DOCSLIB.ORG

The Upstart Crow, Volume XXVIII

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Upstart Crow, Volume XXVIII Clemson University TigerPrints Upstart Crow (Table of Contents) Clemson University Press Fall 2009 The Upstart Crow, Volume XXVIII Elizabeth Rivlin, Editor Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/upstart_crow Recommended Citation Rivlin, Editor, Elizabeth, "The Upstart Crow, Volume XXVIII" (2009). Upstart Crow (Table of Contents). 29. https://tigerprints.clemson.edu/upstart_crow/29 This Article is brought to you for free and open access by the Clemson University Press at TigerPrints. It has been accepted for inclusion in Upstart Crow (Table of Contents) by an authorized administrator of TigerPrints. For more information, please contact kokeefe@clemson.edu. Vol. XXVIII Contents Essays Margaret Maurer Again, Poets and Julius Caesar ...................................................5 Nicholas F. Radel Th e Ethiop’s Ear: Race, Sexuality, and Baz Luhrmann’s William Shakespeare’s Romeo + Juliet ...................................................17 James W. Stone “A Carrion Death”: Th e Th eme of the Gold Casket in Th e Merchant of Venice ................................................................................. 35 Stephanie Chamberlain Domestic Economies in Th e Taming of the Shrew: Amassing Cultural Credit .............................................................................. 50 Gabriel Rieger “I woo’d thee with my sword, / And won thy love doing thee injuries”: Th e Erotic Economies ofA Midsummer Night’s Dream ................70 Fred Blick “Duble Vantage”: Tennis and Sonnet 88 ............................................82 Performance Reviews Peter J. Smith Th e 2009 Season at London’s Globe Theatre .................................94 Craig Barrow and Bryan Adams Hampton Th e 2009 Alabama Shakespeare Festival: Othello .........................................................................................104 John R. Ford Th e National Theatre’s Th e Revenger’s Tragedy and Th e Royal Shakespeare Company’s A Midsummer Night’s Dream (2008) ..................... 109 Michael W. Shurgot Th e 2008 Oregon Shakespeare Festival Season ...................114 Book Reviews Aaron Kitch Julia Reinhard Lupton, Citizen-Saints: Shakespeare and Political Th eology (Chicago: University of Chicago Press, 2005) ................. 129 Jason E. Cohen Andrew Hadfi eld, Shakespeare and Republicanism (Cambridge: Cambridge University Press, 2005) and Oliver Arnold, Th e Th ird Citizen: Shakespeare’s eaterTh and the Early Modern House of Commons (Baltimore: Johns Hopkins University Press, 2007) ..................... 130 Clemson University Digital Press Digital Facsimile Vol. XXVIII Philip Lorenz Paul Kottman, A Politics of the Scene (Stanford: Stanford University Press 2008) ................................................................................. 133 Adam H. Kitzes Paul Griffi ths, Lost Londons: Change, Crime and Control in the Capital City 1550-1660 (Cambridge: Cambridge University Press, 2008) .................................................................................. 137 Poems Rosemary Dunn Moeller Th e Faults of Fairies ..................................................81 James B. Nicola Sylvius .....................................................................................89 Sean Lause Shakespeare of Westinghouse ............................................................ 