DOCSLIB.ORG

The SCORNFUL LADY by Francis Beaumont and John Fletcher Performed C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The SCORNFUL LADY by Francis Beaumont and John Fletcher Performed C ElizabethanDrama.org presents the Annotated Popular Edition of The SCORNFUL LADY by Francis Beaumont and John Fletcher Performed c. 1609-1610 First published 1616 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright ElizabethanDrama.org, 2018 This annotated play may be freely copied and distributed. 1 THE SCORNFUL LADY By Francis Beaumont and John Fletcher Performed c. 1609-1610 First Published 1616 Persons Represented in the Play. INTRODUCTION TO THE PLAY Elder Loveless, a Suitor to the Lady. The Scornful Lady is a "City Comedy", its scene London; Young Loveless, a Prodigal, and brother to Elder thus, its characters are neither royalty nor nobility, but Loveless. "regular" citizens. Almost plotless, our play examines the Savil, Steward to Elder Loveless. need some people have to manipulate their admirers. A very funny play, The Scornful Lady is notable for its extensive Lady, target of Elder Loveless’ suit. use of animal-related insults and imagery. The lecherous old Martha, the Lady’s sister. servant Abigail in particular is the target of a great deal of Abigail Younglove, a waiting Gentlewoman of entertaining abuse. the Lady. NOTES ON THE TEXT Welford, a Suitor to the Lady. Sir Roger, Curate to the Lady. The text of The Scornful Lady is taken from Warwick Bond's edition of the play, as it appears in Volume I of The Hangers-on of Young Loveless: Works of Francis Beaumont and John Fletcher, cited at Captain. #3 below. Traveller. The Scornful Lady was published multiple times in the Poet. 17th century, the first time in 1616; as is the normal practice Tobacco-man. on this website, our edition remains faithful to the original 1616 quarto to the greatest degree possible. Morecraft, an Usurer. Widow, a Rich Widow. NOTES ON THE ANNOTATIONS Wenches, Fiddlers, Attendants. Mention of Bond, Dyce, Colman and Weber in the annotations refers to the notes provided by each of these The Scene: London editors in their respective editions of this play, each cited fully below. The most commonly cited sources are listed in the footnotes immediately below. The complete list of footnotes appears at the end of this play. Footnotes in the text correspond as follows: 1. OED online. 2. Crystal, David and Ben. Shakespeare's Words. London; New York: Penguin, 2002. 3. Bond, R. Warwick, ed. The Works of Francis Beaumont and John Fletcher, Volume I. London: George Bell & Sons and A. H. Bullen, 1904. 4. Dyce, Alexander. The Works of Beaumont and Fletcher. New York: D. Appleton and Company, 1879. 7. Colman, George. The Dramatic Works of Beaumont and Fletcher. London: Printed for John Stockdale, 1811. 9. Weber, Henry. The Works of Beaumont and Fletcher. Edinburgh: James Ballantyne and Company, 1812. 2 NOTE on the IAMBIC PENTAMETER Most of The Scornful Lady was originally published in prose; early editors, however, recognized that much of this prose was clearly written in iambs, and many of the speeches could easily be broken up into iambic, or near iambic, pentameter. As a result, many early editors, such as Alexander Dyce and Warwick Bond, did exactly that. And while they did not always agree on exactly how every speech should be divided, their decision to do so was the correct one. The edition you have in front of you employ's Bond's divisions. The concerned reader, however, may still wonder why it is that so many of the lines in The Scornful Lady are irregular; after all, both Beaumont and Fletcher were perfectly capable of writing in strict iambic pentameter when they wanted to. So why do so many lines contain extra syllables, or slip momentarily into meters other than iambic? One may rightfully ask whether these speeches should really be presented in verse at all. Editor R. Warwick Bond presents in his notes to B&F's A King and No King a solid argument for printing the questionable speeches as verse: recognizing that the lines contain too much "metrical suggestion" to believe the authors intended them to be presented as prose, Bond argues that the verse is really a hybrid of prose and pure, strict iambic pentameter, so as to make the speech less stylized than that which might be given to nobles and other higher-ranked members of society; the verse was therefore intentionally made less regular by our authors to make the speeches more fitting for the more earthy members of "ordinary" society who populate the play. As a result, it is suggested that you generally not concern yourself terribly with following the iambic pentameter as you read The Scornful Lady. There are plenty of other challenges