DOCSLIB.ORG

Volume 4 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 4 2014 2101 EAST COLISEUM BOULEVARD FORT WAYNE, IN 46805-1499 Volume 4 2014 Volume Volume 4 2014 Volume 4 2014 EDITORS at Indiana University– at Mount St. Mary’s University Purdue University Fort Wayne Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King's College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. Manuscripts should follow The Chicago Manual of Style, 16th edition (with footnotes kept to a minimum). Electronic submissions only, acceptable file formats are Word (.doc or docx) or Rich Text Format (.rtf). Please send submissions to [email protected] and include complete contact information and preferred email address. To facilitate blind peer review, the author’s name and affiliation should not appear on the manuscripts; instead, attach a cover sheet with appropriate information. Marlowe Studies is published one time per year. Annual subscription or backorder rates for individuals in the United States are $45; for US libraries and institutions, $90 per annual issue. International subscriptions and backorder rates are $55 for individuals and $110 for institutions. All payments must be made in US dollars. Please send subscription and back order requests to [email protected] or Managing Editor, Marlowe Studies; Indiana University–Purdue University Fort Wayne; 2101 East Coliseum Blvd.; Fort Wayne, IN, 46805. Under US copyright law, no part of this publication 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 written permission of the publisher. ISSN 2159-8231 (Print) 2159-824X (Online) © 2014 IPFW College of Arts and Sciences Marlowe Studies: An Annual 4 (2014) Abbreviations for Marlowe’s Works AOE All Ovid’s Elegies COE Certain of Ovid’s Elegies Dido Dido, Queen of Carthage DFa Doctor Faustus, A-text DFb Doctor Faustus, B-text E2 Edward II HL Hero and Leander JM The Jew of Malta Luc Lucan’s First Book Man Manwood Elegy / Epitaph MP The Massacre at Paris PS “The Passionate Shepherd to His Love” 1Tam Tamburlaine the Great, Part 1 2Tam Tamburlaine the Great, Part 2 MARLOWE STUDIES: AN ANNUAL 4 (2014) Table of Contents 1 “Fore-words” M. L. Stapleton and Sarah K. Scott 5 “Playing Prisoner’s Base in Marlowe’s Edward II” Bethany Packard, Transylvania University 29 “Bookish Play: Imitation and Innovation in Dido, Queen of Carthage” Christine Edwards, University of Queensland 49 “What’s Actaeon to Aeneas? Marlowe’s Mythological Mischief” Lisa Hopkins, Sheffield Hallam University 63 “Marlovian Influences in Lust’s Dominion; Or, The Lascivious Queen” Annette Drew-Bear, Washington and Jefferson College 79 “More Masques, Mummings, and Metadrama: The Duke of Vanholt Scene in Christopher Marlowe’s Doctor Faustus (B-text)” John Christopher Frongillo, Florida Institute of Technology 91 “The Bell, the Bodies, and the Bonking: The Massacre at Paris and Its Early Playhouse Audiences” Ruth Lunney, University of Newcastle 109 “The Power to Change a Line: Marlowe’s Translation of Ovid’s Amores” Corinna Box, University of Melbourne 129 “The Year’s Work in Marlowe Studies: 2013” David McInnis, University of Melbourne 155 Notes on Contributors Marlowe Studies: An Annual 4 (2014) THE EDITORS Fore-words We are honored to publish the fourth issue of Marlowe Studies: An Annual in the year that marks the 450th anniversary of the author’s birth in Canterbury. As always, we solicit essays on scholarly topics directly related to Marlowe and his role in the literary culture of his time. Especially welcome are studies of the plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; and Marlowe’s professional milieu and place in early modern English poetry, drama, and culture. For a fourth year, we offer essays that represent a cross-section of Marlowe studies as they now stand. Our first, by Bethany Packard, explores what has heretofore seemed a minor point in the study of Edward II, a reference to the game known as prisoner’s base. Her paper explains that, on the contrary, the metaphor “serves as a lens for reading the paradoxically precocious character of Prince Edward, Edward II’s fall, and the action of the play.” Christine Edwards’s analysis of imitation in Dido, Queen of Carthage explains Marlowe’s constant awareness of his source text, the Aeneid, and how his incarnations of Dido and Aeneas “grapple for their own identity against an ever-present mythic backdrop.” Lisa Hopkins, one