Kyd and Shakespeare: Authorship, Influence, and Collaboration
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Pride and Penitence in Some Tudor Histories of Thomas Wolsey
HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 10 Original Research The conversion of the cardinal? Pride and penitence in some Tudor histories of Thomas Wolsey Author: The life of Cardinal Thomas Wolsey, lord chancellor of England from 1515 to 1529, has inspired 1,2 Patrick Hornbeck no small number of literary, historical, and dramatic retellings. A comprehensive study of Affiliations: these texts remains to be written, but this article seeks to make a start by examining how Tudor 1Chair, Department of writers portrayed the cardinal’s response to his deposition and subsequent disgrace. For some Theology, Fordham authors, Wolsey’s fall only made him more proud, and he began to act erratically and disloyally, University, United States confirming the wisdom of the king’s decision to relieve him of office. For others, deposition moved Wolsey to become philosophical and penitent, and some such writers depict a cardinal 2Research Associate, Faculty of Theology, University of who at the end of his life underwent nothing short of a conversion. This article traces both of Pretoria, South Africa these historiographical trajectories from their origins in writings of the late 1540s and 1550s through a range of late Tudor chronicle accounts. Elements of both narratives about the Corresponding author: cardinal appear, prominently if not always congruously, in one of the best-known theatrical Patrick Hornbeck, [email protected] works about the events of the reign of Henry VIII, the play King Henry VIII (All Is True) by William Shakespeare and John Fletcher. Understanding the interrelationships between Dates: the Tudor texts presented here is essential to grasping later portrayals of Wolsey and his Received: 07 July 2015 contemporaries. -
Small Mid-Tudor Chronicles and Popular History: 1540-1560
Quidditas Volume 37 Article 7 2016 Small Mid-Tudor Chronicles and Popular History: 1540-1560 Barrett L. Beer Kent State University Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Beer, Barrett L. (2016) "Small Mid-Tudor Chronicles and Popular History: 1540-1560," Quidditas: Vol. 37 , Article 7. Available at: https://scholarsarchive.byu.edu/rmmra/vol37/iss1/7 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Quidditas 37 (2016) 57 Small Mid-Tudor Chronicles and Popular History: 1540-1560 Barrett L. Beer Kent State University This essay examines twenty-two editions of little-studied small Mid-Tudor chroni- cles that were published by printers at Canterbury and London. They demonstrate the important role of printers in historical scholarship and offer a significantly dif- ferent perspective on English history than the better-known, larger contemporary works of Robert Fabyan, Edward Hall, and Thomas Cooper. The chronicles also shed light on the readership of historical works by non-elite readers who presum- ably could not afford larger and more expensive chronicles. The short chronicles present a simplified view of the past, avoid propagating the well-known Tudor myths including the tyranny of Richard III, and demonstrate a clear preference for recent history. Although overlooked in most accounts of Early Modern historiography, the small Mid-Tudor chronicles are clearly part of the historical culture of the era. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Telltale women the dramaturgy of female characters in Shakespeare's history plays Bachrach, Hailey Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Bachrach 1 TELLTALE WOMEN The Dramaturgy of Female Characters in Shakespeare’s History Plays By Hailey Bachrach Submitted to King’s College London English Department in partial fulfilment of the requirements for the degree of Doctor of Philosophy 30 September 2020 Bachrach 2 Abstract ..................................................................................................................................... -
Theatricality and Historiography in Shakespeare's Richard
