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Lamctott Liu/ Which Was Regarded As the Chief Point of Interest, Not Only of This Day’S Excursion, but of the Whole Meeting
38 Thirty-eighth Annual Meeting, Upon the motion of the President, a vote of thanks was offered to Mr. Green, for the diligence with which he had collected his materials, and the manner in which he had thrown light upon the subject of his paper. Mr. Green then read a paper hy Mr. Kerslake, on Gifla,^’ which is printed in Part II. p. 16. Mr. Green expressed his opinion that the derivation of the name was not from the river Yeo, which was a modern name. The meeting then terminated. The morning was delightfully fine, and at 9.30, the carriages being in readiness, a goodly number of Members left Yeovil for lamctott liU/ which was regarded as the chief point of interest, not only of this day’s excursion, but of the whole meeting. After a pleasant drive, passing by Odcombe, the birth-place of Tom Coryate,^ the cortege entered the camp by “ Bedmore Barn,’^ the site of the discovery of the large hoard of Roman coins in 1882, and drew up at (1) belonging to Mr. Charles Trask. The party having assembled on the edge of one of the deep excavations, at the bottom of (2) which the workmen were engaged in quarrying the celebrated Ham-stone,” Mr. Trask was asked to say a few words about the quarries. He said that the marl stone of the upper Lias was found plentifully along the level land within half a mile of the foot of the hill, on the western side. Above this were the Oolitic — : is . Leland says “ Hamden hill a specula, ther to view a greate piece of the country therabout The notable quarre of stone is even therby at Hamden out of the which hath been taken stones for al the goodly buildings therabout in al quarters.” paper, part ii. -
Julius Caesar © 2015 American Shakespeare Center
THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me. -
The Public and Private Life of Lord Chancellor Eldon
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ThepublicandprivatelifeofLordChancellorEldon HoraceTwiss > JHEMPMEyER ,"Bequest of oAlice Meyer 'Buck, 1882-1979 Stanford University libraries > I I I Mk ••• ."jJ-Jf* y,j\X:L ij.T .".[.DDF ""> ». ; v -,- ut y ftlftP * ii Willi i)\l I; ^ • **.*> H«>>« FR'iM •• ••.!;.!' »f. - i-: r w i v ^ &P v ii:-:) l:. Ill I the PUBLIC AND PRIVATE LIFE or LORD CHANCELLOR ELDON, WITH SELECTIONS FROM HIS CORRESPONDENCE. HORACE TWISS, ESQ. one op hkr Majesty's counsel. IN THREE VOLUMES. VOL. III. Ingens ara fuit, juxtaquc veterrima laurus Incumbcns ane, atque umbra complexa Penates." ViRG. JEn. lib. ii. 513, 514. Hard by, an aged laurel stood, and stretch'd Its arms o'er the great altar, in its shade Sheltering the household gods." LONDON: JOHN MURRAY, ALBEMARLE STREET. 1844. w3 London : Printed by A. Spottiswoode, New- Street- Square. CONTENTS THE THIRD VOLUME CHAPTER L. 1827. Letter from Lord Eldon to Lady F. J. Bankes. — Mr. Brougham's Silk Gown. — Game Laws. — Unitarian Marriages. — Death and Character of Mr. Canning. — Formation of Lord Goderich's Ministry. — Duke of Wellington's Acceptance of the Command of the Army : Letters of the Duke, of Lord Goderich, of the King, and of Lord Eldon. — Letters of Lord Eldon to Lord Stowell and to Lady Eliza beth Repton. — Close of the Anecdote- Book : remaining Anec dotes ------- Page 1 CHAPTER LI. 1828. Dissolution of Lord Goderich's Ministry, and Formation of the Duke of Wellington's : Letters of Lord Eldon to Lady F. -
Arthur Annesley, Margaret Cavendish, and Neo-Latin History
The Review of English Studies, New Series, Vol. 69, No. 292, 855–873 doi: 10.1093/res/hgy069 Advance Access Publication Date: 22 August 2018 Arthur Annesley, Margaret Cavendish, and Neo-Latin History Downloaded from https://academic.oup.com/res/article-abstract/69/292/855/5078044 by guest on 13 November 2018 Justin Begley ABSTRACT This article explores a hitherto unstudied copy of De vita [...] Guilielmi ducis Novo- Castrensis (1668)—a Latin translation of The Life of William Cavendish (1667) by Margaret Cavendish (1623?