with respect to the play's language, numerous literary and topical allusions, and dense metaphors to keep your intellect occupied. AUTHORSHIP. E.H.C. Oliphant (The Plays of Beaumont and Fletcher. New Haven: Yale University Press, 1927), in his study of the collaborations of Beaumont and Fletcher, assigns to our two authors the following scenes: Beaumont: Act I.i; Act II.i; first part of Act IV.i; Act V.ii. Fletcher: Act I,ii; Act II.ii and iii; Act III; second part of Act IV.i, and all of Act IV.ii; Act V.i, iii and iv. The OBSSESIVE USE of the WORD CAST. Wordsmiths will be interested to pay attention to the recurring use of the word cast, with so many of its meanings, throughout the play - a total of 17 appearances. It is employed by our authors as a verb, a noun, and an adjective, as well as in various phrases. By itself, cast is used to mean (1) to bestow; to scheme or contrive; to toss (present tense verbs); and schemed (past tense verb); (2) pair; and analysis (nouns); and (3) dismissed (adjective). 3 In addition, cast appears in the following expressions: cast off (meaning to cast off; thrown away; and dismissed); cast a fortune (to diagram the arrangement of the planets as part of an astrological forecast); bridling cast (a parting drink); cast up (to vomit); cast up a reckoning (to make a calculation); and cast one's eyes upon (to look or glance upon). SETTINGS, SCENE BREAKS and STAGE DIRECTIONS. The original editions of The Scornful Lady did not identify scene settings, nor were there any scene breaks; we have adopted those suggested by Bond. As is our normal practice, some stage directions have been added, and some modified, for purposes of clarity. Most of these minor changes are adopted from Bond and Dyce. 4 THE SCORNFUL LADY By Francis Beaumont and John Fletcher c. 1609-1610 ACT I. SCENE I. A Room in Lady’s House. Enter the two Lovelesses, Savil the Steward, and a Page. Entering Characters: the two Lovelesses are brothers; Elder Loveless is courting the unnamed Lady, whose house they have entered; Savil, an elderly man dressed in old- fashioned livery, is the steward of Elder. Lady, the title character, and an obnoxious and selfish woman, has decided that if Elder wants to continue to woo her, he must travel to France for a year. Elder's younger brother, Young Loveless, is a spendthrift, who, by failing to make payments on his mortgage, has forfeited all of his property to the money-lender Morecraft. 1 Elder. Brother, is your last hope past to mollify 2 Morecraft’s heart about your mortgage? = Morecraft is a money-lender, typically referred to in Elizabethan drama as a usurer. 4 Young. Hopelessly past. I have presented the usurer 4-7: Young uses an extended drinking metaphor to describe Morecraft's taking possession of all of his property, and thus his wealth, thanks to his defaulting on the loan Morecraft has made to him; in this era, a failure to make a single payment could lead to the loss of one's entire security, hence Young's allusion in line 7 to Morecraft receiving more than he paid for. with a richer draught than ever Cleopatra swallowed; he 5: richer draught = more powerful drink or potion. Cleopatra = Plutarch wrote in his Lives that Cleopatra enjoyed testing the effects of various poisons on condemned prisoners; she herself died by the bite of an asp, to avoid being taken prisoner by Octavian. 6 hath sucked in ten thousand pounds worth of my land, = drawn or drunk in. more than he paid for, at a gulp, without trumpets. = without a flourish of trumpets as would normally 8 accompany the drinking of healths at public functions.3 Elder. I have as hard a task to perform in this house. 10 Young. Faith, mine was to make an usurer honest, or 12 to lose my land. 14 Elder. And mine is to persuade a passionate woman, or to leave the land. – Savil, make the boat stay. 15: leave the land = these words parallel Young's lose my land in form and alliteration. stay = wait. 16 [Exit Page.] 17: Savil passes the instruction on to the Page, who leaves 18 to carry it out. 5 I fear I shall begin my unfortunate journey this night, 20 though the darkness of the night, and the roughness of the waters, might easily dissuade an unwilling man. 22 Sav. Sir, your father’s old friends hold it the sounder 23f: Savil tries to dissuade his master from taking this foolish trip to France. hold it = "maintain that it is". the sounder = meaning both more (1) healthy in body, and (2) financially secure, describing Elder's body and estate respectively in the next line (24). 24 course for your body and estate to stay at home, and = fortune, property. marry and propagate − and govern in your country − 26 than to travel for disease, and return following the court 26: for disease = ie.
