Everystudent Collection 2011

Total Page:16

File Type:pdf, Size:1020Kb

Everystudent Collection 2011 Everystudent A Collection of Allegorical Plays In the Style of the Medieval Morality Play “The Summoning of Everyman” By Students of the 2011-12 MYP 10 Drama Class Gyeonggi Suwon International School - 1 - Table of Contents Introduction by Daren Blanck .................................................................. page 3 Seven by Nick Lee and Lyle Lee .................................................................. page 4 Slayers by Mike Lee, Daniel Choi and Eric Cho ......................................... page 9 True Friendship by Yealim Lee and Hannah Seo .................................... page 12 Graduation by Judy Oh and Jaimie Park .................................................. page 16 FC society by JH Hyun and Jacob Son ...................................................... page 19 It’s Just Too Late by Jeeho Oh, Ryan Choi and Jee Eun Kim ................. page 22 The Freedom of Will by Eric Han and Bryan Ahn ................................. page 26 Everystudent Justine Yun, Rick Eum, and Seong Soo Son ...................... page 32 Everystudent by Lilly Kim, Seungyeon Rho, Erin Yoon .......................... page 37 Appendix: The Summoning of Everyman abridged by Leslie Noelani Laurio .... page 39 - 2 - Introduction An allegory is a narrative having a second meaning beneath the surface one - a story with two meanings, a literal meaning and a symbolic meaning. In an allegory objects, persons, and actions are metaphors or symbols for ideas that lie outside the text. Medieval drama was wrapped in the stories and doctrines of the medieval Christian church. Most plays could be classified as Mystery Plays - plays that told the stories of the Bible, Miracle Plays - plays that told the stories of saints and martyrs, and Morality plays - allegorical works that sought to convey a moral or some doctrine of the church. Everyman is perhaps the most famous of this last category. It was written in the late 1400's. The source for it has not been established, however, a Flemish work entitled Elckerlijc, with the same story and theme, was written about 1495 by Peter van Diest. It is possible that van Diest borrowed his material from Everyman, that both borrowed from an earlier, now lost work, or that the English Everyman was based on van Diest. Everyman portrays a complacent “Everyman” who is informed by “Death” of his approaching end. The play shows the hero's progression from despair and fear of death to a "Christian resignation that is the prelude to redemption." First, Everyman is deserted by his false friends: his casual companions, his kin, and his wealth. He falls back on his Good Deeds, his Strength, his Beauty, his Discretion, and his Knowledge. These assist him in his journey, but at the end, when he must go to the grave, all desert him save his Good Deeds alone. The play makes its grim point that we can take with us from this world nothing that we have received, only what we have given. After reading and analyzing Everyman, students in the MYP 10 Drama class were asked to write an allegorical morality play for middle school kids which would teach them how to overcome obstacles in school or one based upon images and/or moral concerns in the contemporary news. Working individually or in small groups, they were to follow the morality play format, as demonstrated in Everyman, including naming their characters allegorically and identifying a clear moral. As the MYP 10 instructor during the 2011-12 school year at GSIS, the first year of full MYP implementation at our school, I'd like to thank the sophomores for their hard work, steady interest in the history and themes of theatre and drama, and for their patience as we worked within a limited space implementing new curriculum, and a new timetables in our school this year. I hope you have learned much and enjoy this collection. Please note that although the contents of these plays have remained virtually unchanged I have made some minor edits to maintain internal consistency within this collection. Daren Blanck, MS, PGDip GSIS MYP Drama and High School Theatre - 3 - Seven by Nick Lee and Lyle Lee Based on the seven deadly sins The number seven is special to God. It took seven days to create the world. A week has seven days in it. God rested on the seventh day. In ancient Israel, they were to rest on the Sabbath and the seventh day was a commanded day of rest and assembly for worship of God and it was the fourth commandment given. The root word for the number seven in Hebrew means “to be full” or “to be complete.” Seven, being full and complete, means that nothing could be added to it or taken away from it. It is a number of completion and perfection. So if anyone has these particular seven sins, they are in a sense, in a complete state