Camden Old Series (1838 – 1872)
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RHO Volume 84 Front Matter
TREVELYAN PAPERS. PAET II. A.D. 1446 1643. EDITED BY J. PAYNE COLLIER, ESQ. PRINTED FOE THE CAMDEN SOCIETY. M.DCCC.LXIII. Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.76, on 01 Oct 2021 at 03:07:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S2042169900004788 \ \ WESTMINSTEK : PRINTED BY JOHN BOWYEK NICHOLS AND SONS. 25, PARLIAMENT STREET. [NO. LXXXIV.] Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.76, on 01 Oct 2021 at 03:07:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S2042169900004788 COUNCIL OF THE CAMDEN SOCIETY FOR THE YEAR 1862-63. President, THE MOST HON. THE MARQUESS OF BRISTOL, V.P.S.A. ARTHUR ASHPITEL, ESQ. F.S.A. WILLIAM HENRY BLAAUW, ESQ. M.A., F.S.A. Treasurer. BERIAH BOTFIELD, ESQ. M.P. F.R.S. F.S.A. JOHN BRUCE, ESQ. F.S.A. Director. WILLIAM DURRANT COOPER, ESQ. F.S.A. JAMES CROSBY, ESQ. F.S.A. JOHN FORSTER, ESQ. LL.D. THE REV. LAMBERT B. LARKING, M.A. JOHN MACLEAN, ESQ. F.S.A. FREDERIC OUVRY, ESQ. Treas.S.A. EVELYN PHILIP SHIRLEY, ESQ. M.P. M.A. F.S.A. WILLIAM JOHN THOMS, ESQ. F.S.A. Secretary. WILLIAM TITE, ESQ. M.P. F.R.S. F.S.A. ALBERT WAY, ESQ. M.A. F.S.A. HIS EXCELLENCY M. VAN DE WEYER, D.C.L., Hon. -
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. -
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. -
From the Publication of the First Volumes in 1984 the General Editor
Cambridge University Press 978-0-521-72874-4 - Coriolanus: Updated Edition Edited by Lee Bliss Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. CORIOLANUS This generously annotated updated edition of Coriolanus provides a thorough reconsideration of Shakespeare’s remarkable, and probably his last, tragedy. A substantial introduction situates the play within its contemporary social and political contexts – dearth, riots, the struggle over authority between James I and his first parliament, the travails of Essex and Ralegh – and pays particular attention to Shakespeare’s shaping of his primary source in Plutarch’s Lives. It presents a fresh account of how the protagonist’s personal tragedy evolves within Shakespeare’s most searching exploration of the political life of a community. The edition is alert throughout to the play’s theatrical potential, while the stage history also attends to the politics of performance from the 1680s onwards, including European productions following the Second World War. A new introductory section by Bridget Escolme covers recent productions of Coriolanus, and criticism of the -
The Reminiscences of Alexander Dyce Alexander Dyce
THE REMINISCENCES OF ALEXANDER DYCE ALEXANDER DYCE FROM AN ENGRAVING BY C. H. JEENS. REPRODUCED BY COURTESY OF THE VICTORIA & ALBERT MUSEUM. THE Reminiscences OF Alexander Dyce EDITED, WITH A BIOGRAPHY BY RICHARD J. SCHRADER OHIO STATE UNIVERSITY PRESS Copyright © 1972 by the Ohio State University Press All Rights Reserved Library of Congress Catalog Card Number 75-157716 Standard Book Number 8142-0160-1 Manufactured in the United States of America FOR MY PARENTS CONTENTS FOREWORD x i ALEXANDER DYCE 3 EDITORIAL PRINCIPLES 2 9 THE REMINISCENCES 3 3 PREFACE TO CHAPTER I 35 CHAPTER ONE : Early Years 39 SCOTLAND. % MARY ANN PATON. J SIR DAVID OCHTERLONY. % MRS. SMOLLETT. $ STRAW BERRY-HILL J LORD WALDEGRAVE. % CUMNOR PLACE (FROM MY DIARY). PREFACE TO CHAPTER II 5 1 CHAPTER TWO: The Stage 55 PART I : MAJOR CHARACTERS 5 5 EDMUND KEAN AND HIS WIFE. { CHARLES KEAN. % JOH N KEMBLE. $ MRS. CHARLES KEMBLE (MISS DE CAMP), t MRS. SIDDONS. PART 2 : MINOR CHARACTERS 9 9 GIOVANNI B. BELZONI. % MRS. MARY ANN DAVENPORT) WILLIAM FARREN, &C. $ MRS. GIBBS. % MRS. DOROTHY Vlll CONTENT S JORDAN. | JAMES KENNEY AND HIS LAST DRAMATIC PRODUCTION, t JOHN HENDERSON'S AND CHARLES MACKLIN'S SHYLOCK ; GEORGE F. COOKE'S RICHARD THE THIRD, SIR PERTINAX MACSYCOPHANT, AND SIR ARCHY MACSARCASM; MACKLIN AND D [ . ] . % MADEMOISELLE MARS. % CHARLES MATHEWS THE ELDER. $ JOSEPH S. MUNDEN. % MRS. PIOZZI AND CONWAY THE ACTOR. { MRS. ELIZABETH POPE (MISS YOUNG) J HOLCROFT'S "FOLLIES OF A DAY OR TH E MARRIAGE OF FIGARO" ; CHARLES BONNOR. J MISS JANE POPE, T GEORGE RAYMOND. PREFACE TO CHAPTER III 12J CHAPTER THREE: The Clerisy 131 THOMAS TAYLOR, THE PLATONIST. -
Postgraduate English: Issue 19
