6 X 10.Long New.P65

Total Page:16

File Type:pdf, Size:1020Kb

6 X 10.Long New.P65 Cambridge University Press 978-0-521-14077-5 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index acting companies, 6 amateur players, 9, 60, 68, 136 Admiral’s, 97, 110, 111, 112, 117, 121, 127, 137, 185 Children of the Chapel, 53, 134 Chamberlain’s, 88, 112, 114, 119, 121, 127, 156, Paul’s Boys, 51, 54–5, 58, 62, 176 177, 185 apprentices, 1, 56, 76–107, 116, 144, 146, 149, 154, Children of the Queen’s Chamber of Bristol, 91 155, 174, 184 Children of the Queen’s Revels, 55, 91, 115 Armin, Robert, 86, 105 Children of the Revels (1629), 93 Arthur, Thomas, 186 Derby’s, 83 Belt, Thomas, 100 King and Queen of Bohemia’s, 144 Betterton, Thomas, 83 King and Queen’s Young Company (Beeston’s Birch, George, 100, 131 Boys), 94 Bowyer, Michael, 89, 104 King’s, 3, 4, 11, 35, 65, 78, 83, 85–6, 87, 92, 93, Bristow, James, 97, 104 98, 101, 104, 108, 114, 115, 123, 124, 125, 126, Cane, Andrew, 104 129, 131, 132, 134, 135, 137, 138, 156, 160, 161, Cook, Alexander, 100 173, 180, 184 Gough, Alexander, 98, 160, 169 King’s Revels, 94 Gough, Robert, 128 Leicester’s, 88 Hammerton, Stephen, 98, 104 Oxford’s, 53 Heminges, John, 105 Pembroke’s, 97 Holcombe, Thomas, 88 Prince Charles’s (II) (1631–42), 83, 95, 143, 160 Honeyman, John, 88, 98–9, 160, 167 Queen Anne’s, 92 Kynaston, Edward, 174 Queen Henrietta’s, 92, 95, 102, 179 Mannery, Samuel, 145, 154 Queen’s, 86, 175, 177 Pallant, Robert, 100, 132 Strange’s, 121, 127 Pollard, Thomas, 85 touring, international, 8, 96, 180 Risley, John, 80, 107 touring, provincial, 8, 79, 90–3, 96, 104, Saville, Arthur, 106, 145, 151, 155 137, 186 Sharpe, Richard, 100, 103, 132, 135 Worcester’s, 181 Stole, Robert, 79 actors Tarlton, Richard, 86 as colleagues, 8, 88, 98, 104, 129, 160, 162, 185 Thompson, John, 88, 98–9, 100, 132, 159–60, as instructors, 1, 5, 20, 46, 78, 87, 88, 94, 95, 96, 161, 163, 169, 172 99, 102, 107, 136 Tooley, Nicholas, 85 foreign, 122, 123 Trigge, William, 94, 98, 160 hired men, 8, 82, 83, 126, 127, 146, 159, 184 Wilson, William, 89, 137 principal, 8, 78, 95, 99, 108, 126, 135, 136, 144–5, Wright, John, 105, 145, 151–3 158–9, 169, 188–224 apprenticeship, 3, 48, 77, 79, 85, 86, 94, 101, 102, Agate, James, 133 103, 105, 106, 145, 152, 156, 183, 185 Allen, William, 138 Aristotle, 25 Alleyn, Edward, 1, 5, 6, 8, 9, 85, 97, 101, 106, Armin, Robert, 82, 86–7, 88, 114, 118, 123, 125, 184 108–13, 114, 116, 117, 121, 127, 128, 163, 171, art, of playing, 3, 6, 7, 10, 13, 18, 32, 37, 45, 80, 83, 175, 176–7, 179–80, 183, 184, 188 107, 122, 139, 174, 177, 185 242 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-14077-5 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index 243 audience, 4, 13, 15, 17, 21, 23, 27, 28, 31, 32, 34, 36, 43, Campion, Thomas, 69 47, 51, 55, 66, 67, 70, 71, 72, 75, 89, 102, 104, Cane, Andrew, 82, 84, 88, 95, 98, 106, 144, 145, 109, 110, 113, 114, 115, 119, 121, 123, 130, 132, 133, 146, 149, 155 148, 149, 150, 152, 156, 157, 162, 163, 164, 167, careers, of actors, 9 168, 170, 172, 175, 178, 179, 180, 181, 185, 