Boomershine Major Players BEFORE 1500
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THE KINGS and QUEENS of BRITAIN, PART I (From Geoffrey of Monmouth’S Historia Regum Britanniae, Tr
THE KINGS AND QUEENS OF BRITAIN, PART I (from Geoffrey of Monmouth’s Historia Regum Britanniae, tr. Lewis Thorpe) See also Bill Cooper’s extended version (incorporating details given by Nennius’s history and old Welsh texts, and adding hypothesised dates for each monarch, as explained here). See also the various parallel versions of the Arthurian section. Aeneas │ Ascanius │ Silvius = Lavinia’s niece │ Corineus (in Cornwall) Brutus = Ignoge, dtr of Pandrasus │ ┌─────────────┴─┬───────────────┐ Gwendolen = Locrinus Kamber (in Wales) Albanactus (in Scotland) │ └Habren, by Estrildis Maddan ┌──┴──┐ Mempricius Malin │ Ebraucus │ 30 dtrs and 20 sons incl. Brutus Greenshield └Leil └Rud Hud Hudibras └Bladud │ Leir ┌────────────────┴┬──────────────┐ Goneril Regan Cordelia = Maglaurus of Albany = Henwinus of Cornwall = Aganippus of the Franks │ │ Marganus Cunedagius │ Rivallo ┌──┴──┐ Gurgustius (anon) │ │ Sisillius Jago │ Kimarcus │ Gorboduc = Judon ┌──┴──┐ Ferrex Porrex Cloten of Cornwall┐ Dunvallo Molmutius = Tonuuenna ┌──┴──┐ Belinus Brennius = dtr of Elsingius of Norway Gurguit Barbtruc┘ = dtr of Segnius of the Allobroges └Guithelin = Marcia Sisillius┘ ┌┴────┐ Kinarius Danius = Tanguesteaia Morvidus┘ ┌──────┬────┴─┬──────┬──────┐ Gorbonianus Archgallo Elidurus Ingenius Peredurus │ ┌──┴──┐ │ │ │ (anon) Marganus Enniaunus │ Idvallo Runo Gerennus Catellus┘ Millus┘ Porrex┘ Cherin┘ ┌─────┴─┬───────┐ Fulgenius Edadus Andragius Eliud┘ Cledaucus┘ Clotenus┘ Gurgintius┘ Merianus┘ Bledudo┘ Cap┘ Oenus┘ Sisillius┘ ┌──┴──┐ Bledgabred Archmail └Redon └Redechius -
Shakespeare's Gemstones.Indd
SHAKESPEARE’S GEMSTONES DAVID W. BERRY, PHD Droeshout engraving of Shakespeare from the First Folio 1623 SHAKESPEARE’S GEMSTONES by David W. Berry, PhD Copyright © 2005 by David W. Berry All rights reserved. No part of this book may be reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews. TABLE OF CONTENTS I. Introduction ............................................................ 1 II. Background on the Use of Gems in Elizabethan England .................................................................. 7 III. Shakespeare’s Use of Gems as Imagery ............... 21 IV. Shakespeare’s Use of Gems in the Romance Tradition .............................................................. 35 V. The Diamond in Cymbeline: Symbol and Means For Unity ....................................................................... 45 VI. The Two Rings in All’s Well That Ends Well ............ 53 VII. Claudius’s Union: Ritual and Revenge .................... 59 VIII. Duncan’s Gift of a Diamond in Macbeth ................ 67 IX. Shylock’s Turquoise and Diamond .......................... 71 X. Desdemona as Chrysolite and Pearl ........................ 81 XI. Statistics on Gem Reference .................................... 89 Index of Individual Gemstones ............................................ 93 Bibliography ...................................................................... 113 Chapter I INTRODUCTION The many uses that Shakespeare makes of precious stones in his plays and poems is the topic of this book. This topic fi rst appealed to me because it provides a manageable approach to the canon. The thirty-seven plays, one hundred and fi fty-four sonnets, and other poems, along with a mountain of criticism about these works can overwhelm a reader. However, the subject of gemstones offers a narrow focus that is quite manageable. Another reason why this topic appealed to me is that it provides a special insight into Shakespeare’s art. -
19Tf? Annual Colorado Shakespeare 5®Stii>A(
