DOCSLIB.ORG

Richard II in (5.V.111–2)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard II in (5.V.111–2) Dating Shakespeare’s Plays: The life and deat h of King Richard the second he composition of the play Richard II in (5.v.111–2). While Q1’s author was anonymous, its Quarto form can be assigned anywhere Q2 attributed the play to Shakespeare. between 1587 (the second edition of Q3 appeared in the same year but without the THolinshed) and 1597, the publication of the first frontispiece: quarto. [Q3 1598] The Tragedie of King Richard the second. As it hath beene publikely acted by the Publication Date Right Honourable the Lord Chamberlaine his seruants. By William Shake-speare. London The Tragedy of Richard II was first published in Printed by Valentine Simmes, for Andrew quarto in 1597 and seems to have sold very well. It Wise, and are to be solde at his shop in Paules appeared twice in 1598, with two further quartos churchyard, at the signe of the Angel. 1598. before the First Folio. In 1603, the play was tranferred to Matthew Law: [SR 1597] 29° Augusti. Andrew Wise. Entred for his Copie by appoyntment from master [SR 1603] 25 Junij. Mathew Lawe. Entred Warden Man, The Tragedye of Richard the for his copies in full courte Holden this Second vjd. Day. These ffyve copies folowinge . viz [Q1 1597] The Tragedie of King Richard the iij enterludes or playes . The second of second. As it hath beene publikely acted by the Richard the 2. ... all kinges ... all whiche by right Honourable the Lorde Chamberlaine consent of the Company are sett over to him his Seruants. London Printed by Valentine from Andrew Wyse. Simmes for Andrew Wise, and are to be sold [Q4 1608] The Tragedie of King Richard at his shop in Paules church yard at the signe the second. As it hath been publikely of the Angel. 1597. acted by the Right Honourable the Lord [Q2 1598] The Tragedie of King Richard the Chamberlaine his seruantes. By William second. As it hath beene publikely acted by Shake-speare. London, Printed by W[illiam] the Right Honourable the Lord Chamberlaine W[hite] for Matthew Law, and are to be his seruants. By William Shake-speare. London sold at his shop in Paules Church-yard, at Printed by Valentine Simmes for Andrew the signe of the Foxe. 1608. Wise, and are to be sold at his shop in Paules [in some copies.] The Tragedie of King Richard churchyard at the signe of the Angel. 1598. the Second: With new additions of the Parliament Sceane, and the deposing of King Both Q1 and Q2 have a frontispiece depicting a Richard, As it hath been lately acted by the man with one arm weighed down and his right Kinges Majesties seruantes, at the Globe. By arm (with wings) reaching towards heaven, with William Shake-speare. At London, Printed God in the background beckoning. This would by W. W. for Mathew Law, and are to be sold at his shop in Paules Church-yard, at appear to anticipate Richard’s final words: the signe of the Foxe. 1608. ‘Mount, mount, my soul! Thy seat is up on high / Whilst my gross flesh sinks downward here to die.’ © De Vere Society 1 Dating Shakespeare’s Plays: Title page to the anonymous first and second quartos of Richard II, 1597 and 1598. By permission of Bodleian Library, University of Oxford, shelfmark Arch. G d.45 (4) title page. Q4 contains the first printed example of [Q5 1615] The Tragedie of King Richard the the deposition scene (as “lately acted”, but how Second: With new additions of the Parliament lately is not known). Mention is made only in Sceane, and the deposing of King Richard. some title pages of Q4. It is thought that this As it hath been lately acted by the Kinges Maiesties seruants, at the Globe. By William scene was composed at the same time as the rest 1 Shake-speare At London, Printed for Mathew of the play, but censored. The Q1 text moves Law, and are to be sold at his shop in Paules from Northumberland’s order that the Abbot Church-yard, at the signe of the Foxe. 1615 of Westminster guard the Bishop of Carlisle to [F1 1623] The Life & death of Richard the the abbot’s comment “A woeful pageant have second. [Histories, 23–45, sign.b6–d5. we here beheld.” This makes little sense unless the deposition scene intervenes. Similarly, Chambers says that Q1 is a good text, possibly Bolingbroke’s command “Convey him to the showing the author’s supervision. Later quartos Tower” at the end of the cut portion neatly were thought to have been set successively from anticipates Richard’s next appearance en route each other. The Folio is thought to have been set (5.1.7). It has been accepted that the Deposition from Q5. The