Bibliography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Introduction to the 1645 Volume: Poems of Mr. John Milton
C01.qxd 8/18/08 14:44 Page 1 Introduction to the 1645 Volume: Poems of Mr. John Milton In 1645, Milton published most but not all of the poems he had composed by that date. The publisher Humphrey Moseley had been bringing out volumes of lyric poetry by royalist poets such as Edmund Waller, and it was likely, as he claims in the intro- duction to the volume, that he approached Milton and encouraged him to publish his verse. Moseley also arranged for the engraved portrait of Milton by William Marshall (see Figure 1), beneath which Milton, who considered the engraving unflattering, placed a witty Greek epigram ridiculing it in a language neither Marshall nor Moseley under- stood. Unlike most contemporary poets, Milton neither wrote a preface, solicited commendatory poems, nor acknowledged a patron. He organized his volume more or less chronologically, thus displaying his poetic development, but also carefully grouped together poems of similar themes and genres. With the Latin tag from Virgil’s Eclogues on the title page (“Baccare frontem / Cingite, ne vati noceat mala lingua futuro” – “Bind my forehead with foxglove, lest evil tongues harm the future Bard”), he promises future poems on even greater themes. In the Latin ode sent with a replacement copy of the volume to John Rouse, librar- ian of the Bodleian Library at Oxford, Milton describes the 1645 volume as a “twin book, rejoicing in a single cover, but with a double title page.” The first section of the volume presents his vernacular poems (mostly in English, but also including a mini-sonnet sequence in Italian), and concludes with A MASK Presented At LUDLOW- Castle. -
The Plays & Poems of Robert Greene;
tiiP-^Miffli LfBRARY "W'VER.^fTY OF CALIFORNIA RIVERSIDE K,<? V * V * V £x Libris ISAAC FOOT ul THE PLAYS AND POEMS OF ROBERT GREENE HENRY FROWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXFORD LONDON, EDINBURGH NEW YORK AND TORONTO ,ViV7 (^^ vn^Mf iM3^ \- 1 1 Ifl ^f^yt^S- 111*' -fe? -A nW" Cm?^ ' -' >-i / iL\ -ii- >?viM.^ ' r ^c'lr^r'^ 7^ ^^W*^" ^^'-'^ W^^. /^-^i I'rom ALLliVN MS. ot Orlando Fiirioso (sir />. .'7^) THE PLAYS & POEMS OF ROBERT GREENE EDITED WITH INTRODUCTIONS AND NOTES By J. CHURTON COLLINS, Litt.D. (professor of ENGLISH LITEKATURE IN THE UNIVERSITY OF BIRMINGHAM) VOL I GENERAL INTRODUCTION. ALPHONSUS. A LOOKING GLASSE. ORLANDO FURIOSO. APPENDIX TO ORLANDO FURIOSO (THE ALLEYN MS.) NOTES TO PLAYS OXFORD AT THE CLARENDON PRESS MDCCCCV V.I C.2- OXFORD PRINTED AT THE CLARENDON PRESS BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY TO FREDERICK JAMES FURNIVALL PH.D., D.LITT. THESE VOLUMES ARE RESPECTFULLY AND AFFECTIONATELY INSCRIBED PREFACE When the Delegates of the Clarendon Press entrusted me with the preparation of an edition of Greene's Plays and Poems I determined to spare no pains to make it, so far at least as the text was concerned, a final one. And the method adopted was this. Each play was transcribed literally from the oldest Quarto extant : thus the Looking Glasse was copied from the Quarto of 1594, Orlando and Frier Bacon and Frier Bongay from the Quartos of the same year, AlpJionsus from the Quarto of 1599, James IV from that of 1597, and TJie Pinner from that of 1599. -
PAPERS DELIVERED at SHARP CONFERENCES to DATE (Alphabetically by Author; Includes Meeting Year)
