THE REIGN of KING EDWARD III Attributed to William Shakespeare and Thomas Kyd
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The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E
Clemson University TigerPrints All Theses Theses 5-2018 Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E. Kuebler Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Kuebler, Jane E., "Edward II: Negotiations of Credit in the Early Modern Public Sphere" (2018). All Theses. 2856. https://tigerprints.clemson.edu/all_theses/2856 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Edward II: Negotiations of Credit in the Early Modern Public Sphere A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Jane E. Kuebler May 2018 Accepted by: Dr. Elizabeth Rivlin, Committee Chair Dr. William Stockton Dr. Andrew Lemons ABSTRACT This paper addresses the role that Christopher Marlowe’s Edward II plays in the establishing and expanding of an early modern public sphere. By examining the ways that power is earned, and wielded in the play, Marlowe demonstrates an economy of cultural credit that operates in both the financial and the socio/political spheres of public life in early modern England. Marlowe applies the logic of that economy beyond the realm of the common people and subjects the historical monarch to the same parameters of judgement that flourished in society, drawing parallels with the currently reigning Elizabeth I, and opening up a discourse that reexamines the markers of credit, power and birth-ordered hierarchies. -
Mary Stuart First Mortality in the Film, Public Enemies, Taking a .45 Slug in the Solar Plexus from a Deranged Stephen Dorff
Artist Biographies Jeff Christian (Director, Leicester) led the company for eight Peter Garino (Sir Amias Paulet, Artistic Director) is a founding seasons, having adapted and directed A Midsummer Night’s Dream, member of The Shakespeare Project of Chicago and has contributed to Henry VIII, the gender-swapped The Comedy of Errors, In Medea Res over 50 theatrical readings as an actor and director since 1995. He (from Euripides’ Medea), Henry VI (from Shakespeare’s trilogy), directed Measure For Measure to open the current season and is Faust (from Marlowe and Goethe), The Parvenu (from Moliere’s Le scheduled to appear in The Merry Wives of Windsor prior to directing Bourgeois Gentilhomme), Ibsen’s Ghosts, Dickens’s The Cricket on The Tempest in the spring. This past season, he appeared in Paradise the Hearth, the outreach program 50 Minute Hamlet, as well as having Lost, directed Antony & Cleopatra played Thomas and David in The staged King Lear, Love’s Labours Lost, As You Like It, Sheridan’s The Rivals and Cardinal Wolsey in Henry VIII. On behalf of The Rivals, Somerset Maugham's The Constant Wife, and Regina M. Shakespeare Project, he has facilitated his Sonnet Workshop and Page Schwartz’s adaptation of John Milton’s Paradise Lost. Other to the Stage Macbeth for local public and private schools and colleges. directing credits include Mojo Mickybo, A Whistle in the Dark and Previous roles include Lord Stanley in Richard III, Creon in Jeff Our Father (Seanachai Theatre Company), The Skin of Our Teeth Christian's adaptation, In Medea Res, Duke Senior and Duke Frederick (The Artistic Home), Proof and Driving Miss Daisy (New American in As You Like It, Don Pedro in Much Ado About Nothing, Mortimer in The Constant Wife, Rev. -
In Defence of Kyd: Evaluating the Claim for Shakespeare's Part
1 In Defence of Kyd: Evaluating the Claim for Shakespeare’s Part Authorship of Arden of Faversham DARREN FREEBURY-JONES Abstract: MacDonald P. Jackson first argued for Shakespeare’s part authorship of Arden of Faversham in his university dissertation in 1963. He has devoted several articles to developing this argument, summarized in his monograph Determining the Shakespeare Canon (2014). Jackson’s part ascription has led to the inclusion of the domestic tragedy in The New Oxford Shakespeare. However, Jackson and his New Oxford Shakespeare colleagues have either dismissed or neglected the evidence for Thomas Kyd’s sole authorship presented by other scholars. This essay focuses primarily on Jackson’s monograph and argues that the evidence for adding the play to Kyd’s