186 caricature, 19, 21, 120 onstage, 158, 165 Cartwright, William, playwright, 65 audition, 68, 104, 184 Cartwright, William, the younger, actor, 33, 83 Augustine, William, 97 cast lists, 98, 118, 126, 130, 132, 143, 158 casting, 62–5, 72, 73, 119, 120, 127–8, 134, 142, Baldwin, T. W., 108 146–7, 158, 161, 173, 180 Bale, John, 43 Cecil, William, 65 Baskerville, Susan, 144 Chapman, George, 58, 74, 110 Baxter, Richard, 37 character, playing of, 4, 13, 16, 24, 28, 31, 103, 108, beard, stage, 111 116, 121, 141, 148, 155, 162, 166, 187 Beaumont, Francis, 9, 36, 38, 69, 74, 131 characteristics, of actors, 4–6, 24, 41, 100, 116, 129, Beeston, Christopher, 92, 94, 102, 118 130, 167 Beeston, William, 95 characters, dramatic, 150 Beeston’s Boys. see King and Queen’s Young Achilles, 21 Company Aeneas, 17 Benfield, Robert, 100, 126, 135 Amoretto, 67 Bentley, G. E., 95 Andromache, 45 Bentley, John, 179 Antony, 158 Betterton, Thomas, 130 Ariel, 30 binding, of apprentices, 78, 79, 80, 94, 106 Arostus, 72 Bird, Theophilus, 83, 95, 101, 174 Autolycus (Winter’s Tale), 11 Blagrave, William, 93 Beatrice, 14 Boccaccio, 63 Benedick, 14 body, of performer, 13, 20, 26, 28, 35, 36, 62, 81, Bianca, 22 103, 120, 141 Bosola, 133 Bond, Thomas, 84, 144, 146, 151, 153, 185 Bottom, 26, 141 Bowers, Roger, 50, 51 Bullingbrook, 32 Bowyer, Michael, 89–92, 137–9 Burbage, 68 boys, as actors, 4, 8, 10, 24–5, 26, 35, 41, 43, 49–50, Capritio, 151, 152 52, 54–5, 57, 62, 98, 102–3, 104, 116, 147, 149, Claudio, 15 155, 159–60 Claudius, 15, 34 Brome, Richard, 95 Cleopatra, 25 brotherhood, 79, 84 Cokes, 12 Browne, Robert (1), (d. 1603), 83, 106 Cordelia, 16 Browne, Robert (2), 181 Coriolanus, 28 Browne, Robert, haberdasher, 84 Costard, 118, 141 Browne, William, 83, 97, 144, 146, 150, 185 Doctor Faustus, 171 Bryan, George, 128 Dogberry, 1 Bull, John, 48 Domitia, 173 Burbage, James, 2, 7, 175, 193 Domitian, 157, 159 Burbage, Richard, 2, 5, 8, 11, 23, 29, 32, 37, 82, 83, Domitilla, 166 85, 101, 112, 114, 115, 116–17, 127–30, 131–3, Don Pedro, 15 176, 184, 193 Dromo, 124 character, 176 Earl of Warwick, 14 Byrd, William, 48, 50 Edgar, 33 Edgar/Poor Tom, 14 Cambridge, University, 38 Eubulus, 72 Clare College, 73 Evadne, 131 Queens’ College, 66 Falstaff, 9, 14, 19, 113, 180 royal visits, 60 Ferdinand, 134 St. John’s College, 62, 63, 64, 67 Feste, 24, 119, 186 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-14077-5 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information 244 Index characters (cont.) Queen Margaret, 15 Feste/Sir Topas, 14 Quince, 98 First Clown, 119 Ralph, 9, 77 Flute, 26 Silvia, 19 Fool, 119 Skink, 111 Friar Bacon, 117 Snarl, 148 Fungoso, 148 Studioso, 68 Gloster (Look About You), 111 Stupido, 67 Goneril, 22 Swainwit, 95 Grocer’s Wife, 41 Talbot, 177 Gullio, 67 Tamburlaine, 163 Hamlet, 13, 15, 31, 34, 36, 45, 118, 186 Theseus, 14, 31 Hans Stockfisch, 124 Touchstone, 119 Hanswurst, 124 Trimalchio, 151, 152 Harlequin, 122 Triphoena, 148, 150 Hieronimo, 33 Ulysses, 21 Hippolyta, 31 Viola, 13, 17, 27 Holofernes, 30 William, 118 Honesty, 177 Zeal-of-the-Land Busy, 12 Iago, 