute, Department of English Full title of thesis: Literary Editing of Seventeenth-Century English Drama Date of submission: January 31, 2012 Date of award of degree (leave blank): Abstract (not to exceed 200 words - any continuation sheets must contain the author's full name and full title of the thesis): This thesis explores how literary editing for the dramatic publication was developed in seventeenth-century England. Chapter 1 discusses how the humanist scholars embraced the concept of textual editing and put it into practice about a half century after the invention of the press. Chapter 2 addresses the development of the concept of literary editing in seventeenth-century England by investigating the editorial arguments preserved in the paratextual matter. -
Read Ebook {PDF EPUB} the Scornful Lady by John Fletcher the Scornful Lady by John Fletcher
Read Ebook {PDF EPUB} The Scornful Lady by John Fletcher The Scornful Lady by John Fletcher. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 659205a979b784a4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. The Scornful Lady by John Fletcher. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. -
Durham Research Online
Durham Research Online Deposited in DRO: 16 April 2018 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Ravelhofer, B. (2016) 'Shirley's tragedies.', in James Shirley and early modern theatre : new critical perspectives. Abingdon, Oxon: Routledge, pp. 86-107. Studies in performance and early modern drama. Further information on publisher's website: https://www.routledge.com/9781472480361 Publisher's copyright statement: This is an Accepted Manuscript of a book chapter published by Routledge in James Shirley and Early Modern Theatre: New Critical Perspectives on 06/10/2016, available online: http://www.routledge.com/9781472480361 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Shirley’s Tragedies Barbara Ravelhofer Shirley is perhaps best noted for his comedic elegance, yet it was a tragedy, The Cardinal, which the author himself deemed ‘the best of my flock’.1 In the course of his long career, Shirley wrote five tragedies — The Maid’s Revenge (1626), Love’s Cruelty (1631), The Traitor (1631), The Politician (c. -
Introduction 1
Notes Introduction 1. Thomas Bodley, Letters of Sir Thomas Bodley to Thomas James, ed. G. W. Wheeler (Oxford: Clarendon Press, 1926), 35. In 1607, Bodley expresses skepticism about taking more of “those pamphlets left of D. Reinoldes bookes” because the library cannot take “euery riffe raffe” (171). 2. Bodley, 219. 3. Bodley, 222. 4. Heidi Brayman Hackel, “‘Rowme’ of its Own: Printed Drama in Early Libraries,” A New History of Early English Drama, eds. John D. Cox and David Scott Kastan (New York: Columbia, 1997), 113–30. 5. Peter W. M. Blayney, The First Folio of Shakespeare (Washington, DC: Folger Library Publications, 1991), 1. 6. Early in the sixteenth century, William and John Rastell published some individual plays in folio, apparently attempting to establish drama in the 1530 as an early print genre. Their folio plays included Henry Medwall’s Nature (c. 1525), John Heywood’s Johan Johan (1533), and John Skelton’s Magnyfycence (1533). According to Julie Stone Peters, these plays may have been designed for “ease of production” (The Theatre of the Book [Oxford, 2000], 26–7), and the folio format, allowing more space for illustration and larger margins for annotation, may have contributed to his goal. 7. Jeffery Todd Knight, Bound to Read (Philadelphia: U of Pennsylvania P, 2013), 27. 8. Notably, Bodley is worried here about what new books to acquire, because “Of Protestant writers in f˚. [folio] I doe not thinke but in a maner, we haue all that can be gotten,” which also indicates a privileging of the folio format, at least in acquisitions (62–3). -
Clerical Characters in Shakespeare's Plays. Don Robert Swadley Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1972 Clerical Characters in Shakespeare's Plays. Don Robert Swadley Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Swadley, Don Robert, "Clerical Characters in Shakespeare's Plays." (1972). LSU Historical Dissertations and Theses. 2251. https://digitalcommons.lsu.edu/gradschool_disstheses/2251 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
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) provided by Carolina Digital Repository View metadata, citation and similar papers at core.ac.uk CORE brought to you by 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. -
Heterodox Drama: Theater in Post-Reformation London
Heterodox Drama: Theater in Post-Reformation London Musa Gurnis-Farrell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Musa Gurnis-Farrell All rights reserved ABSTRACT Heterodox Drama: Theater in Post-Reformation London Musa Gurnis-Farrell In “Heterodox Drama: Theater in Post-Reformation London,” I argue that the specific working practices of the theater industry generated a body of drama that combines the varied materials of post-Reformation culture in hybrid fantasies that helped audiences emotionally negotiate and productively re-imagine early modern English religious life. These practices include: the widespread recycling of stock figures, scenarios, and bits of dialogue to capitalize on current dramatic trends; the collaboration of playwrights and actors from different religious backgrounds within theater companies; and the confessionally diverse composition of theater audiences. By drawing together a heterodox conglomeration of Londoners in a discursively capacious cultural space, the theaters created a public. While the public sphere that emerges from early modern theater culture helped audience members process religious material in politically significant ways, it did so not primarily through rational-critical thought but rather through the faculties of affect and imagination. The theater was a place where the early modern English could creatively reconfigure existing confessional identity categories, and emotionally experiment with the rich ideological contradictions of post-Reformation life. ! Table of Contents Introduction: Heterodoxy and Early Modern Theater . 1 Chapter One: “Frequented by Puritans and Papists”: Heterodox Audiences . 23 Chapter Two: Religious Polemic from Print into Plays . 64 Chapter Three: Martyr Acts: Playing with Foxe’s Martyrs on the Public Stage . -
The Maid's Tragedy ; And, Philaster
Tufts College Library FROM THE FUND ESTABLISHED BY ALUMNI IPR2422 .T5 Beaumont, Francis, 1584-1616. The maid’s tragedy, and Philaster 39090000737565 die 2MIe0?tlettre0 ^eneg SECTION III THE ENGLISH DRAMA FROM ITS BEGINNING TO THE PRESENT DAY GENERAL EDITOR GEORGE PIERCE BAKER PROFESSOR OF DRAMATIC LITERATURE IN HARVARD UNIVERSITY Digitized by the Internet Archive in 2016 https://archive.org/details/maidstragedyandp01beau The Blackfriars’ Theatre Reproduced, by permission from the collection of E, Gardner, Esq., London. THE MAID’S TRAGEDY AND PHILASTER By FRANCIS BEAUMONT AND JOHN FLETCHER EDITED BY ASHLEY H. THORNDIKE, Ph.D. PROFESSOR OF ENGLISH LITERATURE IN NORTHWESTERN UNIVERSITY BOSTON, U.S.A., AND LONDON D. C. HEATH & CO., PUBLISHERS COPYRIGHT, 1906, BY D. C. HEATH & CO. ALL RIGHTS RESERVED /X3f?3 YR 242. 3- i 'Bfograp^ Francis Beaumont, third son of Sir Francis Beaumont of Grace Dieu in Leicestershire, one of the Justices of Common Pleas, was born about 1585 and died March 6, 1616. He was admitted gentleman commoner at Broadgates Hall, Oxford, in 1597, and was entered at the Inner Temple, London, November 3, 1600. He was married to Ursula, daughter of Henry Isley of Sundridge, Kent, probably in 1613, and left two daughters (one a posthumous child). He was buried in Westminster Abbey. John Fletcher, son of Richard Fletcher, Bishop of London, was baptized at Rye in Sussex, where his father was then minister, December 20, 1579, and died of the plague in August, 1625. He was entered as a pensioner at Bene’t College, Cambridge, 1 591. His father as Dean of Peterborough attended Mary Queen of Scots at Fotheringay, and was later rapidly promoted to the sees of Bristol, Worcester, and London.