Load more

Recommended publications
  • M a K in G a N D U N M a K in Gin Early Modern English Drama
    Porter MAKING AND Chloe Porter UNMAKING IN EARLY MODERN ENGLISH DRAMA Why are early modern English dramatists preoccupied with unfinished processes of ‘making’ and ‘unmaking’? And what did ‘finished’ or ‘incomplete’ mean for spectators of plays and visual works in this period? Making and unmaking in early IN EARLY MODERN ENGLISH DRAMA IN EARLY UNMAKING AND MAKING modern English drama is about the prevalence and significance of visual things that are ‘under construction’ in early modern plays. Contributing to challenges to the well-worn narrative of ‘iconophobic’ early modern English culture, it explores the drama as a part of a lively post-Reformation visual world. Interrogating the centrality of concepts of ‘fragmentation’ and ‘wholeness’ in critical approaches to this period, it opens up new interpretations of the place of aesthetic form in early modern culture. An interdisciplinary study, this book argues that the idea of ‘finish’ had transgressive associations in the early modern imagination. It centres on the depiction of incomplete visual practices in works by playwrights including Shakespeare, John Lyly, and Robert Greene. The first book of its kind to connect dramatists’ attitudes to the visual with questions of materiality, Making and Unmaking in Early Modern English Drama draws on a rich range of illustrated examples. Plays are discussed alongside contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata, and invisibility. Asking what it meant for Shakespeare and his contemporaries to ‘begin’ or ‘end’ a literary or visual work, this book is invaluable for scholars and students of early modern English literature, drama, visual culture, material culture, theatre history, history and aesthetics.
    [Show full text]
  • National Sample from the 1851 Census of Great Britain List of Sample Clusters
    NATIONAL SAMPLE FROM THE 1851 CENSUS OF GREAT BRITAIN LIST OF SAMPLE CLUSTERS The listing is arranged in four columns, and is listed in cluster code order, but other orderings are available. The first column gives the county code; this code corresponds with the county code used in the standardised version of the data. An index of the county codes forms Appendix 1 The second column gives the cluster type. These cluster types correspond with the stratification parameter used in sampling and have been listed in Background Paper II. Their definitions are as follows: 11 English category I 'Communities' under 2,000 population 12 Scottish category I 'Communities' under 2,000 population 21 Category IIA and VI 'Towns' and Municipal Boroughs 26 Category IIB Parliamentary Boroughs 31 Category III 'Large non-urban communities' 41 Category IV Residual 'non-urban' areas 51 Category VII Unallocable 'urban' areas 91 Category IX Institutions The third column gives the cluster code numbers. This corresponds to the computing data set name, except that in the computing data set names the code number is preceded by the letters PAR (e.g. PAR0601). The fourth column gives the name of the cluster community. It should be noted that, with the exception of clusters coded 11,12 and 91, the cluster unit is the enumeration district and not the whole community. Clusters coded 11 and 12, however, correspond to total 'communities' (see Background Paper II). Clusters coded 91 comprise twenty successive individuals in every thousand, from a list of all inmates of institutions concatenated into a continuous sampling frame; except that 'families' are not broken, and where the twenty individuals come from more than one institution, each institution forms a separate cluster.
    [Show full text]
  • The Role of Suspense in Dramatic Comedy
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1977 THE ROLE OF SUSPENSE IN DRAMATIC COMEDY JEAN FURNISS GOODINE Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation GOODINE, JEAN FURNISS, "THE ROLE OF SUSPENSE IN DRAMATIC COMEDY" (1977). Doctoral Dissertations. 1155. https://scholars.unh.edu/dissertation/1155 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page{s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • “A Poor Player That Struts and Frets His Hour Upon the Stage…”
    “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Christin N. Gambill May, 2016 “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION Christin N. Gambill Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Dean of the College Mr. James Slowiak Dr. John Green _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. Adel Migid Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Date Dr. Hillary Nunn _______________________________ School Director Dr. J. Thomas Dukes ii TABLE OF CONTENTS Page CHAPTER I. “THIS ROYAL THRONE THIS SCEPTERED ISLE…” THE THEATRE OF THE ENGLISH RENAISSANCE ............................................................................................... 1 II. THE COMING STORM .............................................................................................. 14 III. THE AXE FALLS ...................................................................................................... 29 IV. UNDER THEIR NOSES ............................................................................................ 42 V. THE NEW ORDER ..................................................................................................... 53 VI. FUTURE CONSIDERATIONS
