Front Matter

Total Page:16

File Type:pdf, Size:1020Kb

Front Matter Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE Brian Gibbons A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From to the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. AS YOU LIKE IT Shakespeare’s As You Like It can appear bright or sombre in performance: a feast of language and a delight for comic actors; or a risk-taking exploration of gender roles. An updated introduction provides an account of what makes this popular play both innocent and dangerous. There is a new section on recent critical, stage and film interpretations of the play, an updated reading list and a new appendix on a possible early court performance of As You Like It in . Mapping the complexities of the play’s setting – a no-man’s-land related to both France and England – the edition also includes detailed commentary on its language and an analytical account of performance. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE All’s Well That Ends Well, edited by Russell Fraser Antony and Cleopatra, edited by David Bevington As You Like It, edited by Michael Hattaway The Comedy of Errors,editedbyT.S.Dorsch Coriolanus, edited by Lee Bliss Cymbeline, edited by Martin Butler Hamlet, edited by Philip Edwards Julius Caesar, edited by Marvin Spevack King Edward III, edited by Giorgio Melchiori TheFirstPartofKingHenryIV, edited by Herbert Weil and Judith Weil The Second Part of King Henry IV, edited by Giorgio Melchiori King Henry V, edited by Andrew Gurr TheFirstPartofKingHenryVI, edited by Michael Hattaway The Second Part of King Henry VI, edited by Michael Hattaway The Third Part of King Henry VI, edited by Michael Hattaway King Henry VIII, edited by John Margeson King John,editedbyL.A.Beaurline The Tragedy of King Lear, edited by Jay L. Halio King Richard II, edited by Andrew Gurr King Richard III, edited by Janis Lull Love’s Labour’s Lost, edited by William C. Carroll Macbeth, edited by A. R. Braunmuller Measure for Measure, edited by Brian Gibbons The Merchant of Venice,editedbyM.M.Mahood The Merry Wives of Windsor, edited by David Crane A Midsummer Night’s Dream, edited by R. A. Foakes Much Ado About Nothing,editedbyF.H.Mares Othello, edited by Norman Sanders Pericles, edited by Doreen DelVecchio and Antony Hammond The Poems,editedbyJohnRoe Romeo and Juliet, edited by G. Blakemore Evans The Sonnets, edited by G. Blakemore Evans The Taming of the Shrew, edited by Ann Thompson The Tempest, edited by David Lindley Timon of Athens,editedbyKarlKlein Titus Andronicus, edited by Alan Hughes Troilus and Cressida, edited by Anthony B. Dawson Twelfth Night, edited by Elizabeth Story Donno The Two Gentlemen of Verona, edited by Kurt Schlueter The Two Noble Kinsmen, edited by Robert Kean Turner and Patricia Tatspaugh The Winter’s Tale, edited by Susan Snyder and Deborah T. Curren-Aquino The First Quarto of Hamlet, edited by Kathleen O. Irace The First Quarto of King Henry V, edited by Andrew Gurr The First Quarto of King Lear, edited by Jay L. Halio The First Quarto of King Richard III, edited by Peter Davison The First Quarto of Othello, edited by Scott McMillin The First Quarto of Romeo and Juliet, edited by Lukas Erne The Taming of a Shrew: The Quarto, edited by Stephen Roy Miller © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information AS YOU LIKE IT Updated edition Edited by MICHAEL HATTAWAY Professor of English, New York University in London © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information University Printing House, Cambridge , United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/ C Cambridge University Press , This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Updated edition Reprinted 8875thprinting Printed in the United Kingdom by Clays, St Ives plc A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Shakespeare, William, –. As you like it / edited by Michael Hattway. – Updated ed. p. cm. – (The new Cambridge Shakespeare) Include bibliographical references. ---- . Fathers and daughters – Drama. Exiles – Drama. Shakespeare, William, –. As you like it. I. Hattaway, Michael. II. Title. .