DOCSLIB.ORG

Shakespeare's Paragones

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shakespeare's Paragones SHAKESPEARE’S PARAGONES Deanna Malvesti Danforth A dissertation submitted to the Faculty of the department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Boston College Morrissey College of Arts and Sciences Graduate School July 2021 © Copyright 2021 Deanna Malvesti Danforth SHAKESPEARE’S PARAGONES Deanna Malvesti Danforth Advisor: Mary Thomas Crane, Ph.D. This project examines Shakespeare’s engagement with and refashioning of one of the primary aesthetic debates of his time known as the paragone, most often invoked in the English context by the Horatian maxim ut pictura poesis (“as painting, so poetry”). Sometimes a neutral comparison of the arts, at other times a rivalry, Shakespeare’s own paragones measure the representational capacities and constraints of narrative and lyric poetry against embodied drama, and simultaneously with regard to painting and sculpture. The primary way in which Shakespeare conducts these explorations, I argue, is by turning to rhetorical figures and tropes that can be translated across mediums, experimenting with how they function differently or the diverse ends to which they can be put. Thus, in each chapter, I pair one of Shakespeare’s freestanding works of poetry with one of his plays and examine the figure or trope that they have in common. Chapter 1 focuses on Venus and Adonis, Henry V, and deixis; Chapter 2 concentrates on Lucrece, Titus Andronicus, and ekphrasis; and Chapter 3 centers on the Sonnets, The Winter’s Tale, and the trope of poetry as monument. Reading Shakespeare’s maJor works of poetry alongside his plays in this way, I contend, challenges the long-held critical opinion that for Shakespeare, drama is the triumphant medium of representation. Rather, such an investigation reveals Shakespeare’s awareness of the inherent paradoxes that each medium holds as well as his desire to exploit their potentials to the fullest degree. TABLE OF CONTENTS Acknowledgements ........................................................................................................... ii List of figures ..................................................................................................................... v Introduction ....................................................................................................................... 1 Chapter 1: Deixis, Narration, and Control in Venus and Adonis & Henry V ............ 17 Chapter 2: Ekphrasis, Motion, and Emotion in Lucrece & Titus Andronicus .......... 76 Chapter 3: Preservation, Performance, and The Trope of Poetry as Monument in the Sonnets & The Winter's Tale ........................................................................ 110 Conclusion ..................................................................................................................... 152 Bibliography .................................................................................................................. 154 i ACKNOWLEDGEMENTS Shakespeare’s Paragones has come to fruition through the steadfast mentorship of a true paragon herself, Mary Thomas Crane. As my advisor over the course of my doctoral studies and as chair of my dissertation committee, her attentiveness to my work and confidence in my abilities have never wavered, even when I found myself going back to the drawing board in the early stages of this project. In every way, she has guided my development as a scholar with the utmost generosity. I am also indebted to Diana E. Henderson, who has been an insightful reader of this dissertation in all of its iterations. I have always been impressed by the tough questions that I have heard her pose to other scholars, and I am appreciative that she has treated me no differently. Andy Crow, who Joined my committee in the later phases of this work, has generously provided their feedback as if they had been there from the beginning. Their discerning eye has made my writing better, and their mutual interest in early modern recipes and food culture has given me a colleague with whom to collaborate in other endeavors. The Boston College English Department has provided me with a rich intellectual home as I have completed my doctoral work. Caroline Bicks, Amy Boesky, and Andrew Sofer, who served on my oral exam committees, have fostered my thoughts about early modern poetry and drama in indispensable ways. Throughout the years, my scholarly endeavors have been buoyed by my engagement with my students, and those that have passed through my classrooms at Boston College have provided me with tremendous joy. So have the collaborative conversations that I have had about teaching with my colleagues, most especially Dayton Haskin, Paula Mathieu, and Lynne Anderson. The ii opportunities afforded to me by Carlo Rotella, Adam Lewis, Tina Klein, and Angela Ards to advise students in the American Studies and Journalism minors have likewise enriched my experiences at the university. I am also thankful for the robust academic community of the greater Boston area. I extend my gratitude to Bill Carroll and Coppélia Kahn, whose invitation to share my work at the Shakespearean Studies Seminar at the Mahindra Center at Harvard University, and the discussions that later developed with its attendees, have proven integral to the development of the argument that I have set forth in the second chapter of this project. Through early coursework and extended conversations over the