The Theatrical City (Advanced Options) (Semester 1 Or 2)
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Front Matter
Cambridge University Press 978-1-107-00489-4 - The Two Gentlemen of Verona: Updated Edition Edited by Kurt Schlueter 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. THE TWO GENTLEMEN OF VERONA Professor Schlueter approaches this early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which by their combination show high-flown human ideals as incompatible with each other, and with human nature. A thoroughly researched, illustrated stage history reveals changing conceptions of the play, which nevertheless often fail to come to terms with its subversive impetus. Since the first known production at David Garrick’s Drury Lane Theatre, it has tempted major directors and actors, including John Philip Kemble, William Charles Macready and Charles Kean, who established a tradition of understanding which cast its shadow even on such modern productions as Denis Carey’s famous staging for the Bristol Old Vic and Robin Phillips’s for the Royal Shakespeare Company. This updated edition includes a new introductory section by Lucy Munro on recent stage -
ROMANTIC CRITICISM of SHAKESPEARIAN DRAMA By
ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA By JOHN g,RAWFORD Associate of Arts Texarkana College Texarkana, Texas 1956 Bachelor of Science in Education Ouachita Baptist University Arkadelphia, Arkansas 1959 Master of Science in Education Drake University Des Moines, Iowa 1962 Submitted to the faculty of .the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May, 1968 OKLAHOMA STATE UNIVERSITY LIBRARY OCT 24 1968 ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA Thesis Approved: Thesis Adviser \ f ,A .. < \ Dean of the Graduate College ii ACKNOWLEDGMENTS I should like to· thank anumber·of people who helped me in many different ways during· the·preparation· of .this dissertation, notably Dr. David· S. Berkeley,·major adviser, who-lent words of encouragement, guidance, understanding, and patience; but also my committee members, Dr. Darrel Ray·, Pr~ Judson Milburn, and· .Dr~- Loyd Douglas; and. the Oklahoma State University library staff, especially Miss Helen Donart and Mrs • .:fosephine Monk. iii TABLE-OF CONTENTS Chap tel' Page. I. INTRODUCTION •••• 1 II. HAMLET .••• . ' . .. ... 29 III. ANTONY -~ CLEOPATRA • • • • . • • . • • • It • . • • . • .• • a1 ·IV. HENRYV· . ,. ". .• . 122 V. THE· MERCHANT ·QE. VENICE .- . "' . 153 VI. CONCLUSION • • ' . -. ,. 187 BIBLIOGRAPHY • • • • · • . .. 191 iv CHAPTER I INTRODUCTION Of all the so-called schools of Shakespearian criticism, the Romantic has been and continues to be one of the most influential. Per- haps this is true merely because of the impor~ance which the Romantic School places upon the genius of the subj~ct, for all schools of criti- cism recognize Shakespeare's ability at creating effective drama. A more accurate answer, however, probably lies in the fact that "romanti- cism" has a broad base and encompasses so very much. -
Will Kemp, Shakespeare, and the Composition of Romeo and Juliet
162 Issues in Review 43 See A.J. Hoenselaars, Images of Englishmen and Foreigners in the Drama of Shake- speare and His Contemporaries: A Study in Stage Characters and National Identity in English Renaissance Drama (London and Toronto, 1992). 44 G.K. Hunter, ‘Porter, Henry (d. 1599)’, The Oxford Dictionary of National Biography (Oxford, 2004) http://www.oxforddnb.com/view/article/22568 (accessed 21 Dec 2006). 45 Henslowe’s Diary, 63, 242–3. 46 See Hunter, ‘Porter, Henry’. 47 Lucy Munro, ‘Early Modern Drama and the Repertory Approach’, Research Oppor- tunities in Renaissance Drama 42 (2003), 1–33. Will Kemp, Shakespeare, and the Composition of Romeo and Juliet ‘Enter Will Kemp’, states Romeo and Juliet’s 1599 second quarto in its uniquely specific stage direction towards the end of scene 17.1 This uniqueness makes the quarto, which editors know as Q2, a crucially important witness to the play’s early performances, and to Kemp’s career with Shakespeare and the Lord Chamberlain’s Men. The Romeo and Juliet quartos, however, contain a number of other curious references to Kemp which act as further evidence of the working relationship between the dramatist and his company’s star clown. A comparison of the play’s two earliest quartos, Q1 of 1597 and Q2 of 1599, shows the clown role to be both malleable and formative in the work’s ongoing generic development. A study of Kemp in the play, through the textual anomalies which separate the printed quartos, thus provides a record of some of the transformations Romeo and Juliet underwent during the first years of its existence, as the company corrected, revised, abridged, and changed the scripts in order to capitalize on and contain the famous clown’s distinctive talents. -