90 Dolores Stewart Envoi: A Kitchen in Verona .....................................................91 List of Illustrations Image from Emblem XLI of Guillaume de la Perrière’s Th eatre des bons engins ....84 Troilus and Cressida: Ensemble ...........................................................................93 As You Like It: Naomi Frederick as Rosalind and Jack Lasky as Orlando, Globe Season 2009 .....................................................................................96 Romeo and Juliet: Ian Redford as Capulet, Ellie Kendrick as Juliet, and Penny Layden as Nurse, Globe Season 2009 ................................................99 Troilus and Cressida: Paul Stocker as Troilus, Matthew Kelly as Pandarus, and Laura Pyper as Cressida, Globe Season 2009 .......................................101 Othello: Matt D’Amico as Iago, Esau Pritchett as Othello, Jeff rey de Picciotto as Lodovico, and Jarrod Yuskauskas as Soldier, Alabama Shakespeare Festival 2009 .........................................................................105 Othello: Kaytie Morris as Desdemona and Esau Pritchett as Othello, Alabama Shakespeare Festival 2009 ............................................................106 Th e Revenger’s Tragedy: Rory Kinnear as Vendice, National Th eatre 2008 ..........110 Comedy of Errors: Th e ensemble in the Shady Pine Saloon, Oregon Shakespeare Festival 2008 ..........................................................................115 A Midsummer Night’s Dream: Kevin Kenerly as Oberon and Christine Albright as Titania, Oregon Shakespeare Festival 2008 .............................. 118 Othello: Sarah Rutan as Desdemona and Peter Macon as Othello, Oregon Shakespeare Festival 2008 ..........................................................................120 Coriolanus: Richard Elmore as Menenius, Danferth Comins as Coriolanus, Michael Elich as Aufi dius, and Christopher Michael Rivera as Adrian, Oregon Shakespeare Festival 2008 .............................. 123 Clemson University Digital Press Digital Facsimile Vol. XXVIII Letter from the Editor ..........................................................................................4 Call for Papers for Th e Upstart Crow Vol. XXX (2011) ..................................... 140 We are grateful to our contributors for making every eff ort to trace all copyright holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangement at the fi rst opportunity. We thank the several festivals and theater companies for their cooperation and assistance in the reproduc- tion of images from recent performances. Clemson University Digital Press Digital Facsimile.
Load more

Recommended publications
  • William Shakespeare Was a Renowned English Poet, Playwright, and Actor Born in 1564 in Stratford Upon Avon
    William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford upon Avon. His birthday is most commonly celebrated on 23 April, which is also believed to be the date he died in 1616. Shakespeare's Work His works include 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems. No original manuscripts of Shakespeare's plays are known to exist today. It is actually thanks to a group of actors from Shakespeare's company that we have about half of the plays at all. They collected them for publication after Shakespeare died, preserving the plays Shakespeare occupies a position unique in world literature. Other poets, such as Homer and Dante, and novelists, such as Leo Tolstoy and Charles Dickens. Stratford enjoyed a grammar school of good quality, and the education there was free, the schoolmaster’s salary being paid by the borough. The boy’s education would consist mostly of Latin studies—learning to read, write, and speak the language fairly well and studying some of the Classical historians, moralists, and poets. Shakespeare did not go on to the university. The first reference to Shakespeare in the literary world of London comes in 1592, when a fellow dramatist, Robert Greene, declared in a pamphlet written on his deathbed: “There is an upstart crow, beautified with our feathers, that with his Tygers heart wrapt in a Players hide supposes he is as well able to bombast out a blank verse as the best of you; and, being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country.” Private life Shakespeare had little contact with officialdom, apart from walking— dressed in the royal livery as a member of the King’s Men at the coronation of King James I in 1604.
