The Two Noble Kinsmen

Total Page:16

File Type:pdf, Size:1020Kb

The Two Noble Kinsmen Dating Shakespeare’s Plays: The Two Noble Kinsmen The Two Noble Kinsmen he extant version of The Two Noble Waterson to Moseley in 1646. It was omitted from Kinsmen can be dated any time before the first folio of Beaumont and Fletcher’s plays in Jonson’s apparent reference to it in 1647 but was later published in the second folio TBartholomew Fair, 1614. There might have been of 1679 (where it did not mention Shakespeare an original version as early as 1594 or even 1566. as co-author). This version seems to have derived entirely from the 1634 quarto and therefore has In this chapter, line numbers are given by act and no independent authority (Waith, 23). scene (according to Wells & Taylor, The Oxford Shakespeare). Performance Date Publication Date Both Waith and Potter review the play’s performance history. There is a vague reference in The Two Noble Kinsmenwas entered into the the Q1 title page of 1634 to the play’s performance Stationers’ Register on 8 April 1634 to John at the indoor Blackfriars Theatre in London, Waterson:1 but the date is unknown. This theatre had been hosting plays from 1576. Burbage took it over in [S.R. 1634] 8o Aprilis master John Waterson 1596 and it went over to the King’s Men in 1609. Entred for his Copy vnder the hands of Sir There is a reference in the prologue to “our losses”: Henry Herbert and master Aspley warden a (Two Noble Kinsmen, Prologue, 30–2). Tragi Comedy called the two noble kinsmen by John ffletcher and William Shakespeare. If this play do not keep, / A little dull time from us, we perceive / The Two Noble Kinsmen( TNK) was first published Our losses fall so thick, we must needs leave. in Quarto in that year. It is the only quarto to bear the name of Shakespeare alongside the name “Our losses” has been interpreted by some to of a co-author: mean the destruction of the Globe in 1613, but this is speculation. The phrase has also been [Q1. 1634] The Two Noble Kinsmen presented at taken to refer to financial losses, or to the death the Blackfriers by the Kings Maiesties servants of Shakespeare in 1616 and/or the death of John with great applause written by the memorable worthies of their time; Mr. Iohn Fletcher, and Fletcher in 1625; against this, it has been pointed Mr. William Shakespeare, Gent. Printed at out that the humorous tone of the prologue would London by Tho. [mas] Cotes for Iohn Waterson: seem to militate against a reference to the death of and are to be sold at the signe of the Crowne in the author(s). Pauls Church-yard. 1634 In 1614, Ben Jonson seems to refer to a character in this play: firstly the character Winwife chooses The play was not included in any of the Shakespeare the name ‘Palemon’ from ‘The Play’: Folios (F1 1623; F2 1632; F3 1663–4; F4 1685). The SR records that the play was transferred from © De Vere Society 1 Dating Shakespeare’s Plays: The Two Noble Kinsmen Title page to the first quarto of The Two Noble Kinsmen, 1634. By permission of Bodleian Library, University of Oxford, shelfmark Arch. G e.33 (3), title page. Grace. Because I will bind both your 2000) identify the reference as alluding to The Endeavours to work together Two Noble Kinsmen, especially as the rivalry of friendly and jointly each to the Winwife and Quarlous for the love of Grace clearly others Fortune, and have my self parodies Palamon and Arcite, who compete for fitted with some Means, to make the love of Emilia in TNK. him that is forsaken, a part of The earliest reference to the play is on a amends. Quarlous. These Conditions are very courteous. fragment of paper, (Chambers, WS, II, 346) which Well, my Word is out of the suggests that it was considered for performance at Arcadia then, Argalus. court in 1619. The earliest definite reference to a Win-wife. And mine out of the Play, Palemon. performance, however, is Davenant’s in 1664. (Bartholomew Fair, 4.3.63–8) Attribution There are further references to the character of Palemon in 5.2. Two recent editors of the play Because Two Nobel Kinsmen was omitted from (E.A. Horsman, 1960, and Suzanne Gossett, Shakespeare’s First Folio (and subsequent) and © De Vere Society 2 Dating Shakespeare’s Plays: The Two Noble Kinsmen not published until 1634, it has remained an Speght’s (1598) but there is no indication which ‘apocryphal’ play. Some have claimed that edition was used. An error at 4.2.104 (presumably Shakespeare had no hand in it and that the by Fletcher, as it occurs in the section attributed to ascription was a publisher’s lure. Brian Vickers him) seems to