The Complete Works of William Shakespeare (Abridged)
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A Yorkshire Tragedy by William Shakespeare (Apocrypha)
A Yorkshire Tragedy by William Shakespeare (Apocrypha) This etext was produced by Tony Adam. Shakespeare, William. A Yorkshire Tragedy. Not So New as Lamentable and True. In C.F. Tucker Brooke, ed., The Shakespeare Apocrypha (Oxford, 1918). ALL'S ONE, OR, ONE OF THE FOUR PLAYS IN ONE, CALLED A YORK-SHIRE TRAGEDY AS IT WAS PLAYED BY THE KING'S MAJESTY'S PLAYERS. Dramatis Personae. Husband. Master of a College. Knight, a Justice of Peace. Oliver, Ralph, Samuel, serving-men. Other Servants, and Officers. page 1 / 56 Wife. Maid-servant. A little Boy. SCENE I. A room in Calverly Hall. [Enter Oliver and Ralph, two servingmen.] OLIVER. Sirrah Ralph, my young Mistress is in such a pitiful passionate humor for the long absence of her love-- RALPH. Why, can you blame her? why, apples hanging longer on the tree then when they are ripe makes so many fallings; viz., Mad wenches, because they are not gathered in time, are fain to drop of them selves, and then tis Common you know for every man to take em up. OLIVER. Mass, thou sayest true, Tis common indeed: but, sirrah, is neither our young master returned, nor our fellow Sam come from London? RALPH. page 2 / 56 Neither of either, as the Puritan bawd says. Slidd, I hear Sam: Sam's come, her's! Tarry! come, yfaith, now my nose itches for news. OLIVER. And so does mine elbow. [Sam calls within. Where are you there?] SAM. Boy, look you walk my horse with discretion; I have rid him simply. I warrant his skin sticks to his back with very heat: if a should catch cold and get the Cough of the Lungs I were well served, were I not? [Enter Sam. -
The Representation of Puritans in William Shakespeare's Twelfth Night
AWEJ for Translation & Literary Studies, Volume2, Number 1, February 2018 Pp. 97-105 DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 The Representation of Puritans in William Shakespeare’s Twelfth Night Rachid MEHDI Department of English, Faculty of Art Abderahmane-Mira University of Bejaia, Algeria Abstract This article is a study on the representation of Puritans in William Shakespeare’s Twelfth Night; or, What You Will, one of his most popular comic play in the modern theatre. In mocking Malvolio’s morality and ridiculous behaviour, Shakespeare wanted to denounce Puritans’ sober society in early modern England. Indeed, Puritans were depicted in the play as being selfish, idiot, hypocrite, and killjoy. In the same way, many other writers of different generations, obviously influenced by Shakespeare, have espoused his views and consequently contributed to promote this anti-Puritan literature, which is still felt today. This article discusses whether Shakespeare’s portrayal of Puritans was accurate or not. To do so, the writer first attempts to define the term “Puritan,” as the latter is quite equivocal, then take some Puritans’ characteristics, namely hypocrisy and killjoy, as provided in the play, and analyze them in the light of the studies of some historians and scholars, experts on the post Reformation Puritanism, to demonstrate that Shakespeare’s view on Puritanism is completely caricatural. Keywords: caricature, early modern theatre, Malvolio, Puritans, satire Cite as: MEHDI, R. (2018). The Representation of Puritans in William Shakespeare’s Twelfth Night. Arab World English Journal for Translation & Literary Studies, 2 (1). DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 Arab World English Journal for Translation & Literary Studies 97 eISSN: 2550-1542 |www.awej-tls.org AWEJ for Translation & Literary Studies Volume, 2 Number 1, February 2018 The Representation of Puritans in William Shakespeare’s Twelfth Night MEHDI Introduction Puritans had been the target of many English writers during the sixteenth and seventeenth centuries. -
Structure, Legitimacy, and Magic in <Em>The Birth of Merlin</Em>