    [Show full text]
  • Romeo and Juliet
    Upstart Crow Vol. XII Digital Facsimile THE • VPSTART • CROW Editor James Andreas Clemson Unioersity Founding Editor William Bennett The Unioersity of Tennessee at Martin Associate Editors Michael Cohen Murray State Unioersity Herbert Coursen Bowdoin College Marjorie Garber Haroard Unioersity Charles Frey The Unioersity of Washington Walter Haden The Unioersity of Tennessee at Martin Chris Hassel Vanderbilt Unioersity Maurice Hunt Baylor Unioersity Richard Levin The Unioersity of California, Daois Richard Mears Drury College John McDaniel Middle Tennessee State Unioersity Peter Pauls The Unioersity of Winnipeg Paul Ramsey The Unioersity of Tennessee at Chattanooga Production Editor Tharon Howard Editorial Assistants John Bailey, Laura Blume, Mary Eberhart, David Fisher, Charlotte Holt Kaushiki Maitra, Pearl Parker, Judy Payne, John Sherrer Copyright 1992 Clemson University All Rights Reserved Clemson University Digital Press Upstart Crow Vol. XII Digital Facsimile 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 diversity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $12 Institutions and Libraries, same rate as individuals - $12 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 Upstart Crow: a Shakespeare Journal C
    n remembrance of sustaining support of our literary en- Journal Shakespeare A Crow: Upstart e Th Th e terprise in years past, the Editors gratefully acknowledge I our continuing alliance with the Brooks Center for the pstart Performing Arts and members of the annual Clemson Shakespeare Festival Steering Committee. row UA SShakespeareShha Journal The Upstart Crow: A Shakespeare Journal C One-year subscription institutional $22 individual $17 Two-year subscription XXVII 2007/2008 Volume institutional $32 individual $27 Shakespeare Three-year subscription institutional $42 individual $37 Back Issues $15 and Complete sets $300 Please send all Editorial Correspondence to the address below. The Upstart Crow: A Shakespeare Journal Tourism Department of English Clemson University Strode Tower Box 340523 Clemson, SC 29634-0523 Telephone (864) 656-3151 Fax (864) 656-1345 Vist our website at http://www.clemson.edu/caah/cedp/crow Volume XXVII 2007/2008 The Upstart Crow: A Shakespeare Journal, Volume XXVII, 2007/2008 is pub- “There is an upstart crow beautifi ed with our feathers that, with his lished by Clemson University Digital Press. © 2008 Clemson University ISSN: 0886-2168 ‘tiger’s heart wrapped in a player’s hide,’ supposes he is as well able to bombast out a blank verse as the best of you; being an absolute Johannes Factotum, in his conceit the only shake-scene in a coun- EDITOR try.” Elizabeth Rivlin — Robert Greene, Groatsworth of Wit (1592) INTERIM EDITOR Brian McGrath CLEMSON UNIVERSITY Z DIGITAL PRESS ASSOCIATE EDITORS For those persons who have become subscribers this year, I want to Ray Barfi eld, Wayne Chapman, Jonathan Field, Martin Jacobi, Michael LeMahieu, welcome you and extend my personal thanks to you, as well as to continuing Chantelle MacPhee, and Lee Morrissey subscribers, for your support.
    [Show full text]
  • Mask and Persona: Creating the Bard for Bardcom
    Persona Studies 2019, vol. 5, no. 2 MASK AND PERSONA: CREATING THE BARD FOR BARDCOM PETER HOLLAND ABSTRACT This article explores a number of perspectives on the creation of very different Shakespeares as personas by first examining the celebration of the 400th anniversary of his death in Stratford-upon-Avon in April 2016 and Shake, Mr Shakespeare, a remarkable Roy Mack 1936 Warner Brothers short. From there it moves on to consider the brief appearance of Shakespeare in the time-travel comedy Blackadder: Back and Forth, in ‘The Shakespeare Code’ episode of Doctor Who and in the off-Broadway musical Something Rotten!, before examining the work of Ben Elton in his screenplay for All Is True and in the seemingly unlikely success of Upstart Crow, the BBC sitcom with Shakespeare as the lead character, which has so far completed three six-episode series and three Christmas specials. The article is concerned with the multiple masks of the sequence of personas that create these Shakespeares, from Shakespeare as perhaps the epitome of the celebrity author to Shakespeare as a sitcom Dad. KEY WORDS Shakespeare, Mask, Celebrity, Comedy, Sitcom, Afterlife WHERE ISS SHAKESPEARE? In Act 2 of Emlyn Williams’ The Corn is Green (1938), a semi-autobiographical narrative of how education saved a bright Welsh boy from the mines and sent him to Oxford University, the end of a class in Miss Moffat’s new school leaves behind on stage Old Tom, “an elderly, distinguished- looking, grey-bearded peasant” (Williams 1995, p. 34), and Miss Ronberry, now one of Miss Moffat’s teachers.
