DOCSLIB.ORG

Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Notes Introduction 1. Ben Jonson, ‘Epitaph on S. P. a Child of Q. El. Chappel’, in Ben Jonson, ed. C. H. Herford, Percy Simpson and Evelyn Simpson, 11 vols (Oxford: Clarendon Press, 1925–52), VIII (1947), p. 77, ll. 1–5. Further references are given in the text. 2. For example, Michael Shapiro, Children of the Revels: The Boy Companies of Shakespeare’s Time and their Plays (New York: Columbia University Press, 1977), p. 104; Glynne Wickham, Herbert Berry and William Ingram, eds, English Professional Theatre, 1530–1660 (Cambridge: Cambridge University Press, 2000), p. 268. 3. See Claire Busse, ‘Pretty Fictions and Little Stories’, in Childhood and Children’s Books in Early Modern Europe, 1550–1800, ed. Andrea Immel and Michael Witmore (London: Routledge, 2006), pp. 75–102 (p. 75). 4. See David Kathman, ‘How Old Were Shakespeare’s Boy Actors?’, Shakespeare Survey, 58 (2005), 220–46 (p. 223). 5. See Philippe Ariès, Centuries of Childhood (New York: Vintage, 1962), pp. 36–7. 6. For ease of reference I will generally refer to ‘the Children of the Queen’s Revels’, but I will use the title appropriate to a particular historical moment when discussing a specific event. 7. See Shapiro, Children of the Revels, p. 104; Shen Lin, “How Old were the Children of Paul’s?”, Theatre Notebook, 45 (1991), 121–31. 8. See Linda Austern, ‘Thomas Ravenscroft: Musical Chronicler of an Elizabethan Theatre Company’, Journal of American Musicological Society, 38 (1985), 238–63; W. Reavley Gair, ‘Chorister-Actors at Paul’s’, Notes and Queries, 25 (1978), 440–1; Lin, p. 124; The National Archive (TNA): Public Record Office (PRO) STAC 5/C46/39, Clifton v. Robinson, Evans and Others, 1601. 9. Cited in W. Reavley Gair, The Children of Paul’s: The Story of a Theatre Company, 1553–1608 (Cambridge: Cambridge University Press, 1982), pp. 154–5 [italics mine]. 10. Charles William Wallace, ‘Shakespeare and His London Associates as Revealed in Recently Discovered Documents’, University Studies, 10.4 (1910), 76–100 (p. 90); M. E. Williams, ‘Field, Nathan (bap. 1587, d. 1619/20)’, in Oxford Dictionary of National Biography, ed. H. C. G. Matthew and Brian Harrison (Oxford: Oxford University Press, 2004), http:// www.oxforddnb.com/view/article/9391. 11. See summary of responses to Ariès in Margaret King, ‘Concepts of Childhood: What We Know and Where We Might Go’, Renaissance Quarterly, 60 (2007), 371–407. 143 144 Notes 12. Kate Chedgzoy, ‘Introduction: “What, are they children?”’, in Shakespeare and Childhood, ed. Kate Chedgzoy, Suzanne Greenhalgh and Robert Shaughnessy (Cambridge: Cambridge University Press, 2007), pp. 15–31 (p. 17). 13. OED def 4, 6, 8. 14. See Keith Thomas, ‘Age and Authority in Early Modern England’, Proceedings of the British Academy, 62 (1976), 205–48, on the gerontocratic society of early modern England. 15. The Office of Christian Parents (London, 1616), p. 43 [italics original]. 16. Francis Beaumont and John Fletcher, The Coxcomb, ed. Irby B. Cathuen, in The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 11 vols (Cambridge: Cambridge University Press, 1966–96), I (1966), pp. 263–366 (2.2.37). 17. Hezekiah Woodward, Childe’s Patrimony (London, 1640), p. 10. 18. OED, def. 2. 19. William Shakespeare, Antony and Cleopatra, in The Norton Shakespeare, ed. Stephen Greenblatt et al. (New York: W. W. Norton & Company, 1997), pp. 2619–708 (5.2.215–17). 20. William Shakespeare, Coriolanus, in The Norton Shakespeare, pp. 2785–872 (5.6.103). 21. OED, def. 1.i. 22. John Marston, Antonio’s Revenge, in ‘The Malcontent’ and Other Plays, ed. Keith Sturgess (Oxford: Oxford University Press, 1997), pp. 117–76 (4.2.70–4). 23. John Marston, Antonio and Mellida, in ‘The Malcontent’ and Other Plays, pp. 1–56 (‘Prologue’, ll. 22–3). 