Early Modern Piracy 1/8
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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. -
The Renegado, Or the Gentleman of Venice
A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1a ismigg: :[ N1/bA] sig: A2r ln 0001 THE ln 0002 RENEGADO, ln 0003 A TRAGICOMEDY. ln 0004 As it hath been often acted by the ln 0005 Queen’s Majesty’s servants, at ln 0006 the private Playhouse in ln 0007 Drury Lane. ln 0008 By PHILIP MASSINGER. ln 0009 LONDON, ln 0010 Printed by A. M. for John Waterson, ln 0011 and are to be sold at the Crown in ln 0012 Paul’s Churchyard. 1630. img: 2a sig: A2v ln 0001 Dramatis Personae. The Actors’ names. ln 0002 ASAMBEG, Viceroy of Tunis. John Blanye. ln 0003 MUSTAPHA, Bashaw of Aleppo. -
The Spanish Match and Jacobean Political Thought, 1618-1624
Opposition in a pre-Republican Age? The Spanish Match and Jacobean Political Thought, 1618-1624 Kimberley Jayne Hackett Ph.D University of York History Department July 2009 Abstract Seventeenth-century English political thought was once viewed as insular and bound by a common law mentality. Significant work has been done to revise this picture and highlight the role played by continental religious resistance theory and what has been termed 'classical republicanism'. In addition to identifying these wider influences, recent work has focused upon the development of a public sphere that reveals a more socially diverse engagement with politics, authority and opposition than has hitherto been acknowledged. Yet for the period before the Civil War our understanding of the way that several intellectual influences were interacting to inform a politically alert 'public' is unclear, and expressions of political opposition are often tied to a pre-determined category of religious affiliation. As religious tension erupted into conflict on the continent, James I's pursuit ofa Spanish bride for Prince Charles and determination to follow a diplomatic solution to the war put his policy direction at odds with a dominant swathe of public opinion. During the last years of his reign, therefore, James experienced an unprecedented amount of opposition to his government of England. This opposition was articulated through a variety of media, and began to raise questions beyond the conduct of policy in addressing fundamental issues of political authority. By examining the deployment of political ideas during the domestic crisis of the early 1620s, this thesis seeks to uncover the varied ways in which differing discourses upon authority and obedience were being articulated against royal government. -
Durham Research Online
Durham Research Online Deposited in DRO: 16 April 2018 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Ravelhofer, B. (2016) 'Shirley's tragedies.', in James Shirley and early modern theatre : new critical perspectives. Abingdon, Oxon: Routledge, pp. 86-107. Studies in performance and early modern drama. Further information on publisher's website: https://www.routledge.com/9781472480361 Publisher's copyright statement: This is an Accepted Manuscript of a book chapter published by Routledge in James Shirley and Early Modern Theatre: New Critical Perspectives on 06/10/2016, available online: http://www.routledge.com/9781472480361 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Shirley’s Tragedies Barbara Ravelhofer Shirley is perhaps best noted for his comedic elegance, yet it was a tragedy, The Cardinal, which the author himself deemed ‘the best of my flock’.1 In the course of his long career, Shirley wrote five tragedies — The Maid’s Revenge (1626), Love’s Cruelty (1631), The Traitor (1631), The Politician (c. -
Reviving Phillip Massinger
Reviving Philip Massinger SAA Seminar Abstracts Gina M. Di Salvo University of Tennessee [email protected] The Virgin Martyr in Repertory The Virgin Martyr (1619) by Thomas Dekker and Philip Massinger represents the best known saint play of the early modern era because it is frequently understood as the only saint play of the early modern era. Despite the identification of the play as the sole example of a saint play on the professional stage after the English Reformation, recent critics have approached the play with sophistication. Absent are debates over whether or not this is a Catholic or Protestant play. Instead, critics have shifted the conversation to consider the aesthetics, theatricality, and religious performativity of the play more broadly (Myhill, Degenhardt, Pickett, Waldron, and Moretti). In