The English Poets
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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. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Modern Stage Conventions of Realism1 a Defence of Mimetic Inconsistencies
27 Chapter 1 Modern Stage Conventions of Realism1 A Defence of Mimetic Inconsistencies [Arnoldo.] ’tis no illusion. Mine eyes are not deceiv’d, all these are reall (The Custom of the Country 3.2.22–3) [There are] situations in Shakespeare where the unities are violently transgressed and which even the conventionless modern theatre cannot always rescue from absurdity. In Richard II, for example, the telescoped time-scheme of the sequence between Bolingbroke’s departure for exile and the report of his return to England fails markedly to satisfy our post-Ibsenite sense of probability. (Bradley 1992: 28–29) As we are all aware, the more realistic the stage gore, the less we believe in it, the more distracted we become by wondering ‘How did they do that?’ … Naturalists… find it wonderfully easy and gratify- ing to reveal contradictions, silly conventions, artifice of motive and timing and language. They find it less easy to explain why Shakespeare’s fictions convince, more than their own. (Taylor 1985: 54–55) This chapter proceeds from the observation that most modern acting is too lit- eral, too realistic to suit early modern dramatic writing. To have almost the same physical conditions as the Elizabethans is not enough; stage conditions are just the externals. What is also needed is to get closer to their acting style. The King’s Men performed on the proscenium at the Blackfriars, and presumably, produced the same plays with virtually the same acting as in the Globe; appropriate acting is not merely a question of the acting space. Before baroque visuality prevailed in the English theatre, audiences in general went to ‘heare’ a play, not to ‘see’ it.2 Performances were founded on language; acting in the modern sense was second- 1 An earlier version of this chapter was presented as a paper at the Scaena conference at St. -
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. -
Larson 1919 3424498.Pdf
The Treatment of Royalty_ In The Plays of Beaumont and Fletcher • .l!lphild Larson A Thesis submitted ·to the Department of English and the Faculty of the Graduate School of the .University of ·Kansas in partial fulfillment of the Requirements !or a Master's Degree. Approved~ t.,-/J ~ . _Dept~ June 1919. TABLE OF.CONTENTS. Preface. I. Introduction. II. An Analysis of the Plays in Which Royalty Appears. III. Types of Royalty Treated by Beaumont and Fletcher. IV. Divine Right in Beaumont and .Fletcher's Plays. V:. Beaumont and Fletcher's Purpose in Treating Royalty. Conclusion. Chronology of Beaumont ·and Fletcher's Plays in which ,Royalty Appear.a. Bibliography. Index of Characters· and Plays. PBEFACE . The Treatment of Royalty in Beaumont and Fletcher, was suggested by Professor W.S':•Johnson as a subject for this . ) ~ thesis. I~ has not been my task to distinguish the part of each dramatist in regard to authorship. S.inoe the Duke i~ these plays is treated as a Sovereign ruler, he has been included in the study of royalty ·~as ;well as the King, Queen, Prince,. and Princess. I wish to extend my gratitude to Professor W.S.Johnson for his kind and helpful .criti_oi·sm in the preparation of this thesis, and also to Professor S.L.Whitoomb for his beneficial and.needful suggestions• A.• L. ' 1. INTRODUCTION Iri order to appreciate the sy.mpathies and interests of Beaumont and Fletcher, we need to have , a general knowledge· of the national life of England during their time. We also need to know something about the English drama of .this per- iod to understand why our dramatists favored the treatment of·. -
Representations of Gentility in the Dramatic Works Of
REPRESENTATIONS OF GENTILITY IN THE DRAMATIC WORKS OF THE BEAUMONT AND FLETCHER CANON MARINA HILA THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JUNE 1997 2 TABLE OF CONTENTS page Acknowledgments 4 Abstract 5 Abbreviations 7 INTRODUCTION 8 CHAPTER ONE 29 The Tra-qedvof Bonduca (1609-14): Stoic Gentility CHAPTER TWO 73 The Knight of Malta (1616-18): Chivalric Gentility CHAPTER THREE 105 The Humorous Lieutenant (1619): Kings and Ushers CHAPTER FOUR 129 The Nice Valour (1615-16): Gentility and Political Authority CHAPTER FIVE 150 The Queen of Corinth (1616-17): Gentility and Patronage CHAPTER SIX 171 The Elder Brother (1625): Educating the Gentleman CHAPTER SEVEN 193 The Noble Gentleman (1623-26): Theatre of the Absurd CHAPTER EIGHT 221 The Scornful Lady (c. 1608-1610): Christian Language, Fashionable Manners CHAPTER NINE 248 WitwithoutMone (c. 1614): Gentility and Gender: Masculine Bonding, Feminine Charity CHAPTER TEN 272 The Wild-Goose Chase (1621): Good Manners: Gentlemen and 'Gamesters' CHAPTER ELEVEN 306 The Little French Lawye (1619): Quarrelsome Gentility Conclusion 327 Notes 329 Bibliography 340 4 Acknowledgments I am very grateful to my supervisor, Michael Cordner, for his knowledge, expertise and understanding. Without his help, the obstacles I encountered during my work would have been insurmountable. I would also like to thank my parents, Evangelos Hilas & Maria Hila for their support. 5 ABSTRACT The aim of the thesis is to study the dramatization of the selfhood of gentility in the plays of the Beaumont and Fletcher canon, mainly by focusing on issues of dramatic structure and language but also by examining the social or political context which may have generated a particular representation. -