24. Francis Lenton, The Young Man’s Whirligig (London, 1629), p. 2. 25. Lenton, p. 15. 26. Henry Cuffe, The Differences of Ages of Man’s Life (London, 1607), p. 117 [italics original]. 27. The Office of Christian Parents, p. 162. 28. Anna Davin, ‘What is a Child?’, in Childhood in Question, ed. Anthony Fletcher and Stephen Hussey (Manchester: Manchester University Press, 1999), pp. 15–36 (p. 33). 29. T. Sheafe, Vindiciae Senectute (London, 1639), Bv. 30. Bartolomaeus Anglicus, Batman Upon Bartolome his Booke De proprietatibus rerum (London, 1582), p. 73. 31. Barthelemy Batt, De Oeconomia Christiana (London, 1581), p. 10; Thomas Wright, The Passions of the Minde (London, 1601), p. 297. 32. See Margreta de Grazia, ‘Imprints: Shakespeare, Gutenberg, and Descartes’, in Printing and Parenting in Early Modern England (Aldershot: Ashgate, 2005), pp. 29–58. 33. James Cleland, The Institution of a Young Noble Man (London, 1607), p. 23. 34. For example, Lawrence Stone, The Family, Sex and Marriage in England, 1500–1800 (London: Weidenfeld and Nicolson, 1977). 35. See Karìn Lesnik-Oberstein, Children’s Literature: Criticism and the Fictional Child (Oxford: Oxford University Press, 1994), pp. 29–36; Allison James, Notes 145 Chris Jenks, and Alan Prout, Theorizing Childhood (Cambridge: Polity Press, 2002), pp. 146–7. 36. Thomas, p. 205. 37. Judith Kegan Gardiner, ‘Theorizing Age with Gender: Bly’s Boys, Feminism, and Maturity Masculinity’, in Masculinity Studies and Feminist Theory: New Directions, ed. Judith Kegan Gardiner (New York: Columbia University Press, 2002), pp. 90–118 (p. 94). 38. Judith Butler, Gender Trouble (London: Routledge, 1999), p. xvi, raises the question of ‘what happens to the theory when it tries to come to grips with race’. 39. William Shakespeare, As You Like It, in The Norton Shakespeare, pp. 1591–1657 (2.7.141–65). 40. Edward Calver, Passion and Discretion, in Youth and Age (London, 1641), p. 13. 41. Ben Jonson, Timber; or, Discoveries, in Ben Jonson, VIII (1947), pp. 555–649 (p. 597). 42. I.G., A Refutation of the Apology for Actors (London, 1615), p. 16. 43. Jonas Barish, The Anti-Theatrical Prejudice (Berkeley: University of California Press, 1981), pp. 100–3; Laura Levine, Men in Women’s Clothing (Cambridge: Cambridge University Press, 1986), pp. 10–16. 44. William Rankins, A Mirrour of Monsters (London, 1587), bii; William Prynne, Histriomastix (London, 1649), pp. 171, 892. 45. Gilles Deleuze and Felix Guttari, A Thousand Plateaus, trans. Brian Massumi (London: Athlone, 1988), p. 294. 46. Studies of the children’s playing companies include Charles Wallace, The Children of the Chapel at Blackfriars, 1597–1603 (New York: AMS Press, 1908); Harold Hillebrand, The Child Actors: A Chapter in Elizabethan Stage History (New York: Russell & Russell, 1964); Gair, The Children of Paul’s; Shapiro, Children of the Revels; Mary Bly, Queer Virgins and Virgin Queans on the Early Modern Stage (Oxford: Oxford University Press, 2000); and, Lucy Munro, Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge: Cambridge University Press, 2005). 47. TNA: PRO STAC 5/C46/39. 48. In referring to James I’s wife as ‘Anna’ rather than ‘Anne’, I am following Clare McManus, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1619 (Manchester: Manchester University Press, 2002), p. 1. 49. ‘Patent for Children of Queen’s Revels, Jan 4 1610’, in Dramatic Records from the Patent Rolls, Malone Society Collections, III, ed. E. K. Chambers and W. W. Greg (Oxford: Oxford University Press, 1909), pp. 271–2. 50. Richard Dutton, ‘The Revels Office and the Boy Companies, 1600–1613: New Perspectives’, English Literary Renaissance, 32.2 (2002), 324–51 (pp. 340–1). 51. See Bly, pp. 1–27; Shapiro, Children of the Revels, pp. 23–4. 