years, Mary Baine Campbell and Tom King have also graciously mentored me. My decision to embark upon this journey – both in the realm of early modern literature and on the opposite coast – came from the inspiration and encouragement of Laura Lehua Yim, Gitanjali Shahani, and Loretta Stec when I was pursuing my Master’s degree at San Francisco State University. I can say undoubtedly that they led me in the right direction. This experience has resulted not only in intellectual growth but also in valued friendships. For cheering me at every turn, I offer my heartfelt thanks to Emma Atwood, Alex Puente, Kristin Imre, Trista Doyle, Rachel Ernst, Kelsey Norwood, Laura Sterrett, Margaret Summerfield, and Josie Schoel. No acknowledgements would be complete without recognizing my village – the many members of my family as well as my friends beyond academia whose support has allowed me to thrive. To all those who have taken over my outside responsibilities in order to give me time to write, and at other times insisted that I take a break – chief among them, my husband Lee Danforth – please know that none of this would have been iii possible without you. And to my dear daughter Cate, your sweet disposition and superior napping ability from infancy through toddlerhood are what, in the end, pushed this project through to completion. In all things, Ruby and Lolly, my loyal companions, have remained at my side. Finally, I dedicate this dissertation to the memory of my grandmother, Dina Cuneo Giovannetti (1917-2002), a truly extraordinary human being who accomplished anything she put her mind to – and then some. A photograph of her as a young woman sits on my desk, her coy grin and steady eyes always looking back as if to say, “Dai che ce la fai.” iv LIST OF FIGURES 1 Venus and Adonis (London: Richard Field, 1593), title page. Bodleian Library, Arch. G. e.31(2). Used by permission of the Bodleain Libraries, Oxford University under a Creative Commons Attribution-NonCommercial 4.0 International license.……………………………………………………..………24 2 Venus and Adonis (London: Richard Field, 1593), sig. B1r. Early English Books Online. Image from Bodleian Library.……………………………...……...……26 v INTRODUCTION Bill Shakespeare, Ben Jonson, and Frankie Beaumont walk into the Mermaid Tavern. The beginning of a joke, right? In part, yes, as the line serves as the premise for “pete the parrot and shakespeare,” a 1927 comedic poem by American writer Don Marquis. Yet what unfolds in the humorous scenario also raises the question of how Shakespeare regarded the relationship between his freestanding poetry and his plays – an inquiry at the forefront of this project. As pete, the erstwhile proprietor of the famous London watering hole recounts, one particular evening, when the three “were sopping it up,” bill, crying in his beer, lamented the path that his life had taken. Despite ben’s efforts to console him, pointing out how lucrative his theatrical endeavors had been, bill took no comfort. Instead, pete tells us, bill was absolutely downtrodden: money money says bill what the hell is money what I want is to be a poet not a business man these damned cheap shows i turn out to keep the theatre running break my heart 1 slap stick comedies and blood and thunder tragedies and melodramas . the only compensation is that I get a chance now and then to stick in a little poetry when nobody is looking but hells bells that isn t what i want to do i want to write sonnets and songs and Spenserian stanzas and i might have done it too if i hadn t got into this frightful show game business business business grind grind grind what a life for a man that might have been a poet1 Rather than championing drama and the theater, pete’s Shakespeare finds that work and that world second-rate. Although acknowledging that there are elements of poetry in his plays (he did write dramatic verse, after all), the two are characterized in opposition to 1 Don Marquis, “pete the parrot and shakespeare,” Archy and Mehitabel (New York: Doubleday, 1930), 160-165. 2 one another. Penning plays is a business, composing poetry is an art; the theater
Load more

Recommended publications
  • Stratford's the Merchant of Venice and Alabama Shakespeare Festival's the Winter's Tale
    Vol. XVI THE • VPSTART • CR.OW Editor James Andreas Clemson University Founding Editor William Bennett The University of Tennessee at Martin Associate Editors Michael Cohen Murray State University Herbert Coursen Bowdoin College Charles Frey The University of Washington Marjorie Garber Harvard University Walter Haden The University of Tennessee at Martin Chris Hassel Vanderbilt University Maurice Hunt Baylor University Richard Levin The University of California, Davis John McDaniel Middle Tennessee State University Peter Pauls The University of Winnipeg Jeanne Roberts American University Production Editors Tharon Howard, Suzie Medders, and Deborah Staed Clemson University Editorial Assistants Martha Andreas, Kelly Barnes, Kati Beck, Dennis Hasty, Victoria Hoeglund, Charlotte Holt, Judy Payne, and Pearl Parker Copyright 1996 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XVI About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. - T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opin­ ions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diver­ sity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $14 Institutions and Libraries, same rate as individuals- $14 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double­ spaced typed pages, including notes.