13, 28 characters, fictional Ingenioso, 67 Hecuba, 13, 16 Julia, 31 Yorick, 119 Julia/Sebastian, 19 Charles I, King, 65 Kemp, 68 Chaucer, 64 King Henry V, 29, 128 choirmasters King Henry VI (Seven Deadly Sins), 128 Edwardes, Richard, 49 King Lear, 21 Farrant, Richard, 48–9 King Richard II, 32 Giles, Nathaniel, 52, 55 King Richard III, 158 Giles, Thomas, 49, 54, 55 Leatherhead, 12 Hunnis, William, 48, 53, 93 Leonato, 15 Pierce, Edward, 49 Lord, 26 Redford, John, 49 Macbeth, 31, 158, 170 Westcott, Sebastian, 49–50, 51–2, 93 Madido, 67 choirs, 52–3 Malvolio, 14, 180 Chapel Royal, 42, 48, 52, 55 Margery, 150 players in, 10, 40, 50, 52–3 Miscellanio, 151 St Paul’s, 42, 49, 50, 54–5 Mistress Overdone, 154 training in, 52 Moth, 20, 30 Christmas prince, 61, 70, 71 Old Shepherd, 25 Cicero, 23, 40, 45–7 Olivia, 24, 27 De Oratore, 44 Othello, 13, 158 citizenship, of London, 77 Painter, 33 civil wars, England (1642–8), 8, 37, 174, 183 Paris, 158, 159, 172 Clavell, John, 98 Patroclus, 21 Clay, Nathaniel, 90, 91, 137 Philander, 72 Colet, John, 42 Philautus, 148 comedian, 27 Philomusus, 68 comedy, 63, 120 Philostrate, 187 commedia dell’arte, 117, 122 Pistol, 9, 127, 176 community Player Queen, 20 college, 60, 61, 62, 63, 66 Polonius, 20, 45 legal, 69, 70, 73 Prince Hal, 180 musical, 48 Prospero, 30 other, 9 Quartilla, 148, 150 theatrical, 8, 77, 79, 145, 185 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-14077-5 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index 245 companies, London, 3, 106, 145, 185 musical, 47, 69 Drapers’, 78, 82 universities, 1, 67–8 Dyers’, 98 Edwards, Richard, 64 Founders’, 146 Elizabeth I, Queen, 40 Goldsmiths’, 146 Elizabeth, Princess, 74, 181 Great Companies, 43 emotion, playing of, 15–18, 20, 103, 140, 167, 187 Grocers’, 4, 100, 105 ensemble playing, 129–30, 142, 151, 152, 153, 172 Ironmongers’, 94 entertainments, household, 6, 61, 66, 74, 122 Joiners’, 82 royal, 48 Mercers’, 42 Erasmus, 39 Merchant Taylors’, 82, 101, 106, 146 Evans, Henry, 53, 56 Shoemakers’, 76 exercises, educational, 40, 46, 58 Weavers’, 78, 86 Condell, Henry, 128, 130, 132, 134 face, of actors, 11, 26, 27, 32, 35, 36, 46, 68, 103, 111, character, 115 124, 169, 180 contest, acting, 9, 113–14 vultus, 23 contracts, 94, 97 families, 69, 77, 79, 82, 104, 105, 106, 182 costume, 35, 106, 110, 111, 125, 127, 155, 157, 166, actors’, 3, 83–4, 102, 152, 183, 192, 193 169, 172, 183 artistic, 83–4 courtship, playing of, 168 fees, to Revels Office, 136 covenant servants, 95, 186 Fenn, Ezekiel, 95 Cowley, Richard, 128 Fennor, William, 113 criticism, of theatre, 12–13, 36, 65, 74, 162 festivals, 42, 51, 61, 73, 74 critique, of performance, 10 Field, Nathan, 53, 56, 115, 129, 130, 135, 182, 197 cross-dressing, 13, 106 Fletcher, John, 38, 61, 131 Folio, edition of Shakespeare, 119, 134, 180 dance, 73, 88, 120, 122, 123 Fouch, Richard, 146, 151, 153 Daniel, John, 91 Fowler, Richard, 84, 144, 176 Daniel, Samuel, 65 Fraunce, Abraham, 70, 71, 73 See also university Davenant, William, 108, 130, 174 actors Davenport, Robert, 138 Davies, John, 135 Gager, William, 65 