William Shakespeare and His Play. Nurmanova.G
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Problem Children: Troping Early Modern
PROBLEM CHILDREN: TROPING EARLY MODERN REPRODUCTION AND DEVELOPMENT By Bethany Packard Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2010 Nashville, Tennessee Approved Professor Leah S. Marcus Professor Kathryn Schwarz Professor Lynn Enterline Professor Katherine Crawford Professor Carol Chillington Rutter Copyright © 2010 by Bethany Packard All Rights Reserved ii To Mary Frances iii ACKNOWLEDGEMENTS This work would not have been possible without generous financial support from multiple sources. The 2009 – 2010 Scholar Award from the Philanthropic Educational Organization has enabled me to focus on writing during my final year of graduate school. A Mellon Visiting Research Fellowship in Renaissance and Early Modern Studies at the University of Warwick for the summer of 2009 provided the opportunity to write and research while also engaging a new campus and new colleagues. Two Folger Institute seminars have served as bookends for the conception and completion of this dissertation project, and I thank fellow participants and leaders of these seminars, and the always-helpful librarians and staff at the Folger Shakespeare Library. The Vanderbilt University Graduate School has enabled international research through a Dissertation Enhancement Grant for Spring 2009 and a College of Arts and Sciences Summer Research Award for 2008. I would like to thank all those I have had the pleasure to work with over the course of this project. Each member of my Dissertation Committee has provided invaluable insights into my dissertation writing process and into the profession itself. I would especially like to thank Professor Leah Marcus, the chair of my committee, both for all she has taught me and for her support and guidance as I worked to find my own voice. -
The History, Printing, and Editing of the Returne from Pernassus
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 1-2009 The History, Printing, and Editing of The Returne from Pernassus Christopher A. Adams College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Recommended Citation Adams, Christopher A., "The History, Printing, and Editing of The Returne from Pernassus" (2009). Undergraduate Honors Theses. Paper 237. https://scholarworks.wm.edu/honorstheses/237 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The History, Printing, and Editing of The Returne from Pernassus A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Christopher A. Adams Accepted for____________________________ (Honors, High Honors, Highest Honors ) _________________________ ___________________________ Paula Blank , Director Monica Potkay , Committee Chair English Department English Department _________________________ ___________________________ Erin Minear George Greenia English Department Modern Language Department Williamsburg, VA December, 2008 1 The History, Printing, and Editing of The Returne from Pernassus 2 Dominus illuminatio mea -ceiling panels of Duke Humfrey’s Library, Oxford 3 Acknowledgments I am deeply indebted to my former adviser, Dr. R. Carter Hailey, for starting me on this pilgrimage with the Parnassus plays. He not only introduced me to the world of Parnassus , but also to the wider world of bibliography. Through his help and guidance I have discovered a fascinating field of research. -
A Rare Early Quarto Edition of Shakespeare's Richard II William Shakespeare, Richard II. London: Andrew Wise, 1598. 6 3/4 Inch
A rare early quarto edition of Shakespeare’s Richard II William Shakespeare, Richard II. London: Andrew Wise, 1598. 6 3/4 inches x 5 inches (171 mm x 127 mm), [72] pages, A–I4. The | Tragedie of King Ri- | chard the second. | As it hath beene publikely acted by the Right Ho- | nourable the Lorde Chamberlaine his | seruants. | By William Shake-speare. | [Simmes’ device] | London | Printed by Valentine Simmes for Andrew Wise, and | are to be sold at his shop in Paules churchyard at | the signe of the Angel. | 1598. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed. -
Title Jest-Book Formation Through the Early Modern Printing Industry