′ –dc ---- Hardback ---- Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information CONTENTS List of illustrations page vi Preface to the updated edition vii List of abbreviations and conventions ix Introduction Journeys Plays within the play Theatrical genres Pastoral Counter-pastoral The condition of the country Politics ‘Between you and the women the play may please’ Gender Nuptials Sources Date and occasion Stage history Recent critical and stage interpretations Note on the text List of characters THE PLAY Textual analysis Appendixes: : An early court performance? : Extracts from Shakespeare’s principal source, Lodge’s Rosalind : The songs Reading list v © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information ILLUSTRATIONS The jester Tom Skelton page ‘The Wheel of Life which is called Fortune’, c. Hymen, Lucy Harrington Countess of Bedford attired for Jonson’s Hymenaei () Nicolas Poussin, Et in Arcadia Ego, c. The Horn Dance: production by Mark Brickman, Crucible Theatre, Sheffield, MrsAbingtonasRosalind Playbill for a revival at the Theatre Royal, Drury Lane, ‘What shall he have that killed the deer?’: Stratford-upon-Avon, Ada Rehan as Rosalind Colin Blakely (Touchstone), Rosalind Knight (Celia), Vanessa Redgrave (Rosalind): Stratford-upon-Avon, Eileen Atkins (Rosalind), David Suchet (Orlando): Stratford-upon-Avon, The final scene: Stratford-upon-Avon, Colin Douglas (Corin), Juliet Stevenson (Rosalind), Fiona Shaw (Celia): Stratford-upon-Avon, Patrick Toomey (Orlando), Adrian Lester (Rosalind): Cheek by Jowl, – Anastasia Hille (Rosalind): Shakespeare’s Globe, Alfred Molina (Touchstone), David Oyelowo (Orlando), Bryce Dallas Howard (Rosalind): Kenneth Branagh’s screen version, Illustration is reproduced by permission of the Shakespeare Institute, Stratford- upon-Avon; , , are reproduced by permission of the British Library; by permission of the Marquess of Tavistock and the Trustees of the Bedford Estate; by permission of the Duke of Devonshire and the Chatsworth Settlement Trustees (photograph by Photographic Survey, Courtauld Institute of Art); by permission of Sheffield Theatres (photograph by Gerry Murray); , , (photograph by Angus McBean), (photograph by Zoe Dominic), , (photographs by Joe Cocks) by permission of the Shakespeare Centre Library, Stratford-upon-Avon; by permission of the Folger Shakespeare Library; by permission of Cheek by Jowl (photograph by John Haynes); by permission of Shakespeare’s Globe (photograph by Donald Cooper); by permission of HBO and Kenneth Branagh. vi © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51974-8 — As You Like It William Shakespeare , Edited by Michael Hattaway Frontmatter More Information PREFACE TO THE UPDATED EDITION The popularity of As You Like It over the last years has generated a myriad of productions. There are not as many editors, but their accumulated industry means that each successor can make only a modest contribution to what has been revealed and explained. It is therefore appropriate to begin with a tribute to my predecessors, especially H. H. Furness, whose acute common sense shines through the verbosities that convention dictated he transcribe in the notes to the first New Variorum edition (), to his successor, Richard Knowles, whose revised work in the same series () is magnificently full, sagacious, and accurate, to Alan Brissenden, who generously offered encouragement just after his own Oxford edition had appeared
Recommended publications
  • The Shakespeare Authorship Companion
    All That Is Shakespeare Melts into Air The New Oxford Shakespeare Authorship Companion reviewed by Michael Dudley, Gary Goldstein, and Shelly Maycock. The New Oxford Shakespeare Authorship Companion. Edited by Gary Taylor & Gabriel Egan. Oxford: Oxford University Press, 2017. $168.84 USD. he Shakespeare deniers are at it again. Here is yet another book filled with so- called “evidence” hidden in the texts – which only the deniers can decode – Tto support their conspiracy theory that Shakespeare didn’t write Shakespeare. It’s the old hoary argument that a commoner from Stratford-Upon-Avon could not have possibly written the greatest works in the English language. By himself, at any rate. Yes, the argument in The New Oxford Shakespeare Authorship Companion – a supplemen- tary volume to Oxford University Press’ prestigious new edition of the Shakespeare plays – is that Shakespeare wrote with some eleven collaborators and co-authors. These would include Christopher Marlowe, Thomas Middleton, Thomas Dekker, and Anonymous on seventeen of the dramas; the editors also suggest we need to ex- pand the size of the canon from 37 to 44 plays, only two-thirds of which are entirely by Shakespeare. Yet, as we shall see, the theories and methods used to reach these conclusions are as problematic as the scholarship’s all but single-minded focus on cryptic analysis at the level of single words and even syllables, in service of a group authorship theory. The rhetorical conceit in the opening paragraph above is intend- ed to be more than tongue-in cheek; instead, it underscores the extent to which the Shakespeare establishment has started to resemble the nineteenth century Baconians it professes to abhor.
