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Life Portraits Illian Si Ak Hart
LI F E PO RT RA I T S ” T I L L I A N S I A K H A R A HI ST O RY O F THE VAR OU RE RE ENTAT ON OF THE OET WI TH A N I S P S I S P , I N T R A T ENT TY E" A MI NAT I ON TO H E I U H I C I . 6 x 9/ B “ Y . HA N y I FR I SWE L L . ' ’ ‘ ’ ’ ’ [llzzslratm é " Pfi oto ra fis o th e most a utfiemz c Pan m z fs and wz flz ) g p f , Views "f a é C ND D NE C O . , " U ALL, OW S , T H E F F L T O N H E A D O F S B A K S P RA R F L O N D N A M P L W N O S S O N O , SO , A H L x LU DG TE L . 4 , I 1 8 64 . L O N DO N R G AY S O N A N D A \ LO P I E S , T R , R NT R , BR E A D S TR E E T H I L L THE RE SI DENT P , V C E - R E D E N T I P S I S , AND BROT HE R M EMBERS OF T HE C OMMITT EE FO R RA ISING A NAT I ONA L M EMORI A L T O P E A R E S H A K S , T HIS VOLU M E IS D EDI CAT ED BY R T HE A UT HO . -
The Play of 'Sir Thomas More' and Shakespeare's Hand in It
79 THE PLAY OF 'SIR THOMAS MORE' AND SHAKESPEARE'S HAND IN IT. Downloaded from I HE announcement late last year by an expert in palaeography that a holo- I graph manuscript of Shakespeare is http://library.oxfordjournals.org/ preserved in the British Museum was an event of national importance, though the Press universally ignored it. Perhaps that was characteristic of * the usual channels of information,' as we call them in satiric moments; but the omission was deplorable, even in war time. For the claim was not the shallow guesswork of at University of California, San Diego on June 5, 2015 an amateur; it was the outcome of an exhaustive study of Shakespeare's handwriting, made by so high an authority as Sir Edward Maunde Thompson.1 The work crowned with this unique distinction is a play entitled 'The Bookc of Sir Thomas Moore,' preserved in Harlcy MS. 7368. It is a thin folio, the thirteen original leaves of which have been identified as in the autograph of Anthony Munday. A mixed assortment of plays, pageants, poems, translations of romances, annals, and miscel- laneous pamphlets issued from his facile pen between 1577 and 1633. Once, and once only, a contem- porary made the mistake of placing him on a 1 ' Shakespeare's Handwriting. A Study by Sir Edward Maunde Thompson.' Oxford, the Clarendon Press, 1916. See also the first Review. 80 THE PLAY OF 'SIR T. MORE' pinnacle of genius. Looking round on the the- atrical world in 1598, Francis Meres enumerated the chief English writers of comedy, and from a group which ^included Shakespeare, singled out Munday as ' our best plotter.' Even if his other Downloaded from plays afforded any justification for this extravagant eulogy, ' Sir Thomas More' would go far to in- validate it. -
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal. -
Secrets of the Droeshout Shakespeare Etching
For every reader of the First Folio, from Sir George Greenwood and W.W. Greg to Leah Marcus, the Droeshout Portrait has been an unsolved puzzle, symbolic of the disturbing mystery, who wrote the canon of plays? Emerson considered this “the first of all literary questions.” Nor have we solved the riddle, “To the Reader”, on the facing page. Without an understanding of these blatant challenges, the most knowledgeable follower of “Shakespeare” is kept from the author and how he lived, essential to appreciating any work of art. The key that turns the lock opens the door. All Rights Reserved – Copyright © 2013 WJ Ray 1 Preface THE GEOMETRY OF THE DROESHOUT PORTRAIT I encourage the reader to print out the three graphics in order to follow this description. The Droeshout-based drawings are nominally accurate and to scale, based on the dimensions presented in S. Schoenbaum’s ‘William Shakespeare A Documentary Life’, p. 259’s photographic replica of the frontispiece of the First Folio, British Museum’s STC 22273, Oxford University Press, 1975. The Portrait depictions throughout the essay are from the Yale University Press’s facsimile First Folio, 1955 edition. It is particularly distinct and undamaged. In the essay that follows, a structure behind the extensive identification graphics is implied but not explained. The preface explains the hidden design. The Droeshout pictogram doubles as near-hominid portraiture, while fulfilling a profound act of allegiance and chivalric honor to Edward de Vere, 17th Earl of Oxford, by repeatedly locating his surname and title in the image. The surname identification is confirmed in Jonson’s facing poem. -