Early Theatre 9.1 Megan Lynn Isaac Legitimizing Magic in The Birth of Merlin Bastardy, adultery, and infidelity are topics at issue in The Birth of Merlin on every level. Unfortunately, most of the critical examination of these topics has not extended beyond the title page. In 1662 Francis Kirkman and Henry Marsh commissioned the first known printing of the play from an old manuscript in Kirkman’s possession. The title page of their version attributes the play to Shakespeare and Rowley, and generations of critics have quarreled over the legitimacy of that ascription. Without any compelling evidence to substantiate the authorship of Shakespeare and Rowley, many critics have tried to solve the dilemma from the other end. Just as in the play Merlin’s mother spends most of the first act inquiring of every man she meets whether he might have fathered her child, these scholars have attempted to attribute the play to virtually every dramatist and combination of dramatists on record. Beaumont, Fletcher, Ford, Middleton, and Dekker, among others, have all been subjected to the literary equivalent of a blood-test; analyses of their spelling and linguistic preferences have been made in an effort to link them to The Birth of Merlin.1 Unlike the hero of the drama, however, the play itself is still without a father, though it does have a birthdate in 1622, as has been demonstrated be N.W. Bawcutt.2 Debates over authorship are not particularly uncommon in early modern studies, but the question of who fathered the legendary Merlin, the topic of the play, is more unusual and more interesting. -
Durham E-Theses
Durham E-Theses Translation and Réécriture in the Middle Ages: Rewriting Merlin in the French and Italian Vernacular Traditions CAMPBELL, LAURA,JANE How to cite: CAMPBELL, LAURA,JANE (2011) Translation and Réécriture in the Middle Ages: Rewriting Merlin in the French and Italian Vernacular Traditions, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/705/ 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 Durham E-Theses • 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 Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Translation and Réécriture in the Middle Ages: Rewriting Merlin in the French and Italian Vernacular Traditions PhD Laura Jane Campbell Durham University, Department of French Submission Date: October 2010 i Translation and Réécriture in the Middle Ages: Rewriting Merlin in the French and Italian Vernacular Traditions Laura Jane Campbell, Durham University Abstract: This thesis will investigate the processes of translation and rewriting (réécriture) in the thirteenth and fourteenth centuries, through a study of the French and Italian Merlin corpus. -
Shakespeare's· Religion
Shakespeare's· Religion. MONG the papers left by the Rev. Richard Davies, Rector A of Sapperton, Gloucestershire, and afterwards Archdeacon of Coventry, who died in 1708, was a brief note on Shakespeare which ended with the abrupt words: "He dyed a Papist."a. The source of his information is unknown, but it is the only report we possess of Shakespeare's personal faith. It is usually dis missed with ridicule. It is "idle gossip," according to Sir Sidney Lee.2 It is "just the kind of story a parson of. the time would delight in crediting and circulating about one of those' harlotry players," says Dover. Wilson.3 And Dr. J. J. Mackail agrees: " Seventeenth, century Puritanism~ which closed the theatres, was ready to invent or accept anything ;that was to their discredit, or to the discredit of anyone connected withthem."4 . Nevertheless, the statement is not. to be dismissed so lightly. There is no _ reason for thinking that Davies was a Puritan or that he delighted in recording discreditable storie~ about players. The note suggests that he was a man of literary tastes, that he was sufficiently interested in Shakespeare to gather what information he could, and even that, when it was made, Shakespeare's fame was secure. Had not Milton the puritan long since laid a wreath upon his tomb? In any inquiry into Shakespeare's religion the note must be taken into account. But the question, if it can be answered at all, must be set in the large context of his age and, with due regard to their dramatic character, of his works. -
Adaptations of Hooker by Shakespeare and Voegelin
