DOCSLIB.ORG

Elizabethan Conceptions of the Physiology of the Circulation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Elizabethan Conceptions of the Physiology of the Circulation ELIZABETHAN CONCEPTIONS OF THE PHYSIOLOGY OF THE CIRCULATION By IRVING I. EDGAR, M.D. DETROIT, MICH. Part ii (Conclusion) * Here again, these commentators have Humane Passions” (1621), Thomas misinterpreted a movement of blood Wright’s “The Passions of the Minde in towards the heart as signifying a circu­ General” (1601), Burton’s “Anatomy lation; and they have placed upon the of Melancholy,” La Primaudaye’s “The word, “labouring,” the significance of French Academy” (1594), Charron’s regular heart-pump action. Nothing “Of Wisdom” (1601), and others—all can be farther from the truth. These crit­ these readily explain all the passages in ics, apparently unfamiliar with six­ question upon a Renaissance basis much teenth century physiology-psychology, more satisfactorily than the medical crit­ have simply superimposed modern con­ ics do from the modern standpoint. ceptions upon Renaissance doctrines. Thus according to these works, the heart Why, upon the same basis of reasoning, is the center of all the affections and what shall we say of the words of Shake­ emotions—joy, hope, anger, hate, fear, speare’s contemporary, Philip Mas­ sorrow, despair, etc. Joy expands the singer? heart enabling it “to concoct a goodly See, see how her blood drives to her heart store of spirits and to disperse them and straight throughout the body.”80 Should this joy, Vaults to her cheek again.79 however, be too strong it may destroy Presto! Take the crown of Harvey and the heart. Grief, sorrow and fear, all of place it not upon the brow of Shake­ which are present in “a timely parted speare but upon that of Massinger! For ghost” at death, cause blood, spirits and in Massinger’s lines the blood not only the melancholy humour to descend and “drives to” the heart but also “vaults” “muster” to the heart from the periph­ away from the heart to the cheek! It is eral parts of the body.78 As a result, the much easier to place an interpretation heart labors and languishes, the melan­ of this type upon these lines than upon choly humor quenching the natural those of Shakespeare. The truth, how­ heat81 and extinguishing the spirits to ever, is this: neither Shakespeare nor produce death. This mustering of the Massinger, nor any other dramatist of blood to the heart under the emotion of the period knew anything of the circu­ fear is aptly expressed by Davies: lation of the blood. The physiological- As spiders touched seek their webs’ inmost psychological treatises popular in part, Shakespeare’s day, especially the “Mi­ As bees in storms into their hives return As blood in danger gathers to the heart.82 crocosmos” of Sir John Davies of Here­ ford. Nicholas Coeffeteau’s “A Table of La Primaudaye sets forth more clearly * Part 1 appeared in the July, 1936 number of Annals of Medical History, p. 359. the psychology-physiology involved Or if that surly spirit, melancholy here. He is discussing the effect of the Hath bak’d thy blood and made it heavy thick.86 passions upon the heart, particularly that of fear: Dry sorrow drinks our blood. ,87 . first of all it draweth in and shut- In these passages Shakespeare is enun­ teth up the heart, and so weakeneth the ciating the commonly accepted Eliza­ same. Whereupon nature being desirous bethan theory that the humor, melan­ to relieve and succour it, sendeth heate choly, heats and thickens the blood in a unto it from upper parts: and if that be not sufficient, she draweth away that heate literal sense, as a result of the very phys­ also which is in the neather parts. By ical nature of this humor. La Primau- which doing she suddenly calleth backe daye, describing the humours in the the bloud and spirits unto the heart, and blood, says: “For the muddy dregs, then followeth a generall palenesse and tvhich commonly thicken and settle in colde in all the outward parts and chiefly the bottom of it” (“like to the lees of in the face, with a shivering throughout wine in a vessel”) “are of the nature of the whole body . whereupon it fol­ the earth and are called Melancholy.” loweth, that by reason of the great beating He goes on to say what Shakespeare here and panting of the heart, the tongue fal- tereth and the voice is interrupted. Yea, says, that this humor thickens the it commeth to pass sometimes that present blood.88 Batman expounds the same death followeth a great and sudden feare, ideas.89 And Christopher Marlowe says because all the bloud retiring to the heart exactly the same thing when he puts choaketh it, and utterly extinguished