Heavey Postgraduate English: Issue 19 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 19 March 2009 Editors: Amy Jordan and Eleanor Chatburn Performing “in the likeness of a petticoat”: Playing Helen of Troy and Medea in the Drama of James Shirley Katherine Heavey * * Durham University ISSN 1756-9761 1 Heavey Postgraduate English: Issue 19 Performing “in the likeness of a petticoat”: Playing Helen of Troy and Medea in the Drama of James Shirley Katherine Heavey Durham University Postgraduate English, Issue 19, March 2009 James Shirley’s Poems & c., published in 1646, inspired commendatory verses from many admirers and colleagues. One such admirer, George Bucke, draws attention to Shirley’s use of classical mythology (particularly the story of Echo and Narcissus), and declares Let Ovid boast their story; but their names Will take eternity from thee, dear James.[1] Such praise is obviously hyperbolic, and it would be foolhardy to claim today that Shirley’s retelling of the myth (in Narcissus, or The Self-Lover) has become more popular than Ovid’s rendering in the Metamorphoses. Nevertheless, Bucke’s admiring lines do draw attention to Shirley’s use of mythology (and specifically of Ovidian mythology and themes). The appropriation of classical myth for literary effect was nothing new, but in Shirley’s work it is possible to discern something more original: a cavalier attitude to the stories and characters of myth that is memorable, because different and (often) irreverent. In this essay, I will examine Shirley’s rewriting of two of the best-known classical stories, those of Helen and Paris and Medea and Jason, with specific reference to his use (and misuse) of the two notorious classical women. -
Durham E-Theses
Durham E-Theses The British archaeological association: its foundation and split Wetherall, David Michael How to cite: Wetherall, David Michael (1991) The British archaeological association: its foundation and split, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/6303/ 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 Durham E-Theses • 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 Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Abstract THE BRITISH ARCHAEOLOGICAL ASSOCIATION: ITS FOUNDATION AND SPLIT David Michael Wetherall Thesis submitted for Master of Arts degree. Durham University, Department of Archaeology, 1991. The thesis investigates the foundation of the British Archaeological Association (BAA) at the end of 1843, and its development over the next couple of years. In September 1844 the BAA held a week-long archaeological congress at Canterbury, the details of which are discussed. Although it was deemed a great success by those who participated, a number of influential antiquarians on the BAA's Central Committee did not attend. -
William Shakespeare, Romeo and Juliet. London: John Smethwicke, [1622]
William Shakespeare, Romeo and Juliet. London: John Smethwicke, [1622]. 7 1/2 inches x 5 inches (191 mm x 127 mm), [88] pages, A–L4. THE MOST | EXCELLENT | And Lamentable Tragedie, | of ROMEO and | IVLIET. | As it hath beene sundrie times publikely Acted, | by the KINGS Maiesties Seruants | at the GLOBE. | Written by W. Shake-speare. | Newly Corrected, augmented, and amended. | [printer’s device] | LONDON, | Printed for Iohn Smethwicke, and are to bee sold at his Shop in | Saint Dunstanes Church-yard, in Fleetestreete | vnder the Dyall. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed. -
The SCOTTISH HISTORY of JAMES the FOURTH
ElizabethanDrama.org presents the Annotated Popular Edition of The SCOTTISH HISTORY of JAMES the FOURTH By Robert Greene Written c. 1590 Earliest Extant Edition: 1598 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2021. This annotated play may be freely copied and distributed. THE SCOTTISH HISTORY of JAMES THE FOURTH. by Robert Greene. Written c. 1590 Earliest Extant Edition: 1598 DRAMATIS PERSONAE. INTRODUCTION to the PLAY. Scottish Characters: In writing James the Fourth, Robert Greene became one of the earliest English dramatists to adapt an Italian story to James, King of Scots. the Elizabethan stage, an approach for which Shakespeare Sir Bartram. himself was soon to become well known. We also have a Sir Cuthbert Anderson. tale which features a sharp contrast in the characters of the Lady Anderson, wife of Sir Cuthbert. sexes, the leading women being virtuous, and most of the Lord Douglas. men wicked. Lord Morton. In fact, James stars not just one, but two paragons of Lord Ross. moral perfection and purity, the Queen of Scotland and the Bishop of St Andrews. Lady Ida. On the other hand, Greene has populated his play Bohan, a tomb dweller. with males who practice many of the seven deadly sins: Slipper, son of Bohan. they are lechers, ambitious schemers and clowns; the Nano, a dwarf, son of Bohan. primary exception to this point is the delightfully selfless Countess of Arran. and loyal dwarf Nano, a servant of the Scottish queen. Ida, daughter of the Countess. With its colourful cast of well-delineated characters Ateukin, a Parasite. -