This Essay Is Not for Wider Distribution. Thank You. The
This essay is not for wider distribution. Thank you. The Dearth of the Author Eoin Price ([email protected]) (@eoin_price) 1613 was an annus horribilis for the King’s Men. On June 29, the Globe burned down during a production of Shakespeare and Fletcher’s Henry VIII. By the end of the year, one half of that play’s collaborative team had retired. While the King’s Men rebuilt the Globe, replacing Shakespeare – a writer, a sharer, an actor – was a tougher task. It was a task made harder by the untimely retirement of the stroke-stricken Francis Beaumont, Fletcher’s younger but more senior collaborative partner.1 Beaumont was by this point a big draw for the King’s Men. Having moved from the boy companies, he and Fletcher co-wrote Philaster (1609), A King and No King (1611) and The Maid’s Tragedy (1611) for the King’s Men. Each was apparently a significant success and remained in the company’s repertory for decades.2 These losses surely represented bad news for the King’s Men, but Fletcher may have felt more ambivalent: the dual retirements of Shakespeare and Beaumont afforded him the opportunity to hold a more prominent position within the King’s Men. If there was such a thing as an immediate successor to Shakespeare, then it was Fletcher who best fit the bill. Unlike most writers of his generation, who moved from company to company in a bid to earn a living as a playwright, Fletcher wrote almost exclusively for the King’s Men from 1613. -
Lewis Theobald's Double Falsehood: the Authorship
LEWIS THEOBALD’S DOUBLE FALSEHOOD: THE AUTHORSHIP QUESTION RECONSIDERED Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy by Naseem Alotaibi. JULY 2016 Abstract This thesis offers a response to the recent publication of Lewis Theobald’s Double Falshood 1 (1728) in the Arden Shakespeare series (2010). It questions Shakespeare’s involvement in Double Falsehood’s source play, and presents a number of factors suggesting that Fletcher is possibly its prime (if not its sole) author. This study also addresses other problems relating to Shakespeare’s supposed authorship of the play, including Theobald’s unreliability, which casts doubt on his claims for Shakespeare having any hand in the play: i.e., his plagiarism of other people’s work, and his obsessive imitation of Shakespeare. Because there has been to date no scholarly work dedicated to highlighting Theobald’s contributions to the play, this thesis aims to address this significant gap in scholarship. It does so by examining recent approaches to determining the authorship of Double Falsehood, highlighting the limitations of both stylometric analysis and the use of electronic databases—such as LION—in authorship studies. By identifying such limitations, and by building on recent theories in attribution scholarship, this thesis proposes a new methodology for determining the authorship of the play: one that focuses on locating much longer verbal parallels within Theobald’s other works, rather than counting the frequency of individual words to establish probable attribution. While this thesis criticises the Arden edition for its preoccupation with establishing Shakespeare-Fletcher connections to the play, it shows that the most distinctive parallels can be found in the works of Theobald, as evident in instances of three, four, five, and six consecutive-word parallels, all of which have been overlooked by the Arden editor Brean Hammond. -
Moral Issues in the Plays of Philip Massinger
CERTAINTY AND DOUBT: MORAL ISSUES IN THE PLAYS OF PHILIP MASSINGER by STEVEN HOLDEN, B.A. (HONOURS) Submitted in fulfilment of the requirements for the degree of Master ofJod..(Englih) !:\ University—Of'faSmania March, 1985 Contents Abstract .. • • • • • Prefatory Note • • • • Abbreviations .. • • • • • • • • vi Decadence: Moral, Theatrical and Linguistic .. • • • • • • • • 1 II Characteristic Concerns of Tragedy and Tragicomedy 25 Romance and Satire: the Moral Structure of Massinger's Comedies and Tragi- comedies .. 66 IV The Fatal Dowry, The Duke of Milan and The Unnatural Combat: Moral Order in terms of Guilt and Justice • • • • 105 V The Virgin Martyr, The Roman Actor, and Believe As You List: the Conflict of Individual and State 141 Bibliography . 