    [Show full text]
  • The Battle Speeches of Henry V
    The Battle Speeches of Henry V Anne Curry University qfSouthampton In the attack on Constantinople in 1204, when Peter of Amiens saw Murzurphlus spurring his horse towards him, he shouted to his followers Now lords, stand firm' We will have a fight on our hands: see the emperor is coming. Take care that there is no one so bold as to run away. But now resolve to stand firm,l Such scenes arc commonplace in medieval chronicles. As Bllese observed, chroniclers wrote hundreds of battle orations. harangues to the knights before or during combat, that show in detail the kinds of motive appeals the chroniclers believed would be most effective in building morale.' . One of the most famous battle speeches of all must be that of Henry V at Agincourt, well known not from its chronicle versions but from the stirring words of Shakespeare.' Shapiro has alerted us to Shakespeare's use of expressions he heard in daily life as well as those he read in the printed histories which informed his works. In the case of the battle speech, Shapiro detects the influence ofa sermon delivered to the royal court on Ash Wednesday 1599 by Lancelot Anclrewes. 4 The theme was war, the context the preparations for the expedition of the earl of Essex to Ireland. Andrewes' 'thumping reiteration of "this time" and "this day''', Shapiro argues, inspired Shakespeares similarly repeated emphasis on 'St Crispin's day'. Shakespearean scholars have detected other influences on the composition of the speech, ranging from popular sayings,' to biblical passages,6 to accounts of other battles in the histories of Hall and Holinshed.' But Henry V's battle speech has a much longer pedigree which can be traced back to the earliest chronicle narratives of the battle.
    [Show full text]
  • After Agincourt
    After Agincourt After Agincourt William Worcester’s Lost Journal edited by Stephen Cooper 1 After Agincourt Copyright Stephen Cooper, 2013 The right of Stephen Cooper to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 2 After Agincourt For William 3 After Agincourt Contents Editor’s Preface Sir John Fastolf’s accompt of the burning of John Badby, 1410 I September, 1444 II October III November IV December V January, 1445 VI February VII March VIII April IX May X June XI July XII August 4 After Agincourt Editor’s Preface This Journal, which I have entitled After Agincourt, was written by William Worcester over a period of twelve months in 1444-5. It describes a very different country from the one we inhabit today. The Kingdom of England was surrounded by enemies. The Welsh were a subject people, but one which had come within an ace of throwing off English rule only thirty years before. The Scots were inveterate enemies, universally hated in England, especially in the northern counties. The French were a constant threat, much more populous and powerful than the English, and quite determined to reclaim the territories which the King of England still held on to, in Aquitaine and Normandy. Henry V’s startling victory at Agincourt in 1415 seemed like a distant memory three decades later. Superficially, there were many similarities between the England of 1444 and the England of 2014. We had a monarch and a bi-cameral Parliament then, and London dominated the life of the nation financially and politically, while most of the wealth was in the South-East.