19tf? Annual Colorado Shakespeare 5®stii>a( The Comedy of Errors • The Tempest • King John DEPARTMENT OF THEATRE AND DANCE c n L n u a n o s rxjkesn«ciK« University of Colorado® Boulder, Colorado 80309 |Zc?sti'waL Summer 1976 Dear Lover of Shakespeare’s Works: Those who truly love Shakespeare in the theatre will be pleased to learn about the CSh A n nual, a scholarly journal devoted to the art of producing Shakespeare for contemporary audi ences. Eighteen years of experience performing all the Shakespeare plays in the Mary Rip- pon Theatre leave us with a vivid realization of the extent to which the full appreciation of Shakespeare’s content and craftsmanship is dependent on relating to his work in the context for which it was written—the artistic transaction of theatrical production. A significant part of Shakespeare’s greatness has been his capacity to speak meaningfully and movingly to successive generations and diverse cultures. On whatever pedestals we would put him, we must certainly maintain a place for him in our contemporary theatres. His work calls for actors and scenic artists, stages and audiences. It also warrants the attention of those whose scholarship can reflect their practice of his own theatrical art and their sharing of his commitment to make scripts come alive in the theatre. To stimulate such at tention and to make available to others the fruits of such attention—these are the goals of the CSF Annual. The A nnual will grow out of each Colorado Shakespeare Festival. Its basic format will consist of three sections. -
Augustine and the Art of Ruling in the Carolingian Imperial Period
Augustine and the Art of Ruling in the Carolingian Imperial Period This volume is an investigation of how Augustine was received in the Carolingian period, and the elements of his thought which had an impact on Carolingian ideas of ‘state’, rulership and ethics. It focuses on Alcuin of York and Hincmar of Rheims, authors and political advisers to Charlemagne and to Charles the Bald, respectively. It examines how they used Augustinian political thought and ethics, as manifested in the De civitate Dei, to give more weight to their advice. A comparative approach sheds light on the differences between Charlemagne’s reign and that of his grandson. It scrutinizes Alcuin’s and Hincmar’s discussions of empire, rulership and the moral conduct of political agents during which both drew on the De civitate Dei, although each came away with a different understanding. By means of a philological–historical approach, the book offers a deeper reading and treats the Latin texts as political discourses defined by content and language. Sophia Moesch is currently an SNSF-funded postdoctoral fellow at the University of Oxford, working on a project entitled ‘Developing Principles of Good Govern- ance: Latin and Greek Political Advice during the Carolingian and Macedonian Reforms’. She completed her PhD in History at King’s College London. Augustine and the Art of Ruling in the Carolingian Imperial Period Political Discourse in Alcuin of York and Hincmar of Rheims Sophia Moesch First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business Published with the support of the Swiss National Science Foundation. -
Emperors and Generals in the Fourth Century Doug Lee Roman
Emperors and Generals in the Fourth Century Doug Lee Roman emperors had always been conscious of the political power of the military establishment. In his well-known assessment of the secrets of Augustus’ success, Tacitus observed that he had “won over the soldiers with gifts”,1 while Septimius Severus is famously reported to have advised his sons to “be harmonious, enrich the soldiers, and despise the rest”.2 Since both men had gained power after fiercely contested periods of civil war, it is hardly surprising that they were mindful of the importance of conciliating this particular constituency. Emperors’ awareness of this can only have been intensified by the prolonged and repeated incidence of civil war during the mid third century, as well as by emperors themselves increasingly coming from military backgrounds during this period. At the same time, the sheer frequency with which armies were able to make and unmake emperors in the mid third century must have served to reinforce soldiers’ sense of their potential to influence the empire’s affairs and extract concessions from emperors. The stage was thus set for a fourth century in which the stakes were high in relations between emperors and the military, with a distinct risk that, if those relations were not handled judiciously, the empire might fragment, as it almost did in the 260s and 270s. 1 Tac. Ann. 1.2. 2 Cass. Dio 76.15.2. Just as emperors of earlier centuries had taken care to conciliate the rank and file by various means,3 so too fourth-century emperors deployed a range of measures designed to win and retain the loyalties of the soldiery. -
