First Folio! the Book That Gave Us Shakespeare, One of the World’S Most Treasured Books
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First Folio Table of Contents the Tragedie of Cymbeline
THE TRAGEDIE OF CYMBELINE. by WILLIAM SHAKESPEARE Based on the Folio Text of 1623 DjVu Editions E-books © 2001, Global Language Resources, Inc. Shakespeare: First Folio Table of Contents The Tragedie of Cymbeline . 1 Actus Primus. Scoena Prima. 1 Scena Secunda. 3 Scena Tertia. 6 Scena Quarta. 7 Scena Quinta. 8 Scena Sexta. 12 Scena Septima. 14 Actus Secundus. Scena Prima. 20 Scena Secunda. 21 Scena Tertia. 22 Scena Quarta. 26 Actus Tertius. Scena Prima. 32 Scena Secunda. 34 Scena Tertia. 36 Scena Quarta. 38 Scena Quinta. 43 Scena Sexta. 47 Scena Septima. 48 Scena Octaua. 50 Actus Quartus. Scena Prima. 51 Scena Secunda. 51 Scena Tertia. 62 Scena Quarta. 63 Actus Quintus. Scena Prima. 65 Scena Secunda. 66 Scena Tertia. 67 Scena Quarta. 69 Scena Quinta. 74 - i - Shakespeare: First Folio The Tragedie of Cymbeline The Tragedie of Cymbeline zz3 Actus Primus. Scoena Prima. 2 Enter two Gentlemen. 3 1.Gent. 4 You do not meet a man but Frownes. 5 Our bloods no more obey the Heauens 6 Then our Courtiers: 7 Still seeme, as do’s the Kings. 8 2 Gent. But what’s the matter? 9 1. His daughter, and the heire of’s kingdome (whom 10 He purpos’d to his wiues sole Sonne, a Widdow 11 That late he married) hath referr’d her selfe 12 Vnto a poore, but worthy Gentleman. She’s wedded, 13 Her Husband banish’d; she imprison’d, all 14 Is outward sorrow, though I thinke the King 15 Be touch’d at very heart. 16 2 None but the King? 17 1 He that hath lost her too: so is the Queene, 18 That most desir’d the Match. -
Lost Incunable Editions: Closing in on an Estimate
chapter 3 Lost Incunable Editions: Closing in on an Estimate Jonathan Green and Frank McIntyre Imagine, if you will, that you are a lepidopterist stationed in the butterfly-rich environment of a tropical Malaysian island. You hope to determine the number of butterfly species that live on the island, and so you resolve to survey an acre- sized patch of it for a month and record the number of individuals of each spe- cies that you find. At the end of the month, you find that a few species of butterfly are represented by a large number of specimens, while many species are repre- sented by only one or a few specimens. These results lead you to suspect that there remain many species of butterfly on the island that your survey has missed, but how many? And how many more species can you expect to discover with additional months of observation? As your opportunity to spend additional months on a tropical island depends on your presenting a convincing argument to your funding agency, these questions are of some urgency for you. This is a brief statement of what is known as the unseen species problem, which has been an area of intense study both within and well outside of the field of ecology for several decades. The example above concerning Malaysian butterflies is drawn from a pathbreaking article published in 1943 by Ronald Fisher, one of the founders of modern biology and statistics, who proposed statistical methods for estimating the number of unseen butterfly species.1 Since then, the development and implementation of these methods has con- tinued, so that several current statistical software packages can provide both an estimate of the number of missing species and determine the confidence interval of that estimation, that is, the range within which one is reasonably certain the actual number lies.2 In an ideal situation, the number of observed butterfly species will rise with each additional month of observation, but the estimate of total species will change only modestly as the confidence interval 1 R.A. -
Shakespeare's First Folio
