In Thomas Kyd's Restored Canon
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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. -
Warrior Queens in Holinshed's Woodcuts
Cahiers de recherches médiévales et humanistes Journal of medieval and humanistic studies 23 | 2012 Pour une poétique de l'exemplum courtois Warrior Queens in Holinshed’s Woodcuts Samantha Frénée Electronic version URL: http://journals.openedition.org/crm/12859 DOI: 10.4000/crm.12859 ISSN: 2273-0893 Publisher Classiques Garnier Printed version Date of publication: 30 June 2012 Number of pages: 417-433 ISSN: 2115-6360 Electronic reference Samantha Frénée, « Warrior Queens in Holinshed’s Woodcuts », Cahiers de recherches médiévales et humanistes [Online], 23 | 2012, Online since 30 June 2015, connection on 15 October 2020. URL : http://journals.openedition.org/crm/12859 ; DOI : https://doi.org/10.4000/crm.12859 © Cahiers de recherches médiévales et humanistes Warrior Queens in Holinshed’s Woodcuts Abstract: One of the most under-investigated aspects of Raphael Holinshed’s Chronicles must be the study of the visual representations of British history that we find in the first edition of 1577. This article focuses on the woodcuts used in Holinshed’s Chronicles to illustrate the representation of warrior queens in England and surprisingly we find only two: Cordeilla and Boudica, from Britain’s prehistory and ancient history. It describes and analyses these images in order to demonstrate the historiographical and political objective of such works. This article also reviews the information known about the artist and tries to understand why these pictures were removed from the second edition of 1587. Résumé: Un des aspects les plus négligés des Chronicles de Raphael Holinshed est certainement l’étude des représentations visuelles de l’histoire britannique que nous trouvons dans la première édition de 1577. -
Kyd and Shakespeare: Authorship, Influence, and Collaboration
Kyd and Shakespeare: Authorship, Influence, and Collaboration Darren Anthony Freebury-Jones A Thesis Submitted for the Degree of Doctor of Philosophy Cardiff University 2016 Abstract The aim of this thesis is to establish the canon of Thomas Kyd’s plays and to explore Shakespeare’s relationship with that oeuvre. Chapter One begins by examining Shakespeare’s verbal indebtedness to plays that have been attributed to Kyd for over two centuries, including The Spanish Tragedy (1587), Soliman and Perseda (1588), and The True Chronicle History of King Leir (1589). The first chapter argues that Shakespeare’s extensive knowledge of Kyd’s plays contributed towards the development of his dramatic language. The second chapter provides an overview of some of the complex methods for identifying authors utilized throughout the thesis. Chapter Three then seeks to establish a fuller account of Kyd’s dramatic canon through a variety of authorship tests, arguing that in addition to the three plays above Arden of Faversham (1590), Fair Em (1590), and Cornelia (1594) should be attributed to Kyd as sole authored texts. The fourth chapter examines the internal evidence for Kyd’s hand in Shakespeare’s Henry VI Part One (1592). The chapter contends that Shakespeare’s chronicle history play was originally written by Kyd and Thomas Nashe for the Lord Strange’s Men, and that Shakespeare subsequently added three scenes for the Lord Chamberlain’s Men. The fifth chapter argues that Shakespeare and Kyd collaborated on The Reign of King Edward III (1593) and that Kyd should thus be recognized as one of Shakespeare’s earliest co-authors. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605. -
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. -
Macbeth by William Shakespeare
CC 4 Semester II British Poetry and Drama:14th to 17th Centuries Macbeth by William Shakespeare A Short Analysis Macbeth is, along with the character of Iago in Othello and his earlier portrayal of Richard III, William Shakespeare’s most powerful exploration and analysis of evil. Although we can find precursors to Macbeth in the murderer-turned-conscience-stricken-men of Shakespeare’s earlier plays – notably the conspirator Brutus in Julius Caesar and Claudius in Hamlet – Macbeth provides us with a closer and more complex examination of how a brave man with everything going for him might be corrupted by ambition and goading into committing an act of murder. It’s worth examining how Shakespeare creates such a powerful depiction of one man persuaded to do evil and then wracked by his conscience for doing so. The sources for Shakespeare’s Macbeth Macbeth was a real Scottish king, although he was somewhat different from the ambitious, murderous creation of William Shakespeare. His wife was real too, but Lady Macbeth’s real name was Gruoch and Macbeth’s real name was Mac Bethad mac Findlaích. The real Macbeth killed Duncan in battle in 1040 and Macbeth (or Mac Bethad) actually went on to rule for 17 years, until he was killed and Macbeth’s stepson, known as Lulach the Idiot, became king (though he only ruled for less than a year – then Malcolm, as Malcolm III, took the crown). Where did Shakespeare get the story from, then, and what did he change? The plot of Shakespeare’s Macbeth is a combination of two stories: the story of Macbeth and the story of the murder of King Duffe by Donwald and his wife, which Shakespeare read about in Raphael Holinshed’s Chronicles. -