Dawes, Robert, 183 Germany, 123, 181 deceit, and performance, 13, 27, 28, 36 Gerschow, Frederick, 56 Dekker, Thomas, 76 gesture, 21, 22, 32, 35, 40, 44, 45, 47, 89, 103, 120, D’Ewes, Simonds, 69 148, 181 dialogues, Latin, 39, 46 Gibbons, Orlando, 48 Diderot, Denis, 13 Glapthorne, Henry, 95 discovery, 169 Godwin, Robert, 145, 150 disguise, 110–12, 131 Gough, Robert, 99 documents, theatrical, 126 Gradwell, Henry, 145, 148 Donne, John, 69 grammar, Latin, 38 doubling, 124–6, 159, 169, 171, 172 Greek, plays, 62 Downes, John, 130 Greek, study of, 39 Dryden, John, 96 Greene, Thomas, 38, 83 Dudley, Robert, 71 Greg W.
Recommended publications
  • Christopher Beeston and the Caroline Office of Theatrical ‘Governor’
    Early Theatre 11.2 (2008) Christopher Matusiak Christopher Beeston and the Caroline Office of Theatrical ‘Governor’ The decision in February 1637 to appoint Christopher Beeston (alias Hut- chinson) ‘Gouuernor of the new Company of the Kings & Queenes boyes’ crowned one of the busiest and most innovative careers in seventeenth-cen- tury commercial theatre.1 Beeston had emerged in the 1590s as a young per- former in the Chamberlain’s Men, notably acting with Richard Burbage, Wil- liam Kempe, and William Shakespeare in the first production of Ben Jonson’s Every Man in His Humour. For the better part of the next two decades, he managed the financial affairs of Queen Anne’s Men at the Red Bull and with that company’s assets at his disposal, particularly its valuable wardrobe, he oversaw the building of west London’s first playhouse in 1616 — the Cock- pit (or Phoenix) in Drury Lane. By 1636, Beeston had established himself as London’s pre-eminent theatrical entrepreneur, having led Queen Henri- etta Maria’s fashionable company for ten years and amassed an unpreced- ented personal treasury of playbooks, acting apparel, and other tiring house materials. However, in May of that year the worst outbreak of plague in three decades closed the theatres and suppressed business until the following October 1637. Under the stress of eighteenth months of enforced idleness, acting companies buckled, setting patents and personnel adrift. Among the casualties was Beeston’s relationship with the Queen’s Men. From his van- tage point at the competing Salisbury
    [Show full text]
  • The Beestons and the Art of Theatrical Management in Seventeenth-Century London
    THE BEESTONS AND THE ART OF THEATRICAL MANAGEMENT IN SEVENTEENTH-CENTURY LONDON by Christopher M. Matusiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher M. Matusiak (2009) Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-61029-9 Our file Notre référence ISBN: 978-0-494-61029-9 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Christopher Beeston and the Caroline Office of Theatrical •Ÿgovernorâ•Ž