play was published anonymously Scene was too politically sensitive for publication in the first quarto and then attributed to William in 1598–1603, as the suggestion of abdication Shake-speare in 1598 in Q2, and in later quartos. might have been treasonably applied to Elizabeth. Tillyard argued that Shakespeare wrote an earlier version of Richard II and that the extant © De Vere Society 2 Dating Shakespeare’s Plays: version is a revision.2 J. Dover Wilson expanded it was Shakespeare’s play which was performed this idea of revision, noting various inconsistencies, on 7 February, 1601, the night before the Essex e.g. Bagot leaves for Ireland (2.3.140), then is rebellion. Against this majority view, Peter Ure executed at Bristol (3.2.122) but is still alive to argued that the work presented at the Globe was be tried at 4.1; Bolingbroke refers obliquely to his Hayward’s prose account The Life and Reigne of marriage without further reference (2.1.168–9); Henry IIII, which had been registered in 1599 and Bolingroke’s suggestion that Bushy and Green published in 1600. Ure’s arguments were expanded had had homosexual relations with Richard by Jon L. Manning and Leeds Barroll, who noted (3.1.11–15). Egan examines the allusive treatment that Hayward’s account of the deposition was to Gloucester’s suspicious death, an event which much more detailed than Shakespeare’s, making precedes the events in the play. explicit links between Essex and Bolingbroke.3 The play was very popular, as Queen Elizabeth Performance Dates herself knew when she remarked shortly after the Essex Rebellion to the Keeper of the Tower of While there are as a number of references to play London: “I am Richard. Know ye not that? . performances in the late Elizabethan period, there this tragedy was played 40tie times in open streets are only two possible references to Richard II in and houses.” (Chambers, WS, I, 354) performance before the First Folio was published A performance in a more exotic location is in 1623. The earliest possible reference is in a letter mentioned by a Captain Keeling in his Journal dated 7 December 1595 in which Sir Edward (30 September 1607), that while off Sierra Leone Hoby invited Sir Robert Cecil to his house in “Captain Hawkins dined with me, wher my Canon Row, Westminster, for what may have companions acted Kinge Richard the Second.” been a performance of Richard II: Simon Forman describes a performance of “Richard the 2 At the Glob” on 30 April Sir, findinge that you wer not convenientlie 1611 but the play does not seem to have been to be at London to morrow night I am bold Shakespeare’s since it involves characters handled to send to knowe whether Teusdaie [9 Dec] very differently, including a treacherous John of may be anie more in your grace to visit poore Gaunt who actively plotted his son’s accession Channon rowe where as late as it shal please you a gate for your supper shal be open: & K (Chambers, WS, I, 354–6). Richard present him selfe to your vewe. Did Shakespeare write a Richard II It is not certain whether the sentence ‘K Richard Part 1 now lost? present him selfe to your vewe’ refers to a performance of a play, or even if this play was Because our version of Richard II starts in medias Shakespeare’s Richard II. Although Hoby sent his res, there have been various commentators who letter two years before the publication of Richard have suggested that Shakespeare had written the II and Richard III, it is thought unlikely that extant play as Part 2 and that Part 1 was either lost Hoby would greet an important guest with a or could be identified in the anonymous Thomas performance of a cruel tyrant such as Richard III. of Woodstock. The characters in Richard II assume If a play was intended, it might have been Thomas considerable knowledge of preceding events of Woodstock or another play dealing with similar involving King Richard, his uncle (Thomas of events. It has also been suggested that Hoby might Woodstock, Duke of Gloucester), Mowbray and have had a portrait of Richard II to show off. Bolingbroke. Gloucester had died mysteriously The play is mentioned by Meres in 1598. At while in custody in Calais, with Mowbray Essex’s trial on 5 June 1600 for his mishandling implicated as the King’s agent, denounced by of events in Ireland, concern was expressed Bolingbroke. These events are not explained in at “he Erle himself being so often present at Richard II, but are covered in Thomas of Woodstock. the playing thereof, and with great applause, In Richard II, Mowbray and Bolingbroke only giving countenance and lyking to the same”.