of the world’s leading authorities on Marlowe, examines his unexpected yet frequent yoking of two figures from classical epic and mythology, Aeneas and Actaeon, and how this connection helped him “question the idea of patrilineal transmission, . and for the cultural uses to which Marlowe’s England put it.” Annette Drew-Bear takes up the controversial issue of the reception and influence of Marlowe’s plays by reading 2 Fore-words the tragedy Lust’s Dominion (first published 1657) against works such as Tamburlaine and Edward II and attempting to identify Marlovian elements therein, those that survived into the middle of the seventeenth century. John Christopher Frongillo convincingly argues for the importance of what has seemed to some as a somewhat gratuitous element in in the infrequently studied B-text of Doctor Faustus, the Duke of Vanholt scene, and suggests its literal and figurative centrality to the play. The distinguished theater historian Ruth Lunney applies her considerable knowledge of the pre-1595 English stage to a longstanding problem in Marlowe studies. Although The Massacre at Paris exists in what most have believed to be a mutilated and therefore imperfect form, it clearly influenced a decade’s worth of plays. From this perspective she accounts for the distinctiveness of Massacre then and now. Corinna Box analyzes a text that we have not previously published an essay about in Marlowe Studies, the playwright’s banned translation of Ovid’s Amores, All Ovid’s Elegies. She builds on the work of her predecessors to provide further evidence of Marlowe’s excellence and attention to nuance in recreating poetry from an ancient language and transforming it into his own while preserving the effects of the poet from antiquity. We thank the members of our editorial board who evaluated manuscripts for publication. We are grateful to our contributors, who wrote the essays, submitted them in a timely fashion, accepted our suggestions for revision in our editorial commentary, and revised accordingly without complaint. We offer special thanks to five people at our sponsoring institution, Indiana University- Purdue University, Fort Wayne: Elaine Blakemore, Interim Dean of the College of Arts and Sciences; Jessica Neuenschwander, who joined our staff as our editorial assistant; she succeeds Kendra Morris, our former (and first) editorial assistant, who contributed to this issue; and Cathleen Carosella, our managing editor, whose knowledge of publication, scholarship, copy-editing, journals, libraries, printers, and finance helps make our enterprise successful. We also thank our former Dean of the College of Arts and Sciences, Carl N. Drummond, now the Vice-Chancellor of Academic Affairs at our sponsoring institution, who encouraged us The Editors 3 to found Marlowe Studies and who has always provided his moral and financial support. M. L. Stapleton Indiana University—Purdue University Fort Wayne Fort Wayne, Indiana Sarah K. Scott Mount St. Mary’s University Emmitsburg, Maryland Marlowe Studies: An Annual 4 (2014) BETHANY PACKARD Playing Prisoner’s Base in Marlowe’s Edward II Act 4, scene 2 of Christopher Marlowe’s Edward II opens with Queen Isabella and Prince Edward reacting to the French king’s refusal to provide them with assistance. Rejected by her brother, estranged from her husband, and isolated in the country of her birth, Isabella is temporarily at a loss. Then Sir John of Hainault intervenes,
Load more

Recommended publications
  • Bringing Richard Brome Online
    This is a repository copy of Bringing Richard Brome Online. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105805/ Version: Published Version Article: Hirsch, BD orcid.org/0000-0002-6231-2080 (2010) Bringing Richard Brome Online. Early Theatre, 13 (1). pp. 137-153. ISSN 1206-9078 10.12745/et.13.1.837 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early Theatre Volume 13, Issue 1 2010 Article 7 Bringing Richard Brome Online Brett D. Hirsch∗ ∗University of Western Australia, [email protected] Copyright c 2010 by Early Theatre. Early Theatre is produced by The Berkeley Electronic Press (bepress). http://digitalcommons.mcmaster.ca/earlytheatre Bringing Richard Brome Online Brett D. Hirsch Abstract This review essay assesses Richard Brome Online, an online edition of the collected works of Richard Brome, in terms of the design, functionality, and usability of its features.