canon, encompassing phraseology, linguistic idiosyncrasies, and verse characteristics, seems solid. Contributor Biography: Darren Freebury-Jones is Lecturer in Shakespeare Studies (International – USA) at The Shakespeare Birthplace Trust in Stratford-upon-Avon. His 2016 doctoral thesis examined Thomas Kyd’s influence on Shakespeare’s early plays and he is one of the editors for the first edition of Kyd’s collected works since 1901. He has also investigated the boundaries of John Marston’s dramatic corpus as part of the Oxford Marston project. His recent and forthcoming work on the plays of authors such as Shakespeare, Kyd, Lyly, Marlowe, Peele, Nashe, Marston, Dekker, Fletcher, and others can be found in a range of peer-reviewed journals. The Authorship of Arden of Faversham He was right after all, and the scholars who for a generation now have ignored or sneered at his evidence, sometimes—when they have condescended to mention it—printing the word evidence itself between inverted commas, have not turned out to be our most reliable guides. -
Kyd and Shakespeare: Authorship, Influence, and Collaboration
Kyd and Shakespeare: Authorship, Influence, and Collaboration Darren Anthony Freebury-Jones A Thesis Submitted for the Degree of Doctor of Philosophy Cardiff University 2016 Abstract The aim of this thesis is to establish the canon of Thomas Kyd’s plays and to explore Shakespeare’s relationship with that oeuvre. Chapter One begins by examining Shakespeare’s verbal indebtedness to plays that have been attributed to Kyd for over two centuries, including The Spanish Tragedy (1587), Soliman and Perseda (1588), and The True Chronicle History of King Leir (1589). The first chapter argues that Shakespeare’s extensive knowledge of Kyd’s plays contributed towards the development of his dramatic language. The second chapter provides an overview of some of the complex methods for identifying authors utilized throughout the thesis. Chapter Three then seeks to establish a fuller account of Kyd’s dramatic canon through a variety of authorship tests, arguing that in addition to the three plays above Arden of Faversham (1590), Fair Em (1590), and Cornelia (1594) should be attributed to Kyd as sole authored texts. The fourth chapter examines the internal evidence for Kyd’s hand in Shakespeare’s Henry VI Part One (1592). The chapter contends that Shakespeare’s chronicle history play was originally written by Kyd and Thomas Nashe for the Lord Strange’s Men, and that Shakespeare subsequently added three scenes for the Lord Chamberlain’s Men. The fifth chapter argues that Shakespeare and Kyd collaborated on The Reign of King Edward III (1593) and that Kyd should thus be recognized as one of Shakespeare’s earliest co-authors. -
The Case of Hal and Henry IV in 1 & 2 Henry IV and the Famovs Victories
University of Richmond UR Scholarship Repository Jepson School of Leadership Studies articles, book Jepson School of Leadership Studies chapters and other publications 2016 The iF lial Dagger: The aC se of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories Kristin M.S. Bezio University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/jepson-faculty-publications Part of the Dramatic Literature, Criticism and Theory Commons, and the English Language and Literature Commons Recommended Citation Bezio, Kristin. “The iF lial Dagger: The asC e of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories,” Journal of the Wooden O 14-15 (2016): 67-83. This Article is brought to you for free and open access by the Jepson School of Leadership Studies at UR Scholarship Repository. It has been accepted for inclusion in Jepson School of Leadership Studies articles, book chapters and other publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. 67 The Filial Dagger: The Case of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories Kristin M. S. Bezio University of Richmond nglish culture and politics in the last decade of the sixteenth century were both patriarchal and patrilineal, in spite of— E or, perhaps, in part, because of—the so-called bastard queen sitting on the throne. The prevailing political questions of the day concerned Elizabeth’s successor and the fate of the nation that, so many believed, hung precariously in the balance. -