    [Show full text]
  • John Fletcher and Beaumont, the Mad Lover
    THE MAD LOVER JOHN FLETCHER AND BEAUMONT THE MAD LOVER, A TRAGI-COMEDY. Persons Represented in the Play. Astorax, King of Paphos. Memnon, the General and the Mad Lover. Polydor, Brother to Memnon, beloved of Calis. Eumenes, } two eminent Souldiers. Polybius, } Chilax, an old merry Souldier. Syphax, a Souldier in love with the Princess. Stremon, a Souldier that can sing. Demagoras, Servant to the General. Chirurgion. Fool. Page. Courtiers. WOMEN. Calis, Sister to the King, and Mistris to Memnon. Cleanthe Sister to Syphax. Lucippe, one of the Princesses Women. Priest of Venus, an old wanton. A Nun. Cloe, a Camp Baggage. The Scene Paphos. The principal Actors were, Richard Burbadge. Robert Benfeild. Nathanael Feild. Henry Condel. John Lowin. William Eglestone. Richard Sharpe. Actus primus. Scena prima. Flourish. Enter Astorax King of Paphos, his Sister Calis, Train, and Cleanthe, Lucippe Gentlewomen, at one door; at the other Eumenes a Souldier. Eume. Health to my Soveraign. King. Eumenes, welcome: Welcome to Paphos, Souldier, to our love, And that fair health ye wish us, through the Camp May it disperse it self, and make all happy; How does the General, the valiant Memnon, And how his Wars, Eumenes? Eume. The Gods have giv'n you (Royal Sir) a Souldier, Better ne're sought a danger, more approv'd In way of War, more master of his fortunes, Expert in leading 'em; in doing valiant, In following all his deeds to Victories, And holding fortune certain there. King. O Souldier, Thou speak'st a man indeed; a Generals General, A soul conceiv'd a Souldier.
    [Show full text]
  • The Scornful Lady
    The Scornful Lady Francis Beaumont and John Fletcher Project Gutenberg's The Scornful Lady, by Francis Beaumont and John Fletcher This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Scornful Lady Author: Francis Beaumont and John Fletcher Release Date: April 22, 2004 [EBook #12110] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE SCORNFUL LADY *** Produced by Jonathan Ingram, Charles Bidwell and PG Distributed Proofreaders THE SCORNFUL LADY, A COMEDY. Persons Represented in the Play. _Elder_ Loveless, _a Sutor to the Lady_. _Young_ Loveless, _a Prodigal_. Savil, _Steward to Elder_ Loveless. Lady _and_ ) Martha, )_Two Sisters_. Younglove, _or_ Abigal, _a waiting Gentlewoman_. Welford, _a Sutor to the Lady_. _Sir_ Roger, _Curate to the Lady_. (Captain ) (Travailer ) _Hangers on to Young_ Loveless. (Poet ) (Tabaco-man ) _Wenches_. _Fidlers_. Morecraft, _an Usurer_. _A Rich Widow_. _Attendants_. * * * * * Actus primus. Scena prima. * * * * * _Enter the two_ Lovelesses, Savil _the Steward, and a Page_. _Elder Love_. Brother, is your last hope past to mollifie _Morecrafts_ heart about your Morgage? _Young Love_. Hopelesly past: I have presented the Usurer with a richer draught than ever _Cleopatra_ swallowed; he hath suckt in ten thousand pounds worth of my Land, more than he paid for at a gulp, without Trumpets. _El. Lo_. I have as hard a task to perform in this house. _Yo. Lo._ Faith mine was to make an Usurer honest, or to lose my Land.
    [Show full text]
  • Towards a New Jerusalem
    Towards a New Jerusalem The 70th Anniversary of the National Health Service By Peter Daniel Lily Hart and Emily Wade 1 Towards a New Jerusalem: Introduction The establishment of the NHS on July 5th 1948 represented an historic decision whereby the state took responsibility for our health for the first time. Surveys show that the NHS has become the most valued institution in the UK. This resource aims to help young people understand how it was set up and links to KS2 Y6 Local History: (Study over time). It uses the story of one ordinary family ,at the start of the 20th century, to show how pressure slowly built to make Britain a fairer more equal society. That pressure was greatly magnified by the effect of two world wars. The main focus of this pack are the years 1938-1948 and is based around the experiences of the Seaby family who lived in Chelsea. Their story shows the battle one ordinary London family had with what William Beveridge identified as the "Five Giant Evils" in society: squalor, ignorance, want, idleness, and disease. Their story will show how each of these ‘evils’ impacted upon them. In particular, it will focus on a family crisis in 1944 that reveals the angst of having a seriously ill child in pre-NHS Britain. People believed real victory in 1945 meant not returning to the deprivations of the 30s and that the state should protect us from ‘the cradle to the grave.’ Using Private Joe Seaby's story we'll look at the years 1938-48 to help pupils understand why the NHS was created and what existed before it.