The Pneumopathology of the Puritan: Adaptations of Hooker by Shakespeare and Voegelin Copyright 2003 Jeffrey Tessier In The New Science of Politics as well as in The History of Political Ideas, Voegelin comes to his analysis of Puritanism by way of Richard Hooker, focusing in part on Hooker's account of the psychological techniques through which Puritanism advanced its cause. While mindful of Hooker's shortcomings as a philosopher, Voegelin praises and relies on his diagnostic acumen. His analysis of "the psychological mechanism that is put into operation in the creation of mass movements"1 [1] is as useful now for understanding modern gnostic movements as it was then in analysing the radical response to the emergent Anglican ecclesiastical order. It was Hooker's insight into the psychological origins and political consequences of the Puritan movement that enabled him to present the mechanism by which the Puritans would implement on a mass scale the desire of the movement's egomaniacal members that their private will be established as the public will, a revolution which would destroy the reality of and hope for the common weal of the nation.2 [2] 1 [1] Eric Voegelin, The Collected Works of Eric Voegelin, vol. 23, History of Political Ideas, vol. 5: Religion and the Rise of Modernity, ed. James L. Wiser (Columbia: University of Missouri Press, 1998), 94-5. 2 [2] Ibid, 98. In his discussion of Hooker, Voegelin draws attention to an interesting problem. If the Puritans are as Hooker says they are, then the deformed condition of their souls makes them immune to the sort of persuasive speech that characterises his writing. -
Mucedorus and the Birth of Merlin at the Los Angeles Globe
368 SHAKESPEARE QUARTERLY with the attitudes of the other male characters in the production. The tribunes, Sicinius and Junius Brutus, were urban hustlers who confidently sported fashionable walking sticks, d la 1890s, when it seemed apparent that Marcius had lost his bid for power against them. In the final scene the envelope containing the terms for peace between Rome and the Volsces was refused and silently returned to the briefcase in which it was delivered. War would continue, as would the irrational forces that shape such conflicts, with or without proud and unresponsive leaders like Marcius. His life was given a wider perspective in this final, silent moment with the envelope, a perspective in which neither his guilt nor Downloaded from https://academic.oup.com/sq/article/41/3/368/5085016 by guest on 29 September 2021 our affection really figured. Peace is finally out of Marcius's hands, carried instead by the unseen and unspoken forces that have controlled people and events throughout history. Mucedorus and The Birth of Merlin at the Los Angeles Globe JOSEPH H. STODDER The plan of Globe Playhouse producers R. Thad Taylor and Jay Uhley to perform the fifteen most noteworthy of the apocryphal plays is continuing, but they are being offered at a slower pace than had originally been intended. After a promising beginning (Sir Thomas More in 1984, then seven plays between July 1985 and March 19871), the Globe was confronted by the restrictions imposed by the new Actors' Equity Association rules. The Los Angeles Theatre Plan of October 1988 removed the equity waiver (a release permitting low-budget houses to function without paying directors, actors, and crews) under which small theatres such as the Globe had been operating. -
Shakespeare Apocrypha” Peter Kirwan
The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C. -
VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S. -
Discourses of Femininity in Thomas Shadwell's Adaptation of Timon Of
Outskirts Vol. 38, 2018, 1-17 “What gay, vain, pratting thing is this”: Discourses of femininity in Thomas Shadwell’s adaptation of Timon of Athens Melissa Merchant During the Restoration era (1660 to 1700), the plays of Shakespeare were routinely adapted in order to make them fit for the new stages and society in which they were being produced. Representations ‘femininity’ and ‘woman’ were re-negotiated following a tumultuous period in English history and the evidence of this can be seen in the Shakespearean adaptations. Theatrical depictions of women within the plays produced during this time drew on everyday discourses of femininity and were influenced by the new presence of professional actresses on the London stages. In a time before widespread literacy and access to multiple media platforms, the theatre served a didactic function as a site which could present “useful and instructive representations of human life" (as ordered by Charles II in his Letters Patent to the theatre companies in 1662). This paper argues that, on the stage, Restoration women were afforded three roles: gay, ideal or fallen. Each of these are evident within Thomas Shadwell’s adaptation of Timon of Athens. Introduction “Women are of two sorts,” claimed Bishop Aylmer during the reign of Queen Elizabeth I, some were “wiser, better learned, discreeter, and more constant than a number of men” and the other “worse sort of them” were: Fond, foolish, wanton, flibbergibs, tattlers, triflers, wavering, witless, without council, feeble, careless, rash, proud, dainty, tale-bearers, eavesdroppers, rumour-raisers, evil-tongued, worse-minded, and in every way doltified with the dregs of the devil’s dunghill (Stretton 2005, 52). -