Streatham T Th Eea Rcompany
streatham presents in association with theatrecompany A promenade performance in and around St. Leonard’s Design: dnharvey 20, 21, 22 Sept 2018 at 7.30pm plus Matinee on 22 Sept at 3pm Doors and licensed bar open 30 minutes prior St. Leonard’s Church, Tooting Bec Gardens, Streatham, SW16 1HS. Tickets: Adults £10, Members/Concessions £8. www.streathamtheatre.org.uk 0333 666 3366 No booking fee for online booking with e-ticket Standard rate, booking fee Streatham Theatre Company presents By William Shakespeare and adapted by Liz Burton The Streatham Connection “Hamlet off the Street in the hamlet on the street…” During most of Shakespeare’s Streatham means ‘hamlet on the street’, but performing a career, Edmund Tylney (or show literally on a street is a major headache, so we’re taking Tilney) was Master of the Revels William Shakespeare’s Hamlet off the street, to our beautiful responsible for the censorship St. Leonard’s church with the audience following the action as of drama in England. it unfolds inside and outside the building. Tylney is buried Hamlet is justly one of Shakespeare’s best-known plays, with a in a tomb in powerful story and some of the most beautiful speeches and St. Leonards familiar sayings ever written in English. It is normally 3 hours and celebrated long, but our much shorter adaptation tells the story by in the Streatham linking the most famous scenes with narration and music. Window. It introduces Hamlet to people who may not have the In the film Shakespeare in Love, inclination or opportunity to see a full production, and to give Tylney’s role was played by actors who are inexperienced in acting Shakespeare a chance Streathamite Simon Callow. -
Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question
University of Miami Law Review Volume 57 Number 2 Article 4 1-1-2003 Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Thomas Regnier Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation Thomas Regnier, Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question, 57 U. Miami L. Rev. 377 (2003) Available at: https://repository.law.miami.edu/umlr/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. COMMENT Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Shakespeare couldn't have written Shakespeare's works, for the reason that the man who wrote them was limitlessly familiar with the laws, and the law-courts, and law-proceedings, and lawyer-talk, and lawyer-ways-and if Shakespeare was possessed of the infinitely- divided star-dust that constituted this vast wealth, how did he get it, and where, and when? . [A] man can't handle glibly and easily and comfortably and successfully the argot of a trade at which he has not personally served. He will make mistakes; he will not, and can- not, get the trade-phrasings precisely and exactly right; and the moment he departs, by even a shade, from a common trade-form, the reader who has served that trade will know the writer hasn't. -
Much Ado About Nothing
SI Nov. Dec 11_SI new design masters 9/27/11 12:43 PM Page 38 Much Ado about Nothing Anti-Stratfordians start with the answer they want and work backward to the evidence—the opposite of good science and scholarship. They reverse the standards of objective inquiry, replacing them with pseudoscience and pseudohistory. ould a mere commoner have been the greatest and most admired play- wright of the English language? In- Cdeed, could a “near-illiterate” have amassed the “encyclopedic” knowledge that fills page after page of plays and poetry attrib- uted to William Shakespeare of Stratford- upon-Avon? Those known as “anti-Strat - fordians” insist the works were penned by another, one more worthy in their estima- tion, as part of an elaborate conspiracy that may even involve secret messages en- crypted in the text. Now, there are serious, scholarly questions relating to Shakespeare’s authorship, as I learned while doing graduate work at the University of Kentucky and teaching an under- graduate course, Survey of English Literature. For a chapter of my dissertation, I investigated the questioned attribution of the play Pericles to see whether it was a collaborative effort (as some scholars suspected, seeing a disparity in style be- tween the first portion, acts I and II, and the remainder) or—as I found, taking an innovative approach—entirely written by Shakespeare (see Nickell 1987, 82–108). How- ever, such literary analysis is quite different from the efforts of the anti-Stratfordians, who are mostly nonacademics and, according to one critic (Keller 2009, 1–9), “pseudo-scholars.” SI Nov. -