–1673)—that Arthur Annesley (1614–1686), the First Earl of Anglesey, has heavily annotated. While Annesley owned the largest private li- brary in seventeenth-century Britain, his copy of De vita is by far the most densely glossed of his identifiable books, with no fewer than sixty-one Latin and Greek annota- tions, not to mention numerous corrections and non-verbal markers. By studying Annesley’s careful treatment of De vita, this essay makes an intervention into the bur- geoning fields of reading and library history along with neo-Latin studies. I propose that Annesley filled the margins of De vita with quotations from Latin poets, scholars, philosophers, and historians—rather than his personal views—in a bid to form a polit- ically impartial outlook on the British Civil Wars that was attuned to broader historical or even mythological trends. I. INTRODUCTION On 18 March 1668, the renowned diarist, Samuel Pepys (1633–1703), recorded that he had stayed ‘home reading the ridiculous history of my Lord Newcastle wrote by his wife, which shows her to be a mad, conceited, ridiculous woman, and he an asse to suffer [her] to write what she writes to him and of him’.1 Pepys’s evaluation of Margaret Cavendish (1623?–1673) and her 1667 The Life of William Cavendishe—an account of the deeds of her husband, William Cavendish (1592–1676), in the British Civil Wars—has fuelled the view that contemporaries either scorned or neglected her books.2 Yet, in spite of Pepys’s assessment, Cavendish’s history went through nu- merous editions over the years. -
Oliver Cromwell and the Siege of Drogheda
University of Montana ScholarWorks at University of Montana Undergraduate Theses and Professional Papers 2017 Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda Lukas Dregne Follow this and additional works at: https://scholarworks.umt.edu/utpp Let us know how access to this document benefits ou.y Recommended Citation Dregne, Lukas, "Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda" (2017). Undergraduate Theses and Professional Papers. 175. https://scholarworks.umt.edu/utpp/175 This Thesis is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in Undergraduate Theses and Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Dregne Just Warfare, or Genocide? Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda." Sir, the state, in choosing men to serve it, takes no notice of their opinions; if they be willing to serve it, that satisfies. I advised you formerly to bear with minds of different men from yourself. Take heed of being sharp against those to whom you can object little but that they square not with you in matters of religion. - Cromwell, To Major General Crawford (1643) Lukas Dregne B.A., History, Political Science University of Montana 1 Dregne Just Warfare, or Genocide? Abstract: Oliver Cromwell has always been a subject of fierce debate since his death on September 3, 1658. The most notorious stain blotting his reputation occurred during the conquest of Ireland by forces of the English Parliament under his command. -
Petr Osolsobě Sir Thomas More
PETR OSOLSOBĚ SIR THOMAS MORE: LESS COLLABORATIVE, MORE SHAKESPEAREAN Is Sir Thomas More, in all its fortuitous dramatic unity, the subtle symmetries of its characters, and its network of cross-references a collaborative work? As far as modern editors are concerned, there is a measure of agreement that the original play was the work of Anthony Munday and Henry Chettle, and was completed around 1592-94. Its manuscript contains a number of rewritten and additional passages, attributed to Chettle, Heywood, Dekker and Shakespeare. Gabrieli and Melchiori, in their admirable 1990 Revels edition of Sir Thomas More, support the assumption: playwriting at the time, at least for the public stage, was a collaborative practice between men of letters and actors and the men of the theatre, frequently on the basis of a ‘plot’ devised by a single author[. Besides,] all the extant or lost plays connected with Munday’s name [...] are written in collaboration. (Gabrieli and Melchiori 1990: 13) Munday’s claim to authorship is, furthermore, supported by his access to Harpsfield’s Life of More as well as to other rare recusant literature used in the play; Munday was the right-hand man of Richard Topcliffe, a notorious priest-catcher under Queen Elizabeth, and his close ‘collaborator’ in arresting and executing Roman Catholic priests Edmund Campion, Ralph Sherwin and Alexander Briant in 1581 (Gabrieli and Melchiori 1990: 8). Moreover, Munday was familiar with Latin tags and quotations which are abundant in the original text, always correct in spelling, grammar and syntax, owing to his daily usage of Latin during the months he spent as a spy in the Catholic English College in Rome from February to May 1579. -
