The Cavendishes and Ben Jonson
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Bringing Richard Brome Online
This is a repository copy of Bringing Richard Brome Online. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105805/ Version: Published Version Article: Hirsch, BD orcid.org/0000-0002-6231-2080 (2010) Bringing Richard Brome Online. Early Theatre, 13 (1). pp. 137-153. ISSN 1206-9078 10.12745/et.13.1.837 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early Theatre Volume 13, Issue 1 2010 Article 7 Bringing Richard Brome Online Brett D. Hirsch∗ ∗University of Western Australia, [email protected] Copyright c 2010 by Early Theatre. Early Theatre is produced by The Berkeley Electronic Press (bepress). http://digitalcommons.mcmaster.ca/earlytheatre Bringing Richard Brome Online Brett D. Hirsch Abstract This review essay assesses Richard Brome Online, an online edition of the collected works of Richard Brome, in terms of the design, functionality, and usability of its features. -
Ben Jonson and the Mirror: Folly Knows No Gender
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2001 Ben Jonson and The Mirror: Folly Knows No Gender Sherry Broadwell Niewoonder Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Classical Literature and Philology Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Niewoonder, Sherry Broadwell, "Ben Jonson and The Mirror: Folly Knows No Gender" (2001). Dissertations. 1382. https://scholarworks.wmich.edu/dissertations/1382 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. BEN JONSON AND THE MIRROR: FOLLY KNOWS NO GENDER by Sherry Broadwell Niewoonder A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of English Western Michigan University Kalamazoo, Michigan June 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEN JONSON AND THE M IR R O R : FO LLY KNOWS NO GENDER Sherry Broadwell Niewoonder, Ph.D. Western Michigan University, 2001 Ben Jonson, Renaissance poet and playwright, has been the subject of renewed evaluation in recent scholarship, particularly new historicism and cultural materialism. The consensus among some current scholars is that Jonson overtly practices and advocates misogyny in his dramas. Such theorists suggest that Jonson both embodies and promulgates the anti woman rhetoric of his time, basing their position on contemporary cultural material, religious tracts, and the writings of King James I. -
James Shirley - Poems
Classic Poetry Series James Shirley - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive James Shirley(September 1596 – October 1666) James Shirley (or Sherley) was an English dramatist. He belonged to the great period of English dramatic literature, but, in <a href="http://www.poemhunter.com/charles-lamb/">Lamb's</a> words, he "claims a place among the worthies of this period, not so much for any transcendent genius in himself, as that he was the last of a great race, all of whom spoke nearly the same language and had a set of moral feelings and notions in common." His career of play writing extended from 1625 to the suppression of stage plays by Parliament in 1642. <b>Life</b> Shirley was born in London. He was educated at Merchant Taylors' School, London, St John's College, Oxford, and St Catharine's College, Cambridge, where he took his B.A. degree in or before 1618. His first poem, Echo, or the Unfortunate Lovers (of which no copy is known, but which is probably the same as Narcissus of 1646), was published in 1618. After earning his M.A., he was, Wood says, "a minister of God's word in or near St Albans." Apparently in consequence of his conversion to the Roman Catholic faith, he left his living, and was master of St Albans School from 1623–25. His first play, Love Tricks, seems to have been written while he was teaching at St Albans. He removed in 1625 to London, where he lived in Gray's Inn, and for eighteen years from that time he was a prolific writer for the stage, producing more than thirty regular plays, tragedies, comedies, and tragicomedies, and showing no sign of exhaustion when a stop was put to his occupation by the Puritan edict of 1642. -
Sejanus, the King's Men Altar Scenes, and the Theatrical Production Of
2952 Early Theatre 20.2 (2017), 77–98 http://dx.doi.org/10.12745/et.20.2.2952 John Kuhn Sejanus, the King’s Men Altar Scenes, and the Theatrical Production of Paganism This article traces the lineage of the popular performance set-piece of the ‘oracular altar scene’ from its inception in Jonson’s Sejanus through its frequent reuse by the King’s Men and their imitators later in the century. By doing so, it demonstrates how material practices of reuse in the seventeenth-century theatre helped shape the produc- tion of popular knowledge about the nature of ‘pagan’ ritual and its practitioners in the Stuart era of intensified antiquarian discovery and colonial expansion. The fifth act of Ben Jonson’s Sejanus, a Jacobean tragedy set in decadent imper- ial Rome, contains a striking moment of intersection between antiquarianism and performance, as the play’s scheming, eponymous favourite agrees to propiti- ate a statue of the goddess Fortuna, grudgingly seeking divine advice about his political fortunes. Accompanied by the music of flutes and trumpets, a priest incants lines translated from Seneca while performing complex rituals of lustra- tion (washing his hands), libation (eating and administering honey and milk to the participants), and propitiation (placing milk, honey, and burning poppy on the altar bearing Fortuna’s statue), all as Sejanus looks on. Surprisingly, these distinctly alien, non-Christian religious rites produce true future knowledge: the hitherto sessile statue of the goddess (probably a company member in a statue costume) miraculously becomes animated and turns her face away. The predic- tion implied by this silent rejection — that Sejanus has lost her favour and his luck has run out — is quickly vindicated for the audience in the next scene, when the favourite’s downfall begins. -