preserve a misprint from the 1598 has reviewed the tests for co-authorship in edition (Waith, 178). The author(s) also appear considerable detail and gives thorough support for to know Giovanni Boccaccio, Teseide, perhaps in assigning the various parts of the play as follows Le Maçon’s French translation of 1545 but not (Vickers, 414; as reported also by Waith, 22): available in English until 1620, for some of the speeches and details concerning Arcyte’s death. Shakespeare Fletcher The author(s) made use of Plutarch’s ‘Life of Act 1 Scenes 1–4 Prologue Theseus’ (available in North’s Plutarch, 1579) and Act 2 Scene 1 Act 2 Scenes 2–6 possibly John Lydgate’s Siege of Thebes, included Act 3 Scenes 1–2 Act 3 Scenes 3–6 Act 4 Scene 3 Act 4 Scenes 1 & 2 in Stow’s and Speght’s editions of Chaucer. Potter Act 5 Scene 1; Sc 3 & 4 Act 5 Scene 2; epilogue sees the influence in Act 1 of Euripides’Suppliants Total lines: 1,089 Total lines: 1,458 (possibly through Seneca’s version, available in English in Newton’s edition, 1581). Waith believes There is a suggestion that 5.1.1–33 were composed it likely that Ovid’s Metamorphoses were also in by Fletcher. Potter, followed by Shaheen, thinks mind at 1.1.78–9, in the reference to the “scythe- that the original play was written by Shakespeare tusked boar” and at 1.2.85–7, in the reference to and later revised by Fletcher. Phoebus’ anger at his horses. There are two other references to dramatic John Fletcher entertainment on the same subject: (a) a play called Palamon and Arcyte, probably John Fletcher’s earliest known involvement with translated by Richard Edwards from a Latin the theatre dates to c. 1606 when he wrote for version, was performed at Christ Church, the Children of the Queen’s Revels. He is now Oxford, in 1566 before the Queen; this play believed to have co-authored (or revised) Henry was not published but there are accounts of it VIII (see article) and there is a record that he co- by three observers, which are discussed below under Oxfordian Dating. Durand states that it authored with Shakespeare a lost play Cardenio. 3 He is also said to have composed The Woman’s was different from Two Noble Kinsmen. Prize or The Tamer Tamed, as a sequel to The (b) Henslowe’s Diary records four performances Taming of the Shrew. Fletcher is known mainly for of Palamon and Arsett by the Admiral’s Men in his collaboration with Francis Beaumont, but he 1594. 2 also worked with other playwrights. Other possible allusions occurred in Samuel Daniel’s play The Queen’s Arcadia, which features Sources a character called Palamon. This play was performed at Christ Church, Oxford in 1605 and Unfortunately for modern scholarship, Geoffrey published in 1606. The second possible allusion Bullough did not consider this play in his occurs in Barnabe Barnes’ Four Bookes of Offices Narrative and Dramatic Sources of Shakespeare (1606): (1957–74), but the sources have been reviewed by Waith, Potter and Gillespie. The principal source [War] is the noble corrector of all prodigal for TNK was acknowledged in the play’s prologue: states, a skillful bloodletter against all dangerous obstructions and pleurasies of peace. Chaucer (of all admir’d) the Story gives, This seems to echo Arcite’s prayer to Mars in 5.1: There constant to Eternity it lives. (Two Noble Kinsmen Prologue, 13–14) Oh great corrector of enormous times; Shaker of o’er-rank states; thou grand decider Geoffrey Chaucer’s Canterbury Tales containing Of dusty and old titles, that heal’st with blood The Knight’s Talewas available in a number of The earth when it is sick and cur’st the world editions: Thynnes’ (1532), Stow’s (1561) and O’th’ pleurisy of people Two Noble Kinsmen 5.1.62–6 © De Vere Society 3 Dating Shakespeare’s Plays: The Two Noble Kinsmen According to Shaheen, TNK has a much lower from Latin. There is no further data about this density of biblical allusions than other plays. The Latin play. Edwards was later associated with reference at 1.1.158–9 “And his army full of bread Oxford, for both had poems published in The and sloth” seems to echo Ezekiel, 16.49: “Pride, Paradies of Dainty Devices (1576). Edwards was fulness of bread and abundance of idleness” in the also named alongside Oxford as deserving of wording of the 1560 Geneva Bible. Other versions praise for Comedy and Interlude in The Arte of read “fulness of meate”. English Poetrie (by George Puttenham?) in 1589. Chiljan adduces a number of reasons for her Orthodox Dates argument: at 5.4.44, Palamon says in disbelief: “Can that be / When, Venus, I have said, is false?” Most commentators accept a date c.