Shakespeare and the Supernatural
Introduction: Shakespeare and the supernatural V i c t o r i a B l a d e n a n d Ya n B r a i l o w s k y Supernatural elements constitute a signifi cant dimension of Shakespeare ’ s plays: ghosts haunt political spaces and internal psyches; witches foresee the future and disturb the present; fairies meddle with love; natural portents and dreams foreshadow events; and a magus conjures a tempest from the elements. Th ese aspects contribute to the dramatic power and intrigue of the plays, whether they are treated in performance with irony, comedic eff ect or unsettling gravity. Although Shakespeare ’ s plays were written and performed for early modern audiences, for whom the supernatural, whether sacred, demonic or folkloric, was still part of the fabric of everyday life, these supernatural elements continue to enthral us, and maintain their power to raise a range of questions in more contemporary contexts. Supernatural elements implicitly question the border between the human and the non-human, and between the visible and the unseen. Th ey also raise questions of control and agency that intersect with the exercise of power, a central focus across Shakespeare ’ s œuvre . Shakespeare drew on the supernatural in all of his dramatic genres and throughout his career, from the early histories (such as Richard III and Henry VI, Part II ) to the late romances (such as Th e Winter’s Tale, Cymbeline and Th e Tempest ), in tragedies ( Julius Caesar, Hamlet and Macbeth ) and in comedy ( A Midsummer Night’s Dream ), suggesting the importance of the supernatural in his approach to drama. -
Oxford by the Numbers: What Are the Odds That the Earl of Oxford Could Have Written Shakespeare’S Poems and Plays?
OXFORD BY THE NUMBERS: WHAT ARE THE ODDS THAT THE EARL OF OXFORD COULD HAVE WRITTEN SHAKESPEARE’S POEMS AND PLAYS? WARD E.Y. ELLIOTT AND ROBERT J. VALENZA* Alan Nelson and Steven May, the two leading Oxford documents scholars in the world, have shown that, although many documents connect William Shakspere of Stratford to Shakespeare’s poems and plays, no documents make a similar connection for Oxford. The documents, they say, support Shakespeare, not Oxford. Our internal- evidence stylometric tests provide no support for Oxford. In terms of quantifiable stylistic attributes, Oxford’s verse and Shakespeare’s verse are light years apart. The odds that either could have written the other’s work are much lower than the odds of getting hit by lightning. Several of Shakespeare’s stylistic habits did change during his writing lifetime and continued to change years after Oxford’s death. Oxfordian efforts to fix this problem by conjecturally re-dating the plays twelve years earlier have not helped his case. The re-datings are likewise ill- documented or undocumented, and even if they were substantiated, they would only make Oxford’s stylistic mismatches with early Shakespeare more glaring. Some Oxfordians now concede that Oxford differs from Shakespeare but argue that the differences are developmental, like those between a caterpillar and a butterfly. This argument is neither documented nor plausible. It asks us to believe, without supporting evidence, that at age forty-three, Oxford abruptly changed seven to nine of his previously constant writing habits to match those of Shakespeare and then froze all but four habits again into Shakespeare’s likeness for the rest of his writing days. -
Isabel Vives, William Shakespeare's Mystery, the Theories About His