52. Andrew Gurr, The Shakespearian Playing Companies (Oxford: Clarendon Press, 1996), p. 363. 146 Notes 53. Transcribed in Wallace, ‘Shakespeare and His London Associates’, p. 90. 54. For example, Edward Kirkham moved from the Queen’s Revels, who he had managed since 1602, to Paul’s in c. 1605/6, bringing with him Chapman’s Bussy D’Ambois and Marston’s The Fawn. Between 1606 and 1608 he returned to the former company, bringing Middleton’s A Trick to Catch the Old One. 55. Michael Witmore, Pretty Creatures: Children and Fiction in the English Renaissance (Ithaca: Cornell University Press, 2007); Carol Chillington Rutter, Shakespeare and Child’s Play: Performing Lost Boys on Stage and Screen (London: Routledge, 2007). 56. For example, Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare’s England (Cambridge: Cambridge University Press, 1996); Michael Shapiro, Gender in Play on the Shakespearean Stage (Ann Arbor: University of Michigan Press, 1994); Peter Stallybrass, ‘Transvestism and the Body Beneath: Speculating on the Boy Actor’, in Erotic Politics: Desire on the Renaissance Stage, ed. Susan Zimmerman (London: Routledge, 1992), pp. 64–83. 57. McManus, p. 190. 58. Samuel Daniel, Tethy’s Festival, in Court Masques: Jacobean and Caroline Entertainments 1605–1640, ed. David Lindley (Oxford: Oxford University Press, 1995), pp. 54–65 (l. 117). See Barbara Ravelhofer, ‘“Virgin Wax” and “Hairy Men Monsters”: Unstable Movement Codes in the Stuart Masque’, in The Politics of the Stuart Court Masque, ed. David Bevington and Peter Holbrook (Cambridge: Cambridge University Press, 1998), pp. 244–72 (p. 256). 59. See Marion O’Connor, ‘Rachel Fane’s May Masque at Apethorpe 1627’, English Literary Renaissance, 36.1 (2006), 90–104. 60. John Marston, The Entertainment of the Dowager-Countess of Darby, in The Poems of John Marston, ed. Arnold Davenport (Liverpool: Liverpool University Press, 1961), pp. 189–207. 61. Thomas Dekker and Ben Jonson, The Magnificent Entertainment, in Jacobean Civic Pageants, ed. Richard Dutton (Keele: Keele University Press, 1995), pp. 19–115 (p. 85); John Nichols, The Progresses, Processions and Magnificent Festivities of King James I, 4 vols (London, 1828), II, pp. 136–7. 62. Tracey Hill, Anthony Munday and Civic Culture: History, Power and Representation in Early Modern London, 1580–1633 (Manchester: Manchester University Press, 2004), p.
Load more

Recommended publications
  • Front Matter
    Cambridge University Press 978-1-107-00489-4 - The Two Gentlemen of Verona: Updated Edition Edited by Kurt Schlueter Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE TWO GENTLEMEN OF VERONA Professor Schlueter approaches this early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which by their combination show high-flown human ideals as incompatible with each other, and with human nature. A thoroughly researched, illustrated stage history reveals changing conceptions of the play, which nevertheless often fail to come to terms with its subversive impetus. Since the first known production at David Garrick’s Drury Lane Theatre, it has tempted major directors and actors, including John Philip Kemble, William Charles Macready and Charles Kean, who established a tradition of understanding which cast its shadow even on such modern productions as Denis Carey’s famous staging for the Bristol Old Vic and Robin Phillips’s for the Royal Shakespeare Company. This updated edition includes a new introductory section by Lucy Munro on recent stage
    [Show full text]
  • Michael West
    Theater of Enigma in Shakespeare’s England Michael West Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Michael West All rights reserved ABSTRACT Theater of Enigma in Shakespeare’s England Michael West Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma.