this essay, I build on this exciting work and place The Virgin Martyr in the context of the theatrical repertoire of its time. The Virgin Martyr, which depicts the acts and martyrdom of St. Dorothy, stands as a turning point among six Stuart virgin martyr plays. All of these plays feature angelic apparitions to musical accompaniment, books as apotropaic devices, and the miraculous – and often pyrotechnic – destruction of devils. Dekker and Massinger’s tragedy, however, is the first to stage the particular trial of sanctity that appears in three more saint plays of the Stuart era: a rape test. While these plays might look extraordinarily “religious” when compared to the canonical plays of the era, they rely primarily on rape and its miraculous avoidance as a stable signifier of sanctity. I argue that the scenarios of rape in four Stuart virgin martyr plays, led by The Virgin Martyr, articulate a sort of canonization process for theatrical sanctity. -
The Case of John Fletcher and Philip Massinger's Love's Cure
This is a repository copy of What the Quills Can Tell: The Case of John Fletcher and Philip Massinger’s Love’s Cure. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/113584/ Version: Accepted Version Book Section: Perez Diez, JA orcid.org/0000-0003-0227-8965 (2017) What the Quills Can Tell: The Case of John Fletcher and Philip Massinger’s Love’s Cure. In: Holland, P, (ed.) Shakespeare Survey 70: Creating Shakespeare. Shakepeare Survey, 70 . Cambridge University Press , Cambridge, UK , pp. 89-98. ISBN 9781108277648 https://doi.org/10.1017/9781108277648.010 (c) Cambridge University Press 2017. This material has been published in Shakespeare Survey 70, edited by Holland, P This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. 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/ What the quills can tell: the case of John Fletcher and Philip Massinger’s Love’s Cure José A. -
“Here Lay My Hope”: Attribution, Collaboration
“HERE LAY MY HOPE”: ATTRIBUTION, COLLABORATION, AND THE AUTHORSHIP OF THE THIRD ADDITION TO THE SPANISH TRAGEDY Keegan Cooper Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University October 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________________ Dr. Terri Bourus, Chair ______________________________________ Dr. Jonathan Eller ______________________________________ Dr. April Witt ii Dedication For Mom, who first introduced me to Shakespeare and inspired me to imagine and create. For Char, Beeg, and Pops. Without your company and counsel, this thesis might not have been completed. iii Acknowledgements A huge thank you to my thesis committee: Dr. Jonathan Eller and Dr. April Witt. Your feedback in and out of class has been vital these past few years. And I cannot thank my mentors enough: my thesis chair, Dr. Terri Bourus, and Dr. Gary Taylor. Without your support and guidance over the past three years, I would not have been able to finish my educational career as successfully as I have. (And thanks for employing me too!) iv Table of Contents Introduction 1 Part 1: Backstory 3 Part 2: Control Tests 19 First Segment 25 Second Segment 42 Part 3: Conclusion 50 Bibliography 52 Curriculum Vitae v Introduction The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. -
'The Hall Must Not Be Pestred": Embedded Masques, Space, and Dramatized Desire John R
'The Hall must not be pestred": Embedded Masques, Space, and Dramatized Desire John R. Ziegler IN Philip Massinger's The City Madam, Anne, daughter of the prideful Lady Frugal, itemizes her conditions for marriage to her suitor Lacy. Among them is a "friend to place me at a masque" (2.2.115).' The play locates masques and their audiences within a nexus of fashion, emulation, self-display, social ambition, and theatergoing, pointing to the masque as an object of desire, especially for the upwardly mobile.^ Yet while someone like Anne might be able simply to buy a box for herself and her retinue at the Blackfriars, she could not as easily attend a masque. Entrance to a masque could not be pur- chased, and the average Londoner had a much better chance of hearing the cry "A hall, a hall! Let no more citizens in there" at the door than of being admitted to the performance (3.2.81).' This line, spoken by a gentleman usher in George Chapman's The Widow's Tears (c. 1605?; printed 1612), neatly sketches the tensions surrounding masquing spaces." Because access to spaces where masques were performed was so restricted, the embedded masques contained in a significant number of early modem English plays, most of them Jacobean and early Caroline, could sell a class-based voyeur- ism—with varying combinations of valorization and critique—to audiences in the commercial playhouses. Such voyeurism, which operates on the same principles as the more commonly discussed sexual voyeurism, lent an eroti- cism to the space of masque performance, whether actual or represented. -