H ISTRIONIC H ISTORY: Theatricality and Historiography in Shakespeare’s Richard III By David Hasberg Zirak-Schmidt This article focuses on Shakespeare’s history drama Richard III, and investigates the ambiguous intersections between early modern historiography and aesthetics expressed in the play’s use of theatrical and metatheatrical language. I examine how Shakespeare sought to address and question contemporary, ideologically charged representations of history with an analysis of the characters of Richard and Richmond, and the overarching theme of theatrical performance. By employing this strategy, it was possible for Shakespeare to represent the controversial character of Richard undogmatically while intervening in and questioning contemporary discussions of historical verisimilitude. Historians have long acknowledged the importance of the early modern history play in the development of popular historical consciousness.1 This is particularly true of England, where the history play achieved great commercial and artistic success throughout the 1590s. The Shakespearean history play has attracted by far the most attention from cultural and literary historians, and is often seen as the archetype of the genre. The tragedie of kinge RICHARD the THIRD with the death of the Duke of CLARENCE, or simply Richard III, is probably one of the most frequently performed of Shakespeare’s history plays. The play dramatizes the usurpation and short- lived reign of the infamous, hunchbacked Richard III – the last of the Plantagenet kings, who had ruled England since 1154 – his ultimate downfall, and the rise of Richmond, the future king Henry VII and founder of the Tudor dynasty. To the Elizabethan public, there was no monarch in recent history with such a dark reputation as Richard III: usurpation, tyranny, fratricide, and even incest were among his many alleged crimes, and a legacy of cunning dissimulation and cynical Machiavellianism had clung to him since his early biographers’ descriptions of him. -
In Defence of Kyd: Evaluating the Claim for Shakespeare's Part
1 In Defence of Kyd: Evaluating the Claim for Shakespeare’s Part Authorship of Arden of Faversham DARREN FREEBURY-JONES Abstract: MacDonald P. Jackson first argued for Shakespeare’s part authorship of Arden of Faversham in his university dissertation in 1963. He has devoted several articles to developing this argument, summarized in his monograph Determining the Shakespeare Canon (2014). Jackson’s part ascription has led to the inclusion of the domestic tragedy in The New Oxford Shakespeare. However, Jackson and his New Oxford Shakespeare colleagues have either dismissed or neglected the evidence for Thomas Kyd’s sole authorship presented by other scholars. This essay focuses primarily on Jackson’s monograph and argues that the evidence for adding the play to Kyd’s canon, encompassing phraseology, linguistic idiosyncrasies, and verse characteristics, seems solid. Contributor Biography: Darren Freebury-Jones is Lecturer in Shakespeare Studies (International – USA) at The Shakespeare Birthplace Trust in Stratford-upon-Avon. His 2016 doctoral thesis examined Thomas Kyd’s influence on Shakespeare’s early plays and he is one of the editors for the first edition of Kyd’s collected works since 1901. He has also investigated the boundaries of John Marston’s dramatic corpus as part of the Oxford Marston project. His recent and forthcoming work on the plays of authors such as Shakespeare, Kyd, Lyly, Marlowe, Peele, Nashe, Marston, Dekker, Fletcher, and others can be found in a range of peer-reviewed journals. The Authorship of Arden of Faversham He was right after all, and the scholars who for a generation now have ignored or sneered at his evidence, sometimes—when they have condescended to mention it—printing the word evidence itself between inverted commas, have not turned out to be our most reliable guides. -
Iowa State Journal of Research 56.1