Title Jest-book formation through the early modern printing industry: the two different editions of Scoggin's Jests Sub Title 二つのScoggin's Jests : 異なる版が語ること Author 小町谷, 尚子(Komachiya, Naoko) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2014 Jtitle 慶應義塾大学日吉紀要. 英語英米文学 (The Hiyoshi review of English studies). No.65 (2014. 10) ,p.45- 85 Abstract Notes Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10030060-2014103 1-0045 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Jest-book Formation through the Early Modern Printing Industry: The Two Different Editions of Scoggin’s Jests Naoko Komachiya The confusion and conflation of differently originated jester figures date back to Shakespeare’s time. Scoggin’s Jests is often seen as the primary source of jesting material along with Tarlton’s Jests. The apparent identity of these jests with named figures somewhat obscured the true identity of jesters.1) Modern editors identify the socially ambiguous jester Scoggin in Shallow’s episodic recollection of Falstaff, who breaks ‘Scoggin’s head at the court gate’ in Henry IV, Part 2 (III. 2. 28–29), as the jester to Edward IV. René Weis, in explaining that Scoggin’s name was ‘synonymous with “buffoon” in Shakespeare’s day through a mid sixteenth-century jestbook, Scoggin, his iestes’, comments that the reference demonstrates that ‘even the young Falstaff was always brawling with various buffoons’.2) Weis and other editors simply deduce that Shakespeare’s misunderstanding resulted from the circulated name of Scoggin, and they do not show any evidence how the conflation occurred. -
16Th and 17Th Century Books
Antiquates – Fine and Rare Books 1 Antiquates – Fine and Rare Books 2 Antiquates – Fine and Rare Books Sixteenth- and seventeenth-century books 3 Antiquates – Fine and Rare Books Catalogue 9 – Sixteenth- and seventeenth-century books Antiquates Ltd The Conifers Valley Road Corfe Castle Dorset BH20 5HU United Kingdom tel: 07921 151496 email: [email protected] web: www.antiquates.co.uk twitter: @TomAntiquates Payment to be made by cheque or bank transfer, institutions can be billed. Alternative currencies can be accommodated. Postage and packaging costs will be added to orders. All items offered subject to prior sale. E. & O.E. All items remain the legal property of the seller until paid for in full. Inside front cover: 91 Inside rear cover: 100 Rear cover: 3 Antiquates Ltd is Registered in England and Wales No: 6290905 Registered Office: As above VAT Reg. No. GB 942 4835 11 4 Antiquates – Fine and Rare Books AN APOTHECARY'S BAD END 1) ABBOT, Robert. The Young Mans Warning-piece. Or, A Sermon preached at the burial of Williams Rogers. Apothecary. With an History of his sinful Life, and Woful Death. Together with a Post-script of the use of Examples. Dedicated to the young Men of the Parish, especially to his Companions. London. Printed by J.R. for John Williams, 1671. 12mo. [20], 76, 79-102pp. Recent antique-style blind-ruled calf, contrasting morocco title-label, gilt, to upper board. New endpapers. Marginal chipping, marking and signs of adhesion to preliminaries. With manuscript biographical notes on William Rogers to title, and the inscription of Edward Perronet to verso: 'The gift of Mr Thos. -
Edward De Vere and the Two Shrew Plays
The Playwright’s Progress: Edward de Vere and the Two Shrew Plays Ramon Jiménez or more than 400 years the two Shrew plays—The Tayminge of a Shrowe (1594) and The Taming of the Shrew (1623)—have been entangled with each other in scholarly disagreements about who wrote them, which was F written first, and how they relate to each other. Even today, there is consensus on only one of these questions—that it was Shakespeare alone who wrote The Shrew that appeared in the Folio . It is, as J. Dover Wilson wrote, “one of the most diffi- cult cruxes in the Shakespearian canon” (vii). An objective review of the evidence, however, supplies a solution to the puz- zle. It confirms that the two plays were written in the order in which they appear in the record, The Shrew being a major revision of the earlier play, A Shrew . They were by the same author—Edward de Vere, 17th Earl of Oxford, whose poetry and plays appeared under the pseudonym “William Shakespeare” during the last decade of his life. Events in Oxford’s sixteenth year and his travels in the 1570s support composition dates before 1580 for both plays. These conclusions also reveal a unique and hitherto unremarked example of the playwright’s progress and development from a teenager learning to write for the stage to a journeyman dramatist in his twenties. De Vere’s exposure to the in- tricacies and language of the law, and his extended tour of France and Italy, as well as his maturation as a poet, caused him to rewrite his earlier effort and pro- duce a comedy that continues to entertain centuries later. -
Egan, Gabriel. 2004E. 'Pericles and the Textuality of Theatre'