Load more

Recommended publications
  • 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
    [Show full text]
  • The Second Coming of the Second Tetralogy: Shakespeare’S Depiction of That “Which Is, and Which Was, and Which Is to Come.” (Under the Direction of M
    ABSTRACT PRICE, TRUDY JONES. The Second Coming of the Second Tetralogy: Shakespeare’s Depiction of that “Which is, and Which was, and Which is to come.” (Under the direction of M. Thomas Hester.) Shakespeare’s second tetralogy is framed by various biblical types, images and allusions in order to dramatize a specific period in history in terms of divine history. Shakespeare develops the tetralogy’s structure using the structure of the Bible, beginning with an image of Genesis and ending with an image of Revelation. The first play, The Tragedy of Richard II, portrays England as a fallen “demi-paradise,” reminiscent of Eden, and Richard as a fallen man, a type of Adam whose tragic fall creates the need for a redeemer of England, as reccounted in the providential history of Genesis. This redeemer comes to life in his next two plays, The History of King Henry IV, Parts 1 & 2 in the character of Prince Hal, who is depicted later to be “the mirror of all Christian princes.” Henry IV, Part I dramatizes Hal’s gradual “revelation” as that “redeemer” and also introduces Apocalyptic images in order to foreshadow the hardships portrayed in the next two plays. Henry IV, Part 2 “mocks [our] expectations” raised by Hal’s success as one who will “Redeem…time” by allowing the play to linger on as we wait for Henry IV’s imminent death. The tetralogy presents the Fall of man and need for a redeemer, the waiting time (chronos) that must be endured, and the season and fulfillment of that time (kairos) in order to show the audience how to seize their own kairos and live a life worthy of imitation, as Henry V did.
    [Show full text]
  • Problem Children: Troping Early Modern
    PROBLEM CHILDREN: TROPING EARLY MODERN REPRODUCTION AND DEVELOPMENT By Bethany Packard Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2010 Nashville, Tennessee Approved Professor Leah S. Marcus Professor Kathryn Schwarz Professor Lynn Enterline Professor Katherine Crawford Professor Carol Chillington Rutter Copyright © 2010 by Bethany Packard All Rights Reserved ii To Mary Frances iii ACKNOWLEDGEMENTS This work would not have been possible without generous financial support from multiple sources. The 2009 – 2010 Scholar Award from the Philanthropic Educational Organization has enabled me to focus on writing during my final year of graduate school. A Mellon Visiting Research Fellowship in Renaissance and Early Modern Studies at the University of Warwick for the summer of 2009 provided the opportunity to write and research while also engaging a new campus and new colleagues. Two Folger Institute seminars have served as bookends for the conception and completion of this dissertation project, and I thank fellow participants and leaders of these seminars, and the always-helpful librarians and staff at the Folger Shakespeare Library. The Vanderbilt University Graduate School has enabled international research through a Dissertation Enhancement Grant for Spring 2009 and a College of Arts and Sciences Summer Research Award for 2008. I would like to thank all those I have had the pleasure to work with over the course of this project. Each member of my Dissertation Committee has provided invaluable insights into my dissertation writing process and into the profession itself. I would especially like to thank Professor Leah Marcus, the chair of my committee, both for all she has taught me and for her support and guidance as I worked to find my own voice.