177 Abstract The theory of decadence in early seventeenth-century drama has generally been misapplied. Chapter I suggests that the moral uncertainty found in many plays is not the product of some kind of perversity but of a sea-change in the way belief, knowledge and law were perceived. The application of an ethical standard which equates a corrupt court with a corrupt private theatre imposes an ideological and inappro- priate interpretation on the drama. I argue that changes in morality, the theatre and literary style are not symptoms of decay. If they are, then Shakespeare may be as culpable as Beaumont and Fletcher. I suggest, in Chapter II, that Shakespeare's tragedies and tragicomedies, like Beaumont and Fletcher's tragicomedies, are tragic and tragicomic precisely because they are uncertain. We usually find an unresolved tension in the ending which prevents us from carrying home a moral for our use and edification. -
Coleridge Literary Remains
COLERIDGE LITERARY REMAINS VOLUME II 2008 – All rights reserved Non commercial use permitted THE LITERARY REMAINS OF SAMUEL TAYLOR COLERIDGE COLLECTED AND EDITED BY HENRY NELSON COLERIDGE, ESQ. M.A. VOLUME THE SECOND CONTENTS VOL. II. LITERARY REMAINS. Extract from a Letter written by Mr. Coleridge, in February, 1818, to a Gentleman who attended the Course of Lectures given in the Spring of that Year. Extract from a Letter to J. Britton, Esq. SHAKSPEARE, WITH INTRODUCTORY MATTER ON POETRY, THE DRAMA, AND THE STAGE Definition of Poetry Greek Drama Progress of the Drama The Drama generally, and Public Taste Shakspeare, a Poet generally Shakspeare's Judgment equal to his Genius Recapitulation, and Summary of the Characteristics of Shakspeare's Dramas Order of Shakspeare's Plays Notes on the Tempest Love's Labour's Lost Midsummer Night's Dream Comedy of Errors As You Like It Twelfth Night All's Well that Ends Well Merry Wives of Windsor Measure for Measure Cymbeline Titus Andronicus Troilus and Cressida Coriolanus Julius Cæsar Antony and Cleopatra Timon of Athens Romeo and Juliet Shakspeare's English Historical Plays King John Richard II. Henry IV. Part I. Henry IV. Part II. Henry V. Henry VI. Part I. Richard III. Lear Hamlet Notes on Macbeth Notes on the Winter's Tale Notes on Othello NOTES ON BEN JONSON Whalley's Preface Whalley's Life of Jonson Every Man out of His Humour Poetaster Fall of Sejanus Volpone Epicène The Alchemist Catiline's Conspiracy Bartholomew Fair The Devil is an Ass The Staple of News The New Inn NOTES ON BEAUMONT AND FLETCHER Harris's Commendatory Poem on Fletcher Life of Fletcher in Stockdale's Edition. -
Overseas Foods and Drugs in Seventeenth Century England
UNIVERSITY OF CALIFORNIA RIVERSIDE Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Jillian Michelle Azevedo June 2014 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Jonathan Eacott Dr. Christine Gailey Copyright by Jillian Michelle Azevedo 2014 This Dissertation of Jillian Michelle Azevedo is approved: __________________________________________ __________________________________________ __________________________________________ Committee Chairperson University of California, Riverside Dedication To my Parents and Grandparents iv ABSTRACT OF THE DISSERTATION Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England by Jillian Michelle Azevedo Doctor of Philosophy, Graduate Program in History University of California, Riverside, June 2014 Dr. Thomas Cogswell, Chairperson During the seventeenth century, the English were integrating foreign foods into their lives at an unprecedented, and previously unacknowledged, rate. This is apparent in both English homes and popular culture, as foreign foods were featured in contemporary recipe books, medical manuals, treatises, travel narratives, and even in plays performed during the period. Their inclusion in the English home and in popular culture is important; it illustrates that there was a general fascination with these foods that went beyond just eating them. When written about in travel narratives or incorporated into plays, the English were able to mentally consume such products. In this manner, they could think about, contemplate, and imagine foreign foods they may or may not have had access to, whether because of high costs or an inability to grow the product domestically. v When featured in contemporary recipe books, medicinal manuals, or treatises describing their virtues, there is an indication that foreign foods were available to the public and were being integrated into English culinary culture. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Performing the Mistress The Emergence of the Modern Mistress on the Early Modern Stage Brooks, Victoria Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Performing the Mistress: The Emergence of the Modern Mistress on the Early Modern Stage Thesis submitted for the degree of Doctor of Philosophy Victoria Brooks King’s College London 2018 1 Abstract This thesis explores the presentation of women in extra-marital relationships on the early modern stage, demonstrating how this modern understanding of the ‘mistress’ emerged performatively while its definition was still evolving.