The Crew / of Common Playwrights: Collaboration and Authorial Community in the Early Modern Theater
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The Crew / of Common Playwrights: Collaboration and Authorial Community in the Early Modern Theater Lacey Ann Conley Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Conley, Lacey Ann, "The Crew / of Common Playwrights: Collaboration and Authorial Community in the Early Modern Theater" (2012). Dissertations. 299. https://ecommons.luc.edu/luc_diss/299 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2012 Lacey Ann Conley LOYOLA UNIVERSITY CHICAGO “THE CREW / OF COMMON PLAYWRIGHTS” COLLABORATION AND AUTHORIAL COMMUNITY IN THE EARLY MODERN THEATER A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY LACEY ANN CONLEY CHICAGO, ILLINOIS MAY 2012 Copyright by Lacey Ann Conley, 2012 All rights reserved ACKNOWLEDGMENTS In the process of completing this dissertation, I have come to understand the many ways collaboration can occur in the creation of a written work, both in the early modern theater and, more importantly, in my own community. It is to those who made this seem a less solitary endeavor that I would like to express my thanks. I am grateful to the manuscript staff at the British Library for allowing me to have the most exciting scholarly experience of my life thus far, and to the English department at Loyola for creating a space wherein it is pleasant to be a graduate student. -
Philip Massinger
INSET FORMS OF ART IN THE PLAYS OF PHILIP MASSINGER Joame Marie Rochester A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Joanne Marie Rochester 2000 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographi Services services bibliographiques 395 Wellington Street 395. rue Wdlingîor, Ottawa ON K1AW OnawaON K1AW Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowuig the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts &om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. INSET FORMS OF ART IN THE PLAYS OF PHILlP MASSDJGER Jo~M~Marie Rochester PhD 2000 Graduate Department of English, University of Toronto ABSTRACT This thesis examines the use of metatheatrical inset pieces in the work of Philip Massinger, the dominant professional playwright of the London stage in the reign of Charles the First ( 1625- 1642). Although al1 Renaissance drama contains metatheatrical insets, the Caroline period is particularly nch in these devices. -
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. -
Not to Be Altered”: Performanceʼs Efficacy and Audience Reaction In
1RWWR%H$OWHUHGૻ3HUIRUPDQFHV(IILFDF\DQG$XGLHQFH 5HDFWLRQLQ7KH5RPDQ$FWRU (ULF'XQQXP Comparative Drama, Volume 46, Number 4, Winter 2012, pp. 517-543 (Article) 3XEOLVKHGE\:HVWHUQ0LFKLJDQ8QLYHUVLW\ DOI: 10.1353/cdr.2012.0046 For additional information about this article http://muse.jhu.edu/journals/cdr/summary/v046/46.4.dunnum.html Access provided by Campbell University (23 Jul 2015 16:41 GMT) “Not to Be Altered”: Performance’s Efficacy and Audience Reaction in The Roman Actor Eric Dunnum eaders of Philip Massinger’s hyper-self-reflectiveThe Roman Actor Rhave long noted, and then struggled to understand, Paris’s inability to use performance to enact change in his audience. In the first of three inset plays, The Cure for Avarice, Paris (one of the Roman actors suggested by the title) uses a performance to cure Philargus of his greed and miserliness. Like Hamlet before him, Paris intends to present “on the stage as in a mirror” a character like Philargus, so that he “[m]ay see his own deformity and loathe it” (2.1.98; 99).1 However, as critics have pointed out, Philargus, unlike Claudius, does not repent or even feel guilty.2 Richard A. Burt remarks, “the attempt fails miserably.…To be sure, Philargus does identify with the [staged] miser completely. But Philargus does not regard the miser critically.”3 Philargus does eventually disown his dramatic doppelganger, but only because the character repents. “An old fool, to be gulled thus! Had he died / As I resolve to do, not to be altered, / It had gone off twanging” (2.1.407–9).