Some Kaylor-Smeltzer Genealogy
Some Kaylor-Smeltzer Genealogy Two years ago, while attempting once more to extend some of the family King William I (the Conqueror) tree, I found some web-based sources that yielded quite unanticipated break- 1028 – 1087 King Henry I (Henry Beauclerc) throughs. The family involved was Estep – my grandmother Cline’s family. 1068 – 1135 Since they were Mennonites, I had fallaciously assumed that this was a Ger- Empress Matilda (Lady of the English) man family and that they had arrived in Pennsylvania in the 1730-1770 pe- 1102 – 1167 King Henry II (Curtmantle) riod – the first wave of German immigration. I was wrong on three fronts: 1133 – 1189 the family was English, had arrived much earlier, and came to Maryland. As King John (John Lackland) of this moment, I have found quite a few ancestors. But quite unexpectedly, 1166 – 1216 I found very similar results with the Smeltzer family: it had intermarried in King Henry III (Henry of Winchester) 1207 – 1272 Maryland with English and that led to many discoveries. I am still progress- King Edward I (Longshanks) ing on this but I have already entered nearly 22,000 names of our direct 1239 – 1307 ancestors – and maybe a hundred children of these direct ancestors. (Every- King Edward II 1284 – 1327 one discussed in this message is a direct ancestor.) In the process, I found King Edward III Vikings and Visigoths, Popes and peasants, people who were sainted and peo- 1312 – 1401 ple who were skinned alive. As an example, at right, I present the descent Duke Edmund of Langley from William “the Conqueror” to our grand-mother. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
A Welsh Classical Dictionary
A WELSH CLASSICAL DICTIONARY DACHUN, saint of Bodmin. See s.n. Credan. He has been wrongly identified with an Irish saint Dagan in LBS II.281, 285. G.H.Doble seems to have been misled in the same way (The Saints of Cornwall, IV. 156). DAGAN or DANOG, abbot of Llancarfan. He appears as Danoc in one of the ‘Llancarfan Charters’ appended to the Life of St.Cadog (§62 in VSB p.130). Here he is a clerical witness with Sulien (presumably abbot) and king Morgan [ab Athrwys]. He appears as abbot of Llancarfan in five charters in the Book of Llandaf, where he is called Danoc abbas Carbani Uallis (BLD 179c), and Dagan(us) abbas Carbani Uallis (BLD 158, 175, 186b, 195). In these five charters he is contemporary with bishop Berthwyn and Ithel ap Morgan, king of Glywysing. He succeeded Sulien as abbot and was succeeded by Paul. See Trans.Cym., 1948 pp.291-2, (but ignore the dates), and compare Wendy Davies, LlCh p.55 where Danog and Dagan are distinguished. Wendy Davies dates the BLD charters c.A.D.722 to 740 (ibid., pp.102 - 114). DALLDAF ail CUNIN COF. (Legendary). He is included in the tale of ‘Culhwch and Olwen’ as one of the warriors of Arthur's Court: Dalldaf eil Kimin Cof (WM 460, RM 106). In a triad (TYP no.73) he is called Dalldaf eil Cunyn Cof, one of the ‘Three Peers’ of Arthur's Court. In another triad (TYP no.41) we are told that Fferlas (Grey Fetlock), the horse of Dalldaf eil Cunin Cof, was one of the ‘Three Lovers' Horses’ (or perhaps ‘Beloved Horses’). -
Series Summary Index Vols
SERIES SUMMARY INDEX VOLS. XXXI-XL (1962-1971) R. H. THOMPSON Abbreviations: c. century; exh. exhibited, exhibition(s) (by); i.m. initial mark: obit. obituary (of): obv. obverse; pl(s). plate(s); rev. review of, reviewed, reverse. Omissions: Accounts, elections within the Society, and other regular features (dates of election being given in each List of Members); subject entries for most reviews. Deaths, exhibitions, readers and their subjects, reviews, are entered under their individual head- ings, as also are finds, with references from Finds . according to the series and date of the material. References to places in the British Isles are collected by county. Aberdeen, mint (James III), XL. 82-4, pi. v /Ethelred II, Last Small Cross type, obv. pointed Aberdeenshire, see also Birse parish helmet, xxxix. 