PAPERS DELIVERED AT SHARP CONFERENCES TO DATE (alphabetically by author; includes meeting year) Abel, Jonathan. Cutting, molding, covering: media-sensitive suppression in Japan. 2009 Abel, Trudi Johanna. The end of a genre: postal regulations and the dime novel's demise. 1994 ___________________. When the devil came to Washington: Congress, cheap literature, and the struggle to control reading. 1995 Abreu, Márcia Azevedo. Connected by fiction: the presence of the European novel In Brazil. 2013 Absillis, Kevin. Angele Manteau and the Indonesian connection: a remarkable story of Flemish book trade (1958-1962). 2006 ___________. The biggest scam in Flemish literature? On the question of linguistic gatekeeping In literary publishing. 2009 ___________. Pascale Casanova's The World Republic of Letters and the analysis of centre-periphery relations In literary book publishing. 2008 ___________. The printing press and utopia: why imaginary geographies really matter to book history. 2013 Acheson, Katherine O. The Renaissance author in his text. 1994 Acerra, Eleonora. See Louichon, Brigitte (2015) Acres, William. Objet de vertu: Euler's image and the circulation of genius in print, 1740-60. 2011 ____________. A "religious" model for history: John Strype's Reformation, 1660-1735. 2014 ____________, and David Bellhouse. Illustrating Innovation: mathematical books and their frontispieces, 1650-1750. 2009 Aebel, Ian J. Illustrating America: John Ogilby and the geographies of empire in Restoration England. 2013 Agten, Els. Vernacular Bible translation in the Netherlands in the seventeenth century: the debates between Roman Catholic faction and the Jansenists. 2014 Ahokas, Minna. Book history meets history of concepts: approaches to the books of the Enlightenment in eighteenth-century Finland. -
4. Shakespeare Authorship Doubt in 1593
54 4. Shakespeare Authorship Doubt in 1593 Around the time of Marlowe’s apparent death, the name William Shakespeare appeared in print for the first time, attached to a new work, Venus and Adonis, described by its author as ‘the first heir of my invention’. The poem was registered anonymously on 18 April 1593, and though we do not know exactly when it was published, and it may have been available earlier, the first recorded sale was 12 June. Scholars have long noted significant similarities between this poem and Marlowe’s Hero and Leander; Katherine Duncan-Jones and H.R. Woudhuysen describe ‘compelling links between the two poems’ (Duncan-Jones and Woudhuysen, 2007: 21), though they admit it is difficult to know how Shakespeare would have seen Marlowe’s poem in manuscript, if it was, as is widely believed, being written at Thomas Walsingham’s Scadbury estate in Kent in the same month that Venus was registered in London. The poem is preceded by two lines from Ovid’s Amores, which at the time of publication was available only in Latin. The earliest surviving English translation was Marlowe’s, and it was not published much before 1599. Duncan-Jones and Woudhuysen admit, ‘We don’t know how Shakespeare encountered Amores’ and again speculate that he could have seen Marlowe’s translations in manuscript. Barber, R, (2010), Writing Marlowe As Writing Shakespeare: Exploring Biographical Fictions DPhil Thesis, University of Sussex. Downloaded from www. rosbarber.com/research. 55 Ovid’s poem is addressed Ad Invidos: ‘to those who hate him’. If the title of the epigram poem is relevant, it is more relevant to Marlowe than to Shakespeare: personal attacks on Marlowe in 1593 are legion, and include the allegations in Richard Baines’ ‘Note’ and Thomas Drury’s ‘Remembrances’, Kyd’s letters to Sir John Puckering, and allusions to Marlowe’s works in the Dutch Church Libel. -
Sonnets. Edited by C. Knox Pooler