    [Show full text]
  • The History, Printing, and Editing of the Returne from Pernassus
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 1-2009 The History, Printing, and Editing of The Returne from Pernassus Christopher A. Adams College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Recommended Citation Adams, Christopher A., "The History, Printing, and Editing of The Returne from Pernassus" (2009). Undergraduate Honors Theses. Paper 237. https://scholarworks.wm.edu/honorstheses/237 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The History, Printing, and Editing of The Returne from Pernassus A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Christopher A. Adams Accepted for____________________________ (Honors, High Honors, Highest Honors ) _________________________ ___________________________ Paula Blank , Director Monica Potkay , Committee Chair English Department English Department _________________________ ___________________________ Erin Minear George Greenia English Department Modern Language Department Williamsburg, VA December, 2008 1 The History, Printing, and Editing of The Returne from Pernassus 2 Dominus illuminatio mea -ceiling panels of Duke Humfrey’s Library, Oxford 3 Acknowledgments I am deeply indebted to my former adviser, Dr. R. Carter Hailey, for starting me on this pilgrimage with the Parnassus plays. He not only introduced me to the world of Parnassus , but also to the wider world of bibliography. Through his help and guidance I have discovered a fascinating field of research.
    [Show full text]
  • A Rare Early Quarto Edition of Shakespeare's Richard II William Shakespeare, Richard II. London: Andrew Wise, 1598. 6 3/4 Inch
    A rare early quarto edition of Shakespeare’s Richard II William Shakespeare, Richard II. London: Andrew Wise, 1598. 6 3/4 inches x 5 inches (171 mm x 127 mm), [72] pages, A–I4. The | Tragedie of King Ri- | chard the second. | As it hath beene publikely acted by the Right Ho- | nourable the Lorde Chamberlaine his | seruants. | By William Shake-speare. | [Simmes’ device] | London | Printed by Valentine Simmes for Andrew Wise, and | are to be sold at his shop in Paules churchyard at | the signe of the Angel. | 1598. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed.
    [Show full text]
  • Title Jest-Book Formation Through the Early Modern Printing Industry
    Title Jest-book formation through the early modern printing industry: the two different editions of Scoggin's Jests Sub Title 二つのScoggin's Jests : 異なる版が語ること Author 小町谷, 尚子(Komachiya, Naoko) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2014 Jtitle 慶應義塾大学日吉紀要. 英語英米文学 (The Hiyoshi review of English studies). No.65 (2014. 10) ,p.45- 85 Abstract Notes Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10030060-2014103 1-0045 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Jest-book Formation through the Early Modern Printing Industry: The Two Different Editions of Scoggin’s Jests Naoko Komachiya The confusion and conflation of differently originated jester figures date back to Shakespeare’s time. Scoggin’s Jests is often seen as the primary source of jesting material along with Tarlton’s Jests. The apparent identity of these jests with named figures somewhat obscured the true identity of jesters.1) Modern editors identify the socially ambiguous jester Scoggin in Shallow’s episodic recollection of Falstaff, who breaks ‘Scoggin’s head at the court gate’ in Henry IV, Part 2 (III. 2. 28–29), as the jester to Edward IV. René Weis, in explaining that Scoggin’s name was ‘synonymous with “buffoon” in Shakespeare’s day through a mid sixteenth-century jestbook, Scoggin, his iestes’, comments that the reference demonstrates that ‘even the young Falstaff was always brawling with various buffoons’.2) Weis and other editors simply deduce that Shakespeare’s misunderstanding resulted from the circulated name of Scoggin, and they do not show any evidence how the conflation occurred.
    [Show full text]
  • Department of English and American Studies English
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Lucie Wanderburgová William Shakespeare’s Second Historical Tetralogy: A Study B.A. Major Thesis Supervisor: Mgr. Pavel Drábek, Ph. D. 2007 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Acknowledgement I would like to thank my supervisor, Mgr. Pavel Drábek, Ph.D., for his kind help, valuable advice and guidance of my work. Table of Contents 1 Introduction .................................................................................................... 1 2 Shakespearean History Play ........................................................................... 5 2.1 Genre .............................................................................................................................. 5 2.2 Sources .......................................................................................................................... 10 3 Historical and Social Background ................................................................ 13 3.1 Reception of the Plays in Elizabethan Period ......................................................... 13 3.2 Political Situation. Queen Elizabeth‟s Case. ............................................................ 16 4 Second Tetralogy – Reality or Fiction? ......................................................... 19 4.1 Richard II ....................................................................................................................