    [Show full text]
  • University of Pardubice Faculty of Arts and Philosophy Cockney Dialect
    University of Pardubice Faculty of Arts and Philosophy Cockney Dialect and Slang in Selected British Films and TV Series Aneta Vtípilová Bachelor Thesis 2017 Prohlašuji: Tuto práci jsem vypracovala samostatně. Veškeré literární prameny a informace, které jsem v práci využila, jsou uvedeny v seznamu použité literatury. Byla jsem seznámena s tím, že se na moji práci vztahují práva a povinnosti vyplývající ze zákona č. 121/2000 Sb., autorský zákon, zejména se skutečností, že Univerzita Pardubice má právo na uzavření licenční smlouvy o užití této práce jako školního díla podle § 60 odst. 1 autorského zákona, a s tím, že pokud dojde k užití této práce mnou nebo bude poskytnuta licence o užití jinému subjektu, je Univerzita Pardubice oprávněna ode mne požadovat přiměřený příspěvek na úhradu nákladů, které na vytvoření díla vynaložila, a to podle okolností až do jejich skutečné výše. Souhlasím s prezenčním zpřístupněním své práce v Univerzitní knihovně. V Pardubicích dne 31. 3. 2017 Aneta Vtípilová Acknowledgement I would like to express my gratitude to my supervisor PhDr. Petra Huschová, Ph.D. for her valuable advice and guidance. Annotation This thesis is devoted to the lexico-semantic features of Cockney dialect and slang in selected British films and TV series. The theoretical part focuses on the description of Cockney dialect and slang in general and it thoroughly describes three main lexico-semantic features of Cockney, namely general vocabulary of Cockney slang, rhyming slang and back slang. The analytical part studies the meanings, usage and connotations of the aforementioned features in regard to the situational context of the films and TV series.
    [Show full text]
  • London Metropolitan Archives City of London
    LONDON METROPOLITAN ARCHIVES Page 1 CITY OF LONDON CORONERS COURT CLA/041 Reference Description Dates CORONERS OFFICE OFFICE AND ACCOUNTS CLA/041/CR/01/001 Copy and translation of a portion of a charter of 1478 20 June 18 Edw. IV relating to Package, Garbling, porterage of Alien Goods and the appointment of Coroner. [number not used. This item is COL/CHD/DM/17/02/009] Includes Extract and translation of Charter 20 June 18 Edw. IV. relating to the appointment of Coroner of London. Former Reference: Misc.Ms 108.6 CLA/041/CR/01/002 Appointments of Deputy Coroners 1890 - 1955 29 Oct. 1890 by Samuel Frederick Langham, Coroner, of Arthur Cuthbert Langham in place of Athelstan Braxton Hicks. 3 July 1902 by Frederick Joseph Waldo, Coroner, of Francis Danford Thomas 24 Nov. 1914 by Frederick Joseph Waldo, Coroner, of Walter Schröder in place of Francis Danford Thomas. 14 Mar. 1919 by F.J. Waldo, Coroner, of Francis D. Thomas, M.A., in place of W. Schröder (returned to F.D. Thomas by Mr Carter 1932) 10 May 1932 by Francis Danford Thomas of Percy Bernard Sheels as his Deputy. 25 Jan. 1934 by Francis Danford Thomas of James Milner Helme as his Deputy 25 Jan. 1934 by Francis Danford Thomas of William Reginald Huleatt Heddy as Assistant Deputy. 18 Mar. 1940 by James Milner Helme of Alan P. Lloyd Cogswell as his Deputy 18 Mar. 1940 by James Milner Helme of Harold George Broadbridge as Assistant Deputy 4 Oct. 1950 by James Milner Helme of Dr. Harold George Broadbridge as his Deputy 4 Oct.