of sin as far as God is concerned. What are these seven, or complete and deadly sins that Solomon warned us about in the Book of Proverbs? Solomon was said to be the wisest man ever to live – except of course Jesus Christ Who is both God and man. Characters Lust (to have an intense desire or need) “But I tell you that anyone who looks at a woman lustfully has already committed adultery with her in his heart” (Matthew 5:28). Everystudent has lust with girls. Later on during the school year, Everystudent only sees woman lustfully and sexually. Lust is a female character. Gluttony (excess in eating and drinking) “for drunkards and gluttons become poor, and drowsiness clothes them in rags” (Proverbs 23:21). Everystudent has gluttony with alcohol. Everystudent tries alcohol once and cannot come out from its pleasure. Greed (excessive or reprehensible acquisitiveness) “Having lost all sensitivity, they have given themselves over to sensuality so as to indulge in every kind of impurity, with a continual lust for more” (Ephesians 4:19). Everystudent is greedy with almost anything and even if he has something, he wants more. Few greedy things Everystudent feels is money, electronic devices, friends, drugs. Laziness (disinclined to activity or exertion: not energetic or vigorous) “The way of the sluggard is blocked with thorns, but the path of the upright is a highway” (Proverbs 15:19) Everystudent loses interest in studying and wants to rest the whole time. Wrath (strong vengeful anger or indignation) “A gentle answer turns away wrath, but a harsh word stirs up anger” (Proverbs 15:1) Whenever somebody jokes around with Everystudent or disrespects him, Everystudent takes action negatively. Pride (quality or state of being proud - inordinate self esteem) “Pride goes before destruction, a haughty spirit before a fall” (Proverbs 16:18). After Everystudent becomes the most popular and the smartest student in the school, he becomes prideful and looks down on other students. At the end, - 4 - even when Everystudent is taken over by the deadly sins, he is still prideful of himself and believes he is the best. He does not take anyone’s device (such as quitting alcohol, and drugs) and ends up in the hospital. But even in the hospital (before he meets the school pastor), he does not listen to anyone and tries to go his way. Envy (painful or resentful awareness of an advantage enjoyed by another joined with a desire to possess the same advantage) “Therefore, rid yourselves of all malice and all deceit, hypocrisy, envy, and slander of every kind. Like newborn babies, crave pure spiritual milk, so that by it you may grow up in your salvation” (1 Peter 2:1-2). Envious of the popular kids. He is jealous and wants to be like them. School pastor (The one that leads Everystudent back to Jesus and brings him on the right track.) Almost at the end of Everystudent’s journey due to the greed of drugs, gluttony of alcohol and every other factors, Everystudent is in the hospital close to dying. Then the school pastor comes, talks to him and makes him have faith in Jesus that everlasting happiness and satisfaction does not come from those 7 deadly sins. It may bring happiness and satisfaction temporarily, but everlasting happiness comes from Jesus. The school pastor brings him on the right track and Everystudent is changed. Student1 (Another student in Everystudent’s school) Lust2 and Lust3 (Girls Everystudent comes to see only as objects) Summary A student named Everystudent moves to a new school, and meets seven kids one by one starting from: Envy, Greed, Gluttony, Laziness, Lust, Wrath, Pride. Script Everystudent: This is my first day at school. Envy: Hello there, my name’s envy. Looks like you have no one to talk to. Everystudent: This is my first day. I have to get used to the school all the students here. Envy: I know everyone in this school and having a fun time with them every day. But you are alone. Aren’t you lonely? Everystudent: I want to have friends, too. Why are you making me feel like this? Greed: Ha! That emotion will corrupt you and make you feel miserable. Everystudent: Go away! I will never see you again! Greed: Hey, Everystudent. Everystudent: Hey. How are you doing? - 5 - Greed: You look lonely. Hey, if you want to play, buy a nintendo. Everyone in our class has one. Everystudent: Is that so? (The next day, Everystudent brings a nintendo.) Greed: Hey, you bought one! Let’s play with it. Everystudent: This is really exciting! Greed: Hey, the boy over there has 6 games. Everystudent: I only have one. Greed: Don’t you want more games? It will be much more fun. If we take his games quietly, he will not notice that we took it. Everystudent: Should we? Greed: Yes, then we can have much more fun! Everystudent: Let’s do it.
Recommended publications
  • The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H.