Recommended publications
  • 'The Apish Art': Taste in Early Modern England
    ‘THE APISH ART’: TASTE IN EARLY MODERN ENGLAND ELIZABETH LOUISE SWANN PHD THESIS UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE JULY 2013 Abstract The recent burgeoning of sensory history has produced much valuable work. The sense of taste, however, remains neglected. Focusing on the early modern period, my thesis remedies this deficit. I propose that the eighteenth-century association of ‘taste’ with aesthetics constitutes a restriction, not an expansion, of its scope. Previously, taste’s epistemological jurisdiction was much wider: the word was frequently used to designate trial and testing, experiential knowledge, and mental judgement. Addressing sources ranging across manuscript commonplace books, drama, anatomical textbooks, devotional poetry, and ecclesiastical polemic, I interrogate the relation between taste as a mode of knowing, and contemporary experiences of the physical sense, arguing that the two are inextricable in this period. I focus in particular on four main areas of enquiry: early uses of ‘taste’ as a term for literary discernment; taste’s utility in the production of natural philosophical data and its rhetorical efficacy in the valorisation of experimental methodologies; taste’s role in the experience and articulation of religious faith; and a pervasive contemporary association between sweetness and erotic experience. Poised between acclaim and infamy, the sacred and the profane, taste in the seventeenth century is, as a contemporary iconographical print representing ‘Gustus’ expresses it, an ‘Apish Art’. My thesis illuminates the pivotal role which this ambivalent sense played in the articulation and negotiation of early modern obsessions including the nature and value of empirical knowledge, the attainment of grace, and the moral status of erotic pleasure, attesting in the process to a very real contiguity between different ways of knowing – experimental, empirical, textual, and rational – in the period.
    [Show full text]
  • The Two Noble Kinsmen: the Oxford Shakespeare Ebook
    THE TWO NOBLE KINSMEN: THE OXFORD SHAKESPEARE PDF, EPUB, EBOOK William Shakespeare,John Fletcher,Eugene M. Waith | 256 pages | 15 Jan 2010 | Oxford University Press | 9780199537457 | English | Oxford, United Kingdom The Two Noble Kinsmen: The Oxford Shakespeare PDF Book The crucial moment in the story, when the two friends catch sight of Emilia and fall in love simultaneously, is presented with heroic pathos, without any comic innuendo. Schute and Lytle made it clear in the post-show question and answer session that they consciously did not include any real suggestion of homoeroticism between the two men. I loved my lips the better ten days after' When Theseus, Duke of Athens, learns that the ruler of Thebes has killed three noble kings he swears to take revenge. Dear Customer, As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. It's an interesting way to approach Researchers have applied a range of tests and techniques to determine the relative shares of Shakespeare and Fletcher in the play in their attempts to distinguish the shares of Shakespeare and Fletcher. He is banished from Athens, but he disguises himself, wins a local wrestling match, and is appointed as Emilia's bodyguard. The boys were riveted throughout. Gerald hails them, and they agree to watch the yokels perform a bizarre act for them, with the jailer's mad daughter dancing. Other subplots in Shakespearean and Fletcherian drama function similarly. The dramatist most probably Shakespeare evidently wanted to present the protagonists, before their interactions with Theseus, as nobly united in friendship and brotherly affection.