    [Show full text]
  • Scripted Improvisation in the Antipodes
    ISSUES IN REVIEW 129 ‘Now mark that fellow; he speaks Extempore’: Scripted Improvisation in The Antipodes Concluding his near-paraphrase of Hamlet’s famous advice to the players, Letoy in Richard Brome’s The Antipodes chastises Byplay, an actor with a penchant for improvisation, with the following lines: But you, sir, are incorrigible, and Take license to yourself to add unto Your parts your own free fancy, and sometimes To alter or diminish what the writer With care and skill compos’d; and when you are To speak to your coactors in the scene, You hold interlocutions with the audients— (2.1.93–9)1 Unlike the silent company Hamlet addresses, whose leader assents to Hamlet’s presumptuous lessons with only ‘I warrant your honour’ and a slightly more defensive ‘I hope we have reformed that indifferently with us, sir’ (3.2.13, 30),2 Byplay argues back saying, ‘That is a way, my lord, has been allowed / On elder stages to move mirth and laughter.’ ‘Yes’, Letoy replies, ‘in the days of Tarlton and Kemp, / Before the stage was purged from barbarism, / And brought to the perfection it now shines with’ (2.1.100–4) . Scholars often acknowledge, like Letoy, that improvisation played a signifi- cant role in early English theatre. Actors playing Vice characters in Tudor the- atre improvised before and after the plays in which they performed.3 Renais- sance texts contain stage directions instructing actors to improvise—Greene’s Tu Quoque (1611), for example, includes a direction for characters to ‘talk and rail what they list’ and The Trial of Chivalry (1601) contains the remark- able direction, ‘speaks anything, and Exit’.4 Elizabethan clowns, and in par- ticular Richard Tarlton and William Kemp, were famous for their ability to improvise.
    [Show full text]
  • The Beestons and the Art of Theatrical Management in Seventeenth-Century London
    THE BEESTONS AND THE ART OF THEATRICAL MANAGEMENT IN SEVENTEENTH-CENTURY LONDON by Christopher M. Matusiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher M. Matusiak (2009) Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-61029-9 Our file Notre référence ISBN: 978-0-494-61029-9 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Adultery in Early Stuart England
    Veronika Christine Pohlig ___________________________ Adultery in Early Stuart England ________________________________________ Dissertation am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin 2009 Erstgutachterin: Frau Prof. Dr. Sabine Schülting Zweitgutachter: Herr Prof. Dr. Dr. Russell West-Pavlov Datum der mündlichen Prüfung: 03.07.2009 ACKNOWLEDGEMENTS Firstly, I would like to take this opportunity to thank Prof. Ann Hughes, whose enlightening undergraduate seminar at Keele University taught me the fundamentals of historic research, and first sparked my interest in matters of gender and deviance, thus laying the basis for this project. I wish to express my gratitude towards the Graduiertenkolleg Codierung von Gewalt im medialen Wandel for giving me the opportunity to work with a number of amazing individuals and exchange ideas across disciplinary boundaries, and also for providing the financial means to make travelling in order to do research for this project possible. Special thanks goes out to the helpful staff at Gloucestershire Archives. Above all, I am greatly indebted to Prof. Sabine Schülting for providing the warm intellectual home in which this project could thrive, and for blending munificent support with astute criticism. I am most grateful to have benefited from her supervision. I wish to extend my most heartfelt thanks to Maggie Rouse, Sabine Lucia Müller, Anja Schwarz, Judith Luig, and to Kai Wiegandt for their insightful comments on various parts of this dissertation in various stages, but, more importantly, for unerring support and motivation. These were also given most generously by my brother-in-law, Matthias Pohlig, who read the manuscript with a keen historian's eye and provided invaluable feedback at a crucial stage of its genesis.