British Renaissance Poets
Critical Survey of Poetry British Renaissance Poets Editor Rosemary M. Canfield Reisman Charleston Southern University Salem Press A Division of EBSCO Publishing, Ipswich, Massachusetts Cover photo: Sir Walter Ralegh (© PoodlesRock/Corbis) Copyright © 2012, by Salem Press, A Division of EBSCO Publishing, Inc. All rights in this book are reserved. No part of this work may be used or reproduced in any manner whatsoever or transmitted in any form or by any means, electronic or me- chanical, including photocopy, recording, or any information storage and retrieval sys- tem, without written permission from the copyright owner except in the case of brief quotations embodied in critical articles and reviews or in the copying of images deemed to be freely licensed or in the public domain. For information address the publisher, Sa- lem Press, at [email protected]. ISBN: 978-1-58765-908-9 pod ISBN: 978-1-42983-657-1 CONTENTS Contributors . iv English Poetry in the Sixteenth Century . 1 English Poetry in the Seventeenth Century. 20 Thomas Campion . 43 Thomas Carew. 53 George Chapman . 61 Abraham Cowley . 72 Richard Crashaw . 83 Thomas Dekker . 93 John Donne. 104 George Herbert. 123 Ben Jonson . 135 Christopher Marlowe. 148 Andrew Marvell . 157 Thomas Nashe . 169 Sir Walter Ralegh. 177 William Shakespeare. 188 Sir Philip Sidney . 200 Robert Southwell. 214 Edmund Spenser . 222 Henry Howard, earl of Surrey . 237 Henry Vaughan. 246 Checklist for Explicating a Poem . 255 Bibliography . 258 Category Index . 265 Subject Index. 268 iii CONTRIBUTORS Rosemary Ascherl Sidney Gottlieb Robert M. Otten Colchester, Connecticut Sacred Heart University Marymount University Elizabeth J. Bellamy Katherine Hanley Samuel J. -
A.C.BRADLEY Ajffd HIS D Ffluefcr Hf Twerl'leth
A.C.BRADLEY AJffD HIS D fF lUEFCR Hf TWERl'lETH UEMTURY SHAEESÎPEARE CRTTIc is m , BY Katharine Lee« Côûjc;^ K. H. 3. L)3 m V CLAub No. Co^ A Ü C. ^ 0, » t, 3it> DAfE ACQ fife, rtbîr. ProQuest Number: 10107236 All rights reserved INF0RMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed a note will indicate the deletion. uest. ProQuest 10107236 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, MI 48106-1346 'L SYNOPSIS. This thesis sets out to discuss the criticism of A.C.Bradley (I85I-I935) paying especial attention to twentieth century interpretationsof his work; which, it appears, hear more CrihcAsm relation to the needs of twentieth century^than to the actual dicta of A.C.Bradley. As twentieth century attitudes are not uniform the Introduction shows some of the contradictory elements in the modern picture of Bradley. Chapter 2 summarises Bradley's life and surveys some of his nwn-literary writings as a corrective to twentieth century impressions. Chapter 3 sets out his critical principles so that the main part of the thesis which follows may he hased on some more factual found ation than twentieth century opinion. -
Reconstructions of the Globe: a Retrospective Gabriel Egan
Cambridge University Press 0521660742 - Shakespeare Survey 52: Shakespeare and the Globe Edited by Stanley Wells Excerpt More information RECONSTRUCTIONS OF THE GLOBE: A RETROSPECTIVE GABRIEL EGAN I ought not to have suggested in The Stage of the Globe, 356, that the ®rst Globe might have been rectangular.1 The Globe playhouse occupies special places in or Fortune differed substantially from their the collective conscious and unconscious of predecessors.4 Shakespeare studies and ± where id was, there Chambers offered no precise defence of his shall ego be ± the Wanamaker reconstruction has drawing because it was intended to be schematic brought important theoretical and practical rather than architectural, and showed neither the con¯icts into the open. The validity of histor- dimensions nor the arrangement of structural ical methods and pursuit of authenticity have members. General features, not unrecoverable always been contentious issues, but the act of particularities, were his concern. It is worth making a physical reconstruction focuses the noting that Chambers's octagonal playhouse minds of supporters and objectors in a way that which was supposed to be Globe-like and no hypothetical model can. The Wanamaker typical seems dependent upon J. C. Visscher's project can be credited with the achievement of engraving of 1616 called Londinium Florentis- accelerating research into the design and opera- s[i]ma Britanniae Urbs.5 When Chambers's book tion of the Globe so that in the last thirty years was published in 1923 the Visscher engraving the body of published work on the subject has was still considered authoritative and of the more than doubled. -