SHAKESPEARE’S FIRST FOLIO DR. SARAH HIGINBOTHAM GEORGIA INSTITUTE OF TECHNOLOGY OVERVIEW Fall 2016 F2 9:35-10:55 TR Clough 325 D4 1:35-2:55 TR Clough 127 Seven years after William Shakespeare died, one of the world’s most N 12:05-1:25 TR Skiles 308 important books was published: a collection of thirty-six of his plays E-Mail: [email protected] that we now call the “First Folio.” Without the First Folio, we would Office: Stephen C. Hall Building 009 not have Julius Caesar, Macbeth, The Taming of the Shrew, or two plays that have profoundly changed the way that I think, Measure for Measure and Twelfth Night. We also wouldn’t have the iconic stage direction, “exit, pursued by a bear” (The Winter’s Tale). As Georgia Tech phases out its MATERIALS physical library, and as the world celebrates the 400th anniversary of Shakespeare’s death with a First Folio tour, this course will investigate what the First Folio affords us in the twenty-first century. REQUIRED But while Shakespeare is our topic, our goals concern communication Henry V Folger Shakespeare Library, 2009 skills and critical thinking: you will learn to identify relevant questions Hamlet about an issue, synthesize multiple perspectives, assess the soundness of Folger Shakespeare Library, 2005 a position, revise your work based on feedback, and apply your research King Lear to real world issues. The course will also help you formulate and defend Modern Library Classics, 2009 your point of view via written essays, oral presentations, visual analysis, WOVENText and through electronic and nonverbal communication. -
Romeo-And-Juliet-1596480840.Pdf
Romeo and Juliet by Rebecca Olson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted. Contents ACKNOWLEDGEMENTS v PREFACE vii INTRODUCTION x LIST OF MAIN CHARACTERS xvi ACT 1 1 ACT 2 43 ACT 3 80 ACT 4 122 ACT 5 146 GLOSSARY 169 CREATIVE COMMONS LICENSE 180 RECOMMENDED CITATIONS 181 VERSIONING 183 ACKNOWLEDGEMENTS Many thanks to Open Oregon State for publishing and funding this edition, and the OSU School of Writing, Literature, and Film for financial and administrative support. The Oregon Shakespeare Festival made our field trip to Ashland to see Othello both feasible and memorable. And we are much indebted to the teachers and students who took the time to answer our questions and share experiences and lesson plans—thank you! Tessa Barone, Justin Bennett, Ethan Heusser, Aleah Hobbs, and Benjamin Watts served as lead editors for the project. Shannon Fortier, a recent OSU graduate, donated her time and talents. Jac Longstreth (a Biochemistry and Biophysics major!) provided a great deal of research and editing support, funded by the URSA Engage program at OSU. Jessie Heine was our graduate intern extraordinaire. Emily Kirchhofer designed the cover (deftly incorporating an abundance of ideas and opinions). Michelle Miller and Marin Rosenquist completed much of the late-stage editing and also promoted the project at the 2018 OSU Undergraduate Humanities Research Conference. The editors drew on editing work completed by their peers in ENG 435/535 (Fall 2017). And special thanks to Dr. Lara Bovilsky, who in January 2016 generously donated her time to lead ENG 435 students through the University of Oregon’s exhibit devoted to the First Folio (now an online exhibit Time’s Pencil); the student projects that resulted from that class inspired this textbook. -
Johannes Gyllenmun – En Senmedeltida Ikonografisk Förvirring
Johannes Gyllenmun – en senmedeltida ikonografisk förvirring Eva Lindqvist Sandgren Title Saint John, the Golden-mouthed – a Late Mediaeval Iconographical Confusion Abstract The pictorial program in Thott 113, an illuminated French book of hours from c. 1400 in the Royal Library, Copenhagen, is fairly conventional. But instead of the usual evangelist portrait at the beginning of the gospel, St. John is placed on the island of Patmos, where his writing is inter- rupted by a devil who steals his ink. This motif became popular around the middle of the 15th cen- tury in northern France and Flanders, a fact previously noticed by scholars. In this article, however, the motif is connected to Parisian book illumination from a slightly earlier period, i.e. the late 14th or early 15th century, and to some of the illuminators working for Duke Jean de Berry (d. 1416). The motif originated through a confusion of John the evangelist with John Chrysostom. It can be con- nected to a Miracle play, performed annually by the goldsmiths’ guild in Paris during the 14th