    [Show full text]
  • The Witches of Lancashire
    GLOBE QUARTOS THE WITCHES OF LANCASHIRE RICHARD BROME and THOMAS HEYWOOD First printed: Londotl} 1634 This editiotl prepared by Gabriel Egan GLOBE EDUCATION atld II m II NICK HERN BOOKS LONDON www.nickhcrnbooks.co.uk GLOBE QUARTOS This edition of The Witches of Lancashire first published in Great Britain as a paperback original in 2002 by Nick Hem Books Limited 14 Larden Road, London W3 7ST in association with Globe Education Shakespeare's Globe, New Globe Walk London SE1 9DT Copyright in this edition © 2002 International Shakespeare Globe Centre Ltd Typeset in Aldine-401 by the editor Printed by CLE Print Limited, 5t Ives, Cambs PE27 3LE A CIP catalogue record for this book is available from the British Library ISBN 1 85459 664 0 PREFACE Over 400 plays written between 1567 and 1642 have survived in print. Few are now read and even fewer are performed. In 1995 Globe Education initiated a 30-year project to stage readings with professional casts of all the surviving texts so that audiences may once again hear plays by Barnes, Haughton, Shirley, Wilkins et al. In 1997 Mark Rylance, Artistic Director of Shakespeare's Globe, included full productions of Beaumont and Fletcher's The Maid's Tragedy and Middleton's A Chaste Maid ill Cheapside as pan of the Globe Theatre's opening season. Over 30,000 people came to hear and see the two plays. The popularity of the readings and the productions prompted Globe Education to approach Nick Hem to publish the texts being revived at the Globe to enable more people to read, study and, ideally, to produce them.
    [Show full text]
  • New Approaches to Richard Brome
    Early Theatre 10.2 (2007) Issues in Review ELEANOR LOWE, ELEANOR COLLINS, KAREN KETTNICH, FARAH KARIM-COOPER, AND MIMI YIU Offstage and Onstage Drama: New Approaches to Richard Brome Richard Brome had his dramatic debut in Ben Jonson’s play, Bartholomew Fair, where he is described by the Stage-keeper in the Induction as skulking about backstage: ‘But for the whole play, will you ha’ the truth on’t? I am looking, lest the poet hear me, or his man, Master Brome, behind the arras. It is like to be a very conceited scurvy one, in plain English’ (Induction, 6–9).1 So Jonson immortalizes Brome as being backstage, literally and metaphor- ically within his master’s shadow. Beginning with Edward Phillips, writing twenty three years after the playwright’s death, critical evaluation preserves Brome’s literary and social status as Jonson’s servant. For many years he has remained a shadowy figure in the tiring house and in Jonson’s service, even electing servitude as a frame of self-reference.2 The introduction to Matthew Steggle’s seminal work on Brome, Place and Politics on the Caroline Stage, identifies several good reasons why this relatively neglected Caroline playwright deserves attention. Among them are Brome’s complex, stimulating, and entertaining plays; his relationship with key dramatists and poets (including his time in Jonson’s service); the variety of his literary legacy and its theatrical afterlife; legal evidence, contributing towards Renaissance scholars’ knowledge of the working lives of theatre pro- fessionals; and his rare status and example as a servant writer.3 This list summarizes many excellent reasons for studying Brome’s work and life, and the dramatic and biographical importance highlighted by Steggle is reflected in the four varied essays which follow.4 The first paper concerns Brome’s contract with the Salisbury Court theatre, while the latter three take an individual Brome play as their subject: The English Moor, The Antipodes, and The Weeding of Covent Garden.