    [Show full text]
  • The • Vpstart • Cr.Ow
    Vol. XV 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 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 and Irfan Tak Clemson University Editorial Assistants Kim Bell, Laurie Brown, Pearl Parker, Judy Payne, Heather Pecoraro, and Jeannie Sullivan Copyright 1995 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XV 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- $12 Institutions and Libraries, same rate as individuals- $12 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double­ spaced typed pages, including notes.
    [Show full text]
  • Was Robert Greene's “Upstart Crow” the Actor Edward Alleyn?
    The Marlowe Society Was Robert Greene’s “Upstart Crow” Research Journal - Volume 06 - 2009 the actor Edward Alleyn? Online Research Journal Article Daryl Pinksen Was Robert Greene’s “Upstart Crow” the actor Edward Alleyn? "The first mention of William Shakespeare as a writer occurred in 1592 when Robert Greene singled him out as an actor-turned-playwright who had grown too big for his britches." Such is the claim made by all Shakespeare biographers. However, a closer look at the evidence reveals what appears to be an unfortunate case of mistaken identity. Near the end of Greene's Groatsworth of Wit (September 1592) 1, Robert Greene, in an address to three fellow playwrights widely agreed to be Christopher Marlowe, Thomas Nashe and George Peele, says that an actor he calls an "upstart Crow" has become so full of himself that he now believes he is the only "Shake-scene" in the country. This puffed-up actor even dares to write blank verse and imagines himself the equal of professional playwrights. In his address to Marlowe, Nashe, and Peele, Greene reminds them that actors owe their entire careers to writers. He warns his fellow playwrights that just as he has been abandoned by these actors, it could just as easily happen to them. He urges them not to trust the actors, especially the one he calls an "upstart Crow." Finally, he pleads with them to stop writing plays for the actors, whom he variously calls "Apes," "Antics," and "Puppets." Here is Greene's warning to his fellow playwrights [following immediately from Appendix B]: Base minded men all three of you, if by my misery you be not warned: for unto none of you (like me) sought those burres to cleave: those Puppets (I mean) that spake from our mouths, those Anticks garnished in our colours.
    [Show full text]
  • The Upstart Crow a Play by Ben Elton
    de Vere Society April 2020 The Upstart Crow A play by Ben Elton Review by Tony Herbert I was at first reluctant to see Ben Elton’s stage version of The Upstart Crow. It’s a comedy, but would I be able laugh at yet more stuff about the man from Stratford? Could even Ben Elton, a highly intelligent and erudite man, still think that Mr Will Shaksper was the author we all so admire? Well, putting aside the last question, I was certainly glad I overcame my reluctance. It’s a great show: funny, inventive, and refreshingly able to send up some of today’s thespian absurdities. Will Shakespeare, superbly played by David Mitchell, is struggling to write another play that will please the new king, James I, having – as he confesses – written a few ‘clunkers’ like Measure for Measure and All’s Well That Ends Well – it should be called All’s Well That Ends Crap, says Will’s helper. We then get scene after scene with clever references to some of the plays we all know, mainly Twelfth Night, Othello and – somewhat bizarrely – King Lear. Can one make King Lear funny? Answer: up to a point … The references to Twelfth Night allow cross-dressing jokes galore, but also make splendid fun of cross-racial casting as the two twins who get washed up on the shore are black and from North Africa. We also get Malvolio ramped up to comic excess. Dr John Hall, Will’s doctor, is an appalling, self-lacerating Puritan (Puritans are ‘puretitties’ in one of Ben Elton’s pieces of verbal nonsense.) They do a Malvolio on him by suggesting that he’ll get off with Will’s maid if he wears a truly vast cross-gartered codpiece.