cen- tury. The book illuminators who used the scene included, for example, the Vergil Master, although the painter of the Thott hours in Copenhagen, the Ravenelle Master, seems to have used it even more frequently. Keywords Miniatures, late medieval book illumination, John the evangelist, John of Patmos, John Chrysostom, Jean bouche d’or, devil, ink horn, Miracle play, Parisian book illumination, Bible his- toriale, book of hours, gold smiths’ guild Author Associate prof./senior lecturer, Dept. of Art History, Uppsala University Email [email protected] Iconographisk Post Nordisk tidskrift för bildtolkning • Nordic Review of Iconography Nr 1, 2015, pp. -
The Nature of Stage Directions in the First Folio
THE NATURE OF STAGE DIRECTIONS IN THE FIRST FOLIO OF SHAKESPEARE -..L.c..:'~ / .~ A Thesis Submitted to the Faculty of the Department of English and the Graduate Council of the Kansas State Teachers College of Emporia In Partial Fulfillment of the Requirements for the Degree Master of Arts by Joan E. VanSickle ::::::" November 8, 1972 , ,< ,~. T), c.~ I .. '.i (I "! { I , Iii, / \'-i co~_~ vedJr t.he/C)' partment ----..r-' /'\ . 0. (~,.,'/ ' / ;';--'; A I:' L-~_ L ~ J __ Graduate Council 331.815 / PREFACE As is readily apparent to any reader of Shakespeare's folio or quarto plays, stage directions are minimal and, at times, almost entirely absent. Quite wisely, therefore, modern editors of Shakespeare have added stage directions to assist readers to an understanding of the stage action. It is not the purpose of this author to comment further upon these editorial additions~ many scholars have already widely discussed and deliberated the accuracies, and inaccuracies, of these later emendations to Shakespeare's own directions. It is, rather, the intent of this author to pursue a study of the stage directions written in Shakespeare's First Folio (1623). Because there are so few stage directions printed, the matter of interpretation and definition of stage action in these plays has become a matter of scholastic concern. Naturally, the study of staging involves more than simply a direct textual study of the stage directions. One must also consider Shakespeare's life and its influence on his plays, the nature of his acting companies and actors, the physical iv and psychological composition of Elizabethan audiences, and 'the structure of the theatres--especially the Globe Theatre, where most of the plays were enacted. -
An Introduction to William Shakespeare's First Folio
An Introduction to William Shakespeare’s First Folio By Ruth Hazel Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. 2 Brush up your Shakespeare The comic gangsters in Kiss Me Kate, Cole Porter’s 1948 musical based on Shakespeare’s The Taming of the Shrew, offer Shakespeare’s poetry – by which they actually mean his plays – as a guaranteed way to a woman’s heart: quoting Shakespeare will impress her and be a sure-fire aphrodisiac. Today, Shakespeare has become a supreme icon of Western European high culture, which is ironic since in his own day Shakespeare’s craft – jobbing playwright – was not a well-regarded one. Indeed, those who wrote plays to entertain the ‘groundlings’ (as the people who paid just one penny to stand in the open yard round the stage in public playhouses were called) were often considered little better than the actors themselves – who, in their turn, were only one level up, in the minds of Puritan moralists, from whores. Shakespeare himself did not seem eager to advertise authorship of his plays by seeing them into print, and when some of his plays were printed, in the handy quarto-sized editions for individual consumption, his name was not always on the title page. (The terms ‘folio’ and ‘quarto’ refer to the size of the pages in a book: in a Folio, each sheet of paper was folded just once, with a page height of approx. -
Romeo and Juliet First Folio