    [Show full text]
  • Essay by Julian Pooley; University of Leicester, John Nichols and His
    'A Copious Collection of Newspapers' John Nichols and his Collection of Newspapers, Pamphlets and News Sheets, 1760–1865 Julian Pooley, University of Leicester Introduction John Nichols (1745–1826) was a leading London printer who inherited the business of his former master and partner, William Bowyer the Younger, in 1777, and rose to be Master of the Stationers’ Company in 1804.1 He was also a prominent literary biographer and antiquary whose publications, including biographies of Hogarth and Swift, and a county history of Leicestershire, continue to inform and inspire scholarship today.2 Much of his research drew upon his vast collection of seventeenth- and eighteenth-century newspapers. This essay, based on my ongoing work on the surviving papers of the Nichols family, will trace the history of John Nichols’ newspaper collection. It will show how he acquired his newspapers, explore their influence upon his research and discuss the changing fortunes of his collection prior to its acquisition by the Bodleian Library in 1865. 1 For useful biographical studies of John Nichols, see Albert H. Smith, ‘John Nichols, Printer and 2 The first edition of John Nichols’ Anecdotes of Mr Hogarth (London, 1780) grew, with the assistance Publisher’ The Library Fifth Series 18.3 (September 1963), pp. 169–190; James M. Kuist, The Works of Isaac Reed and George Steevens, into The Works of William Hogarth from the Original Plates of John Nichols. An Introduction (New York, 1968), Alan Broadfield, ‘John Nichols as Historian restored by James Heath RA to which is prefixed a biographical essay on the genius and productions of and Friend.
    [Show full text]
  • "'A Complicated and Unpleasant Investigation': the Arden Shakespeare 1899-1924" by Gabriel Egan This Paper Arises From
    Egan, Gabriel. 2007d. "'''A complicated and unpleasant investigation': The Arden Shakespeare 1899-1924': A paper delivered on 12 July at the conference 'Open the Book, Open the Mind: The 2007 meeting of the Society for History of Authorship, Reading, and Publishing (SHARP)' at the University of Minnesota, Minneapolis, 11-15 July." "'A complicated and unpleasant investigation': The Arden Shakespeare 1899-1924" by Gabriel Egan This paper arises from a survey of Shakespeare play editions in the twentieth century. I'm particularly interested in what those who made editions thought they were doing, how confident they felt about their work, how they thought readers would respond to the textual problems that arise in editing old plays, and how editors' assumptions about their readers were manifested in the editions that they produced. My published title in the programme covers the whole century of editions, but I'm going largely to confine my remarks to just one editorial project. For those of you who like to see the big picture first, however, I can offer a brief overview of just one of those variables I mentioned: editorial confidence [SLIDE]. I see it going like this, from a low at the start of the twentieth-century, through to a peak in the 1970s, and back to a low now. From the detailed history behind this pattern, I have room on this chart to pull just a few keys moments. [SLIDE] First, A. W. Pollard's book Shakespeare Folios and Quartos (1909) distinguished the good from the bad quartos and gave editors reasons to suppose that the good ones are textually close to Shakespeare's own papers.