    [Show full text]
  • The English Poets
    THE E NG L I S H P O E T S S E LE CT I O N S WITH CR ITI CA L I NTRODUCTI ONS MATTHE W A R NOLD E‘DH ED BY ' Y WA R H P H R D . THO MA S UM , M A L I V O . I ' B EN J ONS QN to D R YD E N Mfihm m m Quirk MA CMI LLA N A ND co. 1 8 8 0 C O NT E NT S . m as BEN J ONSON (1 5734637) ‘ ' Echo s Lam ent of Narcissus (from Cynthia s Revels) V enetian Song (from V olpone) S ong (from Epicae ne) ' Charis Triumph (from Underwoods) Truth (from Hym enaei) ‘ ’ Th e Shepherds Holiday (from Pan 5 Anniversary) M Song before th e Entry cf th e asquers (from Th e Fortunate Isles) Lde to Himself (after th e failure of Th e New I nn) — To Ce a om Th e Fo e Song . li (fr r st) Epigram s To my m ere E nglish Censurer On Court- Worm To Fool or Knave n L c o n e of Be f O u y, C u t ss d ord Epitaph on Salathiel Pavy be E a on E za L . H pit ph li th . An Ode to Himself (from Underwoods) To th e Memory of my Beloved Master William Shakespeare (from th e F Fo o irst li ) . Epitaph on th e Coun tess of Pembroke (from Underwoods) Epitaph on Master Philip G ray (from Underw oo ds) Epode (from Th e Forest) To Heaven (from Th e Forest) WI LLI AM DRUMMOND or HAWTHORND EN (1 585—1 649) H e Editor Extracts from th e Poems S onnets S extai n Song To Chloris Sonn o ir W A e ande et t S .
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • The Senses in Early Modern England, 1558–1660
    The senses in early modern England, 1558–1660 Edited by Simon Smith, Jacqueline Watson, and Amy Kenny MANCHESTER 1824 Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 www.manchesteruniversitypress.co.ukDownloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access The senses in early modern England, 1558–1660 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 1 02/04/2015 16:18 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 2 02/04/2015 16:18 The senses in early modern England, 1558–1660 edited by simon smith, jackie watson and amy kenny Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 3 02/04/2015 16:18 Copyright © Manchester University Press 2015 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for isbn 978 07190 9158 2 hardback First published 2015 The publisher has no responsibility for the persistence or accuracy of URLs for external or any third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
    [Show full text]
  • Bibliography
    206 Fletcherian Dramatic Achievement Bibliography Primary sources Apology for Actors Thomas Dekker, An Apology for Actors (1612), ed. Richard H. Per- kinson, New York 1941 Aristotle Poetics, tr. W. Hamilton Fyfe, The Loeb Classics Library, Cam- bridge, Mass., London 1927 St Augustine St Augustine, The Teacher, in Against the Academicians; and, The Teach- er, trans. Peter King, Indianapolis, Cambridge 1995 Bellenden The Chronicles of Scotland: Compiled by Hector Boece: Translated into Scots by John Bellenden, 1531, ed. R. W. Chambers and Edith C. Batho, vol. I, Edinburgh and London 1938 Bowers I-X The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 10 vols, Cambridge UP 1966–1996 [Cicero] Ad Herennium, tr. Harry Caplan; The Loeb Classical Library, Cambridge, Mass., London 1954 Demetrius and Enanthe MS John Fletcher, Demetrius and Enanthe, ed. Margaret McLaren Cook and F. P. Wilson, The Malone Society Reprints 1950 (1951) Dio Dio Cassius, Dio’s Roman History, tr. Earnest Cary, vol. vii, The Loeb Classical Library, Cambridge, Mass., London 1961 Faithful Friends The Faithful Friends, ed. G. R. Proudfoot and G. M. Pinciss, The Malone Society Reprints 1970 (1975) Henslowe’s Diary Henslowe’s Diary, ed. R. A. Foakes, 2nd edition, Cambridge UP 2002. Howard-Hill (1980) Sir John Van Olden Barnavelt: by John Fletcher and Philip Massinger, ed. T. H. Howard-Hill, The Malone Society Reprints 1979 (1980) Bonduca MS Bonduca: by John Fletcher, ed. W. W. Greg, The Malone Society Re- prints, 1951 Mann Thomas Mann, Doctor Faustus, tr. H. T. Lowe-Porter, Everyman’s Library, vol.80, 1992 Masque of Queens Ben Jonson, The Masque of Queens (1609), published in his Workes (1616): 945–964 Meres Francis Meres, Palladis Tamia (1598), Scholars’ Facsimiles & Re- prints, New York 1938 Metrical Boece (1858) The Buik of the Chroniclis of Scotland; or, A Metrical Version of the History of Hector Boece; By William Stewart (1535), ed.