nat- into the mouth of Faust: “My blood con­ urale heate and spirits, so that death geals, and I can write no more.”90 musts needs ensue thereof.83 Sorrow concealed, like an oven stopp’d It is obvious that all this de­ Doth bum the heart to cinders where it is.91 scending, gathering, retiring of the blood to the heart referred to by Shake­ The tackle of my heart is crack’d and bum’d And all the shrouds wherewith my life should speare has no significance whatsoever as sail far as the circulation of the blood is con­ Are turned to one thread one little hair cerned as the medical commentators My heart hath one poor string to stay it by, would have us believe. Shakespeare Which holds but till thy news is uttered.92 talked but the language of his day, in the thought-patterns of his age. but his flawed heart, Alack, too weak the conflict to support! From this standpoint, the following ’Twixt two extremes of passion, joy and grief, passages become simple of explanation: Burst smilingly.93 I have a faint cold fear thrills through my Nor. He is vexed at something. veins, Sur. I would twere something that would fret That almost freezes up the heat of life.84 the string, f Reference here is to the “generall pale­ The master-cord on’s heart.94 nesse and colde in all the outward parts” as a result of the rush of “bloud and My heart for anger burns; I cannot brook it.95 spirits unto the heart” under the emo­ My tongue will tell the anger of my heart tion of fear. Or else my heart concealing it will break.96 Seeing too much sadness hath congealed your But break my heart for I must hold my blood.85 tongue.97 . throw my heart And grief’s a natural sickness of the blood.104 Against the flint and hardness of my fault; Which being dried with grief, will break to Shakespeare has many more refer­ powder.98 ences to the psychological-physiological effects of the emotions on the heart: Here again our great poet is express­ ing the actual physical effects of The broken rancour of your high-swoln emotion. In the Elizabethen physio­ hearts, logical-psychological systems, the heart But lately splintered, knit, and join’d to­ gether.105 expanded and contracted, drawing air from the lungs to cool and fresh itself The execution of my big-swoln heart and expelling “smoking excrements” Upon that Clifford, that cruel child-killer.106 through the same channels, “for the Some devil whisper curses in mine ear heart hath his filaments or small threads And prompt me, that my tongue may utter apt and convenient for that purpose.”99 forth These “filaments” or chordae tendinae The venomous malice of my swelling heart.107 of the heart were believed to “crack” The king, thy sovereign, is not quite exempt, under strong emotion. The psychologist From envious malice of thy swelling heart.108 and contemporary of Shakespeare, Sir Measureless liar, thou hast made my heart John Davies of Hereford, expresses this Too great for what contains it.109 when he says: These passages represent the heart as swelling with the emotion of hate and Worke on my Hart, sterne Griefe, and do thy worst: anger. This is also in accordance with Draw it together till his strings do crack.100 Elizabethan psychology, for as La Pri­ maudaye teaches,37 the heart swells and James Shirley expresses a similar notion, puffs up when it is enraged and there is only here the emotion is not grief but a a great milling and boiling about it. Re­ mighty joy: lief for the heart, however, may be ob­ My heart that call’d my blood and spirits to tained by sighing, sobbing, groaning, Defend it from invasion of my fears etc., even though these consume the Must keep a guard about it still lest this blood. Witness the following: Strange and too mighty joy crush it to noth­ ing.101 Might liquid tears or heart-offending groans Or blood-consuming sighs recall his life, Christopher Marlowe, similarly, voices I would be blind with weeping, sick with the physical effects of anger upon the groans heart: Look pale as primrose with blood-drinking sighs.110 May never spirit, vein or artier, feed The cursed substance of that cruel heart When my heart, as wedged with a sigh would But wanting moisture and remorseful blood, rive in twain.111 Dry up with anger, and consume with heat!102 Dekker expresses the effects of grief: And stop the rising of blood-sucking sighs.112 It will so overcharge her heart with grief And let my liver rather heat with wine That like a cannon when her sighs go off Than my heart cool with mortifying groans.113 She in her duty either will recoil Or break in pieces and so die.103 Here also, we have an expression of Elizabethan physiological-psychological Chapman does likewise in the follow­ reactions.