    [Show full text]
  • Editors Construct the Renaissance Canon, 1825–1915
    EDITORS CONSTRUCT THE RENAISSANCE CANON, 1825–1915 Paul Salzman EARLY MODERN LITERATURE IN HISTORY General Editors: Cedric C. Brown and Andrew Hadfield Early Modern Literature in History Series editors Cedric C. Brown Department of English University of Reading Reading, UK Andrew Hadfield School of English University of Sussex Brighton, UK Within the period 1520–1740, this large, long-running series, with international representation discusses many kinds of writing, both within and outside the established canon. The volumes may employ different theoretical perspectives, but they share an historical awareness and an interest in seeing their texts in lively negotiation with their own and successive cultures. Editorial board members: Sharon Achinstein, University of Oxford, UK John Kerrigan, University of Cambridge, UK Richard C McCoy, Columbia University, USA Jean Howard, Columbia University, USA Adam Smyth, Birkbeck, University of London, UK Cathy Shrank, University of Sheffield, UK Michelle O’Callaghan, University of Reading, UK Steven Zwicker, Washington University, USA Katie Larson, University of Toronto, Canada More information about this series at http://www.palgrave.com/gp/series/14199 Paul Salzman Editors Construct the Renaissance Canon, 1825–1915 Paul Salzman La Trobe University Bundoora, VIC, Australia Early Modern Literature in History ISBN 978-3-319-77901-0 ISBN 978-3-319-77902-7 (eBook) https://doi.org/10.1007/978-3-319-77902-7 Library of Congress Control Number: 2018935934 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
    [Show full text]
  • Politics of English Drama, 1603-1660
    Staging Republic and Empire: Politics of English Drama, 1603-1660 by Judy Hyo Jung Park This thesis/dissertation document has been electronically approved by the following individuals: Cohen,Walter Isaac (Chairperson) Kalas,Rayna M (Minor Member) Lorenz,Philip A (Minor Member) Brown,Laura Schaefer (Minor Member) Murray,Timothy Conway (Minor Member) STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Judy Hyo Jung Park August 2010 © 2010 Judy Hyo Jung Park STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 Judy Hyo Jung Park, Ph.D. Cornell University 2010 This study argues that the classical legal concepts of dominium and imperium, ownership and rule, illuminate the political tensions of seventeenth century English drama. The concept of imperium was central to seventeenth century debates over the terms of international commerce, setting important precedents for the development of modern international law. Geopolitical disputes over dominium and imperium shadow the developing conflict between republican, monarchical, and imperial models of the English state from the Stuart monarchy to the post-revolutionary English republic. In the drama of the early to mid-seventeenth century, we can trace the emergence of designs for an imperial English state well before the Restoration and the eighteenth century. Moving from the reign of James I to the Protectorate under Oliver Cromwell, this study reevaluates the genres of tragicomedy, closet drama, topical drama, and operatic masques, analyzing Francis Beaumont and John Fletcher’s Philaster and A King and No King, Elizabeth Cary’s The Tragedy of Mariam, Philip Massinger and John Fletcher’s The Tragedy of Sir John van Olden Barnavelt, and William Davenant’s The Siege of Rhodes.
    [Show full text]
  • Renaissance Drama- Unit I
    Renaissance Drama- Unit I 1 Background 2 The Elizabethan and Jacobean Ages 3 Offshoots of Renaissance Drama 4 Major poets of this Age 5 Elizabethan Prose 6 Elizabethan Drama 7 Other Playwrights during this period 8 Conclusion 9 Important Questions 1 Background 1.1 Introduction to Renaissance Drama: Renaissance" literally means "rebirth." It refers especially to the rebirth of learning that began in Italy in the fourteenth century, spread to the north, including England, by the sixteenth century, and ended in the north in the mid-seventeenth century (earlier in Italy). During this period, there was an enormous renewal of interest in and study of classical antiquity. Yet the Renaissance was more than a "rebirth." It was also an age of new discoveries, both geographical (exploration of the New World) and intellectual. Both kinds of discovery resulted in changes of tremendous import for Western civilization. In science, for example, Copernicus (1473-1543) attempted to prove that the sun rather than the earth was at the center of the planetary system, thus radically altering the cosmic world view that had dominated antiquity and the Middle Ages. In religion, Martin Luther (1483-1546) challenged and ultimately caused the division of one of the major institutions that had united Europe throughout the Middle Ages--the Church. In fact, Renaissance thinkers often thought of themselves as ushering in the modern age, as distinct from the ancient and medieval eras Study of the Renaissance might well center on five interrelated issues. First, although Renaissance thinkers often tried to associate themselves with classical antiquity and to dissociate themselves from the Middle Ages, important continuities with their recent past, such as belief in the Great Chain of Being, were still much in evidence.
    [Show full text]