Image and Influence: the Political Uses of Music at the Court of Elizabeth I
Image and Influence: The Political Uses of Music at the Court of Elizabeth I Katherine Anne Butler Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements With thanks to all the people who supported me throughout my research, especially: My supervisor, Stephen Rose, My advisors, Elizabeth Eva Leach and Anna Whitelock, The Arts and Humanities Research Council for funding this research, Royal Holloway Music Department for conference grants, My proofreaders, Holly Winterton, Sarah Beal, Janet McKnight and my Mum, My parents and my fiancé, Chris Wedge, for moral support and encouragement. Declaration of Authorship I, Katherine Butler, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract In their Cantiones sacrae (1575), court musicians William Byrd and Thomas Tallis declared that ‘music is indispensable to the state’ (necessarium reipub.). Yet although the relationship between Elizabethan politics and literature has been studied often, there has been little research into the political functions of music. Most accounts of court music consist of documentary research into the personnel, institutions and performance occasions, and generally assume that music’s functions were limited to entertainment and displays of magnificence. However, Elizabethans believed that musical concord promoted a social harmony that would ease the process of government; hence politics and music were seen as closely connected. This thesis is an interdisciplinary investigation into the role of music in constructing royal and courtly identities and influencing Elizabeth’s policies and patronage. -
The Secrets of Tudor Art We Must Try to Put Ourselves Back Into the Minds of the Tudor Courtier
• The Tudors loved secrets, puzzles and word play and a lot of time and effort has gone into trying to understand what it all meant. • In order to decode the secrets of Tudor art we must try to put ourselves back into the minds of the Tudor courtier. • There were concepts that are alien or unknown to us today on which the interpretation hinges. • Some of the most important are the divine right of kings, magnificence, chivalry and melancholia. • I will start with one of the most puzzling – melancholia. Notes 1. Melancholy 2. The Accession Day Tilt 3. The Impressa 4. Symbolic meaning in Tudor art 5. Nicholas Hilliard, Young Man Amongst Roses. 6. Isaac Oliver, A Man Against a Background of Flames. 7. Nicholas Hilliard, Henry Percy, Earl of Northumberland 8. Ditchley Portrait, reject the Renaissance conventions of space and time 9. Armada Portrait 10. The Origins and Functions of the Portrait Miniature • See shafe.uk ‘Tudor: The Origins and Functions of the Portrait Miniature’ • Holbein, Mrs Jane Small • Simon Bening • Lucas Horenbout • Nicolas Hilliard, ‘Young Man Among Roses’, the Art of Limning • Isaac Oliver, Hilliard’s pupil and Limner to Queen Anne of Denmark 1604, Lord Herbert of Cherbury. • Levina Teerlinc 1 Nicholas Hilliard (1547–1619), Portrait of Henry Percy, Ninth Earl of Northumberland, c. 1594-1595, miniature on parchment, 25.7 x 17.3 cm (slightly small than A4), Rijksmuseum, Amsterdam Secret Knowledge • In order to explain what I mean by ‘secret knowledge’ I have selected one Elizabethan miniature and will spend some time analysing its many levels of meaning. -
Cromwellian Anger Was the Passage in 1650 of Repressive Friends'
Cromwelliana The Journal of 2003 'l'ho Crom\\'.Oll Alloooluthm CROMWELLIANA 2003 l'rcoklcnt: Dl' llAlUW CO\l(IA1© l"hD, t'Rl-llmS 1 Editor Jane A. Mills Vice l'l'csidcnts: Right HM Mlchncl l1'oe>t1 l'C Profcssot·JONN MOlUUU.., Dl,llll, F.13A, FlU-IistS Consultant Peter Gaunt Professor lVAN ROOTS, MA, l~S.A, FlU~listS Professor AUSTIN WOOLll'YCH. MA, Dlitt, FBA CONTENTS Professor BLAIR WORDEN, FBA PAT BARNES AGM Lecture 2003. TREWIN COPPLESTON, FRGS By Dr Barry Coward 2 Right Hon FRANK DOBSON, MF Chairman: Dr PETER GAUNT, PhD, FRHistS 350 Years On: Cromwell and the Long Parliament. Honorary Secretary: MICHAEL BYRD By Professor Blair Worden 16 5 Town Farm Close, Pinchbeck, near Spalding, Lincolnshire, PEl 1 3SG Learning the Ropes in 'His Own Fields': Cromwell's Early Sieges in the East Honorary Treasurer: DAVID SMITH Midlands. 3 Bowgrave Copse, Abingdon, Oxon, OX14 2NL By Dr Peter Gaunt 27 THE CROMWELL ASSOCIATION was founded in 1935 by the late Rt Hon Writings and Sources VI. Durham University: 'A Pious and laudable work'. By Jane A Mills · Isaac Foot and others to commemorate Oliver Cromwell, the great Puritan 40 statesman, and to encourage the study of the history of his times, his achievements and influence. It is neither political nor sectarian, its aims being The Revolutionary Navy, 1648-1654. essentially historical. The Association seeks to advance its aims in a variety of By Professor Bernard Capp 47 ways, which have included: 'Ancient and Familiar Neighbours': England and Holland on the eve of the a. -