201, 204, pi. ix Aberystwyth, mint (Charles I, unites), see Chester — Long Cross type, see also Lincoln, London, Stam- Addedomaros (Trinovantes), see also British Lx ford, mints — staters, xxxvir. 190, pi. xxi subsidiary issue, xxxiv. 37-41, pis. ii-iii; exh., Advertising (Imitation spade guineas), see Imitation 189; read, 188 spade guineas, advertisements — types, chronology, xxxv. 37; xxxix. 200 Alfred, see Alfred /Ethelred (Canterbury), coinage, xxxi. 43-4, pi. iii; /Ethelbald, coins, see Forgery exh., 173 /Ethelred I, coins, exh., xxxvu. 215 /Ethelstan, see Athelstan — type i, lunettes unbroken, moneyer Ethelred, /Ethelwald Moll (Northumbria), coin, xxxvi. 216 xxxvi. 33-4 /Ethelwulf, coinage, xxxn. 19; xxxvii. 226-7; exh., /Ethelred II, see also Chester, Northampton, South- 215 ampton, mints; Southampton/Winchester die- /Ethered (Canterbury), see /Ethelred linking Alderwasley (Derbys.), find 1971 (16-17 c.), XL. -
Collector's Checklist for Roman Imperial Coinage
Liberty Coin Service Collector’s Checklist for Roman Imperial Coinage (49 BC - AD 518) The Twelve Caesars - The Julio-Claudians and the Flavians (49 BC - AD 96) Purchase Emperor Denomination Grade Date Price Julius Caesar (49-44 BC) Augustus (31 BC-AD 14) Tiberius (AD 14 - AD 37) Caligula (AD 37 - AD 41) Claudius (AD 41 - AD 54) Tiberius Nero (AD 54 - AD 68) Galba (AD 68 - AD 69) Otho (AD 69) Nero Vitellius (AD 69) Vespasian (AD 69 - AD 79) Otho Titus (AD 79 - AD 81) Domitian (AD 81 - AD 96) The Nerva-Antonine Dynasty (AD 96 - AD 192) Nerva (AD 96-AD 98) Trajan (AD 98-AD 117) Hadrian (AD 117 - AD 138) Antoninus Pius (AD 138 - AD 161) Marcus Aurelius (AD 161 - AD 180) Hadrian Lucius Verus (AD 161 - AD 169) Commodus (AD 177 - AD 192) Marcus Aurelius Years of Transition (AD 193 - AD 195) Pertinax (AD 193) Didius Julianus (AD 193) Pescennius Niger (AD 193) Clodius Albinus (AD 193- AD 195) The Severans (AD 193 - AD 235) Clodius Albinus Septimus Severus (AD 193 - AD 211) Caracalla (AD 198 - AD 217) Purchase Emperor Denomination Grade Date Price Geta (AD 209 - AD 212) Macrinus (AD 217 - AD 218) Diadumedian as Caesar (AD 217 - AD 218) Elagabalus (AD 218 - AD 222) Severus Alexander (AD 222 - AD 235) Severus The Military Emperors (AD 235 - AD 284) Alexander Maximinus (AD 235 - AD 238) Maximus Caesar (AD 235 - AD 238) Balbinus (AD 238) Maximinus Pupienus (AD 238) Gordian I (AD 238) Gordian II (AD 238) Gordian III (AD 238 - AD 244) Philip I (AD 244 - AD 249) Philip II (AD 247 - AD 249) Gordian III Trajan Decius (AD 249 - AD 251) Herennius Etruscus -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
"Theater and Empire: a History of Assumptions in the English-Speaking Atlantic World, 1700-1860"
"THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" BY ©2008 Douglas S. Harvey Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ____________________________________ Chairperson Committee Members* ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Defended: April 7, 2008 The Dissertation Committee for Douglas S. Harvey certifies that this is the approved version of the following dissertation: "THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" Committee ____________________________________ Chairperson ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Approved: April 7, 2008 ii Abstract It was no coincidence that commercial theater, a market society, the British middle class, and the “first” British Empire arose more or less simultaneously. In the seventeenth century, the new market economic paradigm became increasingly dominant, replacing the old feudal economy. Theater functioned to “explain” this arrangement to the general populace and gradually it became part of what I call a “culture of empire” – a culture built up around the search for resources and markets that characterized imperial expansion. It also rationalized the depredations the Empire brought to those whose resources and labor were coveted by expansionists. This process intensified with the independence of the thirteen North American colonies, and theater began representing Native Americans and African American populations in ways that rationalized the dominant society’s behavior toward them. By utilizing an interdisciplinary approach, this research attempts to advance a more nuanced and realistic narrative of empire in the early modern and early republic periods.