    [Show full text]
  • Iowa State Journal of Research 56.1
    IOWA STATE JOURNAL OF RESEARCH I MAY, 1982 4'3 -439 Vol. 56, No. 4 IOWA STATE JOURNAL OF RESEARCH TABLE OF CONTENTS Volume 56 (August, 1981-May, 1982) No. 1, August, 1981 ASPECTS IN RENAISSANCE SCHOLARSHIP PAPERS PRESENTED AT "SHAKESPEARE AND HIS CONTEMPORARIES" SYMPOSIUM, 1981 From the Editors. 1 GALYON, L. R. Introduction...................... ...... 5 BEVINGTON, D. M. "Why Should Calamity Be Full of Words?" The Efficacy of Cursing in Richard III . 9 ANDERSON, D. K., Jr. The King's Two Rouses and Providential Revenge in Hamlet . 23 ONUSKA, J. T., Jr. Bringing Shakespeare's Characters Down to Earth: The Significance of Kneeling . 31 MULLIN, M. Catalogue-Index to Productions of the Shakespeare Memorial/Royal Shakespeare Theatre, 1879-1978 . 43 SCHAEFER, A. J. The Shape of the Supernatitral: Fuseli on Shakespeare. 49 POAGUE, L. "Reading" the Prince: Shakespeare, Welles, and Some Aspects of Chimes at Midnight . 57 KNIGHT, W. N. Equity in Shakespeare and His Contemporaries. 67 STATON, S. F. Female Transvestism in Renaissance Comedy: "A Natural Perspective, That Is and Is Not" . 79 IDE, R. S. Elizabethan Revenge Tragedy and the Providential Play-Within-a-Play. 91 STEIN, C.H. Justice and Revenge in The Spanish Tragedy... 97 * * * * * * * * * * No. 2, November, 1981 From the Editors.. ... 105 TABLE OF CONTENTS PUHL, J. Forearm liquid crystal thermograms during sustained and rhythmic handgrip contractions . 107 COUNTRYMAN, D. W. and D. P. KELLEY. Management of existing hardwood stands can be profitable for private woodland owners....... .... 119 MERTINS, C. T. and D. ISLEY. Charles E. Bessey: Botanist, educator, and protagonist . 131 HELSEL, D. B.
    [Show full text]
  • Copyright 2011 Tara Lynn Lyons
    Copyright 2011 Tara Lynn Lyons ENGLISH PRINTED DRAMA IN COLLECTION BEFORE JONSON AND SHAKESPEARE BY TARA LYNN LYONS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Emerita Professor Carol T. Neely, Chair Associate Professor Zachary L. Lesser, University of Pennsylvania Associate Professor Lori Humphrey Newcomb Professor Curtis Perry Abstract Benjamin Jonson’s Works (1616) and William Shakespeare’s Comedies, Histories, and Tragedies (1623) overwhelmingly dominate studies of the English drama collection. This critical focus has revealed much of what we know about the collection as a format for dramatic texts in early modern England, but it has also concealed aspects of the format’s history. Scholars regularly assume that the Jonson and Shakespeare Folios were the first in England to gather dramatic texts in collections; others often treat the volumes as paradigms for how drama collections looked, functioned, and signified. By examining collections printed or compiled from approximately 1512 to 1623, “English Printed Drama in Collection Before Jonson and Shakespeare” offers a new conceptualization of the collection. This dissertation discovers that drama appeared in multiple collected formats other than large folio volumes and was organized around a diversity of principles of collection other than (and in addition to) “the author.” For example, drama was presented in ten-play quarto editions supporting humanist pedagogical agendas, reader-compiled octavo miscellanies created for political persuasion, and serially published sets celebrating the English church and crown. This diversity of collected forms was constructed through different material processes to support the financial and/or ideological aims of various agents, including printers, publishers, booksellers, editors, and readers.