Destiny and Choice in Andrew Marvell's 'An Horatian Ode Upon Cromwell's Return from Ireland'
Destiny and Choice in Andrew Marvell's 'An Horatian Ode upon Cromwell's Return from Ireland' Takashi YOSHINAKA After the return of Cromwell from his success in Ireland, William Lenthall, Speaker of the Commons, gave him 'the hearty Thanks of this House for his great good Service', and delivered 'an eloquent Oration, setting forth the great Providence of God in those great and strange Works, which God hath wrought by him, as the Instrument'.1 In her Violence and Religion, Judy Sproxton argues that 'Marvell was as certain as other Puritans of his time that the events which had overtaken England in the mid-seventeenth century indeed manifested the will of God', and that it 'is in terms of his response to this that Marvell portrays Cromwell'.2 But, while this may be truer in the case of the 'Cromwell' portrayed in the second of his Cromwell trilogy, 'The First Anniversary of the Government under His Highness the Lord Protector', especially in the patriotic and apocalyptic context of his foreign policy, Marvell's first recorded response to the head of the military coup, 'An Horatian Ode upon Cromwell's Return from Ireland', as many critics have pointed out, can be regarded neither as a whole-hearted panegyric nor, as I want to make clearer in this paper, as bearing positive testimony that Cromwell is acting under the spiritual guidance of God. Whereas 'The First Anniversary' presents Cromwell's rise to power as divinely ordained, in the 'Horatian Ode' Marvell seems to have been still 'undiscerned among the tumult blind / Who think those high decrees by man designed' ('The First Anniversary', lines 241-242). -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608. -
We Princes… Are Set on Stages in the Sight and View of All the World Duly Observed
English 4304/5304 Androgyny, Authority, and Elizabeth I Spring 2016 Instructor Dr. Paige Reynolds Office Irby 424 E-mail [email protected] Office Hours Wednesday, 10:00 am-3:00 pm; Thursday, 2:00-4:00; or by appointment Class Location Irby 201 Class Time Tuesday/Thursday, 9:25-10:40 am “we princes… are set on stages in the sight and view of all the world duly observed. The eyes of many behold our actions; a spot is soon spied in our garments; a blemish quickly noted in our doings. It behooveth us therefore to be careful that our proceedings be just and honorable.” Queen Elizabeth I Course Description In this course, we will explore the ways in which Queen Elizabeth fashioned her self- presentation in order to reconcile the difficulties of her gender and her rule. We will also identify the ways in which others represented the queen, and grapple with the possible meanings behind multiple representations. We will seek to answer questions such as: How did Elizabeth use androgyny as a means of stabilizing her authority? In what ways did the queen resist gender stereotypes and combat competing representations of herself and her reign? How do the texts we will engage become themselves sites of negotiation for authority? And why, after all this time, is Elizabeth I a figure that invites our fascination? Course Objectives Our objectives for the semester are: To become familiar with the historical, political, and religious context of the reign of Elizabeth I To identify in Elizabeth’s writings her formation of her public persona, specifically in terms of her gender To compare and contrast Elizabeth’s self-representation to the multiple representations of her by others To discover and articulate the connections and conflicts among the texts we read, especially with regard to gender constructions Required Texts You must have access to a copy of the following books: Elizabeth I and Her Age.