WRAP Theses Crowther 2017.Pdf
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman. -
Scripted Improvisation in the Antipodes
ISSUES IN REVIEW 129 ‘Now mark that fellow; he speaks Extempore’: Scripted Improvisation in The Antipodes Concluding his near-paraphrase of Hamlet’s famous advice to the players, Letoy in Richard Brome’s The Antipodes chastises Byplay, an actor with a penchant for improvisation, with the following lines: But you, sir, are incorrigible, and Take license to yourself to add unto Your parts your own free fancy, and sometimes To alter or diminish what the writer With care and skill compos’d; and when you are To speak to your coactors in the scene, You hold interlocutions with the audients— (2.1.93–9)1 Unlike the silent company Hamlet addresses, whose leader assents to Hamlet’s presumptuous lessons with only ‘I warrant your honour’ and a slightly more defensive ‘I hope we have reformed that indifferently with us, sir’ (3.2.13, 30),2 Byplay argues back saying, ‘That is a way, my lord, has been allowed / On elder stages to move mirth and laughter.’ ‘Yes’, Letoy replies, ‘in the days of Tarlton and Kemp, / Before the stage was purged from barbarism, / And brought to the perfection it now shines with’ (2.1.100–4) . Scholars often acknowledge, like Letoy, that improvisation played a signifi- cant role in early English theatre. Actors playing Vice characters in Tudor the- atre improvised before and after the plays in which they performed.3 Renais- sance texts contain stage directions instructing actors to improvise—Greene’s Tu Quoque (1611), for example, includes a direction for characters to ‘talk and rail what they list’ and The Trial of Chivalry (1601) contains the remark- able direction, ‘speaks anything, and Exit’.4 Elizabethan clowns, and in par- ticular Richard Tarlton and William Kemp, were famous for their ability to improvise. -
Epicoene. for the Moment, I Want to Particularly Consider
DANGEROUS BOYS DANGEROUS BOYS AND CITY PLEASURES: SUBVERSIONS OF GENDER AND DESIRE IN THE BOY ACTOR'S THEATRE By ERIN JULIAN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Erin Julian, September 2010 MASTER OF ARTS (2010) McMaster University (English and Cultural Studies) Hamilton, Ontario TITLE: Dangerous Boys and City Pleasure: Subversions of Gender and Desire in the Boy Actor's Theatre AUTHOR: Erin Julian, B.A. (Brock University) SUPERVISOR: Dr H.M. Ostovich NUMBER OF PAGES: vi, 143 ii ABSTRACT: This thesis draws on the works of Will Fisher, Lucy Munro, Michael Shapiro, and other critics who have written on the boy actor on the early modem English stage. Focussing on city comedies performed by children's companies, it argues that the boy actor functions as a kind of "third gender" that exceeds gender binaries, and interrogates power hierarchies built on those gender binaries (including marriage). The boy actor is neither man nor woman, and does not have the confining social responsibilities ofeither. This thesis argues that the boy's voice, his behaviours, and his epicene body are signifiers of his joyous and unconfined social position. Reading the boy actor as a metaphor for the city itself, it originally argues that the boy's innocence enables him to participate in the games, merriment, and general celebration of carnival, while his ability to slip fluidly between genders, ages, and other social roles enables him to participate in and embody the productively disruptive carnival, parodic, and "epicene" spaces of the city itself. -
Earl of Lincoln
46S DUKES OF NJ:Wf:ASTU:,. marriage he resided at Hougbton, (vide P• 432,)' but he after wards removed to Welbeck, where he died in 17ll, when, for want of issue, his titles became extinct ;. but be bequeathed his estates to his sister's son, Thomas Pelham,. second Baron Pel- ..ham, of Laughton, in Sussex, who assumed the name of Holles, and in 1714, was created Duke of Newcastle-upon- Tyne, and in 1715, Duke of Newcastle-under-Lyme. At his death in 1768J all his titles became extinct, except those of Duke of New castle-under-Lyme, and Baron Pelham, of Stanemere, which des.t.-ended in marriage with his niece Catharine, to Hem'!} Fiennes Clinton, ninth Earl of Lincoln, who assumed the name 'Of Pelharn, and died in 1794~ His son, Thomas Pelham Clin ton, the late Duke, died in the following .rear, and was suc ceeded by his son, the present most Nohle Henry Pelham · F1ennes-Pelham Clinton, Duke of Newcastle, Earl of Lincoln, Lord Lieutenant of Nottinghamshz"re, K. G., ~c. ~c. whose son, the Right Hon. Henry Pelham Clinton, bears his father's secondary title of Earl of Lincoln, and resides with him at Clumber House. Thefamz'ly of Clinton, wiw now inherit the Clumber portion t>f the Cavendish estates, (vide p. 433,) is of Norman origin, and settled in England at the Conquest. They took their name from the Lordship of Climpton, in Oxfordshire. Roger Climp~ ton or Clinton was Bishop of Coventry, from 1228 till 1249 . .John de Clinton was summoned to Parliament in the first o£ Edward I., by the title of Baron Clinton, of Maf.l'wch. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