    [Show full text]
  • Notes on the Agincourt Roll Author(S): J
    Notes on the Agincourt Roll Author(s): J. Hamilton Wylie Source: Transactions of the Royal Historical Society, Vol. 5 (1911), pp. 105-140 Published by: Cambridge University Press on behalf of the Royal Historical Society Stable URL: http://www.jstor.org/stable/3678363 Accessed: 26-06-2016 09:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press, Royal Historical Society are collaborating with JSTOR to digitize, preserve and extend access to Transactions of the Royal Historical Society This content downloaded from 128.178.131.113 on Sun, 26 Jun 2016 09:46:50 UTC All use subject to http://about.jstor.org/terms NOTES ON THE AGINCOURT ROLL By J. HAMILTON WYLIE, M.A., D.Litt., F.R.Hist.S. Read April 27, 1911. IF anyone were to ask where he ought to look for the Roll of Agincourt he would probably be told that he would find it in the 'History of the Battle,' published by Sir Harris Nicolas in 1827, in which there are seventy-two pages of printed matter containing 'the names of the Dukes, Earls, Barons, Knights, Esquires, Servitours and others that wer withe the Excellent Prince King Henry the Fifte
    [Show full text]
  • Anaphora Figure of Speech Examples
    Anaphora Figure Of Speech Examples Pyramidal Paulo rehang or reclothes some treatment edgily, however retarded Jerald roughcast squarely or stoopes. Is Stanton tinglier or doughtier when indulged some pedologist journalised intensely? Nuptial and declinable Ferdie exult, but Colbert fluently begrudge her circumferentor. Interested in martin luther king uses comparison the arbiter is patient etherized upon waking up writing of examples anaphora of figure speech smoothly What is anaphora poetic device? Somewhat awkward when used anaphora examples figures of the assassination of figure of wheels refer back. The same sound means he talks to anaphora speech to! A written-known example of ant may also found mercy the speech given by Winston. Anaphora in poetry. Therefore the poem concludes with the figurative death eat the subject besides the. Anaphora Literature Quiz Quizizz. Anaphora Quick Facts related topics Figure of speech For everything up is a season. Figures of speech add some company to your words The. What have an quarter of anaphora Quora. Below were some examples of Epistrophe from the Bible. Anaphora in Literature Definition & Examples SuperSummary. Repetition figure of speech examples. Example 2 Charlie Chaplin's famous speech from huge Great Dictator is random of anaphora which gives the words the same emotional charge of powerful rhythm. Follow these were the examples anaphora is! Tropes and schemes are collectively known as figures of speech. For example Martin Luther King's famous or Have woman Dream speech contains anaphora So let freedom ring shoot the prodigious hilltops of New Hampshire. The kinds of figurative language described in this installment are not.
    [Show full text]
  • A PORTRAIT of SHAKESPEARE His Life, Times and Words
    THE SHAKESPEARE PROJECT OF CHICAGO presents Peter Garino in A PORTRAIT OF SHAKESPEARE His life, times and words Sandwich Public Library Highland Park Public Library Oak Lawn Public Library St. Charles Public Library Mokena Public Library Vernon Area Public Library Glencoe Public Library THE SHAKESPEARE PROJECT OF CHICAGO IS PROUD TO ANNOUNCE the lineup for our 25th Anniversary Season. “Hamlet” by William Shakespeare, directed by J.R. Sullivan (Oct. 11-17, 2019); “Richard III” by William Shakespeare, directed by Peter Garino (Jan. 10- 16, 2020); “Romeo and Juliet” by William Shakespeare, directed by Michelle Shupe (Feb. 21-27, 2020); “Measure for Measure” by William www.shakespeareprojectchicago.org Shakespeare, directed by Erin Sloan (May 15-21, 2020). For venues and P.O. Box 25126 show times, visit: www.shakespeareprojectchicago.org Chicago, Illinois 60625 773-710-2718 Peter Garino is a founding member of The Shakespeare Project of Chicago and has served as Artistic Director A PORTRAIT OF SHAKESPEARE since June 2010. This past season, he directed The Roaring Girl, appeared as Marcus Andronicus in Titus Featuring selections from… Andronicus and as Helicanus in Pericles, Prince of Tyre. He will direct Richard III in January 2020. Previous appearances with The Shakespeare Project include the Duke of Florence in Women Beware Women, Duke Hamlet, Prince of Denmark Frederick/Duke Senior in As You Like It, Boyet/Anthony Dull in Love's Labour's Lost, Sir Thomas Erpingham and the Duke of Burgundy in Henry V and Tackleton in Charles Dickens' The Cricket on the Hearth. Peter Edward III directed the Chicago premier of Tom Stoppard's Darkside (Incorporating The Dark Side of the Moon by Pink Floyd).
    [Show full text]
  • William Shakespeare's Henry V February 4-April 6, 2018
    L.A.’s Critically Acclaimed Classical Repertory Theatre Company William Shakespeare’s Henry V February 4-April 6, 2018 (Press opening February 10) Co-Directed by Julia Rodriguez-Elliott and Geoff Elliott (Pasadena, January 16, 2018) A Noise Within (ANW), the acclaimed classical repertory theatre company, presents its first production of Shakespeare’s history play Henry V, co-directed by Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott. ANW streamlines the story into a dynamic thrill ride infused with modern relevance. Geoff Elliott says, “Henry V is a play about going to war, and the propulsive energy that leads us to conflict. We’ve zeroed in on the conflict between Henry and France, and captured the unifying, almost euphoric energy that comes with having a shared enemy. While the play is not explicitly for or against war, it does provide an in-depth look at the politics of war and our thirst for conflict. Ours is a very physical, visceral production: we have three fight choreographers and a live percussionist. Expect a fast, furious, and ferocious evening.” The stark scenic design by frequent ANW contributor Frederica Nascimento evokes an arena. The simple set features oversized staircases that resemble bleachers and theatrical lights hung on a cross-shaped scaffold, inviting audience members to bring their own imaginations to the proceedings. “We want audience members to feel engaged from the moment they walk in. We want them to feel like spectators at a coliseum,” says Julia Rodriguez-Elliott, “We think this configuration of our space both reflects the theatricality of the play and reinforces the notion of war as sport.” Henry V is the fourth play in the company’s 2017-18 season, whose recurring theme is ‘Entertaining Courage.’ Julia Rodriguez-Elliott says, “Henry fights for what he believes in.