Load more

Recommended publications
  • 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]
  • Download [ 11,08 MB ]
    ACKNOWLEDGEMENT Part of the materials used in this block is drawn from self-learning materials developed by IGNOU, New Delhi and few other Open Education Resources duly acknowledge in the reference section at the end of the unit. BACHELOR OF ARTS (HONOURS) IN ENGLISH (BAEG) BEG-2 British Poetry and Drama: 17th And 18th Centuries BLOCK-3 17TH AND 18TH CENTURIES DRAMAS UNIT 1 BEN JONSON: VOLPONE (PART I) UNIT 2 BEN JONSON: VOLPONE (PART II) UNIT 3 JOHN DRYDEN: ALL FOR LOVE (PART I) UNIT 4 JOHN DRYDEN: ALL FOR LOVE (PART II) UNIT 1 BEN JONSON: VOLPONE (PART I) STRUCTURE 1.1 Learning Objectives 1.2 Introduction 1.3 Ben Jonson: The Playwright 1.3.1 His Life 1.3.2 His Dramatic Career 1.3.3 Few Famous works Of Ben Jonson 1.4.4 Few Quotes on Jonson 1.4 Jonsonian Comedy 1.5 Critical Reception of Jonson 1.6 Let us Sum up 1.7 Answers to Check Your Progress (Hints Only) 1.8 Possible Questions 1.1 LEARNING OBJECTIVES After going through this unit, you will be able to discuss Ben Jonson as an important English playwright of the 16th century make an assessment of Jonson and his works explain the nature of Jonsonian type of comedy provide a critical reception of Jonson 1.2 INTRODUCTION Volpone is Ben Jonson's most famous comedy . Written in 1606 and represented in March of the same year at the Globe Theatre in London by the King's Men , it was published for the first time in 1616 .
    [Show full text]
  • “Why, Sir, Are There Other Heauens in Other Countries?”
    This is the accepted manuscript published as Drábek, P. (2019). 'Why, sir, are there other heauens in other countries?': The English Comedy as a transnational style. In Transnational Connections in Early Modern Theatre (139-161). Manchester: Manchester University Press. https://manchesteruniversitypress.co.uk/9781526139177/ Pavel Drábek “Why, sir, are there other heauens in other countries?”: the English Comedy as a Transnational Style Director Norman Marshall, in his book The Producer and the Play (1957), comments on the specifics of theatrical taste, comparing Bertolt Brecht’s The Threepenny Opera (1928) with its main source, Nigel Playfair’s 1920 revival of The Beggar’s Opera.1 He points out: The German production of The Beggar’s Opera (entitled Die Dreigroschenoper), although inspired by the success of Playfair’s revival, had nothing in common with it except that it was equally well suited to the taste of the audience. The Playfair version would inevitably have failed in Berlin. It was far too dainty – which was one of the reasons for its success in England […]. There was nothing dainty about the taste of Berlin in the ’twenties. Brecht re-wrote the text and the lyrics, the original score was scrapped and replaced by music which had much in common with the lewd husky 1 This essay develops the brief discussion in Drábek and Katritzky 2016, and has its origins in three talks: two conference papers presented at TWB conferences, “Worlds-in-Between and their Inhabitants: a semiotic study of theatre as a border zone” at the Herzog August Bibliothek, Wolfenbüttel, Germany (2012; organized by M.
    [Show full text]
  • The Future Francis Beaumont
    3340 Early Theatre 20.2 (2017), 201–222 http://dx.doi.org/10.12745/et.20.2.3340 Eoin Price The Future Francis Beaumont This essay attends to Beaumont’s recent performance and reception history, docu- menting a range of academic and popular responses to demonstrate the challenges and affordances of engaging with Beaumont’s plays. The first section examines sev- eral twenty-first century performances of Beaumont plays, focusing especially on the Globe’s stimulating production of The Knight of the Burning Pestle. The second sec- tion considers how Beaumont was both acknowledged and ignored in 2016, the year of his 400th anniversary. The final section suggests some avenues for further research into the performance of Beaumont’s plays. In 1613, illness caused one of the greatest writers of the age to retire from play- wrighting, paving the way for his principal collaborator, John Fletcher, to become the main dramatist for the King’s Men, the company for whom he had writ- ten some of his most popular plays. Three years later, the London literary scene mourned his death. Tributes continued for decades and he was ultimately hon- oured with the posthumous publication of a handsome folio of his works. This is the familiar story of William Shakespeare. It is also the unfamiliar story of Francis Beaumont. The comparison of the two authors’ deaths I have just offered entails a degree of contrivance. Beaumont seemingly retired because he was incapacitated by a stroke, but Shakespeare’s reasons for retiring, and indeed, the nature of his retire- ment, are much less clear.
    [Show full text]
  • Why Was Edward De Vere Defamed on Stage—And His Death Unnoticed?