FIRST FOLIO: TEACHER CURRICULUM GUIDE by William Shakespeare directed by David Muse September 9–October 12 FIRST FOLIO Teacher Curriculum Guide Table of Contents Page Number Welcome to the About the Play Shakespeare Theatre Company’s Synopsis of Romeo and Juliet….... ……..…..2 production of The Elizabethan Stage: The Tradition of Romeo and Juliet All-Male Casts.………………………....3 by William Shakespeare! An Interview with Director David Muse.…....4 Family Feud: Montagues vs. Capulets and This season, the Shakespeare Theatre Who’s Who……………………...…..….5 Company presents seven plays by William Shakespeare’s Italy.………….………..……..6 Shakespeare and other classic playwrights. Consistent with the Shakespeare Theatre Classroom Connections Company's central mission to be the leading Before and After the Performance………….7 force in producing and preserving the highest quality classic theatre , the Education Resources and Standards of Learning Department challenges learners of all ages Resource List and Standards of Learning…8 to explore the ideas, emotions and principles Theatre Etiquette……………………………..9 contained in classic texts and to discover the connection between classic theatre and our modern perceptions. We hope that this First The First Folio Teacher Curriculum Guide for Folio Teacher Curriculum Guide will prove Romeo and Juliet was developed by the useful as you prepare to bring your students Shakespeare Theatre Company Education to the theatre! Department and compiled and edited by Caroline Alexander. “Shakespeare’s Italy” For the 2008-09 season, the Education was written by Wendy Leibowitz. Cover Department will publish First Folio Teacher photo of James Davis by Scott Suchman. Curriculum Guides for our productions of Romeo and Juliet, Twelfth Night and Ion. -
The Octavo Package Stefan A
TUGboat, Volume 23 (2002), No. 3/4 269 The Octavo Package Stefan A. Revets Abstract The Octavo package is a modification of the standard LATEX book class, written to help produce books of clas- sical design, format and layout. The page sizes made available are the classical octavo sizes and the margins are calculated according to late Gothic precepts. An at- tempt is made to maintain the uniformity of the printing grid, and display is kept unobtrusive. − − ∗ − − 1 Introduction Donald Knuth developed TEX because of his grow- ing dissatisfaction with the commercial typesetting of his books `The Art of Computer Programming' [4]. The program grew into a typesetting system, with a great deal of attention and ingenuity devoted to the calculations of the placement of letters, words and paragraphs on the page. The preface of the TEXbook begins with the words `This is a handbook about TEX, a new typesetting system intended for the creation of beautiful books . ' [3]. More people began to use TEX, and, with the advent of LATEX, ready-made class files became part of the system. The standard style and class files tended to show off the capabilities of the system, rather than con- form to good design. Philip Taylor put it with some humour and considerable precision: `Knuth, in his closing exhortation, wrote: \Go forth now and create masterpieces of the publishing art." Nowhere, so far as I can trace, did he write: \and let every one of them shriek `TEX' from every page". ' [9]. Class files have been proposed and are available from CTAN which give the more fastidious user the means with which to moderate at least some of the excesses of these standard LATEX styles. -
INCUNABULA of the CLEVELAND MEDICAL LIBRARY ASSOCIATION* Montagnan a , Bartholomaeus
INCUNABULA OF THE CLEVELAND MEDICAL LIBRARY ASSOCIATION* Montagnan a , Bartholomaeus. Consilia [Translated by Paravicius.]—A verroes. CoIIi- medica; tractatus de balneis et de fabribus get. Editio Princeps. Venice, Joannes and cum aliis quibusdam. Editio Princeps. Padua, Gregorius de Gregoriis, de Forlivio, 1490. Laurentius Canozius? 1477? Folio. Folio. Rhaze s . Liber nonus ad Almansorem cum Ser apio n , Joannes. Liber aggregatus in expositione Sillani de Nigris.—Receptae Petri medicinis simplicibus. [Translated into Latin de Tussignano supra nonum ad Almansorem. by Simon Januensis.] Venice, Reynaldus de Venice, [Bonetus Locatellus] for Octavianus Novimagio, 1479. Scotus, 1490. Folio. Folio. Serap ion , Joannes. Brevarium medicinae. Avice nna . Canon de medicina. [Translated Editio Princeps. Venice, Reynaldus de Novi- into Latin by Gerardus Cremonensis and with magio, 1479. Commentary by Gentilis de Fulgineo.] Venice, Folio. Baptista de Tortis. 