Stories from Shakespeare 3 for Naxos Audiobooks
David Timson STORIES FROM SHAKESPEARE The Plantagenets JUNIOR Read by Anton Lesser and cast CLASSICS 3 CDs WITH EXCERPTS FROM THE PLAYS NA391912 Shakespeare Stories-plantagenets booklet.indd 1 30/9/08 09:12:16 CD 1 1 Richard II 4:34 2 This Royal throne of Kings, this sceptred isle, 1:32 3 Gaunt tried to warn King Richard… 3:43 4 So when this thief, this traitor Bolingbroke… 0:31 5 But Richard’s confidence soon vanished… 2:13 6 The young Duke of Aumerle bade Richard… 2:18 7 And so Richard, with no power left to him… 2:00 8 Here, cousin, seize the crown… 1:36 9 Richard’s grief at his loss overwhelmed him… 0:59 10 In despair, Richard smashed the mirror… 3:11 11 That hand will burn in never-quenching fire… 0:33 12 In his dying moments, ex-King Richard… 0:59 13 Henry IV Part One 1:28 14 The son, who was the theme of honour’s tongue… 0:39 15 Prince Hal, although he was the Prince of Wales… 2:16 16 Prince Hal had another friend… 2:38 17 Hotspur had hoped to strike a deal… 1:23 18 A plague of cowards still, say I… 2:03 19 By the time Falstaff had finished his tale… 1:27 20 But Falstaff’s plans for their evening’s entertainment… 1:46 21 Then Hal and Falstaff swapped parts… 2:29 2 NA391912 Shakespeare Stories-plantagenets booklet.indd 2 30/9/08 09:12:16 CD 1 (cont.) 22 Their play was interrupted by the arrival… 0:30 23 That night at the palace… 1:09 24 I will redeem all this on Percy’s head. -
May 25 – July 8, 2018 PRODUCTION STAFF & ARTISTS
presents Music & Lyrics by Stephen Sondheim Book by Hugh Wheeler Orchestrations by Jonathan Tunick Suggested by a Film by Ingmar Bergman Originally produced and directed on Broadway by Harold Prince Directed by Linda Fortunato** Music Direction by Tom Vendafreddo Re-orchestrations by Malcolm Ruhl PERFORMERS Desiree Armfeldt .............................................................................................................. Kelli Harrington Fredrik Egerman ....................................................................................................................Peter Robel* Count Carl-Magnus Malcolm ........................................................................................Christopher Davis Countess Charlotte Malcolm .......................................................................................Stephanie Stockstill Anne Egerman ........................................................................................................................Rachel Guth Henrik Egerman ............................................................................................................ Jordan Dell Harris Mme. Armfeldt ...........................................................................................................Marguerite Mariama Fredrika Armfeldt ..............................................................................................................Isabelle Roberts Petra ...............................................................................................................................Teressa -
PRESS RELEASE for IMMEDIATE RELEASE Friday, October 7, 2011 CONTACT: Patrick Finlon, Marketing Director 315-443-2636 Or [email protected]
PRESS RELEASE FOR IMMEDIATE RELEASE Friday, October 7, 2011 CONTACT: Patrick Finlon, Marketing Director 315-443-2636 or [email protected] Syracuse Stage’s The Boys Next Door Finds Comedy and Compassion in a Group Home for People with Developmental Disabilities (Syracuse, NY)—Meet Arnold Wiggins. He’s basically a nervous person. He lives with Lucien P. Smith who fancies very big books, and Norman who works in the doughnut shop, and Barry who has schizophrenia and has convinced himself that he is a golf pro. In addition to an apartment, these guys share a caseworker named Jack who, despite his genuine concern for his clients, is on the verge of total burn-out. The Boys Next Door is a gentle comedy from the late 80s set in a group home for people who are developmentally disabled. As playwright Tom Griffin reveals the daily struggles of his characters to make sense of their world and their places in it, he reminds us to consider how much we take for granted every day. The Boys Next Door is very funny and very touching. Running October 19 through November 6, The Boys Next Door will be performed in the Archbold Theatre at Syracuse Stage, 820 East Genesee Street. Tickets range $18-$50 and are available at the Syracuse Stage Box Office, 315-443-3275 or www.SyracuseStage.org. The presenting sponsor for The Boys Next Door is The Dorothy and Marshall M. Reisman Foundation. Sponsors are Syracuse University Humanities Center, POMCO Group, Burton Blatt Institute, and Arc of Onondaga (celebrating their 60th anniversary). -
