What Every Elizabethan Knew
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A Dull Soldier and a Keen Guest: Stumbling Through the Falstaffiad One Drink at a Time
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time Emma Givens Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4826 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Emma Givens 2017 All rights reserved A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Emma Pedersen Givens Director: Noreen C. Barnes, Ph.D. Director of Graduate Studies Department of Theatre Virginia Commonwealth University Richmond, Virginia March, 2017 ii Acknowledgement Theatre is a collaborative art, and so, apparently, is thesis writing. First and foremost, I would like to thank my grandmother, Carol Pedersen, or as I like to call her, the world’s greatest research assistant. Without her vast knowledge of everything Shakespeare, I would have floundered much longer. Thank you to my mother and grad-school classmate, Boomie Pedersen, for her unending support, my friend, Casey Polczynski, for being a great cheerleader, my roommate, Amanda Long for not saying anything about all the books littered about our house and my partner in theatre for listening to me talk nonstop about Shakespeare over fishboards. -
The Child's Two Bodies: Shakespeare, Sovereignty, and the End Of
7KH&KLOGV7ZR%RGLHV6KDNHVSHDUH6RYHUHLJQW\ DQGWKH(QGRI6XFFHVVLRQ Joseph Campana ELH, Volume 81, Number 3, Fall 2014, pp. 811-839 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/elh.2014.0034 For additional information about this article http://muse.jhu.edu/journals/elh/summary/v081/81.3.campana.html Access provided by Fondren Library, Rice University (29 Oct 2014 14:35 GMT) THE CHild’s Two Bodies: SHAKESPEARE, SOVEREIGNTY, AND THE END OF SUCCESSION BY JOSEPH CAMPANA The king is dead. Long live the child? In a dramatic canon full of the ghosts of dead fathers, William Shakespeare offers up tragic protagonists haunted by children. Desperate for assurances about his precarious political future, the monarch-murdering usurper Macbeth seeks out a second encounter with the infamous witches who prophesied his unexpected assump- tion of sovereignty. Macbeth meets Hecate herself and experiences visions of a crowned child, an armed head, a bloody babe, and a glorious future line of Scottish kings culminating in King James VI and I of Scotland and England.1 Pivotal to Macbeth is the question of what central characters do, or do not, see: gruesome witches, killing instruments, guilt-stained hands, ambulatory trees, and prophetic visions. In act 2, scene 1, Macbeth imagines or witnesses the weapon he will later use to slay King Duncan. “Is this a dagger which I see before me,” he famously asks, “The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still” (2.1.1–3). Macbeth’s mysterious dagger, Lady Macbeth’s blood-soaked hands, Hecate’s visions of a bloody babe, a crowned child, an armed head, and a line of seven kings: the famous images that flicker in and out of sight in Shakespeare’s Scottish tragedy I will describe as apparitions not of a state of mind but of the state itself. -
Pride and Penitence in Some Tudor Histories of Thomas Wolsey
HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 10 Original Research The conversion of the cardinal? Pride and penitence in some Tudor histories of Thomas Wolsey Author: The life of Cardinal Thomas Wolsey, lord chancellor of England from 1515 to 1529, has inspired 1,2 Patrick Hornbeck no small number of literary, historical, and dramatic retellings. A comprehensive study of Affiliations: these texts remains to be written, but this article seeks to make a start by examining how Tudor 1Chair, Department of writers portrayed the cardinal’s response to his deposition and subsequent disgrace. For some Theology, Fordham authors, Wolsey’s fall only made him more proud, and he began to act erratically and disloyally, University, United States confirming the wisdom of the king’s decision to relieve him of office. For others, deposition moved Wolsey to become philosophical and penitent, and some such writers depict a cardinal 2Research Associate, Faculty of Theology, University of who at the end of his life underwent nothing short of a conversion. This article traces both of Pretoria, South Africa these historiographical trajectories from their origins in writings of the late 1540s and 1550s through a range of late Tudor chronicle accounts. Elements of both narratives about the Corresponding author: cardinal appear, prominently if not always congruously, in one of the best-known theatrical Patrick Hornbeck, [email protected] works about the events of the reign of Henry VIII, the play King Henry VIII (All Is True) by William Shakespeare and John Fletcher. Understanding the interrelationships between Dates: the Tudor texts presented here is essential to grasping later portrayals of Wolsey and his Received: 07 July 2015 contemporaries. -
Small Mid-Tudor Chronicles and Popular History: 1540-1560