    [Show full text]
  • The Summons of Death on the Medieval and Renaissance English Stage
    The Summons of Death on the Medieval and Renaissance English Stage The Summons of Death on the Medieval and Renaissance English Stage Phoebe S. Spinrad Ohio State University Press Columbus Copyright© 1987 by the Ohio State University Press. All rights reserved. A shorter version of chapter 4 appeared, along with part of chapter 2, as "The Last Temptation of Everyman, in Philological Quarterly 64 (1985): 185-94. Chapter 8 originally appeared as "Measure for Measure and the Art of Not Dying," in Texas Studies in Literature and Language 26 (1984): 74-93. Parts of Chapter 9 are adapted from m y "Coping with Uncertainty in The Duchess of Malfi," in Explorations in Renaissance Culture 6 (1980): 47-63. A shorter version of chapter 10 appeared as "Memento Mockery: Some Skulls on the Renaissance Stage," in Explorations in Renaissance Culture 10 (1984): 1-11. Library of Congress Cataloging-in-Publication Data Spinrad, Phoebe S. The summons of death on the medieval and Renaissance English stage. Bibliography: p. Includes index. 1. English drama—Early modern and Elizabethan, 1500-1700—History and criticism. 2. English drama— To 1500—History and criticism. 3. Death in literature. 4. Death- History. I. Title. PR658.D4S64 1987 822'.009'354 87-5487 ISBN 0-8142-0443-0 To Karl Snyder and Marjorie Lewis without who m none of this would have been Contents Preface ix I Death Takes a Grisly Shape Medieval and Renaissance Iconography 1 II Answering the Summon s The Art of Dying 27 III Death Takes to the Stage The Mystery Cycles and Early Moralities 50 IV Death
    [Show full text]
  • University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
    CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without.
    [Show full text]
  • Comparison of the Two Plays
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Eliška Poláčková Everyman and Homulus: analysis of their genetic relation Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eliška Poláčková Acknowledgement I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his patient and kind help, Prof. PhDr. Eva Stehlíková for useful advice, and Mgr. Markéta Polochová for unprecedented helpfulness and support. Table of Contents Introduction ....................................................................................................................... 1 1 Morality Play and Its Representatives ........................................................................... 3 1.1 Morality Play .......................................................................................................... 3 1.2 Everyman ................................................................................................................ 5 1.3 Homulus .................................................................................................................. 7 2 Concept of Translation in The Middle Ages ................................................................. 9 3 Comparison of Everyman and Homulus ...................................................................... 11 3.1 Composition .........................................................................................................
    [Show full text]
  • Literature of the Low Countries
    Literature of the Low Countries A Short History of Dutch Literature in the Netherlands and Belgium Reinder P. Meijer bron Reinder P. Meijer, Literature of the Low Countries. A short history of Dutch literature in the Netherlands and Belgium. Martinus Nijhoff, The Hague / Boston 1978 Zie voor verantwoording: http://www.dbnl.org/tekst/meij019lite01_01/colofon.htm © 2006 dbnl / erven Reinder P. Meijer ii For Edith Reinder P. Meijer, Literature of the Low Countries vii Preface In any definition of terms, Dutch literature must be taken to mean all literature written in Dutch, thus excluding literature in Frisian, even though Friesland is part of the Kingdom of the Netherlands, in the same way as literature in Welsh would be excluded from a history of English literature. Similarly, literature in Afrikaans (South African Dutch) falls outside the scope of this book, as Afrikaans from the moment of its birth out of seventeenth-century Dutch grew up independently and must be regarded as a language in its own right. Dutch literature, then, is the literature written in Dutch as spoken in the Kingdom of the Netherlands and the so-called Flemish part of the Kingdom of Belgium, that is the area north of the linguistic frontier which runs east-west through Belgium passing slightly south of Brussels. For the modern period this definition is clear anough, but for former times it needs some explanation. What do we mean, for example, when we use the term ‘Dutch’ for the medieval period? In the Middle Ages there was no standard Dutch language, and when the term ‘Dutch’ is used in a medieval context it is a kind of collective word indicating a number of different but closely related Frankish dialects.