REGINA LESLIE Hair Blond 312-802-7900 EMC; SAG & AFTRA Eligible Eyes Blue [email protected] Lyric Soprano W/ Belt Ht 5’3” Wt 108 Range: Low F-High D Above Staff
REGINA LESLIE Hair blond 312-802-7900 EMC; SAG & AFTRA Eligible Eyes blue [email protected] Lyric Soprano w/ belt Ht 5’3” Wt 108 Range: low f-high d above staff PLAYS CYRANO DE BERGERAC Feat. Ensemble Chicago Shakespeare Theatre; P. Metropolus, D PETER PAN-London-based tour Mrs. Darling 360 Ent; Ben Harrison, JV Mercanti, Dir. AMADEUS Theresa Salieri Oak Park Theatre Festival THE REAL THING D.Perkovich, Dir. Charlotte Illinois Theatre Center, Park Forest, IL THE QUIET MAN TALES S.Felder Dir. Nuala Kierley Mages Prod. @ Chicago Theatre Downstairs HAY FEVER Sorel Stage Center Theatre; (guest artist) at NEU YETSI’at MIZRAYIM Seth Bockley, Dir. Mother/Narrator Collaboraction-Sketchbook Festival THE WEDDING J.Palmer, Dir. Natasya Timofeevna Chekov Festival; Red Tape/St. Sebastian Players A CHRISTMAS CAROL K.Buckley, Dir. Abby/Charwoman us;Ens. Goodman Theatre -Chicago MUSICALS WONDERLAND R. Rockwell, Dir. Unicorn/Bianca Chicago Children’s Theatre ROADSHOW G. Griffin, Dir. Boca Girl/ Ensemble Chicago Shakespeare Theatre James Joyce’s THE DEAD Mary Jane Court Theatre, Chicago NO WAY TO TREAT A LADY Sarah Stone Illinois Theatre Center SCROOGE, THE MUSICAL Ghost/Past and Isabelle us AEA Nat. Tour, Bill Kenwright, Prod U.S. Premiere, Bob Tomson, Dir. Chestnut Seller THE SOUND OF MUSIC Sr. Sophia us, Feat.Ens. Ordway Center -St. Paul, MN THE SOUND OF MUSIC Elsa Circa 21 -Rock Is., IL RADIO GALS America Peninsula Players-WI DEAR FRIENDS & GENTLE HEARTS Charlotte/Lucy Bailiwick Repertory Theatre-Chicago COWGIRLS Thom Johnson, Dir. Mary Lou The Old Creamery Theatre-IA FILM/TV Peepshow Woman at Desk (featured) Indi feature; Redworks Cinema The Papers Lori (lead) Indi short; Poindexter Films, IN State of Jefferson Kelly (featured) Indi short, Blindsight Arts, CA Haunted Chicago Woman in Blue (principal) History Channel, Greystone Prod. -
L0. 1590 That Rn" Tilney Did Vtterly Mislike the Same
r590 to m' Yonge it appered vnto mej that it was your honours pleasure I sholde geue order for the staie of all playes within the Gttie, in L0. 1590 that rn" Tilney did vtterly mislike the same. According to which your Lps. good pleasure, I presendye sente for suche players as I coulde here of, so as there appered yesterday before me the L. Admeralles and the L. Straunges players, to whome I speciallie gaue in Charge and required them in her Maiesties name to forbere playinge, vntill further order mighte be geuen for theire allowance in that repecte: \Vhere- Kit Marlowe's play The lew of Malta had become an established upon the L. Admeralles players very dutifullie obeyed but the others favourite and was drawing large audiences when the records of in very Contemptuous manner departing from me, went to the Crosse Philip Henslowe's Rose Theatre began in r5gr-2. Before keys and played that afternoon, to the greate offence of the better Henslowe's diary there were local records of where some of the sorte that knewe they were prohibited by order from your L. Which acting companies visited including Marlowe's Lord Admiral's as I might not suffer, so I sent for the said Contemptuous persons, Players, and though these lists do not give the names of the who haueing no reason to alleadge for theire Contempt, I coulde do dramas presented they are some guide to the activities of thc no lesse but this evening Comitt ,some of them to one of the companies with which Kit operated; and as only Henslowe's Compters, and do meane according to your Lps. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster 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.