    [Show full text]
  • Creating Literary Analysis
    Creating Literary Analysis v. 1.0 This is the book Creating Literary Analysis (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/ 3.0/) license. See the license for more details, but that basically means you can share this book as long as you credit the author (but see below), don't make money from it, and do make it available to everyone else under the same terms. This book was accessible as of December 29, 2012, and it was downloaded then by Andy Schmitz (http://lardbucket.org) in an effort to preserve the availability of this book. Normally, the author and publisher would be credited here. However, the publisher has asked for the customary Creative Commons attribution to the original publisher, authors, title, and book URI to be removed. Additionally, per the publisher's request, their name has been removed in some passages. More information is available on this project's attribution page (http://2012books.lardbucket.org/attribution.html?utm_source=header). For more information on the source of this book, or why it is available for free, please see the project's home page (http://2012books.lardbucket.org/). You can browse or download additional books there. ii Table of Contents About the Authors................................................................................................................. 1 Acknowledgments................................................................................................................. 2 Dedications............................................................................................................................
    [Show full text]
  • Dennis Potter: an Unconventional Dramatist
    Dennis Potter: An Unconventional Dramatist Dennis Potter (1935–1994), graduate of New College, was one of the most innovative and influential television dramatists of the twentieth century, known for works such as single plays Son of Man (1969), Brimstone and Treacle (1976) and Blue Remembered Hills (1979), and serials Pennies from Heaven (1978), The Singing Detective (1986) and Blackeyes (1989). Often controversial, he pioneered non-naturalistic techniques of drama presentation and explored themes which were to recur throughout his work. I. Early Life and Background He was born Dennis Christopher George Potter in Berry Hill in the Forest of Dean, Gloucestershire on 17 May 1935, the son of a coal miner. He would later describe the area as quite isolated from everywhere else (‘even Wales’).1 As a child he was an unusually bright pupil at the village primary school (which actually features as a location in ‘Pennies From Heaven’) as well as a strict attender of the local chapel (‘Up the hill . usually on a Sunday, sometimes three times to Salem Chapel . .’).2 Even at a young age he was writing: I knew that the words were chariots in some way. I didn’t know where it was going … but it was so inevitable … I cannot think of the time really when I wasn’t [a writer].3 The language of the Bible, the images it created, resonated with him; he described how the local area ‘became’ places from the Bible: Cannop Ponds by the pit where Dad worked, I knew that was where Jesus walked on the water … the Valley of the Shadow of Death was that lane where the overhanging trees were.4 I always fall back into biblical language, but that’s … part of my heritage, which I in a sense am grateful for.5 He was also a ‘physically cowardly’6 and ‘cripplingly shy’7 child who felt different from the other children at school, a feeling heightened by his being academically more advanced.
    [Show full text]
  • (And Holmes Related) Films and Television Programs
    Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led stories or 4 novels) to many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 5-22-14 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co.