    [Show full text]
  • John Stephen Farmer
    Patrick J. Kearney NOTES GENEA-BIBLIO-BIOGRAPHICAL on John Stephen Farmer SCISSORS & PASTE BIBLIOGRAPHIES Santa Rosa, CA 2019 The only known photograph of John S. Farmer obtained by G. Legman from Dr. E. J. Dingwall and used as the frontispiece to the first volume of the abortive attempt to reprint of Slang and its Analagues by University Books of New York in 1964. In 1966, University Books of New Hyde Park, New York, launched an ambitious project to reprint in a volume-by-vol- ume facsimile The Dictionary of Slang and its Analogues that was published privately by subscription, and in the teeth of legal obstructions by printers who claimed that their modesty was shocked by the work’s content, between 1890 and 1904 in seven volumes. Sensibly, University Books commenced work by re-issuing the second edition of the first volume, revised and enlarged by the original compilers, John Stephen Farmer and William Ernest Henley, and published in two parts, in 1903 and 1909. It is unfortunate that this is as far as the project went and no further volumes were reprinted. However, aside from the importance of having the quite rare revision made available again, and in a handsome, cased edition, this solitary volume had a couple of additions that make it even more valuable. First there are two Introductions, one, ‘On Sex- ual Speech and Slang,’ by the late Gershon Legman, being of particular interest; and secondly there is reproduced, as the fron- tispiece, the only known photograph of Farmer, which Legman acquired from Dr. Eric Dingwall, himself an authority on some of the more curious bypaths of literature.
    [Show full text]
  • The Singing 'Vice': Music and Mischief in Early English Drama1
    Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher. Thus, very sensibly, discussions of music in secular interlude drama have tended to limit themselves to those rare play texts that contain significant music in score, such as John Rastell’s The Four Elements and Ulpian Fulwell’s Like Will to Like.7 As Richard Rastall further notes, since documentation is quite scarce ‘informed guesswork is the only way forward’ in discussions of music in early English drama, ‘although the word “informed” is one that needs to be stressed’.8 Suzanne Westfall observes that ‘entertainments in great households were almost always occasional, ephemeral and frequently non- textual due to their multi-mediality.
    [Show full text]
  • ENGUSH MORAL INTERLUDE Douglas William Hayes A
    RHETORICAL SUBVERSION 1s THE ENGUSH MORAL INTERLUDE Douglas William Hayes A dissertation submitted in conformity with the requirernents for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Douglas William Hayes 2000 National Library Bibliothèque natior\ale 1+1 ofhnacîa du Canada Acquisitions and Acquisitions et Bibliographic Services senrices bibliographiques 395 Wellington Street 395. tue WeWmgton OltawaON K1AW WONK1AW CanaQa CMada The author has granted a non- L'auteur a accordé une licence non exclusive Licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in rnicrofonn, vendre des copies de cette thèse sous paper or electronic fonnats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be p~tedor otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Rhetorical Subversion in the English Moral Interlude Doctor of Phitosophy, 2000 Douglas William Hayes Department of Eaglish, University of Toronto My focus of study is the popular English moral interlude and later relateci plays, frorn The Castle of Perseverance (circa 1425) to the end of the Tudor period. 1 view these plays froma a perspective that centers on the use of rhetoric as a means of persuasion, and the ways in which that means of persuasion is placed in the service of good and evil ends--often simultaneously.
    [Show full text]
  • Downloaded from Brill.Com10/02/2021 06:39:03AM Via Free Access 92 Verena Demoed
    CHAPTER FOUR THE MORALITY OF HYPOCRISY: GNAPHEUS’S LATIN PLAY HYPOCRISIS AND THE LUTHERAN REFORMATION Verena Demoed Introduction In drama, moral judgment is not uttered through words alone; it can also be expressed through non-verbal and seemingly subsid- iary things such as props, costumes and stage action.1 This paper will attempt to clarify how Gnapheus used his Latin plays, especially his Hypocrisis (‘Hypocrisy’, published in 1544 and 1564), in debates on religious matters. Gulielmus Gnapheus Hagiensis, or Willem de Volder (Fuller), or Van de Voldersgraft, of The Hague (1493–1568) is an example of a committed writer. He held outspoken views on the Protestant reformations, which he expounded in pamphlets and plays. Because of his commitment, his oeuvre is pre-eminently suitable as material in an investigation of the role literature played within public debate, and the effect it may have had on public opinion. Hypocrisis is his most outspoken play. It was written and produced in East Prussia, where Lutheranism was proclaimed as a state religion. This enabled the author (he may even have felt obliged) to expound his reforma- tional ideas in a more direct, explicit and uncompromising manner than he would have done in the Low Countries and West Prussia, where he lived before the 1540s, and which at that time still remained officially Catholic. Though even here, in Lutheran East Prussia, Gnapheus came into conflict with the ecclesiastical authorities: he was indicted for heresy by the Lutheran theologian Staphylus. 1 This paper was written within the scope of the Vidi-projectLatin and Vernacular Cultures: Theatre and Public Opinion in the Netherlands (ca.