Adaptation and Translation Between French and English Arthurian Romance" (Under the Direction of Edward Donald Kennedy)
Varieties in Translation: Adaptation and Translation between French and English Arthurian Romance Euan Drew Griffiths A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2013 Approved by: Edward Donald Kennedy Madeline Levine E. Jane Burns Joseph Wittig Patrick O'Neill © 2013 Euan Drew Griffiths ALL RIGHTS RESERVED ii Abstract EUAN DREW GRIFFITHS: "Varieties in Translation: Adaptation and Translation between French and English Arthurian Romance" (Under the direction of Edward Donald Kennedy) The dissertation is a study of the fascinating and variable approaches to translation and adaptation during the Middle Ages. I analyze four anonymous Middle English texts and two tales from Sir Thomas Malory’s Le Morte Darthur that are translations and adaptations of Old French Arthurian romances. Through the comparison of the French and English romances, I demonstrate how English translators employed a variety of techniques including what we might define as close translation and loose adaptation. Malory, in particular, epitomizes the medieval translator. The two tales that receive attention in this project illustrate his use of translation and adaptation. Furthermore, the study is breaking new ground in the field of medieval studies since the work draws on translation theory in conjunction with textual analysis. Translation theory has forged a re-evaluation of translation as a literary medium. Using this growing field of research and scholarship, we can enhance our understanding of translation as it existed during the Middle Ages. -
The Bawd and the Bard: Mercy Tempers Strict Statutory Application in Shakespeare's Measure for Measure
The Catholic Lawyer Volume 43 Number 1 Volume 43, Spring 2004, Number 1 Article 5 The Bawd and the Bard: Mercy Tempers Strict Statutory Application in Shakespeare's Measure for Measure C.M.A. Mc Cauliff Follow this and additional works at: https://scholarship.law.stjohns.edu/tcl Part of the Sexuality and the Law Commons This Article is brought to you for free and open access by the Journals at St. John's Law Scholarship Repository. It has been accepted for inclusion in The Catholic Lawyer by an authorized editor of St. John's Law Scholarship Repository. For more information, please contact [email protected]. THE BAWD AND THE BARD: MERCY TEMPERS STRICT STATUTORY APPLICATION IN SHAKESPEARE'S MEASURE FOR MEASURE C.M.A. Mc CAULIFF* INTRODUCTION In Measure for Measure, Shakespeare considered a social problem-the situation in a fictional Viennese society where the muddled marriage laws resulted in the refusal of people to marry according to the suggested but not required formalities. Marriage without witnesses and officiating clergy rendered marriage irregular though not invalid. A couple's consent had long been the only criterion for a valid marriage. Shakespeare introduced into this situation a statute that criminalized premarital sex by imposing a penalty of death. The statute, in disuse at the outset of the play but revived by the ruling Duke's new deputy, ratcheted up the consequences for the characters in the play, and for society in general, since its proscriptions affected marriages previously considered irregular, but not invalid. The central event in the play was Judge Angelo's extortion of sex from Isabella, a supplicant who went before him to plead for the life of her brother Claudio, who was trapped in the broad * The author wishes to thank the NEH for a fellowship allowing participation in the Summer Institute on Redefining the Sacred in Early Modern England at the Folger Shakespeare Library in Washington, D.C.