Presented to the LIBRARY of the UNIVERSITY OF TORONTO hy The 'Estate of the late PROFESSOR A. S. P. WOODHOIISE Head of the Department of English -» University College 1944-1964 \ '^/i^ /F. ^r:y r. -1 "^ NiL- ' 7^ ( ^S, U , - ^ ^' ^ ^/f '^i>-, '^Si^6,i(i? THE ARDEN SHAKESPEARE GENERAL EDITOR : W. J. CRAIG 1899-1906: R. H. CASE, 1909 SONNETS J^' THE WORKS OF SHAKESPEARE SONNETS EDITED BY C. KNOX POOLER ? METHUEN AND CO. LTD. 36 ESSEX STREET : STRAND LONDON First Published in igi8 z£4S CONTENTS PAOE Introduction ^* Dedication ^ Sonnets ..... 3 A Lover's Complaint *45 INTRODUCTION According to the Stationers' Registers, a license to print a book called Shakespeare's Sonnets was granted to Thomas Tjiprpe on the 20th of May, 1609. It appeared with the : Sonnets Never before following title-page Shake-speares | | At London G. Eld for T. T. and are to be ] Imprinted. | | by solde William Some instead of by Apsley. \ 1609. copies " " William have " lohn at Christ Apsley Wright, dwelling j Church gate," an indication that these two publishers shared in the venture. The publication cannot have been long delayed, for Edward Alleyn, the actor, bought a copy (for ^d.) in June. " " The words never before imprinted are not strictly accurate, as two of the sonnets, cxxxviii. and cxliv., had already ap- peared in The Passionate Pilgrim (1599). The book seems to have been issued without Shakespeare's his are knowledge, certainly without super\'ision ; misprints the often both sense unusually frequent ; punctuation neglects and and there are other errors of more rhythm ; consequence which no author or competent reader could have overlooked. -
Proem Shakespeare S 'Plaies and Poems"
Proem Shakespeare s 'Plaies and Poems" In 1640, the publisher John Benson presents to his English reading public a Shakespeare who is now largely lost to us: the national author of poems and plays. By printing his modest octavo edition of the Poems: Written By Wil. Shake-speare. Gent., Benson curiously aims to complement the 1623 printing venture of Shakespeare's theatre colleagues, John Heminge and Henry Condell , who had presented Mr. William Shakespeares Comedies, Histories, & Tragedies in their monumental First Folio. Thus, in his own Dedicatory Epistle "To the Reader," Benson remarks that he presents "some excellent and sweetly composed Poems," which "had nor the fortune by reason of their lnfancie in his death, to have the due accommodation of proportionable glory, with the rest of his everliving Workes" (*2r). Indeed, as recent scholarship demonstrates, Benson boldly prints his octavo Poems on the model ofHeminge and Condell 's Folio Plays. ' Nor simply does Benson's volume share its primer, Thomas Cores, wirh rhe 1632 Folio, bur both editions begin with an identical format: an engraved portrait of the author; a dedicatory epistle "To the Reader"; and a set of commendatory verses, with Leonard Digges contributing an impor tant celebratory poem to both volumes. Benson's engraving by William Marshall even derives from the famous Martin Droeshout engraving in the First Folio, and six of the eight lines beneath Benson's engraving are borrowed from Ben Jonson's famed memorial poem to Shakespeare in char volume. Accordingly, Benson rakes his publishing goal from Heminge and Conde!!. They aim to "keepe the memory of such worthy a Friend, & Fellow alive" (Dedicatory Epistle to the earls ofPembroke and Montgomery, reprinted in Riverside, 94), while he aims "to be serviceable for the con tinuance of glory to the deserved Author" ("To the Reader," *2v). -
October 8, 2019 Elist MILLER
RULON~ October 8, 2019 eList MILLER BOOKS To Order: Call toll-free 1-800-441-0076 Outside the United States call 1-651-290-0700 400 Summit Avenue E-mail: [email protected] St. Paul, Minnesota Other catalogues available at our website at Rulon.com 55102-2662 USA Member ABAA/ILAB ~ R a r e & f i n e b o o k s VISA, MASTERCARD, DISCOVER, and AMERICAN EXPRESS accepted. If you have any questions regarding billing, methods of payment, in many fields shipping, or foreign currencies, please do not hesitate to ask. Manuscripts 1. Aesop. Fables of Aesop and other cution of Charles I, and in the midst of the eminent mythologists: with morals and controversy over the oath of loyalty demanded reflections. By Sir Roger L'Estrange, Kt. by the new republican government. Addresses London: printed for R. Sare, T. Sawbridge "Paying taxes," "Personall service," "Taking oaths," etc. Wing A3920. [et al.], 1692. $1,500 First L'Estrange edition, folio, pp. [10], 28, [8], 306, 319-480; gatherings S and T switched but the book is complete; this is a variant as noted by ESTC with p. 144 (first occurrence) misnum- bered 132; engraved portrait frontispiece of L'Estrange and plate of Aesop surrounded by animals; full speckled calf with a 20th-century rebacking, black morocco label on spine; light wear to boards, dampstain to upper right corner, very good. With the armorial bookplate of John Lord De La Warr. Wing A-706. 