IOWA STATE JOURNAL OF RESEARCH I MAY, 1982 4'3 -439 Vol. 56, No. 4 IOWA STATE JOURNAL OF RESEARCH TABLE OF CONTENTS Volume 56 (August, 1981-May, 1982) No. 1, August, 1981 ASPECTS IN RENAISSANCE SCHOLARSHIP PAPERS PRESENTED AT "SHAKESPEARE AND HIS CONTEMPORARIES" SYMPOSIUM, 1981 From the Editors. 1 GALYON, L. R. Introduction...................... ...... 5 BEVINGTON, D. M. "Why Should Calamity Be Full of Words?" The Efficacy of Cursing in Richard III . 9 ANDERSON, D. K., Jr. The King's Two Rouses and Providential Revenge in Hamlet . 23 ONUSKA, J. T., Jr. Bringing Shakespeare's Characters Down to Earth: The Significance of Kneeling . 31 MULLIN, M. Catalogue-Index to Productions of the Shakespeare Memorial/Royal Shakespeare Theatre, 1879-1978 . 43 SCHAEFER, A. J. The Shape of the Supernatitral: Fuseli on Shakespeare. 49 POAGUE, L. "Reading" the Prince: Shakespeare, Welles, and Some Aspects of Chimes at Midnight . 57 KNIGHT, W. N. Equity in Shakespeare and His Contemporaries. 67 STATON, S. F. Female Transvestism in Renaissance Comedy: "A Natural Perspective, That Is and Is Not" . 79 IDE, R. S. Elizabethan Revenge Tragedy and the Providential Play-Within-a-Play. 91 STEIN, C.H. Justice and Revenge in The Spanish Tragedy... 97 * * * * * * * * * * No. 2, November, 1981 From the Editors.. ... 105 TABLE OF CONTENTS PUHL, J. Forearm liquid crystal thermograms during sustained and rhythmic handgrip contractions . 107 COUNTRYMAN, D. W. and D. P. KELLEY. Management of existing hardwood stands can be profitable for private woodland owners....... .... 119 MERTINS, C. T. and D. ISLEY. Charles E. Bessey: Botanist, educator, and protagonist . 131 HELSEL, D. B. -
A Tragédia De Macbeth (The Tragedy of Macbeth)
W E I L R L WILLIAM SHAKESPEARE I A A M E S P H S A E K K E S A A vida é apenas uma sombra errante, um mau ator P E H A S A se pavonear e afligir no seu momento sobre o palco R E do qual nada mais se ouve. É uma história E M Contada por um idiota, cheia de som e fúria, A tragédia de A I Significando nada. L A tragédia de MACBETH A tragédia de Macbeth L I W MACBETH Tradução Rafael Raffaelli William Shakespeare provavelmente finalizou A tragédia de Tradução Edição bilíngue Inglês e Português Macbeth em 1606. Densa, enigmática, estranha, sinistra, Rafael Raffaelli não são poucos os adjetivos para qualificar essa notável tragédia em cinco atos, que é considerada pela crítica uma de suas mais importantes obras. Embora possa ser interpretada como uma tragédia da ambição, Shakespeare vai além da análise da personalidade dos personagens e suas motivações, versando com maestria única sobre a sempiterna questão da editora ufsc www.editora.ufsc.br 9 788532 807847 origem do Mal. A tragédia de Macbeth The tragedy of Macbeth UNIVERSIDADE FEDERAL DE SANTA CATARINA Reitor Luiz Carlos Cancellier de Olivo Vice-Reitora Alacoque Lorenzini Erdmann EDITORA DA UFSC Diretora Executiva Gleisy R. B. Fachin Conselho Editorial Gleisy R. B. Fachin (Presidente) Ana Lice Brancher Andreia Guerini Clélia Maria Lima de Mello e Campigotto João Luiz Dornelles Bastos Kátia Maheirie Luis Alberto Gómez Marilda Aparecida de Oliveira Effting Editora da UFSC Campus Universitário – Trindade Caixa Postal 476 88010-970 – Florianópolis-SC Fone: (48) 3721-9408 [email protected] www.editora.ufsc.br -
Lauren Morgan Richard III's Bestial Masculinity and the Rhetoric Of
Morgan 1 Lauren Morgan Richard III’s Bestial Masculinity and the Rhetoric of Animality in Thomas More's The History of King Richard III and The True Tragedie of Richard the Third Due to more recent scholarship by feminist and queer theorists, the study of gender in the early modern period tends to shift its focus on the marginalized by allocating agency to those outside the apex of male-dominated power structures. Rather than analyzing those outside the center, I focus within the structure by exposing incongruities that existed inside male performances of masculinity in early modern patriarchy. More specifically, I aim to demonstrate how Richard III, through Tudor discourse, functions as a beast figure who disrupts order and traditional lines of succession due to his excessive masculine aggression and monstrous violence. The literary accounts which follow the death and history of Richard Duke of Gloucester offer rich complexity to the evolving discourse on his reign and character. During the Tudor Era, he was examined in “ballads and beast fables, riddles and prophecies, chronicles and histories, verse complaints, paradoxes and plays in both Latin and English” (Schwyzer 173), featured most prominently as a bestial character, a boar personified, akin to the beast he used as his badge. For Tudor writers, much of what is written surrounding Richard III’s reign colluded in the Tudor characterization of the fifteenth century monarch as the embodiment of war, bloodshed, and instability – a beast-fable figure who appears as a warning against masculine misrule. These characterizations feature most prominently in Thomas More’s History of King Richard III and the anonymous The True Tragedie of Richard the Third. -