    [Show full text]
  • Egan, Gabriel. 2004E. 'Pericles and the Textuality of Theatre'
    Egan, Gabriel. 2004e. 'Pericles and the Textuality of Theatre': A Paper Delivered at the Conference 'From Stage to Print in Early Modern England' at the Huntington Library, San Marino CA, USA, 19-20 March "Pericles" and the textuality of theatre" by Gabriel Egan The subtitle of our meeting, 'From Stage to Print in Early Modern England, posits a movement in one direction, from performance to printed book. This seems reasonable since, whereas modern actors usually start with a printed text of some form, we are used to the idea that early modern actors started with manuscripts and that printing followed performance. In fact, the capacity of a printed play to originate fresh performances was something that the title-pages and the preliminary matter of the first play printings in the early sixteenth century made much of. Often the printings helped would-be performers by listing the parts to be assigned, indicating which could be taken by a single actor, and even how to cut the text for a desired performance duration: . yf ye hole matter be playd [this interlude] wyl conteyne the space of an hour and a halfe but yf ye lyst ye may leue out muche of the sad mater as the messengers p<ar>te and some of the naturys parte and some of experyens p<ar>te & yet the matter wyl depend conuenytently and than it wyll not be paste thre quarters of an hour of length (Rastell 1520?, A1r) The earliest extant printed play in English is Henry Medwall's Fulgens and Lucrece (Medwall 1512-16) but the tradition really begins with the printing of the anonymous Summoning of Every Man (Anonymous c.1515) that W.
    [Show full text]
  • 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.
    [Show full text]
  • Sidney, Shakespeare, and the Elizabethans in Caroline England
    Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rachel Ellen Clark, M.A. English Graduate Program The Ohio State University 2011 Dissertation Committee: Richard Dutton, Advisor Christopher Highley Alan Farmer Copyright by Rachel Ellen Clark 2011 Abstract This dissertation argues that during the reign of Charles I (1625-42), a powerful and long-lasting nationalist discourse emerged that embodied a conflicted nostalgia and located a primary source of English national identity in the Elizabethan era, rooted in the works of William Shakespeare, Sir Philip Sidney, John Lyly, and Ben Jonson. This Elizabethanism attempted to reconcile increasingly hostile conflicts between Catholics and Protestants, court and country, and elite and commoners. Remarkably, as I show by examining several Caroline texts in which Elizabethan ghosts appear, Caroline authors often resurrect long-dead Elizabethan figures to articulate not only Puritan views but also Arminian and Catholic ones. This tendency to complicate associations between the Elizabethan era and militant Protestantism also appears in Caroline plays by Thomas Heywood, Philip Massinger, and William Sampson that figure Queen Elizabeth as both ideally Protestant and dangerously ambiguous. Furthermore, Caroline Elizabethanism included reprintings and adaptations of Elizabethan literature that reshape the ideological significance of the Elizabethan era. The 1630s quarto editions of Shakespeare’s Elizabethan comedies The Merry Wives of Windsor, The Taming of the Shrew, and Love’s Labour’s Lost represent the Elizabethan era as the source of a native English wit that bridges social divides and negotiates the ii roles of powerful women (a renewed concern as Queen Henrietta Maria became more conspicuous at court).