    [Show full text]
  • The First Quarto of King Henry V Edited by Andrew Gurr Frontmatter More Information
    Cambridge University Press 0521623367 - The First Quarto of King Henry V Edited by Andrew Gurr Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor: Brian Gibbons associate editor: A. R. Braunmuller From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate Editors were A. R. Braunmuller and Robin Hood. THE FIRST QUARTO OF KING HENRY V The quarto text of Henry V is of unique importance. It has the authority of being transcribed by actors in Shakespeare’s own company as a record of their original staging of the play at the Globe in 1599. In this new edition Andrew Gurr argues that the Henry V quarto is probably the best surviving example of a Shakespeare playscript as it was actually performed. The speed with which it came to press only a year after its first staging marks its status as an official version of the play first seen by Elizabethan audiences. As a practical staging text it therefore does much to shed new light on what happened to scripts that the Shakespeare company bought from their resident playwright. The Henry V quarto is radically different from the 1623 First Folio version used in all other editions of the play. It is only half as long, eliminating entire scenes, transposing others, shortening long speeches and streamlining the text into something that could easily be put on as a two-hour performance.
    [Show full text]
  • Simon Smith Music's Mobility
    University of Birmingham The many performance spaces for music at Jacobean indoor playhouses Smith, Simon DOI: 10.1017/9781316488768.003 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Smith, S 2017, The many performance spaces for music at Jacobean indoor playhouses. in D Lindley & B Barclay (eds), Shakespeare, Music and Performance. Cambridge University Press, Cambridge, pp. 29-41. https://doi.org/10.1017/9781316488768.003 Link to publication on Research at Birmingham portal Publisher Rights Statement: This material has been published in revised form in Shakespeare, Music and Performance edited by Bill Barclay, David Lindley https://doi.org/10.1017/9781316488768.003. This version is free to view and download for private research and study only. Not for re- distribution or re-use. © Cambridge University Press. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.
    [Show full text]
  • Romeo at the Rose in 1598
    Issues in Review 149 66 Beeston is one of six men at the Red Bull named in an order for repair of the high- ways by the theatre, dated 3 October 1622; see Bentley, The Jacobean and Caroline Stage, 1.169 n.2. As he had managed Queen Anne’s Men there, and returned there with them after the 1617 riot, it appears that he owned, and continued to own, the theatre. 67 For ‘bifold appeal’ see discussion in Rutter, Work and Play, 110. 68 Exceptions include the Red Bull Revels’ Two Merry Milkmaids, at court in 1619/20, and Gramercy Wit in 1621; see Bentley, The Jacobean and Caroline Stage, 1.173. Romeo at the Rose in 1598 In two plays of the Lord Admiral’s Men — Englishmen for My Money and The Two Angry Women of Abingdon — echoes of Romeo and Juliet appear.1 The first performances of Englishmen took place at the Rose in 1598. Two Angry Women is likely to have played at the same venue in the same year. What may these echoes tell us about the ethos and practices of the Lord Admiral’s Men, about the dramatists who wrote for them, and about the company’s place in the literary and dramatic milieu of the time? I want to argue that the presence of these echoes reveals a degree of inte- gration into urban literary fashion. And I will also suggest that some of the company’s playwrights exhibit the kind of knowing playfulness that was soon to characterize the repertory of the children’s companies and which was already shaping the satires and epigrams to reach print publication at this time.