Shakespeare Apocrypha” Peter Kirwan
The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C. -
L0. 1590 That Rn" Tilney Did Vtterly Mislike the Same
r590 to m' Yonge it appered vnto mej that it was your honours pleasure I sholde geue order for the staie of all playes within the Gttie, in L0. 1590 that rn" Tilney did vtterly mislike the same. According to which your Lps. good pleasure, I presendye sente for suche players as I coulde here of, so as there appered yesterday before me the L. Admeralles and the L. Straunges players, to whome I speciallie gaue in Charge and required them in her Maiesties name to forbere playinge, vntill further order mighte be geuen for theire allowance in that repecte: \Vhere- Kit Marlowe's play The lew of Malta had become an established upon the L. Admeralles players very dutifullie obeyed but the others favourite and was drawing large audiences when the records of in very Contemptuous manner departing from me, went to the Crosse Philip Henslowe's Rose Theatre began in r5gr-2. Before keys and played that afternoon, to the greate offence of the better Henslowe's diary there were local records of where some of the sorte that knewe they were prohibited by order from your L. Which acting companies visited including Marlowe's Lord Admiral's as I might not suffer, so I sent for the said Contemptuous persons, Players, and though these lists do not give the names of the who haueing no reason to alleadge for theire Contempt, I coulde do dramas presented they are some guide to the activities of thc no lesse but this evening Comitt ,some of them to one of the companies with which Kit operated; and as only Henslowe's Compters, and do meane according to your Lps. -
Lame Fingers Are Yet More Incapable Now). the Attire of the Head Is
218 To RICHARD GOUGH 8 MAY 1788 lame fingers are yet more incapable now). The attire of the head is precisely the same with that of our fourth Henry.s Vertue's account I have transcribed too.6 I was very sure I had seen somewhere an account of Joan of Na varre? being suspected by Henry V. I looked into Stowe,8 Hollings- hedQ and Hall,10 but they mention no such thing.11 Nor can I recol lect where I found it—but Rapin does touch on it briefly in the place I have set down.12 Still I am positive I have seen rather a fuller ac count of it, though I cannot recall where. I hope, Sir, you received the letter13 in which I told you of my im perfect negotiation with Lord MonsonJ* about the pictures at Brox- 5. The head-dress is very similar to that put from her, was committed to the cus- in Vertue's engraving of Henry IV 'taken todie of J. Pellam, and by him sent to from a picture at Hampton Court, Here the Castle of Leeds in Kent.' HW's copy fordshire' (Paul de Rapin-Thoyras, The of Stow's Annates (now WSL) is Hazen, Cat. History of England, trans. Nicholas Tin- of HW's Lib., No. 610. dal, 3d edn, 1743-7, i. facing 484). HW 9. Holinshed's The Chronicles of En mentions this portrait of Henry IV in gland, Scotland, and Ireland, [1587], iii. Anecdotes of Painting, calling it 'an un 568, gives this account: 'In this sixt yeare doubted original' (Works iii. -
Shakespeare's Bolingbroke: Rhetoric and Stylistics from Richard II to Henry IV, Part 2
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2 DeAnna Faye Jenson Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Literature in English, British Isles Commons, and the Rhetoric Commons Recommended Citation Jenson, DeAnna Faye, "Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2" (2004). Theses Digitization Project. 2536. https://scholarworks.lib.csusb.edu/etd-project/2536 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements to the Degree Master of Arts in English Composition by DeAnna Faye Jensen March 2004 SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino by DeAnna Faye Jensen March 2004 Approved by: Bruce Golden, Chair, English Date on ABSTRACT Joseph A. Porter acknowledges in The Drama of Speech Acts: Shakespeare's Lancastrian Tetralogy that little is written on Henry Bolingbroke. Although scholarship has begun to change since Porter made this observation in 1979, Bolingbroke still remains ancillary to the more colorful characters in Richard.