    [Show full text]
  • |||GET||| Ben Jonson 1St Edition
    BEN JONSON 1ST EDITION DOWNLOAD FREE John Palmer | 9781315302188 | | | | | Ben Jonson folios The playbook itself is a mixture of halfsheets folded and gathered into quarto format, supplemented by a handful of full sheets also gathered in quarto and used for the final quires. Robert Allott contracted John Benson to print the first three plays of an intended second Ben Jonson 1st edition volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Views Read Edit View history. He reinstated the coda in F1. Occasional mispagination, as issued, text complete. See Lockwood, Shipping and insurance charges are additional. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Markings on first page and title page. Each volume in the series, initially under the direction of Willy Bang and later Henry De Vocht, sought to explore how compositors and correctors shaped the work, and included extensive analyses of the press variants between individual copies of a playbook as well as Ben Jonson 1st edition variants between editions. More information about this seller Contact this seller 1. Seemingly unhindered by concerns over time or space or materials, the Oxford editors included along with the texts a Jonson biography summing up all that was known of the poet and playwright at the time, a first-rate set of literary annotations and glosses, invaluable commentary on all the plays, and other essential secondary resources such as a stage history of the plays, Jonsonian allusions, and a reconstruction of Jonson's personal library.
    [Show full text]
  • Fletcher & Shakespeare's the TWO NOBLE KINSMEN
    Fletcher & Shakespeare's THE TWO NOBLE KINSMEN THE TWO NOBLE KINSMEN Prefented at the Blackfriers, by the Kings Maiefties fervants, with great applaufe: Written by the memorable Worthies of their time; {Mr. John Fletcher, and} Gent. {Mr. William Shakefpeare} Printed at London by Tho. Cotes, for Iohn Waterferfon: and are to be fold at the figne of the Crowne in Pauls Church-yard. 1634 Modern Spelling Transcribed by BF. copyright © 2002 Words discussed in the glossary are underlined. Run-ons (closing open ends) are indicated by ~~~ THE PERSONS OF THE PLAY PROLOGUE THESEUS , Duke of Athens. HIPPOLYTA, Queen of the Amazons, later wife of Theseus. EMILIA, her sister. PIRITHOUS, friend of Theseus. Cousins, nephews of Creon, the King of Thebes. PALAMON ARCITE HYMEN, god of marriage. BOY ARTESIUS, Athenian soldier. Three QUEENS, widows of slain kings. VALERIUS, a Theban. HERALD WOMAN, attendant of Emilia. GENTLEMAN MESSENGERS Six KNIGHTS, three attending Arcite and three Palamon. SERVANT JAILER DAUGHTER JAILER'S BROTHER WOOER Two FRIENDS DOCTOR Six COUNTRYMEN SCHOOLMASTER NELL, a country wench. FOUR OTHER COUNTRY WENCHES TABORER EPILOGUE NYMPHS, ATTENDANTS, MAIDS, EXECUTIONER, GUARD. Scene: Athens. Time: Mythological (ca. 1300-1200 b.c.); before the Trojan War. CONTENTS The Two Noble Kinsmen Appendix I Glossary Length Source Suggested Reading Attribution of Scenes Appendix II: Connections ACT I Prologue [Flourish. Enter Prologue.] PROLOGUE: New plays and maidenheads are near akin: Much followed both, for both much money giv'n If they stand sound and well. And a good play, Whose modest scenes blush on his marriage day That after holy tie and first night's stir Yet still is modesty, and still retains More of the maid to sight than husband's pains.
    [Show full text]
  • The Two Noble Kinsmen"
    Multicultural Shakespeare: Translation, Appropriation and Performance Volume 12 Article 10 June 2015 Chaucer and His Bastard Child: Social Disjunction and Metaliterariness in "The Two Noble Kinsmen" Piotr Spyra Department of Studies in Drama and pre-1800 English Literature at the University of Łódź, Poland Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Part of the Theatre and Performance Studies Commons Recommended Citation Spyra, Piotr (2015) "Chaucer and His Bastard Child: Social Disjunction and Metaliterariness in "The Two Noble Kinsmen"," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 12 , Article 10. DOI: 10.1515/mstap-2015-0010 Available at: https://digijournals.uni.lodz.pl/multishake/vol12/iss27/10 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance vol. 12 (27), 2015; DOI: 10.1515/mstap-2015-0010 ∗ Piotr Spyra Chaucer and His Bastard Child: Social Disjunction and Metaliterariness in The Two Noble Kinsmen The Two Noble Kinsmen is a play whose history lies in the shadow of the issue of authorship. For many centuries the interest of critics and scholars in this work sprang almost entirely from Shakespeare’s involvement in its creation and ended precisely at those moments in the text where the Bard’s contribution shifted into what was seen as John Fletcher’s mediocre postscript to Shakespeare’s magnificent verse.