Quidditas Volume 37 Article 7 2016 Small Mid-Tudor Chronicles and Popular History: 1540-1560 Barrett L. Beer Kent State University Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Beer, Barrett L. (2016) "Small Mid-Tudor Chronicles and Popular History: 1540-1560," Quidditas: Vol. 37 , Article 7. Available at: https://scholarsarchive.byu.edu/rmmra/vol37/iss1/7 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Quidditas 37 (2016) 57 Small Mid-Tudor Chronicles and Popular History: 1540-1560 Barrett L. Beer Kent State University This essay examines twenty-two editions of little-studied small Mid-Tudor chroni- cles that were published by printers at Canterbury and London. They demonstrate the important role of printers in historical scholarship and offer a significantly dif- ferent perspective on English history than the better-known, larger contemporary works of Robert Fabyan, Edward Hall, and Thomas Cooper. The chronicles also shed light on the readership of historical works by non-elite readers who presum- ably could not afford larger and more expensive chronicles. The short chronicles present a simplified view of the past, avoid propagating the well-known Tudor myths including the tyranny of Richard III, and demonstrate a clear preference for recent history. Although overlooked in most accounts of Early Modern historiography, the small Mid-Tudor chronicles are clearly part of the historical culture of the era. -
Richard II First Folio
FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students. -
War of Roses: a House Divided
Stanford Model United Nations Conference 2014 War of Roses: A House Divided Chairs: Teo Lamiot, Gabrielle Rhoades Assistant Chair: Alyssa Liew Crisis Director: Sofia Filippa Table of Contents Letters from the Chairs………………………………………………………………… 2 Letter from the Crisis Director………………………………………………………… 4 Introduction to the Committee…………………………………………………………. 5 History and Context……………………………………………………………………. 5 Characters……………………………………………………………………………….. 7 Topics on General Conference Agenda…………………………………..……………. 9 Family Tree ………………………………………………………………..……………. 12 Special Committee Rules……………………………………………………………….. 13 Bibliography……………………………………………………………………………. 14 Letters from the Chairs Dear Delegates, My name is Gabrielle Rhoades, and it is my distinct pleasure to welcome you to the Stanford Model United Nations Conference (SMUNC) 2014 as members of the The Wars of the Roses: A House Divided Joint Crisis Committee! As your Wars of the Roses chairs, Teo Lamiot and I have been working hard with our crisis director, Sofia Filippa, and SMUNC Secretariat members to make this conference the best yet. If you have attended SMUNC before, I promise that this year will be even more full of surprise and intrigue than your last conference; if you are a newcomer, let me warn you of how intensely fun and challenging this conference will assuredly be. Regardless of how you arrive, you will all leave better delegates and hopefully with a reinvigorated love for Model UN. My own love for Model United Nations began when I co-chaired a committee for SMUNC (The Arab Spring), which was one of my very first experiences as a member of the Society for International Affairs at Stanford (the umbrella organization for the MUN team), and I thoroughly enjoyed it. Later that year, I joined the intercollegiate Model United Nations team. -
Henry Iv, Parts One &
HENRY IV, PARTS ONE & TWO by William Shakespeare Taken together, Shakespeare's major history plays cover the 30-year War of the Roses, a struggle between two great families, descended from King Edward III, for the throne of England. The division begins in “Richard II,” when that king, of the House of York, is deposed by Henry Bolingbroke of the House of Lancaster, who will become Henry IV. The two Henry IV plays take us through this king's reign, ending with the coronation of his ne'er-do-well son, Prince Hal, as Henry V. In subsequent plays, we follow the fortunes of these two families as first one, then the other, assumes the throne, culminating in “Richard III,” which ends with the victory of Henry VII, who ends the War of the Roses by combining both royal lines into the House of Tudor and ruthlessly killing off all claimants to the throne. What gives the Henry IV plays their great appeal is the presence of a fat, rascally knight named Falstaff, with whom Prince Hal spends his youth. Falstaff is one of Shakespeare's most memorable characters and his comedy tends to dominate the action. He was so popular with audiences that Shakespeare had to kill him off in “Henry V,” lest he detract from the heroism of young King Henry V. “Henry IV, Part One,” deals with a rebellion against King Henry by his former allies. The subplot concerns the idle life led by the heir to the throne, Prince Hal, who spends his time with London's riffraff, even going so far as to join them in robbery. -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Philippa of Hainaut, Queen of England