    Early Theatre 11.2 (2008) Christopher Matusiak Christopher Beeston and the Caroline Office of Theatrical ‘Governor’ The decision in February 1637 to appoint Christopher Beeston (alias Hut- chinson) ‘Gouuernor of the new Company of the Kings & Queenes boyes’ crowned one of the busiest and most innovative careers in seventeenth-cen- tury commercial theatre.1 Beeston had emerged in the 1590s as a young per- former in the Chamberlain’s Men, notably acting with Richard Burbage, Wil- liam Kempe, and William Shakespeare in the first production of Ben Jonson’s Every Man in His Humour. For the better part of the next two decades, he managed the financial affairs of Queen Anne’s Men at the Red Bull and with that company’s assets at his disposal, particularly its valuable wardrobe, he oversaw the building of west London’s first playhouse in 1616 — the Cock- pit (or Phoenix) in Drury Lane. By 1636, Beeston had established himself as London’s pre-eminent theatrical entrepreneur, having led Queen Henri- etta Maria’s fashionable company for ten years and amassed an unpreced- ented personal treasury of playbooks, acting apparel, and other tiring house materials. However, in May of that year the worst outbreak of plague in three decades closed the theatres and suppressed business until the following October 1637. Under the stress of eighteenth months of enforced idleness, acting companies buckled, setting patents and personnel adrift. Among the casualties was Beeston’s relationship with the Queen’s Men. From his van- tage point at the competing Salisbury
    [Show full text]
  • ED 194 419 EDRS PRICE Jessup, John E., Jr.: Coakley, Robert W. A
    r r DOCUMENT RESUME ED 194 419 SO 012 941 - AUTHOR Jessup, John E., Jr.: Coakley, Robert W. TITLE A Guide to the Study and use of Military History. INSTITUTION Army Center of Military History, Washington, D.C. PUB DATE 79 NOTE 497p.: Photographs on pages 331-336 were removed by ERIC due to poor reproducibility. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 ($6.50). EDRS PRICE MF02/PC20 Plus Postage. DESCRIPTORS *History: military Personnel: *Military Science: *Military Training: Study Guides ABSTRACT This study guide On military history is intended for use with the young officer just entering upon a military career. There are four major sections to the guide. Part one discusses the scope and value of military history, presents a perspective on military history; and examines essentials of a study program. The study of military history has both an educational and a utilitarian value. It allows soldiers to look upon war as a whole and relate its activities to the periods of peace from which it rises and to which it returns. Military history also helps in developing a professional frame of mind and, in the leadership arena, it shows the great importance of character and integrity. In talking about a study program, the guide says that reading biographies of leading soldiers or statesmen is a good way to begin the study of military history. The best way to keep a study program current is to consult some of the many scholarly historical periodicals such as the "American Historical Review" or the "Journal of Modern History." Part two, which comprises almost half the guide, contains a bibliographical essay on military history, including great military historians and philosophers, world military history, and U.S.