    Why Was Edward de Vere Defamed on Stage—and His Death Unnoticed? by Katherine Chiljan dward de Vere, 17th Earl of Oxford, died on June 24, 1604. To our knowledge, there was neither public recognition of his death nor Enotice made in personal letters or diaries. His funeral, if one oc- curred, went unremarked. Putting aside his greatness as the poet-playwright “William Shakespeare,” his pen name, Oxford was one of the most senior nobles in the land and the Lord Great Chamberlain of England. During his life, numerous authors dedicated 27 books on diverse subjects to Oxford; of these authors, seven were still alive at the time of his death,1 including John Lyly and Anthony Munday, his former secretaries who were also dramatists. Moreover, despite the various scandals that touched him, Oxford remained an important courtier throughout his life: Queen Elizabeth granted him a £1,000 annuity in 1586 for no stated reason—an extraordinary gesture for the frugal monarch—and King James continued this annuity after he ascend- ed the throne in 1603. Why, then, the silence after Oxford had died? Could the answer be because he was a poet and playwright? Although such activity was considered a déclassé or even fantastical hobby for a nobleman, recognition after death would have been socially acceptable. For example, the courtier poet Sir Philip Sidney (d. 1586) had no creative works published in his lifetime, but his pastoral novel, Arcadia, was published four years after his death, with Sidney’s full name on the title page. Three years after that, Sidney’s sister, the Countess of Pembroke, published her own version of it.
    [Show full text]
  • © in This Web Service Cambridge University Press
    Cambridge University Press 978-1-107-03057-2 - Constructing the Canon of Early Modern Drama Jeremy Lopez Index More information Index Addison, Joseph, 45 Baldwyn, Charles Albright, Evelyn May, 41 Old English Drama, Th e , 10 , 12 , 22–23 , 149 Ancient British Drama (1810), 10 , 28 , 169 Bale, John Anonymous God’s Promises , 8 , 33 Arden of Faversham , 20 , 34 , 49 , 68 , 118 , 156 , Barish, Jonas, 110–13 169 , 170 , 197–205 Barton, Anne, 187 Birth of Merlin, Th e , 74 Baskervill, C. R., et al. Captain Th omas Stukeley , 74 , 170 Elizabethan and Stuart Plays , 8 , 11 , 59 , 169 , 185 Dick of Devonshire , 123–27 , 170 , 200–5 Beaumont, Francis, 45 , 50 , 106 , 109 Fair Em the Miller’s Daughter , 170 Knight of the Burning Pestle, Th e , 19 , 24 , 34 , Fair Maid of Bristow, Th e , 74 , 95–99 , 170 , 74–78 , 118 , 184 , 200–5 200–5 Beauties of Massinger (1817), 47 Famous Victories of Henry V, Th e , 170 Beauties of the English Stage (1737, 1777). First Part of Jeronimo, Th e , 72 See Th esaurus Dramaticus (1724) George a Green , 8 , 33 Bednarz, James, 191 Guy of Warwick , 155 , 170–72 , 200–5 Bell’s British Th eatre , 14 How a Man May Choose a Good Wife from a Bentley, Eric, 155 Bad , 22 Bentley, G. E., 188 Jack Straw , 74 , 169 Development of English Drama, Th e , 15 Knack to Know a Knave, A , 169 Berkeley, William Larum for London, A , 32 Lost Lady, Th e , 32 Locrine , 119 Betterton, Th omas London Prodigal, Th e , 170 Match in Newgate, A , 31 Look About You , 32 , 78–82 , 169 , 200–5 Bevington, David, 193 Lust’s Dominion , 6 Bevis, Richard, 153 Merry Devil of Edmonton, Th e , 33 , 169 , 170 Blackwell Anthology of Renaissance Drama .
    [Show full text]
  • THE DOMESTIC DRAMA of THOMAS DEKKER, 1599-1621 By
    CHALLENGING THE HOMILETIC TRADITION: THE DOMESTIC DRAMA OF THOMAS DEKKER, 1599-1621 By VIVIANA COMENSOLI B.A.(Hons.), Simon Fraser University, 1975 M.A., Simon Fraser University, 1979 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept, this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA December 1984 (js) Viviana Comensoli, 1984 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6 (3/81) ABSTRACT The dissertation reappraises Thomas Dekker's dramatic achievement through an examination of his contribution to the development of Elizabethan-Jacobean domestic drama. Dekker's alterations and modifications of two essential features of early English domestic drama—the homiletic pattern of sin, punishment, and repentance, which the genre inherited from the morality tradition, and the glorification of the cult of domesticity—attest to a complex moral and dramatic vision which critics have generally ignored. In Patient Grissil, his earliest extant domestic play, which portrays ambivalently the vicissitudes of marital and family life, Dekker combines an allegorical superstructure with a realistic setting.