1 the Correspondence of Thomas Hobbes
CORE Metadata, citation and similar papers at core.ac.uk Provided by Helsingin yliopiston digitaalinen arkisto 1 THE CORRESPONDENCE OF THOMAS HOBBES: SOME NEW ITEMS by NOEL MALCOLM (All Souls College, Oxford) and MIKKO TOLONEN (University of Helsinki) The first collected edition of Hobbes’s correspondence was published in 1994.1 In its preface, the editor asked the question, ‘How can an editor of an author’s complete correspondence know that his edition is complete?’, and replied: ‘The short answer is that he cannot.’2 Given that Hobbes lived to the age of ninety-one, and had a wide range of intellectual contacts in England and abroad, the tally of his surviving correspondence (roughly 211 items, depending on how a ‘letter’ is defined) is surprisingly small; this encourages the belief that other letters must remain in the archives, as yet undiscovered. But since 1994 only one new item has been published: a letter sent to Hobbes in Paris by his old friend Robert Payne in 1649. That letter is a document of unusual importance, as it represents, in effect, an attempt to parry or soften the anti-episcopal arguments of Leviathan at a time when that book was in preparation.3 Nothing else of comparable significance has yet come to light. The purpose of this communication is to put forward a number of more modest discoveries, some of which amount only to small fragments, or traces of letters which are known to have been preserved for a long time after Hobbes’s death, but which are as yet unlocated. (With a figure of Hobbes’s stature, nevertheless, even the smallest fragments may be of some 2 value to future researchers.) First it presents the text of a complete letter to Hobbes, found by Dr Arnold Hunt in Lambeth Palace Library. -
New Light on Jonson and Roman Comedy: Volpone and Eunuchus, Magnetic Lady and Truculentus
RICHARD F. HARDIN New Light on Jonson and Roman Comedy: Volpone and Eunuchus, Magnetic Lady and Truculentus Behind the practice of imitation in Renaissance literature lay the knowledge that the ancients themselves had imitated. Roman followed Greek comedy as Virgil followed Homer. Terence readily countered the charge that he had kidnapped characters from Greek comedy. So do all comic playwrights: indeed, “Nothing in fact is ever said which has not been said before” (Nullumst iam dictum quod non sit dictum prius).1 As it happens, Terence’s remark appears in the preface to a play that shows evidence of Ben Jonson’s imitation in Volpone – The Eunuch. The connection between these plays has apparently not previously been made, despite work on Jonson and ancient comedy over the past century.2 My discussion of Volpone and Eunuchus will lead into observations on the English playwright’s The Magnetic Lady as it echoes the plot of the mysterious pregnancy in Plautus’s Truculentus. Peter Happé writes that The Magnetic Lady shows Jonson, beginning around 1632, inclining toward “the staging practices of Plautus and Terence. The latter in fact are the chief debt, and Jonson both The Ben Jonson Journal 20.2 (2013): 179–200 DOI: 10.3366/bjj.2013.0080 © Edinburgh University Press www.euppublishing.com/bjj 180 BEN JONSON JOURNAL acknowledges their importance to him at this time and makes several minor allusions to them.”3 TheallusionsinbothVolpone and The Magnetic Lady are beyond minor. Volpone and Eunuchus Volpone and Eunuchus both involve a seduction attempt on an innocent woman by a man faking impotence. -
The King's Men's Shakespearean Repertory Meghan C. Andrews
1 The King’s Men’s Shakespearean Repertory Meghan C. Andrews, University of Texas at Austin My paper will focus on the immediately post-Shakespearean seventeenth century: the King’s Men’s repertory in the wake of Shakespeare’s retirement, and specifically the plays written by Fletcher (and his co-authors) while he was principal dramatist for the King’s Men. I will argue that the company was the first group to make Shakespeare “Shakespeare” and to imagine themselves in a specifically post-Shakespearean moment, for even after Shakespeare’s death the company self-consciously cultivated a Shakespearean repertory style in order to provide continuity with their earlier drama. In this way, Shakespeare became a guiding ideal for the company as much as a former sharer, his descendants’ works less derivative and more working within a specific house style. Particularly, I plan to examine two moments in Fletcher’s career. The first is the period 1620-22, in which Fletcher wrote a cluster of plays that were heavily influenced by The Tempest. I will argue that these plays served as a form of advance marketing for the First Folio, and constructed a particular image of “Shakespeare” that a reader opening to the first page of the Folio would immediately recognize. The second moment concerns the group of plays written by Fletcher (and Beaumont) for the King’s Men from Philaster on. The influence of Beaumont and Fletcher’s tragicomedy on Shakespeare has long been acknowledged, but I will argue that as Fletcher began to write for the King’s Men before, during, and after Shakespeare’s quasi-retirement in 1610, he cultivated a Shakespearean style, especially intrigued by the elder playwright’s focus on active heroines.