    [Show full text]
  • Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2018 “Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College Recommended Citation Singh, Bandana, "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad" (2018). Scripps Senior Theses. 1140. http://scholarship.claremont.edu/scripps_theses/1140 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “YOUR UNTHOUGHT OF HARRY”: POLITICAL LEGITIMACY AND THE ECONOMY OF HONOR IN SHAKESPEARE’S HENRIAD by BANDANA SINGH SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR PRAKAS PROFESSOR KOENIGS 6 DECEMBER, 2017 !1 Shakespeare’s Henriad delves into questions of divine authority, political legitimacy, and kingly identity.1 While it is unknown whether Shakespeare meant for the plays to be understood as a tetralogy, each play sets up the political climate for the subsequent one. However, the Henriad also tracks a pivotal transition in the understanding and composition of kingship. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s incompetency as a ruler is highlighted by two major offenses: killing his uncle Gloucester, and disinheriting his cousin, Henry Bolingbroke, who eventually leads a rebellion against the corrupted king. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility and highlights two conflicting viewpoints on the office of kingship in relation to political theology.
    [Show full text]
  • Performing Kingship in Richard II
    University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2010-2011: Penn Humanities Forum Undergraduate Virtuality Research Fellows 4-2011 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2011 Cohen, Rachel, ""Thus play I in one person many people:" Performing Kingship in Richard II" (2011). Undergraduate Humanities Forum 2010-2011: Virtuality. 1. https://repository.upenn.edu/uhf_2011/1 Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2011/1 For more information, please contact [email protected]. "Thus play I in one person many people:" Performing Kingship in Richard II Comments Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This other is available at ScholarlyCommons: https://repository.upenn.edu/uhf_2011/1 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen 2010–2011 Penn Humanities Forum Undergraduate Mellon Research Fellowship Cohen 1 “Textual histories are nevertheless histories, and revision, elisions, suppressions, accretions are essential elements of drama by its very nature…” --Stephen Orgel, Impersonations (54) Radically different versions of Shakespeare’s plays have always existed due to the various purposes the texts have served: to stage a performance, to capture a performance retrospectively, or to create a posthumous literary canon. However, for three hundred years, scholars cleaned up and conflated variant editions of Shakespeare’s plays to create composite texts meant to approximate a hypothetical original manuscript.
    [Show full text]
  • 1 Intertraffic
    INTERTRAFFIC: TRANSNATIONAL LITERATURES AND LANGUAGES IN LATE RENAISSANCE ENGLAND AND EUROPE1 Warren Boutcher In the English edition published at London in 1603, John Florio and Samuel Daniel described Montaigne’s Essais as a work of transnational literature. Consider what the paratexts and associated documents reveal about the circumstances of production of this translation.2 Florio, whose father had taken him to Switzerland during the Marian exile, was teaching Italian and French in noble aristocratic households that employed many fellow religious refugees as tutors. These languages were needed by his noble mistresses and their male relatives for the entertainment of important strangers present in England – and in their homes – for diplomatic purposes, whether official or unofficial. The households’ collections – including those of the tutors themselves 1 I am very grateful to the organisers of the 5th Annual St. Andrews Book Conference, ‘International Exchange in the European Book World’, 20-22 June 2013 (especially Matthew McLean and Andrew Pettegree), the participants in the ‘Transnational Literatures’ roundtable at the Renaissance Society of America conference in New York (27-29 March 2014), the members of the University of Leeds Interdisciplinary Renaissance and Early Modern Seminar (especially Alex Bamji), and the participants in the ‘Narrative Conversions’ workshop at the University of York, June 2-3 2014 (especially Helen Smith and Simon Ditchfield). 2 This and the following four paragraphs are based on the biographical entries for John Florio, Edward Blount, and William Ponsonby in the ODNB, Michelangelo Florio in the DBI, the paratexts to the three volumes of Michel de Montaigne, The essayes or morall, politike and millitarie discourses, trans.
    [Show full text]