    [Show full text]
  • Learning to See the Theological Vision of Shakespeare's King Lear
    Learning to See the Theological Vision of Shakespeare’s King Lear Learning to See the Theological Vision of Shakespeare’s King Lear By Greg Maillet Learning to See the Theological Vision of Shakespeare’s King Lear By Greg Maillet This book first published 2016 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 © 2016 by Greg Maillet 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): 1-4438-9729-9 ISBN (13): 978-1-4438-9729-7 TABLE OF CONTENTS Polemical Prologue .................................................................................... vii Criticism, Theology, and the Value of Shakespeare’s King Lear Chapter One ................................................................................................. 1 “See Better”: Christian Paradox in Act One of King Lear Chapter Two .............................................................................................. 27 “I Nothing Am”: Confusion and Clarification of Identity in Act Two of King Lear Chapter Three ............................................................................................ 51 “This Night will turn us all to Fools and Madmen”: Storm and the Transformation of Identity
    [Show full text]
  • Original Writer Title Genre Running Time Year Director/Writer Actor
    Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen,
    [Show full text]
  • Doing Wrong with Just Cause? a History of Julius Caesar 3.1.47-48 by M. L. Stapleton and Sarah K. Scott Relative to Some Of
    Doing Wrong with Just Cause? A History of Julius Caesar 3.1.47-48 by M. L. Stapleton and Sarah K. Scott Relative to some of its fellows in the First Folio, the text of Julius Caesar appears at first glance to present few problems for editors and commentators. There are no troublesome quartos with readings that diverge wildly from the copy text. There is no incomprehensible “I see that men make rope’s in such a scarre” (AWW 4.2.38 / 2063). Nor does the play provide a spectacular opportunity to illuminate a passage with the mere substitution of a few letters, such as Lewis Theobald’s extension of Mistress Quickly’s pastoral conceit as she describes Falstaff in extremis, his “’a babbl’d” for the Folio’s “a Table of greene fields” (H5 2.3.16-17 / 839). However, in our work on the New Variorum edition of the play—compiling a commentary, collating editions, and writing performance appendices—we have found that the 1623 text cannot be described as problem-free.1 Twenty-first century textual scholars tend to advise against emendation for sensible, if doctrinaire reasons. Surely no one would wish to violate a play’s textuality or deny her students the opportunity to purchase a multi-version Hamlet or Lear, a deprivation they would surely see as an impediment to their quest for knowledge. Yet many of our predecessors, even those of a fairly conservative bent such as Capell or Dr. Johnson, might well find such reasons for nonintervention ridiculous: or, as they spell one of their favorite euphemisms for strong disapproval, “surprizing.” Eighteenth and early nineteenth-century editors especially engage in somewhat ferocious combat about many passages in Julius Caesar.
    [Show full text]
  • Book Chapter Reference
    Book Chapter Mediating Evil: The Editorial and Critical Reception of Shakespeare's Villains ERNE, Lukas Christian Abstract Although Samuel Johnson considered footnotes ‘necessary evils' and warned that the mind would be ‘refrigerated by interruption', annotation has always been key in bridging the historical and cultural divide separating Shakespeare's late-sixteenth or early-seventeenth-century plays from their readers in later centuries. In this article I explore how editors from the eighteenth to the early twenty-first century have annotated and, more generally, editorially mediated instances of seemingly gratuitous evil, such as the machinations of Iago in Othello and Edmund in King Lear. While editors in the eighteenth century are primarily concerned with semantic understanding, nineteenth-century editors seem more inclined to mediate to readers a certain emotional and moral understanding, inculcating what they perceived to be socially appropriate responses. More recent editors, by contrast, attempt to convey a fuller historical and philosophical understanding of the ‘evil' at work in the play. The editorial practices which this article proposes to trace allow insights not only into changing attitudes to fictional evil but also [...] Reference ERNE, Lukas Christian. Mediating Evil: The Editorial and Critical Reception of Shakespeare's Villains. In: Stirling, Kirsten & Hennard Dutheil de la Rochère, Martine. After Satan: Essays in Honour of Neil Forsyth. Cambridge : Cambridge Scholars Press, 2010. p. 68-84 Available at: http://archive-ouverte.unige.ch/unige:14924 Disclaimer: layout of this document may differ from the published version. 1 / 1 Lukas Erne 69 Shakespeare edition involves complex editorial invention which turns the play text into something very different from the early modern playbook.