2. Ascham, Antony. A discourse wherein is examined, what is particularly lawfull during the confusions and revolu- tions of government. -
From Ben Jonson and Shakespeare (1921)
Greenwood - Ben Jonson and Shakespeare 61 From Ben Jonson and Shakespeare (1921) Sir George Greenwood HE sheet anchor of the traditional belief with regard to the authorship of t he plays and poems of Shakespeare is undoubtedly Ben Jonson. It is to the Jonsonian utterances that the apostles of the Stratfordian faith always makeT their appeal. That faith we are told is based on the “irrefragable rock” of Ben Jonson’s testimony. Well, it was not so very long ago that we used to be told that the truth of a universal deluge and the preservation of mankind and animals of every kind and species, in Noah’s Ark, was established on the “impregnable rock” of Holy Scripture, and yet to-day we find even high Church digni taries—with whom Mr. J. M. Robertson would certainly be in entire agreement here—disavowing any belief in this interesting mythological tradition. Is it not, then, possible that the Jonsonian testi mony may prove no more “irrefragable” or “impregnable” than that of those old chronicles, which age-long tradition has ascribed to the authorship of “Moses”? As a distinguished writer, well-known both in the political and the literary world, has written to me, the difficulties in the way of the orthodox “Shakespearian” belief seem to be insuperable. Are the Jonsonian utterances of such weight as to outweigh them all? I reply, put Jonson in one scale and all the difficulties and improbabilities — if not impossibilities — of the “Stratfordian” hypothesis in the other, and old Ben will kick the beam. Now let us briefly consider this Jonsonian testimony. -
Shakespeare in Geneva
Shakespeare in Geneva SHAKESPEARE IN GENEVA Early Modern English Books (1475-1700) at the Martin Bodmer Foundation Lukas Erne & Devani Singh isbn 978-2-916120-90-4 Dépôt légal, 1re édition : janvier 2018 Les Éditions d’Ithaque © 2018 the bodmer Lab/université de Genève Faculté des lettres - rue De-Candolle 5 - 1211 Genève 4 bodmerlab.unige.ch TABLE OF CONTENts Acknowledgements 7 List of Abbreviations 8 List of Illustrations 9 Preface 11 INTRODUctION 15 1. The Martin Bodmer Foundation: History and Scope of Its Collection 17 2. The Bodmer Collection of Early Modern English Books (1475-1700): A List 31 3. The History of Bodmer’s Shakespeare(s) 43 The Early Shakespeare Collection 43 The Acquisition of the Rosenbach Collection (1951-52) 46 Bodmer on Shakespeare 51 The Kraus Sales (1970-71) and Beyond 57 4. The Makeup of the Shakespeare Collection 61 The Folios 62 The First Folio (1623) 62 The Second Folio (1632) 68 The Third Folio (1663/4) 69 The Fourth Folio (1685) 71 The Quarto Playbooks 72 An Overview 72 Copies of Substantive and Partly Substantive Editions 76 Copies of Reprint Editions 95 Other Books: Shakespeare and His Contemporaries 102 The Poetry Books 102 Pseudo-Shakespeare 105 Restoration Quarto Editions of Shakespeare’s Plays 106 Restoration Adaptations of Plays by Shakespeare 110 Shakespeare’s Contemporaries 111 5. Other Early Modern English Books 117 NOTE ON THE CATALOGUE 129 THE CATALOGUE 135 APPENDIX BOOKS AND MANUscRIPts NOT INCLUDED IN THE CATALOGUE 275 Works Cited 283 Acknowledgements We have received precious help in the course of our labours, and it is a pleasure to acknowl- edge it. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://eprints.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Shakespeare’s Storms Gwilym John Jones Thesis written towards the degree of Doctor of Philosophy at the University of Sussex I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signed…………………………………………. i Table of contents Acknowledgments ………………………………………………………….. ii Abstract ………………………………………………………………………iii Introduction …………………………………………………………………..1 Chapter 1 Storm and the Spectacle: Julius Caesar……………………………………...38 Chapter 2 King Lear and the Event of the Storm ……………………………………… 67 Chapter 3 Macbeth: Supernatural Storms, Equivocal Earthquakes……………………...97 Chapter 4 ‘The Powers above us’: Storm, Scripture and Collaboration in Pericles…….120 Chapter 5 The Tempest: Storm and Theatrical Realtiy ………………………………… 147 Conclusion ……………………………………………………………………178 Bibliography…………………………………………………………………..184 ii Acknowledgements I am grateful for the help of many people, and not least for that of Nicholas Royle, whose erudite supervision has left a great impression on my work. Nick has been one in a long line of teachers through my life: without Catherine Withers and M. -
Latin Books Published in Paris, 1501-1540
Latin Books Published in Paris, 1501-1540 Sophie Mullins This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 6 September 2013 1. Candidate’s declarations: I, Sophie Anne Mullins hereby certify that this thesis, which is approximately 76,400 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2007 and as a candidate for the degree of PhD in September 2007; the higher study for which this is a record was carried out in the University of St Andrews between [2007] and 2013. (If you received assistance in writing from anyone other than your supervisor/s): I, …..., received assistance in the writing of this thesis in respect of [language, grammar, spelling or syntax], which was provided by …… Date 2/5/14 signature of candidate ……… 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 2/5/14 signature of supervisor ……… 3. Permission for electronic publication: (to be signed by both candidate and supervisor) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. -
The Printers of Shakespeare's Plays and Poems
149 Downloaded from https://academic.oup.com/library/article/s2-VII/26/149/943715 by guest on 27 September 2021 THE PRINTERS OF SHAKESPEARE'S PLAYS AND POEMS. HE men who, during Shakespeare's lifetime, printed his * Venus and Ado- nis,' * Lucrece,' and * Sonnets,' and the Quarto editions of his plays, can hardly be called Shakespeare's printers, since, with one exception, there is no evidence that he ever authorized the printing of any of his works, or ever revised those that were published. Even in the case of Richard Field, the evidence is presumptive and not direct. Yet Englishmen may be pardoned if they cling to the belief that Shakespeare employed Field to print for him and frequented the printing office in Blackfriars while the proof sheets of * Venus and Adonis' and ' Lucrece' were passing through the press. For Stratford-on-Avon claimed both the printer and the poet, and if it be a stretch of the imagination to look upon them as fellow scholars in the grammar school, and playmates in the fields, their distant Warwickshire birthplace offered a bond of sympathy which might well draw them to one another. It is some matter for congratulation that the first of Shakespeare's writings to be printed came from a press that had long been known for the excellence of its work. When Richard Field came to London in 1579, be entered the service of a bookseller, but 150 PRINTERS OF SHAKESPEARE'S within a year he was transferred, probably at his own desire, to the printing office of Thomas Vau- trollicr, the Huguenot printer in Blackfriars.