    [Show full text]
  • Summer 2000 Page 3
    'the Shakeseeare ]Vewsletter Vo1.36:no.2 "Let me study so, to know the thing I am forbid to knoyv" SlUnmer 2000 An emerging The not ...too- hidden l(ey "crypto-Catholic" to Minerva Britanna theory challenges The Latin phrase ({by the mind 7' Stratfordians shall be seen" may mean just that By Peter W. Dickson By Roger Stritmatter till unbeknownst to many Oxfordians, the Stratfordians are increasingly per­ Na mes are divine notes, and plexed as to how to salvage the incum­ divine notes do 1I0tifiejilfure even ts; bent Bard in the face ofthe growing popular­ so that evellts consequently must ity of the thesis that he was a secret Roman lurk ill names, which only can be Catholic, at least prior to his arrival in Lon­ plyed into by this mysteIJI ... don, and perhaps to the end of his life, William Camden; "Anagrams" consistent with Richard Davies observation in Remaills ConcerningBritannia in the 1670s, that "he dyed a papist." The mere willingness to explore the evi­ inerva Britanna, the 1612 dence fo r the Shakspere family's religious emblem book written and orientation was strongly discouraged or sup­ M·llustrated by Henry pressed for centuries for one simple and Peacham, has long been consid­ quite powerfulreason: the works of Shake­ The title page to Hemy Peacham's Minerva Britanna ered the most sophisticated exem­ speare had become-along with the King (1612) has become one of the more intriguing-and plar of the emblem book tradition James'VersionoftheBible-amajorcultural controversial-artifacts in the authorship mystely. everpublished in England.
    [Show full text]
  • Twelfth Night
    Summer 2019 JUNE 7-AUGUST 11 Twelfth Night As You Like It Romeo and Juliet King Charles III A Future History Play by Mike Bartlett King John Twelfth Night By William Shakespeare Directed by Timothy Orr Artistic team Cast Director (in order of appearance) Timothy Orr Viola, a shipwrecked lady, Feste, clown, Olivia’s jester Rinde Eckert* Scenic Designer later disguised as Cesario Amber Scales Caitlin Ayer^ Olivia, a countess Jessica Robblee* Costume Designer Captain of the wrecked ship, Meghan Anderson Doyle who befriends Viola Malvolio, Olivia’s steward Mark Collins Gareth Saxe* Lighting Designer Shannon McKinney^ Orsino, Duke of Illyria Antonia, a sea-captain, who Marco Robinson* Sound Designer befriends Sebastian Jason Ducat Curio, gentleman attending on Orsino Madison Hart Jason Toennis Music Composer Sebastian, Viola’s twin brother, Rinde Eckert Valentine, gentleman attending also shipwrecked on Orsino Dante Rossi Fight Choreographer Matt Bender Christopher DuVal Fabian, a member of Olivia’s household Sir Toby Belch, Olivia’s kinsman Rakeem Lawrence Choreographer Robert Sicular* Erika Randall Servant in Olivia’s household Maria, Olivia’s waiting-gentlewoman Isobel Rosie Makin Casting Director Emma Messenger Sylvia Gregory, CSA Officers Sir Andrew Aguecheek, companion Mark Collins, Jason Toennis Dramaturg to Sir Toby Amanda Giguere Priest Rodney Lizcano* Mark Collins Voice and Text Coach Jeffrey Parker Stage Manager Stacy R. Norwood* Assistant Stage Manager Nicole Kutcher* Production sponsors: Savory Cuisines, Alpine Animal Hospital, Elevations Credit Union, Hazel’s Beverage World and Wright Water Engineers ^ Member of United Scenic Artists * Appears courtesy of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States #coshakes · @coshakes 19 Plot synopsis Director’s note After a catastrophic shipwreck, the young, resourceful Twelfth Night is probably my favorite play by William Viola washes ashore in Illyria and concocts a survival plan.