Book Reference
Book Beyond "The Spanish tragedy" : a study of the works of Thomas Kyd ERNE, Lukas Christian Abstract This is the first book in more than thirty years on the playwright who is arguably Shakespeare's most important tragic predecessor. Brilliantly fusing the drama of the academic and popular traditions, Thomas Kyd's plays are of central importance for understanding how the drama of Shakespeare and his contemporaries came about. Called ‘an extraordinary dramatic... genius' by T. S. Eliot, Thomas Kyd invented the revenge tragedy genre that culminated in Shakespeare's Hamlet some twelve years later. In this book, The Spanish Tragedy—the most popular of all plays on the English Renaissance stage—receives the extensive scholarly and critical treatment it deserves, including a full reception and modern stage history. Yet as this study makes clear, Thomas Kyd is much more than the author of a single masterpiece. Don Horatio (partly extant in The First Part of Hieronimo), the lost early Hamlet, Soliman and Perseda, and Cornelia all belong to what emerges in this study for the first time as a coherent dramatic oeuvre. Reference ERNE, Lukas Christian. Beyond "The Spanish tragedy" : a study of the works of Thomas Kyd. Manchester : Manchester Univ. Press, 2001, XIX, 252 p. Available at: http://archive-ouverte.unige.ch/unige:14397 Disclaimer: layout of this document may differ from the published version. 1 / 1 INTRODUCTION Thomas Kyd was born in London in 1558, six years before Shakespeare and Marlowe. Like Shakespeare, but unlike most of his other contemporary playwrights — Marlowe, Thomas Nashe, John Lyly, Thomas Lodge, Robert Greene, and George Peele — he did not go to university. -
Macbeth Navigator: Excerpts from Holinshed's Chronicles, Volume V
Macbeth Navigator: Excerpts from Holinshed's Chronicles, Volume V: Scotland [Shakespeare's primary source for Macbeth was Raphael Holinshed's Chronicles of England, Scotland and Ireland, first published in 1577. The outlines of Shakespeare's story are derived from Holinshed's account of Kings Duncan and Macbeth. In addition, Shakespeare seems to have taken many particulars from Holinshed's account of King Duffe, who died eighty years before Macbeth did.] Source of these excerpts: Holinshed, Raphael. Holinshed's Chronicles of England, Scotland, and Ireland, 5. London: J. Johnson, et al, 1808. Index: King Duncan and King Macbeth: • from page 264: Duncan's ascension to the throne of Scotland. | The kinship between Duncan and Macbeth. • page 265: The characters of Duncan and Macbeth compared. | The defeat of Macdonwald by Banquo and Macbeth. • from page 266: Macbeth's cruelty to Macdonwald. | The arrival in Scotland of Sweno. • from page 267: Sweno defeated by Duncan's trick. • from page 268: Macbeth and Banquo repel an invasion by King Canute of England, who pays them "a great summe of gold" to be allowed to bury his dead at "saint Colmes Inch." | Macbeth and Banquo encounter "thrée women in strange and wild apparell." • page 269: Macbeth becomes Thane of Cawdor | Duncan proclaims Malcom Prince of Cumberland | Macbeth and Banquo slay King Duncan, and Macbeth ascends the throne. | Malcolm and Donalbain flee. | Macbeth sets the kingdom to rights, punishing evildoers. • from page 270: Macbeth's good deeds as king. • from page 271: Macbeth has Banquo murdered, but Fleance escapes. | How Fleance's descendants become Kings of Scotland. -
The Greene Corpus | Plays by Marlowe 1