GRAU D’ESTUDIS ANGLESOS Treball de Fi de Grau Curs 2017-2018 WILLIAM SHAKESPEARE’S MYSTERY - THE THEORIES ABOUT HIS EXISTENCE - NOM DE L’ESTUDIANT: Isabel Vives Ginard NOM DEL TUTOR: Enric Montforte Rabascall Barcelona, 18 de juny de 2018 ABSTRACT William Shakespeare is known for being one of the most relevant writers in the history of English literature. His ability to write, his vocabulary and his knowledge of the world, among others, have made of his plays a treasure in the world’s literature of all times. His perfection in writing is precisely the reason why critics have questioned over time whether William Shakespeare was the real author of the plays attributed to him. Who was William Shakespeare? Or who was the author writing behind the name of William Shakespeare? Several Anti-Stratfordians, those who deny Shakespeare’s authorship, have suggested their candidates and have explained the reasons why they are totally plausible Shakespeares. Nonetheless, there are critics who remain faithful to the theory that William Shakespeare did exist and that the only real author of the plays attributed to him was Shakespeare himself. This paper focuses on these two points of view about William Shakespeare’s existence, trying to approach the truth about the authorship of Shakespeare’s plays. Key words: Shakespeare, authorship controversy, Anti-Stradfordians, Stratfordians RESUM William Shakespeare és conegut per ser un dels autors més rellevants de la història de la literatura anglesa. La seva habilitat en l’escriptura, el seu vocabulari i el seu coneixement del món, entre d’altres, han fet de les seves obres un tresor de la literatura universal de tots els temps. -
Shakespeare Authorship Question 1 Shakespeare Authorship Question
Shakespeare authorship question 1 Shakespeare authorship question The Shakespeare authorship question is the argument that someone other than William Shakespeare of Stratford-upon-Avon wrote the works traditionally attributed to him, and that the historical Shakespeare was merely a front to shield the identity of the real author or authors, who for reasons such as social rank, state security or gender could not safely take public credit.[1] Although the idea has attracted much public interest,[2] all but a few Shakespeare scholars and literary historians consider it a fringe belief with no hard evidence, and for the most part disregard it except to rebut or disparage the claims.[3] Shakespeare's authorship was first questioned in the middle of the 19th century, when adulation of Shakespeare as the greatest writer of all time had become widespread.[4] Shakespeare's biography, with his humble origins and obscure life, seemed incompatible with his poetic eminence and reputation as a natural genius,[5] arousing suspicion that Shakespeare might not have written the works attributed to him.[6] Shakespeare surrounded by (clockwise from top right): Bacon, Derby, Marlowe and Oxford, each of whom has been [7] The controversy has since spawned a vast body of literature, proposed as the true author. and more than 70 authorship candidates have been proposed,[8] including Francis Bacon, the Earl of Derby, Christopher Marlowe, and the Earl of Oxford.[9] Proponents believe that their candidate is the more plausible author in terms of education, life experience -
The Death and Posthumous Life of Christopher Marlowe
Ayres Death and Posthumous Life of Christopher Marlowe 4 August 2012 Page 1 The Death and Posthumous Life of Christopher Marlowe by Robert U. Ayres Preface: How this book came about ........................ 4 Introduction ........................................................13 Part I: Before the “Death” .............................................27 Chapter 1: The authorship question: Who was William Shaksper(e)? ..............................................27 Chapter 2: The birth and early education of Christopher Marlowe ....................................57 Chapter 3: A short but necessary historical background ................................................78 Chapter 4: Canterbury, Cambridge and Reims .........91 Chapter 5: Plots and counter-plots ....................... 108 Chapter 6: Theaters, spies, and the Earl of Oxford ............................................................... 122 Chapter 7: The impersonation of Gilbert Gifford and the Babington plot 1585-88 ........................ 138 Chapter 8: The Grand Armada and prison in Paris ............................................................... 152 Chapter 9: Back home and a bit of fame ............... 164 Chapter 10: The Bloody Question; Archbishop Whitgift and the Star Chamber 1583-90 ................... 171 Chapter 11: Manwood, Martin Marprelate, and the Ayres Death and Posthumous Life of Christopher Marlowe 4 August 2012 Page 2 marron murders ........................................ 178 Chapter 12: The Stanley plot and the Flushing episode ..............................................................