    [Show full text]
  • Music and Song in Plays Acted by Children's Companies During the English Renaissance Michael Shapiro
    Music and Song in Plays Acted by Children's Companies during the English Renaissance Michael Shapiro In recent years, an impressive amount of scholarship has concerned itself with music and song and their uses in Shakespeare's plays. In addition to the earlier studies of Naylor, Noble, and Cowling, we are now fortunate to have John H. Long's and Frederick Sternfeld's more specialized studies of the uses of music and song in the comedies and tragedies respectively, Peter Seng's useful compendium of information on the songs, and John Cutts's edition of songs used in the later plays. Although we can only rejoice over this signifi- cant body of work, it has created the impression that Shakespeare's plays are typical of the period in their uses of music and song. While this hypothesis may turn out to be valid, it cannot be tested until scholars have thoroughly in- vestigated the uses of music and song in plays written by other dramatists and in plays performed by other acting companies during the same period. In fact, a cursory view of English Renaissance drama suggests, if anything, the atypicality of Shakespeare's uses of music and song. For example, the plays acted by the companies of child actors which flourished between 1599 and 1612 are richer in music and song than are the plays written by Shakespeare and others for adult companies during the same period, and often use music and song in radically different ways. Moreover, the musical conventions in the plays acted by children's troupes were developed in and for small, indoor "private" theaters, and were often adopted by adult troupes after 1609 when they began to move to those theaters from their large, open-roofed "public" theaters.
    [Show full text]
  • Introduction
    Cambridge University Press 0521843561 - Children of the Queen’s Revels: A Jacobean Theatre Repertory Lucy Munro Excerpt More information Introduction Enter PROLOGVE. PRO. From all that’s neere the Court, from all that’s great Within the compasse of the Citty-wals, We now haue brought our Sceane Enter Citizen [from audience]. cit. Hold your peace good-man boy. pro. What do you meane sir? cit. That you haue no good meaning: This seuen yeares there have beene playes at this house, I haue obserued it, you haue still girds at Citizens; and now you call your play, The London Marchant. Downe with your Title, boy, downe with your 1 Title. The light-hearted confrontation staged in the opening scene of Francis Beaumont’s The Knight of the Burning Pestle, first performed around 1607, is typical in many ways of the material dramatised between 1603 and 1613 by the Children of the Queen’s Revels. The Queen’s Revels was the most enduring and influential of the Jacobean children’s companies. Its plays are ambitious and innovative, even avant-garde; its relationship with the audience was informal and, occasionally, combative, with a tendency either to risk confusing spectators with metatheatrical or generic experi- mentation, or to overstep the bounds of what was considered acceptable in political or social satire. Staging a play like The Knight of the Burning Pestle, which opens with this striking and potentially baffling metatheat- rical intervention, was a risky move, but the Queen’s Revels were accustomed to financial, social and political hazard. After the reestablishment in 1599 of the Children of Paul’s, a company that took its boy actors from the ranks of the Cathedral choir school, the Children of the Chapel began to perform at the Blackfriars theatre in 1600.
    [Show full text]
  • Edmund Spenser and Elizabethan Portraiture Author(S): Tarnya Cooper and Andrew Hadfield Source: Renaissance Studies, Vol
    Edmund Spenser and Elizabethan portraiture Author(s): Tarnya Cooper and Andrew Hadfield Source: Renaissance Studies, Vol. 27, No. 3 (JUNE 2013), pp. 407-434 Published by: Wiley Stable URL: https://www.jstor.org/stable/24420119 Accessed: 09-04-2019 14:13 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wiley is collaborating with JSTOR to digitize, preserve and extend access to Renaissance Studies This content downloaded from 117.240.50.232 on Tue, 09 Apr 2019 14:13:08 UTC All use subject to https://about.jstor.org/terms Renaissance Studies Vol. 27 No. 3 DOI: 10.1111/j.l477-4658.2012.00819.x Edmund Spenser and Elizabethan portraiture Tarnya Cooper and Andrew Hadfield Edmund Spenser (1554P-99), although his work is largely the preserve of specialists today, is a recognizable figure from the realms of English Literature from the mid-seventeenth century onwards. He is invariably depicted as a man with a ruff and a neatly clipped beard and, if shown in fuller profile, wearing the doublet and tights that were thought to have been de rigeurat Elizabeth's court. There is no particular distinction between the images produced for a scholarly audience and a more popular one.
    [Show full text]