    [Show full text]
  • Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome
    Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano This book first published 2018 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 © 2018 by Cristina Paravano 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): 1-5275-0593-6 ISBN (13): 978-1-5275-0593-3 CONTENTS Acknowledgments ..................................................................................... vii Quotations, Abbreviations and Conventions .............................................. ix Introduction ................................................................................................. 1 Through the Prism of Multilingualism Chapter One ............................................................................................... 19 ‟There’s too much French in town”: The New Academy and The Demoiselle Chapter Two .............................................................................................. 37 ‟Simile non est idem”: The City Wit and
    [Show full text]
  • Bibliography
    Bibliography Abrams, M.H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Oxford University Press, 1953. Adams, Thomas R., ed. Pietro Martire d’Anghiera et al. The history of travayle in the West and East Indies. 1577. Delmar, NY: Scholars’ Facsimiles & Reprints, 1992. Adler, Judith. ‘Origins of Sightseeing.’ Annals of Tourism Research 16 (1989): 7–29. Agrippa, Henry Cornelius. Three Books of Occult Philosophy. London, 1650. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso Editions, 1983. Anon. ‘A stately tragedy containing the ambitious life and death of the great Cham. c. 1590.’ MS. X.d.259. Folger Shakespeare Library. Anon. ‘Letter from Henry, prince of Purpoole, to the Great Turk [manuscript], 1594? December 27.’ MS. V.a.190. Folger Shakespeare Library. Anon. Merrie conceited iests of George Peele Gentleman, sometimes a student in Oxford Wherein is shewed the course of his life how he liued: a man very well knowne in the Citie of London and elsewhere. London, 1607. Aravamudan, Srinivas. Tropicopolitans: Colonialism and Agency, 1688–1804. Durham: Duke University Press, 1999. Arber, Edward, ed. A Transcript of the Registers of the Company of Stationers of London, 1554–1640 A.D. 5 vols. London: privately printed, 1875–94. Ardila, J.A.G. ‘The Influence and Reception of Cervantes in Britain, 1607–2005.’ The Cervantean Heritage: Reception and Influence of Cervantes in Britain. Ed. J.A.G. Ardila. London: Legenda (MHRA), 2009. 2–31. Argyll, Archibald Campbell, Marquis of. ‘Chapter V. Of travel.’ Instructions to a son by Archibald, late Marquis of Argyle; written in the time of his confinement.
    [Show full text]
  • Feigned Illness and Bodily Legibility in Eighteenth- Century British Culture
    Feigned Illness and Bodily Legibility in Eighteenth- Century British Culture Submitted by Jessica Kate Monaghan, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in History, January 2015. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) ......................................................................................... Acknowledgements Funding for my PhD studies was provided through the generous support of the Arts and Humanities Research Council (AHRC). I would like to express my sincere thanks to my supervisors Prof. Jonathan Barry and Prof. Nick Groom for excellent advice and support throughout my PhD. I really appreciate all the time and effort that you have dedicated to helping me develop my research. Your knowledge, encouragement, and insight have made it a pleasure to be your student. Thanks to my colleagues at the University of Exeter and elsewhere whose thought-provoking questions prompted me to consider my research in new lights. It has been wonderful to be part of such a lively research community. My thanks also go to Prof. Peter Borsay and Prof. Angelique Richardson for a thoughtful and rigorous examination of my thesis. I very much enjoyed discussing my research with you, and am grateful for your time and feedback. Finally, special thanks go to all my friends and family who have supported me throughout my PhD studies, and beyond.
    [Show full text]
  • Phd Unimi R07501.Pdf
    TABLE OF CONTENTS PREFACE THE ROAD NOT TAKEN 1 CHAPTER 1 IN THE BEGINNING WAS THE SPACE 3 1.1 Fashion, refashion and Brome 3 1.2 Poor he came into the world and poor went out 8 1.3 The corpus 15 1.4 The lost plays 18 1.5 Critical reception 19 1.6 My space 26 CHAPTER 2 STAGING A PRESENCE WITHOUT A PRESENCE 33 2.1 The plot 34 2.2 Critical approaches 34 2.3 Social dynamics and spatial interaction 38 2.4 The citizen world 41 2.5 Life at court 46 2.6 The Presence scene: an example of spatial interaction 50 2.7 The geography of the play 55 2.8 Disguising identity 65 CHAPTER 3 EATING AND DRINKING IN EARLY MODERN LONDON 71 3.1 The different faces of Covent Garden 73 3.1.1 The plot 76 3.1.2 Critical approaches 77 3.1.3 The place within the play 78 3.1.4 Once upon a time there were the taverns 82 3.1.5 Inside the Goat Tavern 87 3.1.6 Inside the Paris Tavern 95 3.2 The devil looks ten times worse with a white face 100 3.2.1 Critical approaches 100 3.2.2 The plot 103 3.2.3 The history of the Devil Tavern 104 3.2.4 The place within the play 108 3.2.5 Introduction to the Devil Tavern 111 3.2.6 Inside the Devil Tavern (III, 2) 113 3.2.7 Inside the inn (V, 1) 116 3.3 The Sparagus Garden 118 3.3.1 The plot 119 3.3.2 The title and its contradictions 120 3.3.3.