    [Show full text]
  • Shakespeare and His Contemporaries’ Graduate Conference 2009, 2010, 2011
    The British Institute of Florence Proceedings of the ‘Shakespeare and His Contemporaries’ Graduate Conference 2009, 2010, 2011 Edited by Mark Roberts Volume I, Winter 2012 The British Institute of Florence Proceedings of the ‘Shakespeare and His Contemporaries’ Graduate Conference 2009, 2010, 2011 Edited by Mark Roberts Published by The British Institute of Florence Firenze, 2012 The British Institute of Florence Proceedings of the ‘Shakespeare and His Contemporaries’ Graduate Conference 2009, 2010, 2011 Edited by Mark Roberts Copyright © The British Institute of Florence 2012 The British Institute of Florence Palazzo Lanfredini, Lungarno Guicciardini 9, 50125 Firenze, Italia ISBN 978-88-907244-0-4 www.britishinstitute.it Tel +39 055 26778270 Registered charity no. 290647 Dedicated to Artemisia (b. 2012) Contents Foreword vii Preface ix 2009 The ‘demusicalisation’ of St Augustine’s tempus in Shakespeare’s tragedies 1 SIMONE ROVIDA Bardolatry in Restoration adaptations of Shakespeare 11 ENRICO SCARAVELLI 2010 Chaos in Arcadia: the politics of tragicomedy in Stuart pastoral theatre 19 SHEILA FRODELLA ‘The tragedy of a Jew’, the passion of a Merchant: shifting genres in a changing world 25 CHIARA LOMBARDI Shylock è un Gentleman! The Merchant of Venice, Henry Irving e l’Inghilterra Vittoriana 33 FRANCESCA MONTANINO 2011 ‘I wish this solemn mockery were o’er’: William Ireland’s ‘Shakespeare Forgeries’ 47 FRANCESCO CALANCA Giulietta come aporia: William Shakespeare e l’idea di Amore nel Platonismo del Rinascimento 55 CESARE CATÀ ‘Other’ translations
    [Show full text]
  • Politics of English Drama, 1603-1660
    Staging Republic and Empire: Politics of English Drama, 1603-1660 by Judy Hyo Jung Park This thesis/dissertation document has been electronically approved by the following individuals: Cohen,Walter Isaac (Chairperson) Kalas,Rayna M (Minor Member) Lorenz,Philip A (Minor Member) Brown,Laura Schaefer (Minor Member) Murray,Timothy Conway (Minor Member) STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Judy Hyo Jung Park August 2010 © 2010 Judy Hyo Jung Park STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 Judy Hyo Jung Park, Ph.D. Cornell University 2010 This study argues that the classical legal concepts of dominium and imperium, ownership and rule, illuminate the political tensions of seventeenth century English drama. The concept of imperium was central to seventeenth century debates over the terms of international commerce, setting important precedents for the development of modern international law. Geopolitical disputes over dominium and imperium shadow the developing conflict between republican, monarchical, and imperial models of the English state from the Stuart monarchy to the post-revolutionary English republic. In the drama of the early to mid-seventeenth century, we can trace the emergence of designs for an imperial English state well before the Restoration and the eighteenth century. Moving from the reign of James I to the Protectorate under Oliver Cromwell, this study reevaluates the genres of tragicomedy, closet drama, topical drama, and operatic masques, analyzing Francis Beaumont and John Fletcher’s Philaster and A King and No King, Elizabeth Cary’s The Tragedy of Mariam, Philip Massinger and John Fletcher’s The Tragedy of Sir John van Olden Barnavelt, and William Davenant’s The Siege of Rhodes.