1490-1495. Hugo Sene ns is (Ugo Benzo ). Super Large folio. quarta fen primi Canonis Avicennae. [Com- Gul iel mus de Sal ice to . Summa con- pleted by Marsilius de Sancta Sophia.] servationis et curationis. Chirugia. Venice, Editio Princeps. Venice, Andreas Calabrensis [Marinus Saracenus] 1490. (Papiensis), 1485. Folio. Folio. Jacobu s Foroli viens is [Giacomo Della Savona rola , Joannes Michael. Practica Torre] Expositio in aphorismos Hippocratis. de egritudinibus a capite usque ad pedes. Venice, Philippus Pincius, 1490. Venice, Andreas de Bonetis de Papia, i486. Folio. Folio. Picus Moran dulan us , Joannes. Heptaplus Rhaze s , or Abu Bakr , Muhammed. EI- de septiformi sex dierum geneseos enerratione. havi: Hoc est liber continens artem medicinae. Editio Princeps. [Florence, Bartolommeo di [Translated from Arabic into Latin by Libri, c. 1490.] Feragius, a doctor of Salerno.] Editio Prin- Folio. -
Romeo & Juliet
Romeo & Juliet by William Shakespeare The title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimiles of Romeo & Juliet , published in the Globe Folios series in association with the British Library, are available from the shop, price £9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West. Sources, early Performance and Publication Shakespeare’s principal sources for Romeo & Romeo & Juliet was almost certainly first Juliet were a long narrative poem called The performed by Shakespeare’s company, the Tragicall Historye of Romeus and Juliet by Arthur Chamberlain’s Men, in or around 1596 – a Brooke, first published in 1562 and, to a lesser ‘lyrical’ period of Shakespeare’s writing career degree, the prose romance Rhomeo and Julietta which also includes A Midsummer Night’s Dream, by William Painter. Both sources were based Richard II and many of the Sonnets . No records on a French version of the Italian story Giulietta exist to tell us where it was first seen, but it e Romeo first published in about 1530. Such is likely to have been either the Theatre or the The Curtain Theatre, Shoreditch (to the right), where Italian ‘novelles’ were popular reading in Curtain playhouse in Shoreditch. It has been Romeo & Juliet was probably first performed in or around Shakespeare’s time and Painter’s collection, suggested that Richard Burbage, the company’s 1596. A detail from Abram Booth’s ‘View of London from The Palace of Pleasure , was singled out by the leading man, took the role of Romeo (he would the North’. -
Macbeth First Folio
1 MACBETH CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department Synopsis 3 challenges learners of all ages to explore the ideas, emotions Characters in Macbeth 4 and principles contained in classic texts and to discover the connection between classic theatre and our modern Shakespeare’s Language 6 perceptions. We hope that this Curriculum Guide will prove Elizabethan England 12 useful to you while preparing to attend Macbeth. Shakespeare’s Genres 13 This curriculum guide provides information and activities to About the Director 14 help students form a personal connection to the play before attending the production. It contains material about the The Double Meanings of Macbeth 16 playwright, their world and their works. Also included are The “Scottish Play” 18 approaches to explore the play in the classroom before and Costume Design 19 after the performance. Theatre Superstitions 21 We encourage you to photocopy these articles and activities Discussion Questions 23 and use them as supplemental material to the text. Resource List 24 Enjoy the show! Theatre Etiquette 25 The First Folio Curriculum Guide for the 2016-2017 Founding Sponsors Season was developed by the Miles Gilburne and Nina Zolt Shakespeare Theatre Company Education Department: Presenting Sponsors Beech Street Foundation Suzanne and Glenn Youngkin Director of Education Samantha K. Wyer Leadership Support Associate Director of Education Dat Ngo D.C. Commission on the Arts & Humanities, an agency Audience Enrichment Manager Hannah Hessel Ratner supported in part by the National Endowment for the Arts Paul M.