Egan, Gabriel. 2004e. 'Pericles and the Textuality of Theatre': A Paper Delivered at the Conference 'From Stage to Print in Early Modern England' at the Huntington Library, San Marino CA, USA, 19-20 March "Pericles" and the textuality of theatre" by Gabriel Egan The subtitle of our meeting, 'From Stage to Print in Early Modern England, posits a movement in one direction, from performance to printed book. This seems reasonable since, whereas modern actors usually start with a printed text of some form, we are used to the idea that early modern actors started with manuscripts and that printing followed performance. In fact, the capacity of a printed play to originate fresh performances was something that the title-pages and the preliminary matter of the first play printings in the early sixteenth century made much of. Often the printings helped would-be performers by listing the parts to be assigned, indicating which could be taken by a single actor, and even how to cut the text for a desired performance duration: . yf ye hole matter be playd [this interlude] wyl conteyne the space of an hour and a halfe but yf ye lyst ye may leue out muche of the sad mater as the messengers p<ar>te and some of the naturys parte and some of experyens p<ar>te & yet the matter wyl depend conuenytently and than it wyll not be paste thre quarters of an hour of length (Rastell 1520?, A1r) The earliest extant printed play in English is Henry Medwall's Fulgens and Lucrece (Medwall 1512-16) but the tradition really begins with the printing of the anonymous Summoning of Every Man (Anonymous c.1515) that W. -
Copyright 2011 Tara Lynn Lyons
Copyright 2011 Tara Lynn Lyons ENGLISH PRINTED DRAMA IN COLLECTION BEFORE JONSON AND SHAKESPEARE BY TARA LYNN LYONS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Emerita Professor Carol T. Neely, Chair Associate Professor Zachary L. Lesser, University of Pennsylvania Associate Professor Lori Humphrey Newcomb Professor Curtis Perry Abstract Benjamin Jonson’s Works (1616) and William Shakespeare’s Comedies, Histories, and Tragedies (1623) overwhelmingly dominate studies of the English drama collection. This critical focus has revealed much of what we know about the collection as a format for dramatic texts in early modern England, but it has also concealed aspects of the format’s history. Scholars regularly assume that the Jonson and Shakespeare Folios were the first in England to gather dramatic texts in collections; others often treat the volumes as paradigms for how drama collections looked, functioned, and signified. By examining collections printed or compiled from approximately 1512 to 1623, “English Printed Drama in Collection Before Jonson and Shakespeare” offers a new conceptualization of the collection. This dissertation discovers that drama appeared in multiple collected formats other than large folio volumes and was organized around a diversity of principles of collection other than (and in addition to) “the author.” For example, drama was presented in ten-play quarto editions supporting humanist pedagogical agendas, reader-compiled octavo miscellanies created for political persuasion, and serially published sets celebrating the English church and crown. This diversity of collected forms was constructed through different material processes to support the financial and/or ideological aims of various agents, including printers, publishers, booksellers, editors, and readers. -
1 Intertraffic
INTERTRAFFIC: TRANSNATIONAL LITERATURES AND LANGUAGES IN LATE RENAISSANCE ENGLAND AND EUROPE1 Warren Boutcher In the English edition published at London in 1603, John Florio and Samuel Daniel described Montaigne’s Essais as a work of transnational literature. Consider what the paratexts and associated documents reveal about the circumstances of production of this translation.2 Florio, whose father had taken him to Switzerland during the Marian exile, was teaching Italian and French in noble aristocratic households that employed many fellow religious refugees as tutors. These languages were needed by his noble mistresses and their male relatives for the entertainment of important strangers present in England – and in their homes – for diplomatic purposes, whether official or unofficial. The households’ collections – including those of the tutors themselves 1 I am very grateful to the organisers of the 5th Annual St. Andrews Book Conference, ‘International Exchange in the European Book World’, 20-22 June 2013 (especially Matthew McLean and Andrew Pettegree), the participants in the ‘Transnational Literatures’ roundtable at the Renaissance Society of America conference in New York (27-29 March 2014), the members of the University of Leeds Interdisciplinary Renaissance and Early Modern Seminar (especially Alex Bamji), and the participants in the ‘Narrative Conversions’ workshop at the University of York, June 2-3 2014 (especially Helen Smith and Simon Ditchfield). 2 This and the following four paragraphs are based on the biographical entries for John Florio, Edward Blount, and William Ponsonby in the ODNB, Michelangelo Florio in the DBI, the paratexts to the three volumes of Michel de Montaigne, The essayes or morall, politike and millitarie discourses, trans. -
Folio400 Limited © 2021 Folio400.Com