    [Show full text]
  • Hannibal's Gaze and Ekphrasis in the Punica Of
    VISIONS OF GRANDEUR: HANNIBAL’S GAZE AND EKPHRASIS IN THE PUNICA OF SILIUS ITALICUS by SEAN MATHIS (Under the Direction of Mario Erasmo) ABSTRACT This is a thesis about Silius Italicus, a Latin poet, who wrote his epic poem, the Punica, during the reign of the emperor Domitian. Silius wrote his epic poem in the period after Vergil’s Aeneid, and, like his literary contemporaries, was forced to contend with his poetic forebears in order to insert his own poem into the Latin epic tradition. Thus, the poet looks back to Vergil, his principal poetic predecessor, through his use of allusion, metaphor, and other poetic imagery. The poem is also historical in nature, covering the period leading up to the Second Punic War, and Silius necessarily looks back to his historical predecessors, notably the Latin historian Livy. Silius creates, within the Punica, an interesting allusive technique that allows for a literary dialogue between the historical and epic genres, thus guaranteeing his position as a successor to both Vergil and Livy. INDEX WORDS: Silius Italicus, Punica, Second Punic War, Ekphrasis, Silver Age Latin, Silver Epic, Imperial Epic, Hannibal, Saguntum, Allusion, Successors of Vergil VISIONS OF GRANDEUR: HANNIBAL’S GAZE AND EKPHRASIS IN THE PUNICA OF SILIUS ITALICUS by SEAN MATHIS A.B., Baylor University, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 © 2004 Sean Mathis All Rights Reserved VISIONS OF GRANDEUR: HANNIBAL’S GAZE AND EKPHRASIS IN THE PUNICA OF SILIUS ITALICUS by SEAN MATHIS Major Professor: Mario Erasmo Committee: Robert Curtis Keith Dix Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2004 DEDICATION This being my first publication to have the honor of being bound in a hard cover, I dedicate it to you, my loving wife, Amanda.
    [Show full text]
  • TWO VERSIONS of LIVY: a STUDY of TUDOR TRANSLATIONS State University in Partial Fulfillment of the Requirements for the Degree
    TWO VERSIONS OF LIVY: A STUDY OF TUDOR TRANSLATIONS David M. Cratty A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1975 // © 1975 DAVID MICHAEL CRATTY ALL RIGHTS RESERVED |U TABLE OF CONTENTS Page PREFACE .............................................. iii CHAPTER I Translation in Sixteenth-Century England ........ 1 II Translation Theory ................................ 18 Ill The Two Livys ..................................... 37 IV Conclusions ...................................... 102 BIBLIOGRAPHY .......................................... 115 APPENDIX 121 /tH- PREFACE IVq. Although well over one hundred studies concerned with sixteenth-century translators and translations have been made, the volume is misleading. Most devote only a few paragraphs to translation itself. For example, many books which appear to be full-length studies of translation in the sixteenth century are, in fact, anthologies of selections of representative translations. Many other studies are actually catalogues or bibliographies of sixteenth-century 2 translations. The translators themselves have not fared 3 any better Most often studies of translators focus on either their sources (which intermediary texts did they use) 4 or their influence on the native English tradition. The ^E.g., A. F. Clements, Tudor Translations (Oxford: Clarendon Press, 1940) and James Winny, Elizabethan Prose Translation (Cambridge: At the University Press, 1960). 2 E.g., Mary A. Scott, Elizabethan Translations from the Italian (Boston: Houghton Mifflin, 1916), R. U. Pane, English Translations from the Spanish: 1484-1943 (Rutgers: Rutgers University Press, 1944), F. M. K. Foster, English Translations from the Greek (New York: Columbia University Press, 1918) and F. Seymour Smith, The Classics in Translation (New York: C.