The Greene Corpus | Plays by Marlowe 1 Alphonsus Friar Bacon and Friar Bungay James IV Orlando Selimus Tamburlaine 1 Tamburlaine 2 What you see are the classification results of the Greene and Marlowe corpora. It’s a survey, the nature of which requires that superfluous information is left aside, but it is equally indispensible to know what the columns and lines actually represent. The first column of each play returns the nsc classification (nearest shrunken centroid) based on words, the second column gives the svm classification of words (support vector machine), the third uses the delta classifier (Burrowsian). This pattern continues to the right, but the next three columns are based on character bigrams, and the last three columns of each play refer to character trigrams, which are probably more reliable, and it is also said that the svm classifier has a high decision level whereas nsc jumps very quickly to attributions. All classifications were carried out with windows of 8000 words. Smaller windows tend to produce a large number of outliers and create a confusing picture. According to the 8000-word window the first measurement (line 1 of each play) is noted at 4000 words and the distance to line 2 is 250 words which means that the length of the play can be calculated from the last line to which another 4000 words must be added. There may be a small trail of words in the plays that was not considered. The sequence of classified plays is such that the Greene corpus was surveyed first, then you encounter a number of plays which are Plays by Christopher Marlowe 2 Locrine The Battle of Alacazar David and Bethsabe Cornelia arrangement of classifiers in the charts stylistically linked with Marlowe, even though they contain quite a number of Greene signals. -
First Folio Teacher Curriculum Guide
First Folio Teacher Curriculum Guide Titus Andronicus by William Shakespeare directed by Gale Edwards April 3—May 20, 2007 First Folio: Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofTitus Andronicus A Brief History of the Audience…………………….1 by William Shakespeare! About the Playwright Each season, the Shakespeare Theatre Company On William Shakespeare…………………………………3 presents five plays by William Shakespeare and Elizabethan England……………………………………….4 other classic playwrights. The mission of all Shakespeare’s Works……………………………………….5 Education Department programs is to deepen Shakespeare’s Verse and Prose……………………..7 understanding, appreciation and connection to A Timeline of Western World Events…….……..9 classic theatre in learners of all ages. One approach is the publication of First Folio: Teacher About the Play Curriculum Guides. Synopsis of Titus Andronicus……………….…..….10 For the 2006•07 season, the Education Romans, Goths and Moors: Who’s Who in Department will publishFirst Folio: Teacher Titus Andronicus. ………………………..….….……...…11 Curriculum Guides for our productions ofAn Vengeance Is Mine: Revenge Tragedies in Enemy of the People, The Beaux’ Stratagem, Shakespeare’s Time…………….…...………………..…13 Richard III and Titus Andronicus. First Folio Blood and Gore: Staging Violence Then and Guides provide information and activities to help Now…………………………………………………………..……14 students form a personal connection to the play Code of Honor in Titus Andronicus….…….…16 before attending the production at the Shakespeare’s Symbolism……………………………17 Shakespeare Theatre Company. First Folio Guides contain material about the playwrights, their Classroom Connections world and the plays they penned. Also included Before the Performance…………………….………..18 are approaches to explore the plays and · Create a Vice Character productions in the classroom before and after · Costume Design the performance. -
The Real Macbeth
‘My father what? Had a duel? He’s in his seventies! Silly man!’ so might antiquarian, James Byres of Tonley have exclaimed when he was brought word about the unseemly quarrel occasioned by Byres Snr. Patrick Byres was an Irish Jacobite, born in Dublin, 1713. In 1741 he married Janet Moir of Stoneywood and became a Burgess of Guild in Aberdeen, yet his political leanings and hot Celtic temper seem to have constantly landed Patrick in trouble. His first problem was his involvement in the Forty-Five Rebellion, fighting on Bonnie Prince Charlie’s side as Major Byres in Stoneywood’s regiment. Escaping Culloden, Patrick’s ally, Gordon of Cluny hid him in his castle until he and his family escaped to France. He managed to hang on to Tonley by the clever suggestion that his English name was Peter, thus he was not Patrick Byres the rebel. While his youngest sons, William and John developed military careers in the Navy and Royal Engineers respectively and second son, Robert took up merchant interests in Prussia, the eldest, James, became something of a tour guide. He embraced antiquarian studies in Rome and became the go-to ex-pat for visiting Scots gentlefolk on their ‘grand tours’ of Europe. Meanwhile, his father returned to Tonley, Mrs Byres hoping her husband’s adventures were over. But, due to Janet’s nephew, James Abernethy of Mayen, Patrick was to be the centre of unwanted attention once more in 1763. A traditional ballad is dedicated to the incident in which John Leith of Leith Hall, Rhynie was murdered by Abernethy after an argument in the New Inn, Aberdeen.