The Shakespeare The word ‘folio’ A ‘folio’ edition The ‘folio’ format The Shakespeare First Folio was Unlike Jonson’s Ben Jonson wrote The First Folio ‘First Folio’ was comes from is made of was reserved for modelled on Jonson’s book, but Workes, the First two poems to was prepared by rst published in the Latin for printed sheets works of history, was printed in smaller type and Folio only printed introduce his Shakespeare’s November 1623. ‘leaf’, or ‘sheet’: that are each philosophy and in double columns. Shakespeare’s friend’s First Folio. acting colleagues FIRST folium. folded once. theology – until plays: it was John Heminge Ben Jonson’s folio as a man of the and Henry edition of his own theatre that he Condell, both FOLIO Workes in 1616. was to be chiefly of whom were remembered. remembered in Shakespeare’s 1616 will. Carefully They arranged the Histories The arrangement The First Folio’s full title reads: The word ‘folio’ appears just once in the The First Folio The other William researching by the chronology of the of the Comedies Mr. William Shakespeare’s Shakespeare First Folio: ‘I am for whole was produced members of Jaggard their collection, reigns Shakespeare had seems to follow a Comedies, Histories, volumes in folio,’ brags a character in by a syndicate the publishing was blind, Heminge and dramatized (from King John seasonal cycle, & Tragedies. Love’s Labour’s Lost. of publishers, consortium and died Condell divided to Henry VIII ) – not in the from The Tempest’s led by the were Edward a month their friend’s order of his writing them. -
Dreams in Early Modern England: Frameworks of Interpretation
Dreams in Early Modern England: Frameworks of Interpretation by Janine Rivière A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department of History, University of Toronto. © Copyright by Janine Rivière (2013) Abstract Dreams in Early Modern England: Frameworks of Interpretation, PhD (2013), Janine Rivière, Graduate Department of History, University of Toronto. While dreams as visions have received much attention from historians, less work has been undertaken on understanding more commonly experienced dreams that occurred in sleep. In this dissertation I seek to begin redressing this neglect. Two overarching questions focus the dissertation: How did early modern English people understand their dreams? And did these understandings change in response to significant developments in English culture? To answer these questions I explore early modern English theories, beliefs and experiences of dreams through a close study of key medical, demonological, philosophical, spiritual, oneirocritic and private writings. I suggest that in the period 1550-1750 there were three principal frameworks used to understand dreams: (1) health of the body and mind, (2) prediction and (3) spirituality. These three frameworks coexisted, either reinforcing or contesting one another throughout the period. The framework of health saw dreams as natural products of the body and mind that revealed the overall health of the dreamer. In the model of prediction, dreams were deemed significant, yet encoded, clues to the future that required careful interpretation. Finally, in spiritual frameworks, dreams were conceived as sent by God, angels or the Devil. Since early modern English writings reveal a diversity of natural and supernatural theories about dreams that never really “declined,” a study of them also helps to complicate ideas about the “disenchantment of the world." Finally, I also suggest that early modern English writings on dreams reveal the perceived vulnerability of the dreamer to internal and external forces. -
Det. 1.2.2 Quartos 1594-1609.Pdf
author registered year of title printer stationer value editions edition Anon. 6 February 1594 to John 1594 The most lamentable Romaine tragedie of Titus Iohn Danter Edward White & "rather good" 1600, 1611 Danter Andronicus as it was plaide by the Right Honourable Thomas Millington the Earle of Darbie, Earle of Pembrooke, and Earle of Sussex their seruants Anon. 2 May 1594 1594 A Pleasant Conceited Historie, Called the Taming of Peter Short Cuthbert Burby bad a Shrew. As it was sundry times acted by the Right honorable the Earle of Pembrook his seruants. Anon. 12 March 1594 to Thomas 1594 The First Part of the Contention Betwixt the Two Thomas Creede Thomas Millington bad 1600 Millington Famous Houses of Yorke and Lancaster . [Henry VI Part 2] Anon. 1595 The true tragedie of Richard Duke of York , and P. S. [Peter Short] Thomas Millington bad 1600 the death of good King Henrie the Sixt, with the whole contention betweene the two houses Lancaster and Yorke, as it was sundrie times acted by the Right Honourable the Earle of Pembrooke his seruants [Henry VI Part 3] Anon. 1597 An excellent conceited tragedie of Romeo and Iuliet. Iohn Danter [and bad As it hath been often (with great applause) plaid Edward Allde] publiquely, by the Right Honourable the L. of Hunsdon his seruants Anon. 29 August 1597 to Andrew 1597 The tragedie of King Richard the second. As it hath Valentine Simmes Andrew Wise "rather good" Wise been publikely acted by the Right Honourable the Lorde Chamberlaine his seruants. William Shake-speare [29 Aug 1597] 1598 The tragedie of King Richard the second.