    [Show full text]
  • Revision and Reconstruction of the Battles of Cannae (216 Bce) and Zama (202 Bce)
    1 REVISION AND RECONSTRUCTION OF THE BATTLES OF CANNAE (216 BCE) AND ZAMA (202 BCE) Yozan D. Mosig and Imene Belhassen University of Nebraska at Kearney 2 Revision and Reconstruction in the Punic Wars: Cannae Revisited. Yozan D. Mosig and Imene Belhassen University of Nebraska-Kearney 2006 [Publication data: Mosig, Y., & Belhassen, I. (2006). Revision and reconstruction in the Punic Wars: Cannae revisited. The International Journal of the Humanities, 4(2), 103-110.] 3 Abstract The history of the wars between Carthage and Rome was rewritten by two pro-Roman historians, Polybius and Titus Livius. The former, while usually more reliable, revised facts that would have shown his employers, the Scipionic/Aemilian family, in an unfavorable light, while the latter, a clear Roman patriotic propagandist, embellished history to suit his purposes. Accounts of the wars by Carthaginian historians seem to have been lost or been conveniently destroyed. Nevertheless, gaps and contradictions in the Roman accounts, together with a modern understanding of human motivation and environmental circumstances, allow for the reconstruction of the original events. A case in point is the battle of Cannae, in 216 BCE, where a modern analysis reveals the real reasons for Hannibal’s victory, the true strengths of the armies of Romans and Carthaginians, the identity of the actual commander of the Roman forces, the correct casualty figures, and the likely reasons for Hannibal’s refusal to march on Rome following his great victory. 4 The battle of Cannae, between the multi-ethnic forces of the Carthaginian general Hannibal Barca and the much larger Roman army under the command of consuls Lucius Aemilius Paulus and Gaius Terentius Varro, in 216 BCE, was without a doubt one of the most significant battles in history.
    [Show full text]
  • Munro Revised 1 Sept 2013
    King’s Research Portal Document Version Early version, also known as pre-print Link to publication record in King's Research Portal Citation for published version (APA): Munro, L. C. (2014). Actors, Plays and Performances in the Indoor Playhouses, 1625-42: Boy Players, Leading Men and the Caroline Ensemble. YEARBOOK OF ENGLISH STUDIES, 44, 51-68. Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Hannibal : a Hellenistic Life Pdf, Epub, Ebook
    HANNIBAL : A HELLENISTIC LIFE PDF, EPUB, EBOOK Eve Macdonald | 352 pages | 25 Sep 2018 | Yale University Press | 9780300240306 | English | United States Hannibal : A Hellenistic Life PDF Book The Carthaginians accept the terms but it proved short lived. Coronavirus Covid : Latest updates and information. Capua, Tarentum, Macedon, Sicily. There is a certain exoticism to Hannibal so my preference might be for a Spanish actor as Spain was a region deeply influenced by the Carthaginians and key to the story of Hannibal. Of course. They would ask me what actors I saw in the roles. She lives in London. They eventually captured and destroyed Carthage, and thus it was they who wrote the legend of Hannibal: a brilliant and worthy enemy whose defeat represented military glory for Rome. Here, Brian Todd Carey recounts that battle and the grueling war that led up to it. No less a person than The battle scenes would be key to any movie but the backstory of the city and culture of Carthage and the pivotal Hellenistic world in which they took place should take centre stage. Description Reviews. What this guide is intended to do is to show you what the teaching outline might look like in practice. Eve MacDonald. Why did he lose? I hope this helps. Is there a piece of our historical record missing? The Romans quickly recognized this limitation and accommodated their formations accordingly— and they did so long before Hannibal had even been born. His democratic reforms and the term limitations he established for the magistrates were significant political achievements, on a par with his military victories.
    [Show full text]
  • 1 1 Representing Zama to Create an Iconic Event Frances Billot
    1 Representing Zama to create an iconic event Frances Billot University of Auckland [email protected] The Hadrianic author Florus describes the battle at Zama1 in 202BC as the most important battle in Roman history; Scipio and Hannibal are considered two of the greatest generals of all time, one for conquering Italy, the other for Spain: non fuit maior sub imperio Romano dies quam ille, cum duo omnium et antea et postea ducum maximi duces, ille Italiae, hic Hispaniae victor, conlatis comminus signis direxere aciem (Florus, 1.22.58).2 In the time before the Roman empire there was no greater occasion than when the two generals, better than any before or since, the one the conqueror of Italy, the other of Spain, brought their armies together for pitched battle.3 To consider why Florus singles out Zama, Scipio and Hannibal from all the options available to him, this paper compares how three earlier authors who covered the story of the Second Punic War, Polybius, Livy, and Silius Italicus, present the battle at Zama in their texts (other authors, such as Appian and Cornelius Nepos, are drawn on where they help illustrate a point). All three authors treat the battle at Zama as the climactic event of, or grand finale to, the Second Punic 1 Cornelius Nepos (Hann. 6) gave the battle its familiar title, Zama; Silius Italicus uses the same name, Pun. 3.261. For Scipio and Zama, see Scullard (1970) 140-160; Goldsworthy, (2001) 286-309. 2 Florus Epitome of Roman History, Loeb edn. (Cambridge, Mass. 1995). Latin and Greek quotations are taken from the Loeb editions (giving details) unless indicated otherwise.