The Elizabethan Society of Antiquaries Reassessed
THE ELIZABETHAN SOCIETY OF ANTIQUARIES REASSESSED By HELEN DOROTHY JONES A. (Hons.), The University of British Columbia, 138 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY i n THE FACULTY OF GRADUATE STUDIES (Department of Hi story> We accept this thesis as conforming bo the required standard THE UNIVERSITY OF BRITISH COLUMBIA August, 1988 (c) Helen Dorothy Jones, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of b«? p The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date IV-^i^b 3^2.///CjrJTff- DE-6G/81) i i ABSTRACT The Elizabethan Society of Antiquaries has traditionally been regarded as a scholarly group which dissolved due to attrition and perhaps the suspicion of the ruling administration. A 1614 effort to recongregate failed due to James I's'unfounded suspicions of the members' political intentions. This interpretation rests on the assumption that the discourses produced by members were the object of the Society, and that the members were primarily scholars. While the discourses required extensive research, they were superficial and uncritical, not representative of the standard of historical work of which some of the members, such as Camden, Stow and Lambarde, were capable. -
Robert Greeneking of the Paper Stage
Robert Greene King of the Paper Stage by Stephanie Hopkins Hughes I am the spirit of Robert Greene, not unknown to thee (I am sure) by my name, when my writings lately privileged on every post, hath given notice of my name unto infinite numbers of people that never knew me by the view of my person. “B.R.” The Ghost of Robert Greene (1593) Greene lies continually. We wish he were more trustworthy, for it would save us trouble in understanding him. John Clark Jordan Robert Greene (1915) As those of you know who have done some digging in the dusty corners of sixteenth- century English literary history, Robert Greene was one of a group of writers known to present-day scholars as “the University Wits.” They are seen as having formed a group of London-based poets, playwrights and proto-journalists (pamphleteers) who were active for a brief period beginning in the mid-1580s, most active in the late ’80s and early ’90s, and who were, for the most part, like some strange species of human firefly, dead or at least gone from the records, by the late ’90s. Scholars group them together for several reasons: most of them came to London from either Oxford or Cambridge University; there are evident personal and professional connections between some of them, although their real relationships remain unknown; and they share a number of important stylistic similarities. Perhaps more important than anything is the fact, often not accentuated enough by commentators, that it was from this group that the potent force of English journalism, with its cogent and often satirical brilliance, its long history of accomplishment, first flickered, however briefly, into the light of publication. -
Newdad Catalogue
WILLIAM PICKERING 1796-1854 CATALOGUE OF A COLLECTION PRIVATELY PRINTED • MMXVIII © John Porter 2018 Privately published 2018 Designed and typeset by Francis Porter www.francisporterdesign.com in Monotype Bulmer 10pt For Anne, Catherine and Francis Mr. Pickering is an enthusiast in his profession, to which he is most devoted. He has done more for the advancement of the printing art, and the dissemination of the best class of English literature, than any other man alive. He lives over his shop, as is the habit of some of the wealthiest tradesmen here. We sat at the table, and drank Old Port, and talked of old books, till nearly two o’clock. Mr. Pickering understands the value of both. Diary of James Brown, of Boston, 21 April 1845 INTRODUCTION The genesis of this collection of the publications of William Pickering was in 1946 when I picked out a volume from a tea chest of penny books at the front of Harold Storey’s shop in Cecil Court. It was volume IV only, of Pickering’s edition of Chaucer’s Canterbury Tales , 5 vols. 1830. A worn copy, but the elegant unorthodoxy of the title, with its anchor and dolphin device; the clarity of the typography with wide margins, and the beautiful ribbed laid handmade paper were a revelation to me of how books might look. National Service beginning in 1947, followed by training to be an architect, meant scarcely remembering the odd volume of Chaucer, until it re-surfaced years later to find my original interest undiminished, and the urge to know more about the publisher.