    [Show full text]
  • The Shoemaker's Holiday: a Document in Egalitarianism
    --THE SHOEMAKER'S HOLIDAY: A DOCUMENT IN EGALITARIANISM By Raylena Ann Noland II Bachelor of Arts Houston Baptist University Houston, Texas 1968 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December, 1981 The'Si~ · IQ~I f\}1'6Gts Qop.~ THE SHOEMAKER'S HOLIDAY: A DOCUMENT IN EGALITARIANISM Thesis Approved: Dean of the Graduate College 1099917 ii PREFACE · The Shoemaker's Holiday ·stands among the best of Elizabethan comedies; it is rollicking joviality frozen in the black ink of words. And it is more. This play is a statement for the practice of, and the truth in, egalitarian­ ism. I have endeavored here to illustrate that Thomas Dekker was not merely the merriest of hack writers but rather a man who believed deeply in the individuality of people and, even more important, one who believed in the right to practice and express such individuality. My thanks go to Dr. David S. Berkeley for his guidance and concern, and to Dr. John Milstead for all his many sug­ gestions and the late-night telephone calls that he toler­ ated~ Special thanks go to Richard Louis Koch, a friend who gave me the courage to look inside myself. To Ernest McCollum, for all his rippling laughter that smoothed away the wrinkles of care, I send my appreciation. And no words can express what I feel toward my parents, ·two curious people who made learning fun and who value knowledge as gold; they gave me the whole world as my schoolhouse.
    [Show full text]
  • Redalyc.Gary Taylor Et Al. 2007 Thomas Middleton
    SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Hutchings, Mark Gary Taylor et al. 2007 Thomas Middleton: The Collected Works and Thomas Middleton and Early Modern Textual Culture Oxford: Oxford University Press SEDERI Yearbook, núm. 21, 2011, pp. 183-190 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333527608012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Gary Taylor et al. 2007 Thomas Middleton: The Collected Works and Thomas Middleton and Early Modern Textual Culture Oxford: Oxford University Press Mark Hutchings University of Reading In truth this long-awaited publication is more than a collected works. Unlike orthodox scholarly collections, for example the recent Cambridge edition of the plays of John Webster, but like the 1997 Norton Shakespeare (based on another, rather more orthodox collection, the Oxford Shakespeare of 1986), it includes critical essays on a range of topics relevant to students of early modern literature, theatre, and culture. It is then rather a hybrid: a scholarly edition which properly seeks to identify and present the Middleton canon, and a resource which aims to provide the latest scholarship on the kinds of areas with which specialists and non-specialists alike might reasonably be expected to be familiar. This servant of two masters, divided into two volumes (which raises a number of issues related to form, content, and target audience[s]) is packed with material totalling more than 3,000 pages.
    [Show full text]
  • The Maid's Tragedy ; And, Philaster
    Tufts College Library FROM THE FUND ESTABLISHED BY ALUMNI IPR2422 .T5 Beaumont, Francis, 1584-1616. The maid’s tragedy, and Philaster 39090000737565 die 2MIe0?tlettre0 ^eneg SECTION III THE ENGLISH DRAMA FROM ITS BEGINNING TO THE PRESENT DAY GENERAL EDITOR GEORGE PIERCE BAKER PROFESSOR OF DRAMATIC LITERATURE IN HARVARD UNIVERSITY Digitized by the Internet Archive in 2016 https://archive.org/details/maidstragedyandp01beau The Blackfriars’ Theatre Reproduced, by permission from the collection of E, Gardner, Esq., London. THE MAID’S TRAGEDY AND PHILASTER By FRANCIS BEAUMONT AND JOHN FLETCHER EDITED BY ASHLEY H. THORNDIKE, Ph.D. PROFESSOR OF ENGLISH LITERATURE IN NORTHWESTERN UNIVERSITY BOSTON, U.S.A., AND LONDON D. C. HEATH & CO., PUBLISHERS COPYRIGHT, 1906, BY D. C. HEATH & CO. ALL RIGHTS RESERVED /X3f?3 YR 242. 3- i 'Bfograp^ Francis Beaumont, third son of Sir Francis Beaumont of Grace Dieu in Leicestershire, one of the Justices of Common Pleas, was born about 1585 and died March 6, 1616. He was admitted gentleman commoner at Broadgates Hall, Oxford, in 1597, and was entered at the Inner Temple, London, November 3, 1600. He was married to Ursula, daughter of Henry Isley of Sundridge, Kent, probably in 1613, and left two daughters (one a posthumous child). He was buried in Westminster Abbey. John Fletcher, son of Richard Fletcher, Bishop of London, was baptized at Rye in Sussex, where his father was then minister, December 20, 1579, and died of the plague in August, 1625. He was entered as a pensioner at Bene’t College, Cambridge, 1 591. His father as Dean of Peterborough attended Mary Queen of Scots at Fotheringay, and was later rapidly promoted to the sees of Bristol, Worcester, and London.
    [Show full text]