    [Show full text]
  • A Bibliography THESIS MASTER of ARTS
    3 rlE NO, 6 . Articles on Drama and Theatre in Selected Journals Housed in the North Texas State University Libraries: A Bibliography THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Jimm Foster, B.A. Denton, Texas December, 1985 Foster, Jimm, Articles on Drama and Theatre in Texas State Selected Journals Housed in the North Master of Arts University Libraries: A Bibliography. 33 (Drama), December, 1985, 436 pp., bibliography, titles. The continued publication of articles concerning has drama and theatre in scholarly periodicals to the resulted in the "loss" of much research due to lack of retrieval tools. This work is designed the articles partially fill this lack by cassifying Trussler's found in fourteen current periodicals using taxonomy. Copyright by Jimm Foster 1985 ii - - - - - - - - - -- - -- - - - 4e.1J.metal,0..ilmis!!,_JGhiin IhleJutiJalla 's.lltifohyf;')Mil ;aAm"d="A -4-40---'+ .' "--*-0- -'e-"M."- - '*- -- - - -- - -" "'--- -- *- -"- TABLE OF CONTENTS Page * . - . v INTRODUCTION Chapter . - . - - - . I. REFERENCE - '. 1 OF THE 10 II. STUDY AND CRITICISM 10 PERFORMING ARTS . .. *. - - - * - 23 III. THEATRE AND EDUCATION IV. ANCIENT AND CLASSICAL DRAMA 6161-"-" AND THEATRE.. 67 THEATRE . - - - * V. MODERN DRAMA AND THEATRE . " - - 70 VI. EUROPEAN DRAMA AND THEATRE . * . - 71 VII. ITALIAN DRAMA AND THEATRE . - - 78 VIII. SPANISH DRAMA AND 85 THEATRE . - . IX. FRENCH DRAMA AND . 115 AND THEATRE . - - X. GERMAN DRAMA AND DUTCH DRAMA 130 XI. BELGIAN - 1 AND THEATRE . - THEATRE . " - - 133 XII. AUSTRIAN DRAMA AND 137 THEATRE . - - - XIII. SWISS DRAMA AND DRAMA XIV. EASTERN EUROPEAN ANDTHEATRE . -. 140 THEATRE . 147 XV. MODERN GREEK DRAMA AND 148 AND THEATRE .
    [Show full text]
  • Download This PDF File
    John Wilson’s Music for Richard Brome’s The Northern Lass Keith Green Independent Scholar Richard Brome’s play, The Northern Lass was first performed in 1629 at the Globe and Blackfriars theatres. Music features strongly in the play; Julie Sanders suggests that its continued popularity well into the eighteenth century was in part due to its ‘particular emphases on music and song and its genuinely charming female protagonist’.1 In addition to a number of ballads and catches that feature in the play (in all calls for music or song), there are five solo songs attributed to John Wilson (1595-1672). Wilson was a slightly younger contemporary of Brome (1590-1652), The Northern Lass being the only play of Brome’s for which Wilson wrote the music. Later composers such as Daniel Purcell (1664-1717) also wrote music for later stagings, but it is the original music by Wilson with which I am concerned here. Scores of the five main songs are to be found in two collections in the New York Public Library known as ‘Drexel 4041’ and ‘Drexel 4257’.2 Drexel 4041 is dated between 1640 and 1650 and contains a large number of songs from plays. Drexel 4257 is dated a little later and is known by the title John Gamble, His Booke, Amen 1659. Together these commonplace collections represent a vital source of songs from the early to the middle of the seventeenth century. Vincent Duckles rather ominously says of the Gamble manuscript that it ‘furnishes an ideal territory for the exploration of English song in one of its darker ages’.3 The period in question is seen as a transitional time between two musical and poetic eras, roughly characterised as a shift from 1 Julie Sanders, Introduction to The Northern Lass, ed.
    [Show full text]