    [Show full text]
  • Copyright by Stephen Mark Caffey 2008
    Copyright by Stephen Mark Caffey 2008 The Dissertation Committee for Stephen Mark Caffey certifies that this is the approved version of the following dissertation: An Heroics of Empire: Benjamin West and Anglophone History Painting 1764-1774 Committee: Susan Rather, Co-Supervisor Janice Leoshko, Co-Supervisor Michael Charlesworth Mia Carter Syed Akbar Hyder William Roger Louis An Heroics of Empire: Benjamin West and Anglophone History Painting 1764-1774 by Stephen Mark Caffey, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 For Patricia Burnham Acknowledgments I wish to thank the following individuals for their generous support, without which this dissertation would have never materialized. I cannot articulate the magnitude of my appreciation of and admiration for co-supervisors Susan Rather and Janice Leoshko. They made a perfect team, gently guiding me back to the track when I derailed and offering just the right blend of criticism and encouragement. Committee members Michael Charlesworth, Akbar Hyder, Mia Carter and William Roger Louis brought a wealth of experience and expertise that helped me to broaden and deepen the scope of the project. I also benefited greatly from coursework and conversation with John Clarke, Penelope Davies, Joan Holladay, Estelle Lingo, Richard Shiff, Ann Reynolds, Linda Henderson, Cherise Smith, Steve Bourget and Persis Berlekamp. I am especially grateful to Neil Kamil, for so warmly welcoming me across campus and across disciplines; to Jeffrey Chipps Smith, whose well-timed dinner invitation in London spared me the ravages of malnutrition; and to Glenn Peers, whose sympathetic ear and calm optimism served as beacons of hope when I felt discouraged.
    [Show full text]
  • 171 the Continence of Scipio and Katherine Manners A. M. Trotter Abstract: This Work Considers and Connects the Jacobean-Caroli
    171 The Continence of Scipio and Katherine Manners A. M. Trotter Abstract: This work considers and connects the Jacobean-Caroline Era painting The Continence of Scipio, c.1620/1, Christ Church Gallery, Oxford, and the play ‘Hannibal and Scipio’ (1635) by Thomas Nabbes (1605-41). Recent art-historical study of the painting has questioned the identities of both artist and subject, and the dramatic source of the play remains unidentified. Here, the disciplines of art-history and literary studies are combined to suggest arts-patron Katherine Manners (c.1604-49) as the originator of both artefacts. _____________________________________________________________________________ Figure 1 The Continence of Scipio. Oil on canvas, 182.9 x 232.4cm, Christ Church Picture Gallery, Oxford. By permission of the Governing Body, Christ Church, Oxford 172 This work examines the viewpoint that paintings and plays are guided by the patron or person who conceives an artefact rather than the hand that produces them, through Katherine Manners (c.1604-49), the painting The Continence of Scipio, c.1620/1, oil on canvas, 182.9 x 232.4cm, Christ Church Picture Gallery (Fig.1) and the play 'Hannibal and Scipio' (1635) by Thomas Nabbes (1605-41). Previous studies of the painting have questioned the identities of both artist and subject, and the dramatic source of the play is unknown. A combined examination of these two artefacts and their wider historical context reveals Katherine Manners, Arts Patron, as the person most likely to have conceived both. Accordingly it is shown that whilst artworks require some form of artistic imagination, the imagination is not necessarily always that of a painter or playwright.
    [Show full text]