    [Show full text]
  • Department of English
    DEPARTMENT OF ENGLISH TOTAL NUMBER OF BOOKS :11086 LIST OF JOURNALS : S.NO. JOURNAL NAME 1 Journal on English Language Teaching 2 Journal of English Language Teaching 3 Littcrit DEPARTMENT OF LIBRARY ST.Xavier's College (Autonomous) Palayamkottai - 627002 Date : 24/07/2019 Access No Title 32 Girl in Winter Larkin,Philip 34 Sea And Sardinia Lawrence D H 109 Spoken & Written Language Bradley H 214 Critical Papers in Art Stubbs's Calendar Barber Cox William Makepeace Thackeray 417 Essays in Criticism Arnold, Matthew 632 Short Stories of the Nineteenth Century Fyee J.G 1055 Road to Avalon Nesbit Murough De B 1099 Monster of Grammont Goodchild Geo 1269 Little TU'Penny Gould, Barring, S. 1272 Penny Come Quicks. Gould, Barring, S. 1273 Auid Light Idylls. Barrie, J.M. 1283 Vivian Grey Jackson A E 1287 Chris Gascogne Benson A C 1317 Tenant of Wildfell Hall Bronte, Anne 1320 Poems Bronte, Charlotte,- Paces S E 1323 Villette Bronte, Charlotte,- Paces S E 1326 Henry O'Neil James Christle Lewis, Arthur 1333 Red Cloud Butler,William F 1353 Don Quixote Miguelde,Cervantes,Saavedra 1384 A True Hivalgo Luis Coloma 1385 Uncle Chesterton's Heir 1 DEPARTMENT OF LIBRARY ST.Xavier's College (Autonomous) Palayamkottai - 627002 Date : 24/07/2019 Access No Title Colomb, Madame 1390 Lord Jim Joseph Conrad 1391 Typhoon and Other Stories Joseph Conrad 1393 Youth and Gaspar Ruiz Joseph Conrad 1395 Lion of Flanders Hardy, Paul 1398 Lionel Lincoln or The Leaguer of Boston Cooper Fenimore J 1414 Secret Fortress Reason J 1421 Wyandotte or Hutted Knoll Cooper, Fenimore
    [Show full text]
  • AW. Pollard and Twentieth-Century Shakespeare Editing
    Shakespeare, More or Less: A-W. Pollard and Twentieth-Century Shakespeare Editing Paul Werstine Those who have disputed Shakespeare’s authorship of the plays and poems usually attributed to him have been inclined to name the eminent Shakespeare scholars who have vilified the anti-Stratfordian cause. In the Preface to his 1908 book The Shakes­ peare Problem Restated, the urbane Sir Granville George Greenwood quoted Sidney Lee, then chair of Shakespeare’s Birthplace Trust, mocking the Baconian theory as ‘“foolish craze,’ ‘morbid psychology,’ ‘madhouse chatter”’ (vii) and John Churton Collins, chair of English Literature at the University of Birmingham, denouncing it as “‘ignorance and vanity”’ (viii). More recendy, Charlton Ogburn has listed among the detractors of the Oxfordian theory Louis B. Wright, former director of the Folger Shakespeare Library (154, 161,168); S. Schoenbaum, author of Shakespeare’s Lives, which devotes one hundred pages “to denigration of...anti-Stratfordian articles and books” (152); and Harvard Shakespeare professors G. Blakemore Evans and Harry Levin (256-57). In view of the energy and labour expended by numerous prominent scholars defending Shakespearean authorship, it is not surprising to dis­ cover that this defence has influenced reception of Shakespeare’s works and their edi­ torial reproductions. This essay deals with the very successful resistance movement against the anti-Stratfordians that was led by A.W. Pollard from 1916 to 1923, and with the peculiar influence that Pollard’s efforts have continued to exert, even upon today’s Shakespeare editors. FlorUegium 16 (1999) Like those Shakespeareans mentioned by Greenwood and Ogburn, Pollard, as an editor of the important bibliographical and editorial quarterly The Library and as Keeper of Printed Books at the British Museum, was well placed to fend off anti-Stratfordians.
    [Show full text]