    [Show full text]
  • Law, Religion, and War in Shakespeare's King Henry V
    Journal of Catholic Legal Studies Volume 53 Number 2 Volume 53, 2014, Number 2 Article 2 The Conscience of a King: Law, Religion, and War in Shakespeare's King Henry V Robert J. Delahunty Follow this and additional works at: https://scholarship.law.stjohns.edu/jcls Part of the International Law Commons, and the Religion Commons This Article is brought to you for free and open access by the Journals at St. John's Law Scholarship Repository. It has been accepted for inclusion in Journal of Catholic Legal Studies by an authorized editor of St. John's Law Scholarship Repository. For more information, please contact [email protected]. ARTICLES THE CONSCIENCE OF A KING: LAW, RELIGION, AND WAR IN SHAKESPEARE'S KING HENRY V ROBERT J. DELAHUNTY INTRODUCTION Shakespeare's King Henry V is an elusive, searching meditation on the relationship of law and religion to war, peace, and statecraft, "the most subtly disturbing study in religious warfare that Shakespeare ever created."1 Although set in England and France during the period between Lent 1414 and May 1420, the play reflects the politics of Tudor England in early 1599, when it was originally produced.2 But it remains of absorbing interest for later periods, including ours.3 Just ' Professor of Law, University of St. Thomas School of Law, Minneapolis, Minnesota. I would like to thank Professors Mark Movsesian and Charles Reid, my Research Assistant Ken Knapp, Andrew Ratelle, and Catherine Ratelle for their help with this Article. ' Paul A. Jorgensen, A Formative Shakespearean Legacy: Elizabethan Views of God, Fortune, and War, 90 PUBLICATIONS MOD.
    [Show full text]
  • Questionable Classification of Figures of Speech As Fundamental to the Need for Powerful Rhetoric in Governance -- /
    Alternative view of segmented documents via Kairos 8 August 2016 | Draft Questionable Classification of Figures of Speech as fundamental to the need for powerful rhetoric in governance -- / -- Introduction Dysfunctionally disparate classifications? Categorization of figures of speech in non-western cultures References Introduction As fundamental to persuasive rhetoric, it is curious, but potentially significant, that the variety of styles of speech is so notably framed by the term figures of speech. As a term which has both aesthetic and geometrical connotations, how are such "figures" to be understood -- especially in relation to imagining the great game of Castalia? This is discussed separately in a paper of which this is effectively an annex Evoking Castalia as Envisaged, Entoned and Embodied (2016). The implications of the following are discussed there in terms of metapoetics and musical-rhetorical figure theory (Musica poetica). Figures of speech are of course fundamental to discourse -- and to the public discourse central to governance, the processes of persuasion through argument, and to confidence building. The phrase "talking things up" is noteworthy in this respect. For Stephen Adams (Poetic Designs: an introduction to meters, verse forms, and figures of speech, 1997): Far from being artificial distortions of language, the figures have developed from patterns that naturally appear when language is used with great emotion and energy. As such they provide one means for identitying patterns that emerge in free verse and help give it formal organization... (p 108) Especially pertinent, at a time when arguments presented in English are challenged by those presented, in Arabic is the reflection on figures of speech by Hussein Abdul-Raof (Arabic Rhetoric: a pragmatic analysis, 2006): The traditional meaning of "figurative" has always involved a contrast with the "proper" meaning of a given word, its supposed meaning, the idea which comes to mind when the word is employed.