Abbreviations Titles of Shakespeare's Plays Are Abbreviated As in the SQ
Notes Abbreviations Titles of Shakespeare's plays are abbreviated as in the SQ Annotated World Bibliography, except that the name Lear is given in its full form. Periodicals are referred to by standard or perspi- cuous abbreviations, but the following may be noted: Cahiers: Cahiers elisabethains ES: English Studies SS: Shakespeare Survey SSt: Shakespeare Studies SAS stands for Straiford-upon-Avon Studies; and Sources for Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare, I-VIII (1957-75). Modern editions of Shakespeare's plays are referred to as follows: Arden: The Arden Shakespeare, new series inaugurated in 1951. Cam.: The New Shakespeare edited by Sir Arthur Quiller- Couch and John Dover Wilson. New Cam.: The New Cambridge Shakespeare inaugurated in 1984. Oxf.: The Oxford Shakespeare inaugurated in 1982. INTRODUCTION I. William Web be, A Discourse of English Poetrie ( 1586), quoted from G. Gregory Smith (ed.), Elizabethan Critical Essays, vol. I (1904) p.249. See also E. K. Chambers, The Mediaeval Stage, vol. II (1903) p.209. 2. Margeson, The Origins of English Tragedy (1967) pp. 82, 72. See also Clifford Leech, Shakespeare's Tragedies (1965) p.27. It has to be emphasised that 'tragedy' did not necessarily mean drama. 216 Notes to pp. 2 -7 217 3. See also Emrys Jones, The Origins of Shakespeare (1977) pp. 51-7. 4. Dessen, Shakespeare and the Late Moral Plays (1986) pp. 134-5. 5. See T. W. Baldwin, Shakspere's Five-Act Structure (1947, 1963), chs. I-XVI; and Smidt, Unconformities in Shakespeare's Early Comedies (1986) pp. 4-7. 6. See M. -
Politics and Romance in Shakespeare's Four Great Tragedies
Politics and Romance in Shakespeare’s Four Great Tragedies Politics and Romance in Shakespeare’s Four Great Tragedies By Kenneth Usongo Politics and Romance in Shakespeare’s Four Great Tragedies By Kenneth Usongo This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Kenneth Usongo All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5185-X ISBN (13): 978-1-4438-5185-5 Dedicated to I.A. & R.O. Usongo: Exemplary parents CONTENTS Acknowledgements .................................................................................... ix Chapter One ................................................................................................. 1 Contextualising Shakespeare Elizabethan and Jacobean England Chapter Two .............................................................................................. 29 Political Ambition Hamlet .................................................................................................. 29 King Lear ............................................................................................. 44 Macbeth .............................................................................................. -
University Microfilms Copyright 1982 by Greenwood, Kathy Lynn All
8207191 Greenwood, Kathy Lynn THE TRANSFORMING EYE: THE POETIC FICTIONS OF FALSTAFF AND CLEOPATRA The Ohio State University PH.D. 1981 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1982 by Greenwood, Kathy Lynn All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a checkV mark. 1. Glossy photographs or pages______ 2. Colored illustrations, paper or print_____ 3. Photographs with dark background_____ 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy_____ 6. Print shows through as there is text on both sides of page_____ 7. Indistinct, broken or small print on several pages______ 8. Print exceeds margin requirements_____ 9. Tightly bound copy with print lost in spine_____ 10. Computer printout pages with indistinct print______ 11. Page(s)___________lacking when material received, and not available from school or author. 12. Page(s)___________seem to be missing in numbering only as text follows. 13. Two pages numbered 320 Text follows. 14. Curling and wrinkled pages______ 15. Other____________________________________________________________________ University Microfilms International THE TRANSFORMING EYE: THE POETIC FICTIONS OF FALSTAFF AND CLEOPATRA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kathy L. Greenwood, B.A., M.A. The Ohio State University 1981 Reading Committee: Approved By Prof* Julian Markels Prof* Rolf Soellner Prof. Robert C. Jones Advise) Department cff English VITA Kathy L. Greenwood March 8, 1949. .... B o m - Marfa, Texas 1973 ........ -
Notes and References