    [Show full text]
  • Download Download
    Early Theatre 8.1 (2005) Maureen Godman ‘Plucking a Crow’ in The Comedy of Errors Shakespeare’s The Comedy of Errors’1 first recorded performance on 28 Decem- ber 1594 at Gray’s Inn Hall formed one element in a series of revels or ‘law-sports’ held intermittently between 20 December and Shrove Tuesday. The proceedings of those festivities have been preserved in the Gesta Grayorum, first published in 1688.2 In referring to the Gesta, scholars usually mention the ‘tumult’ that forced part of the original entertainments for the second ‘Grand Night’ of the law sports to be abandoned, although, we are told, Shakespeare’s play was performed that night as planned. Apparently, a great crowd of people tried to squeeze into Gray’s Inn Hall causing the ambassador from the Inner Temple and his retinue, the ‘Templarians’, to leave in disgust, mollified a few days later by the presentation of the Masque of Amity.3 Surprisingly little attention has been given to the Gesta as a dramatic piece in itself (editions and anthologies usually excerpt only the part relating to the performance of Errors).4 This is a pity because when we look at the play against the backdrop of the full Gesta, taking into account the revels’ purposes (including a celebration of the relationship with its brother law school) and prevailing temper (often satirical and topical), we see that the play takes colour from its frame and reveals much of the immediacy of the moment. We also see the way that Shakespeare adapts his chief sources (The Menaechmi and Amphitryo by Plautus and the Apollonius of Tyre story) to fit the occasion, enhancing the chosen themes of ‘twinning’, for example.
    [Show full text]
  • The Upstart Crow, Volume XXI
    Clemson University TigerPrints Upstart Crow (Table of Contents) Clemson University Press Fall 2001 The Upstart Crow, Volume XXI Juana Green, Editor Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/upstart_crow Recommended Citation Green, Editor, Juana, "The Upstart Crow, Volume XXI" (2001). Upstart Crow (Table of Contents). 22. https://tigerprints.clemson.edu/upstart_crow/22 This Article is brought to you for free and open access by the Clemson University Press at TigerPrints. It has been accepted for inclusion in Upstart Crow (Table of Contents) by an authorized administrator of TigerPrints. For more information, please contact kokeefe@clemson.edu. Vol. XXI Clemson University Digital Press Digital Facsimile Vol.Vol. XXI XXI THE • VPSTART • • Contents In Memoriam: Jim Andreas (1943-2002) Peter Erikson . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 3 Herb Coursen ................................................................................................. 4 Part One Juana Green • From the Editor...................................................................... 5 Maurice Hunt • Viola/Cesario, Caesarean Birth, and Shakespeare's Twelfth Night ........................................................................................................ 7 Jamin C. Rowan • Ideas About Nature: An Ecocentric Look at As You Like lt ............................................................................................................. 15 WalterS. H. Lim • James
    [Show full text]
  • Shakes Ch2-3/P39-88
    2. Treacherous Doubts "Our doubts are traitors, And make us lose the good that we oft may win, By fearing to attempt" —Shakespeare: Measure for Measure Questioning the Shakespeare authorship is almost as sacrilegious as challenging Holy Writ. The general academic assumption is that no one in their right mind would do it. And, what is more, the madness is said to be a fairly recent phenomenon, having developed since the late 19th century and having no root in contemporary hearsay. Thus Jonathan Bate writes: "No one in Shakespeare's lifetime or the first two hundred years after his death expressed the slightest doubt about his authorship" (see The Genius of Shakespeare, 1997, p73; italics in original). But Bate is completely mistaken. In fact, the doubt existed from the very beginning, in the first known reference to Shakespeare. It persisted through several contemporary allusions and has been the subject of speculation, on and off, ever since. Groats-Worth Of Wit Robert Greene was a classical scholar and Cambridge graduate who wrote plays and pamphlets. His prose romance Pandosto, the Triumph of Time provided the main plot of The Winter's Tale. He regarded himself as a failure for which he blamed scheming rivals who robbed him of his works and fame. On his deathbed he purportedly wrote a pamphlet which was published by fellow playwright Henry Chettle, who gave it the title Greene's Groats-worth of Wit, bought with a Million of Repentance (1592). It ends with a personal letter addressed to three unnamed fellow scholars and dramatists, generally thought to be Nashe, Peele and Marlowe— fellow 'university wits'.
    [Show full text]