THE UNIVERSITY OF ILLINOIS LIBRARY VMS Digitized by the Internet Archive in 2013 http://archive.org/details/philippaofhainauOOwhit PHILIPPA OF HAINAUT, QUEEN OF ENGLAND BY LEILA OLIVE WHITE A. B. Rockford College, 1914. THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1915 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL ..%C+-7 ^ 19</ 1 HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY ftlil^ &&L^-^ J^B^L^T 0^ S^t ]J-CuJl^^-0<-^A- tjL_^jui^~ 6~^~~ ENTITLED ^Pt^^L^fifi f BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF CL^t* *~ In Charge of Major Work H ead of Department Recommendation concurred in: Committee on Final Examination CONTENTS Chapter I Philippa of Hainaut ---------------------- 1 Family and Birth Queen Isabella and Prince Edward at Valenciennes Marriage Arrangement -- Philippa in England The Wedding at York Coronation Philippa's Influence over Edward III -- Relations with the Papacy - - Her Popularity Hainauters in England. Chapter II Philippa and her Share in the Hundred Years' War ------- 15 English Alliances with Philippa's Relatives -- Emperor Louis -- Count of Hainaut Count of Juliers Vow of the Heron Philippa Goes to the Continent -- Stay at Antwerp -- Court at Louvain -- Philippa at Ghent Return to England Contest over the Hainaut Inherit- ance -- Battle of Neville's Cross -- Philippa at the Siege of Calais. Chapter III Philippa and her Court -------------------- 29 Brilliance of the English Court -- French Hostages King John of France Sir Engerraui de Coucy -- Dis- tinguished Visitors -- Foundation of the Round Table -- Amusements of the Court -- Tournaments -- Hunting The Black Death -- Extravagance of the Court -- Finan- cial Difficulties The Queen's Revenues -- Purveyance-- uiuc s Royal Manors « Philippa's Interest in the Clergy and in Religious Foundations — Hospital of St. -
The Flower of English Chivalry
David Green. Edward the Black Prince: Power in Medieval Europe. Harlow: Pearson Longman, 2007. 312 pp. $28.00, paper, ISBN 978-0-582-78481-9. Reviewed by Stephen M. Cooper Published on H-War (January, 2008) In the city square of Leeds in West Yorkshire, the 1360s. He never became king of England, but there is a magnificent statue of the Black Prince, he was the sovereign ruler of a large part of erected in 1903 when the British Empire was at its France. The prince was a brilliant soldier and height and patriotism was uncomplicated. Dis‐ commander, but he was "not a political animal," playing an intense pride in his life and achieve‐ and there is a strong argument for saying that he ments, the inscription proclaims that the prince won the war but lost the peace because of his mis‐ was "the victor of Crécy and Poitiers, the Flower government of Aquitaine (p. 153). In pursuing his of English Chivalry and the Upholder of the Rights chosen themes, Green deliberately plays down the of the People in the Good Parliament." One would fighting, at which the prince was very good, and not expect a book published in 2007 to make the concentrates on the politics, where the prince was same grandiose claims, and David Green does not either rather hopeless or simply uninterested. In even intend his newest book Edward the Black terms of religion and estate management, there is Prince to be a conventional biography--he has no real evidence that "the Flower of English written one of those already (The Black Prince Chivalry" was even personally involved. -
Shakespeare's Warrior Kings
Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Shakespeare’s Warrior Kings HENRY V MACBETH RICHARD III 1 Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Concept: Perceptions & Cross Curricular Outcomes Representation Literacy ICT A student: 1. responds to and composes increasingly Shakespeare’s Warrior Language modes sophisticated and sustained texts for Kings Reading/writing/speaking/listening/ understanding, interpretation, critical analysis viewing & representing and pleasure. Deep knowledge: Texts 2. uses and critically assesses a range of How context shapes Extracts from Shakespeare’s plays: processes for responding to and composing. perspectives and Macbeth 5.transfers understanding of language concepts representations Richard III into new and different contexts. Henry V 9. demonstrates understanding of the ways texts An appreciation of others’ As well as: reflect personal and public worlds. perspectives The documentary In Search of The power of language and Shakespeare images & K. Yager’s CD rom Rationale This stage 5 unit is designed as an introductory unit to Shakespeare focusing on his representation of the warrior kings. Students begin by exploring Shakespeare’s context through a web quest, a CD-Rom and the documentary In Search of Shakespeare. The students will closely examine some of the key extracts from the plays to appreciate the textual details and features, rhythm and the perspective. The students will explore others’ perspectives of the kings and how ideas and information can be constructed. As a lawyer representing the family of the king the students will research the historical version of the king and compare their findings with Shakespeare’s representation or create a visual representation for the Power House Museum that explores different perspectives.