Notes and References Place of publication is London, unless otherwise stated. I LITERARY CRITICISM AND SHAKESPEARE I. The treatment of these matters is intentionally brier. Fuller and more philosophically rigorous considerations are contained in Rene Wellek and Austin Warren, Theory rif Literature, 3rd edn (1966); E. D. Hirsch Jr, Validiry in Interpretation (New Haven, Conn., and London, 1967); and John Casey, The Language rifCriticism (1966). 2. Derek Traversi, Shakespeare: The Last Phase (1954) p. 268. 3. Bonamy Dobree, 'The Tempest', Essays and Studies (1952) p. 15. 4. The phrase is the title of an influential essay in W. K. WimsattJr and Monroe C. Beardsley, The Verbal Icon (Lexington, Ky, 1954). 5. For an account of how a work can take a different direction from the one its author intended see John Fowles, The French Lieutenant's Woman (1969) ch. 13. 6. Kenneth Muir, Shakespeare's Tragic Sequence (1972) p. 12. 2 'LOVE'S LABOUR'S LOST' I. Robert Y. Turner, Shakespeare's Apprenticeship (Chicago, Ill. 1974) p. 185. Cf. 'The play ... is today generally regarded as a delicate and controlled movement towards an acceptance of reality' - Ralph Berry, 'The Words of Mercury' ,Shakespeare Sflrvey 22 (Cambridge, 1969) p. 6g. 2. Harley Granville-Barker, Prifaces to Shakespeare: First Series (1927) pp. 14, 17· Fora recent view reinforcing Granville-Barker's see J. C. Trewin, Going to Shakespeare (1978): 'If the acting rhythms are right, the play will dance itself into memory' (p. 73). 3· Ibid., p. 3 I. 4. L. E. Pearson, Elizabethan Love Conventions (Berkeley, Calif., 1933) p.288. 156 NOTES AND REFERENCES 157 5. -
Introduction to Scholarly Editing
INTRODUCTION TO SCHOLARLY EDITING Seminar Syllabus G. THOMAS TANSELLE ! Syllabus for English/Comparative Literature G4011 Columbia University ! Charlottesville B O O K A R T S P R E S S University of Virginia 2002 This page is from a document available in full at http://www.rarebookschool.org/tanselle/ Eighteenth revision, 2002 Copyright © 2002 by G. Thomas Tanselle Copies of this syllabus are available for $20 postpaid from: Book Arts Press Box 400103, University of Virginia Charlottesville, VA 22904-4103 Telephone 434-924-8851 C Fax 434-924-8824 Email <[email protected]> C Website <www.rarebookschool.org> Copies of a companion booklet, Introduction to Bibliography: Seminar Syllabus, are available for $25 from the same address. This page is from a document available in full at http://www.rarebookschool.org/tanselle/ CONTENTS Preface • 9-10 Part 1. Selected Introductory Readings • 11-22 Part 2. A Concise Selection from the Literature of Textual Criticism • 23-35 Part 3. Some Writings on Spelling, Punctuation, and Other Visual Aspects of Texts • 37-45 Part 4. Examples of Editions and Editorial Manuals • 47-51 Part 5. Some Noteworthy Reviews of Scholarly Editions • 53-59 APPENDIX: THE LITERATURE OF TEXTUAL CRITICISM AND SCHOLARLY EDITING Part 6. Writings on Editing Pre-Renaissance Texts • 61-88 Part 7. Writings on Editing Post-Medieval Texts • 89-142 Part 8. Writings on the Use of Computers in Editing • 143-53 Part 9. Writings on Analytical Bibliography • 155-254 Subject Index (Parts 1-5 and 9) • 255-57 A more detailed outline of the contents is provided on the next four pages. -
1 Shakespeare's Library Source Notes P. 7
Shakespeare’s Library Source Notes p. 7. ‘higgledy-piggledy, ‘helter-skelter’: John Florio, A Worlde of Wordes, (Edw. Blount, 1598), p. 412. p. 7. ‘blood-stained’: Titus Andronicus II.iii; I Henry IV, I.iii. p. 7. ‘eyeball’: The Tempest, I.ii. p. 7. ‘fancy free’: A Midsummer Night's Dream, II.i. p. 7. ‘seamy’: Othello, IV.ii. p. 7. ‘zany’: Love’s Labour’s Lost, V.ii. p. 8. ‘entertained and at his game’, ‘William the Conqueror…was before Richard the Third’ : John Manningham, diary entry for 13 March 1601; see John Bruce (ed.), Diary of John Manningham, of the Middle Temple, and of Bradbourne, Kent, Barrister-at-law, 1602-1603, (Westminster: Printed by J. B. Nichols and Sons, 1868). p. 9. ‘the connaturals, concurrences, correspondents, concatenations…throughout the whole’: Orville W. Owen, Sir Francis Bacon’s Cipher Story, (Detroit: Howard Publishing Co., 1893), p. 25. p. 12. ‘Ringleader to all naughtiness’: Robert Burton, The Anatomy of Melancholy, (London: Printed for Peter Parker, 1676), p. 30. p. 13. ‘the acknowledged poet of the age, the friend of nobles and the pet of princes’: Henry Tyrrell, The doubtful plays of Shakspere, revised from the original editions with historical and analytical introductions and notes critical and explanatory, (London: J. Tallis, [1850]), p. 411. p. 13. ‘friend and adviser/admirer’, ‘a gold tissue toilet or table cover’: Michael Dobson, Stanley Wells, Will Sharpe & Erin Sullivan (eds), The Oxford Companion to Shakespeare, 2nd ed., (OUP, 2015), p. 498. p. 14. ‘haunted by the conviction…ever practised on a patient world’: Henry James to Violet Hunt, letter dated 26 August 1903, quoted in George L.