    [Show full text]
  • Review Essay
    Early Theatre 16.1 (2013), 151–75 doi: http://dx.doi.org/10.12745/et.16.1.9 Review Essay Kent Cartwright Defining Tudor Drama The gods are smiling upon the field of Tudor literature — perhaps to para- doxical effect, as we shall later see. In 2009 Oxford University Press published Mike Pincombe and Cathy Shrank’s magnificent (and award-winning) col- lection of multi-authored essays The Oxford Handbook of Tudor Literature.1 For drama specialists, Oxford has now followed it with Thomas Betteridge and Greg Walker’s The Oxford Handbook of Tudor Drama.2 This fresh atten- tion to Tudor literature has surely received encouragement from scholarly interest in political history and in religious change during the sixteenth century in England, as illustrated in drama studies by the transformational influence of, for example, Paul Whitfield White’s 1993 Theatre and Reforma- tion: Protestantism, Patronage and Playing in Tudor England. The important Records of Early English Drama project, now almost four decades old, has bolstered such interests.3 More recently, Tudor literature has figured in the ongoing reconsideration of a reigning theory of literary periodization that segmented off what was ‘medieval’ from what was ‘Renaissance’; that recon- sideration, well under way, now tracks the long reach of medieval values and worldviews into the 1530s and beyond. Tudor literary studies has received impetus, too, from the tireless efforts of a number of eminent scholars. Greg Walker, the co-editor of the Handbook, for instance, has authored a series of books on Tudor drama (and most recently Tudor literature) that display a fine-grained, locally attuned, paradigm-setting political analysis at a level never before achieved.
    [Show full text]
  • Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected]
    University of San Diego Digital USD English Faculty Publications Department of English 2009 The inS ging 'Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected] Follow this and additional works at: http://digital.sandiego.edu/english_facpub Digital USD Citation Giles-Watson, Maura, "The inS ging 'Vice': Music and Mischief in Early English Drama" (2009). English Faculty Publications. 2. http://digital.sandiego.edu/english_facpub/2 This Article is brought to you for free and open access by the Department of English at Digital USD. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital USD. For more information, please contact [email protected]. Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher.
    [Show full text]
  • The Mirror of Salvation
    BIBLIOTHECA NEERLANDICA EXTRA MUROS Published under the auspices of the International Association for Dutch Studies (formerly Working Committee of Professors and Lecturers of Dutch Language and Literature at Universities outside the Netherlands and Belgium) II THE MIRROR OF SALVATION A MORAL PLAY OF EVERYMAN translated from the Dutch by ADRIAAN J. BARNOUW Editorial board: Dr. P. Brachin (Paris), Dr. J. M. Jalink (formerly Bonn), Dr. J. E. Loubser (Port Elizabeth), Dr. L. E. Schmitt (Marburg), F. P. Thomassen (The Hague), Dr. W. Thys (Lille) , G. de Vries (Copenhagen), Dr. Th. Weevers (London). THE MIRROR OF SALVATION The Mirror of Salvation AMoral Play of Everyman c. 1490 translated from the Dutch by ADRIAAN ]. BARNOUW MARTINUS NI]HOFF / THE HAGUE / 1971 © I97I by Martinus Nijhoff, The Hague, Netherlands All rights reserved, including the right to translate 01' to reproduce this book 01' parts thereof in any form ISBN 978-90-247-5095-5 ISBN 978-94-011-7530-2 (eBook) DOl 10.1007/978-94-011-7530-2 TABLE OF CONTENTS ACKNOWLEDGMENT VII INTRODUCTION by Adriaan J. Barnouw IX THE MIRROR OF SALVATION A Moral Play of Everyman c. 1490 I V ACKNOWLEDGMENT The late professor Barnouw devoted the greater part of his life to the promulgation of Dutch language and culture abroad. Numerous are the books, articles, and addresses in which he, from New York, as a Queen Wilhelmina Professor at Columbia University, pointed out the richness of his homeland by the North Sea. This posthumously appearing translation of the 15th century Dutch morality play Elckerlijc may prove to be the most precious of them all.
    [Show full text]