    [Show full text]
  • English Commoners and Communities on the Early Modern Stage
    ENGLISH COMMONERS AND COMMUNITIES ON THE EARLY MODERN STAGE Nora L. Corrigan A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature Chapel Hill 2006 Approved by: Alan Dessen Ritchie Kendall Megan Matchinske Jessica Wolfe Mary Floyd-Wilson © 2007 Nora L. Corrigan ii ABSTRACT NORA L. CORRIGAN: English Commoners and Communities on the Early Modern Stage (Under the direction of Alan Dessen) This dissertation explores the treatment of the English common people, their communities, and their values in a variety of early modern dramatic texts, including Shakespeare’s Henry IV plays, Henry V, and The Merry Wives of Windsor; Thomas Heywood’s Edward IV and If You Know Not Me, You Know Nobody plays, Thomas Dekker’s The Shoemaker’s Holiday, Rowley, Dekker and Ford’s The Witch of Edmonton and the anonymous Arden of Feversham, Woodstock, and Sir Thomas More. When modern-day critics write about social relations in this period, their usual range of concerns includes hierarchy and power. Personal relationships among relative equals are a neglected subject in this field, yet they were central to most Elizabethans’ lives and world-views. Thus, my reading of these plays focuses on horizontal rather than hierarchical social relationships; the key words are not sovereignty, rule, obedience but neighborliness, brotherhood, fellowship, community. My central thesis is that these texts associate commoners with a specific set of values – mutual help, conviviality, conciliation – which grow out of the social structures of village and urban communities to become the ideological cornerstone of the English commons.
    [Show full text]
  • Correspondance Concerning the Above from No.212
    Third Series Vol. II part 1. ISSN 0010-003X No. 211 Price £12.00 Spring 2006 THE COAT OF ARMS an heraldic journal published twice yearly by The Heraldry Society THE COAT OF ARMS The journal of the Heraldry Society Third series Volume II 2006 Part 2 Number 212 in the original series started in 1952 The Coat of Arms is published twice a year by The Heraldry Society, whose registered office is 53 High Street, Burnham, Slough SL1 7JX. The Society was registered in England in 1956 as registered charity no. 241456. Founding Editor † John Brooke-Little, C.V.O., M.A., F.H.S. Honorary Editors C. E. A. Cheesman, M.A., PH.D., Rouge Dragon Pursuivant M. P. D. O'Donoghue, M.A., Bluemantle Pursuivant Editorial Committee Adrian Ailes, B.A., F.S.A., F.H.S. Jackson W. Armstrong, B.A. Andrew Hanham, B.A., PH.D Advertizing Manager John Tunesi of Liongam SHORTER NOTES The English in the Golden Fleece group of armorials. Paul A. Fox writes: Steen Clemmensen ably demonstrates in his recent paper (CoA 3rd ser. 2, pp. 11-44) that the English section of the Grand Armorial de la Toison d'or (c. 1435) must have come from an earlier source. Unfortunately, his contention that this source dates between the spring and early summer of 1397 is highly controversial, and poorly sup• ported by the evidence cited. The most obvious reason for doubting such a date is that the list is headed by Humphrey, created Duke of Gloucester in 1414, and regent of England in 1422 on the death of Henry V.
    [Show full text]
  • Summer 2015 PSF Newsletter
    The Pennsylvania Shakespeare Festival Newsletter • Summer 2015 SHAKESPEARE In the prior season of 1598, Shakespeare had penned & HIS BAND OF BROTHERS Romeo & Juliet (think of the By Heather Helinsky, Dramaturg film Shakespeare in Love) as well as a very popular and controversial An extraordinary year for Shakespeare as an two-part blockbuster Henry the Elizabethan dramatist. As he explores the Fourth. The Epilogue of The Second 1599: Part of Henry the Fourth is interest- dimensions of King Henry V’s legendary status as England’s greatest warrior in his play of the same title, he’s ing because there are two competing also emerging as one of England’s preeminent playwrights and endings that advertised two very dif- ferent plays to come. One epilogue we professional theatre practitioners. know was delivered by the comic actor Shakespeare and his fellow dramatists were writ- Will Kemp, who declared “our humble ing for an audience of all classes who thrived on new author will continue the story, with Sir John plays. London at that time had a population of roughly [Falstaff ] in it, and make you merry with fair 200,000 and on average, based on ticket sales, one- Katherine of France.” third of London’s adult population saw a play every Sir John Falstaff is the well-known drunken month. Unlike our contemporary understanding mentor to the young Prince Hal, who would of playwriting as a creation by a single author, become king in Shakespeare’s next promised play, most Renaissance plays were co-authored. Henry V. But in the second epilogue, there were no But we believe Shakespeare authored such promises of a merry play with Sir John Falstaff.
    [Show full text]