    [Show full text]
  • Collaboration Between William Shakespeare and John
    ... H WITH A ‘CO-ADJUTOR’: COLLABORATION ON J D AN E BETWEEN WILLIAM SHAKESPEARE AND R ESPEA K JOHN FLETCHER IN THE TWO NOBLE A H S 1 IAN KINSMEN LL I W EEN Com “ajudante”: colaboração entre William W BET Shakespeare e John Ffletcher em Os dois primos ATION R nobres ABO LL O ’: C R UTO DJ A - O C ‘ A H IT . W B José Roberto Basto O’Shea* , J. R. EA H S ’ O RESUMO O presente ensaio visa sintetizar, criticamente, o conhecimento existente acerca da controversa questão da colaboração no contexto teatral elisabetano-jaimesco, em geral, e no caso da composição da peça Os Dois Primos Nobres (1613-1614), especificamente. Recorrendo a seis procedimentos distintos atualmente empregados por especialistas para verificar e aferir autoria e coautoria, o ensaio conclui em favor de inquestionável colaboração entre William Shakespeare, veterano dramaturgo da companhia The King’s Men, e John Fletcher, dramaturgo iniciante junto à mesma companhia à época. Palavras-chave: colaboração; coautoria; Shakespeare; Fletcher; Os Dois Primos Nobres. 1 This essay was researched at the Folger Shakespeare Library, in Washington, DC, in 2013, while the author held a short-term Folger fellowship. * Universidade Federal de Santa Catarina (UFSC). REVISTA LETRAS, CURITIBA, N. 92 P. 49-65, JUL/DEZ. 2015. ISSN 2236-0999 (VERSÃO ELETRÔNICA) 49 O’SHEA, J. R. B. WITH A ‘CO-ADJUTOR’: COLLABORATION BETWEEN WILLIAN SHAKESPEARE AND JONH... ABSTRACT This essay attempts critically to synthesize existing knowled- ge as regards the controversial issue of collaboration in the Elizabethan-Jacobean theatrical context, in general, and in the case of the composition of the play The Two Noble Kinsmen (1613-1614), in particular.
    [Show full text]
  • Edward De Vere and the Two Noble Kinsmen
    Edward de Vere and The Two Noble Kinsmen Michael Delahoyde e can detect in early Elizabethan literary culture an apparent fad for dramatizing the initially “classical and then humanist theme of W amicitia , the idealised male friendship celebrated in such key Renaissance pedagogical texts as Cicero’s De amicitia and De officiis and Seneca’s De beneficiis ” (Stewart 58). What we cannot detect in early Elizabethan literary culture is an early Elizabethan literary culture—that is, before Edward de Vere, 17th Earl of Oxford, who provided England with its long-awaited national, cultural, multi-disciplinary Renaissance. Damon and Pythias The tale of Damon and Pythias, whose story epitomized for centuries the ideal of male friendship in Western culture, showed up in a 1571 quarto, three copies of which are still extant. Further evidence points to a Damon and Pithias being performed before Queen Elizabeth during the 1564 Christmas season at Whitehall shortly after her severe bout with fever (White 6). The quarto edition, considered the first tragicomedy in English, ambiguously attributes the work to Richard Edwards (1524-1566), Master of the Children of the Chapel Royal during the last five years of his life. In terms of Elizabethan theatrical history, most interesting, though, is this from the character Damon: 117 THE OXFORDIAN VOLUME XV 2013 Delahoyde Pithagoras said, that this world was like a Stage, Wheron many play their partes (348-349). Shakespeare editors assure us that the famous conceit was well-worn by the time he used it in As You Like It . But one wonders if, as possibly with Romeus and Juliet , Shakespeare wasn’t just drawing upon his own earlier work.
    [Show full text]
  • Shakespeare and Hospitality
    Shakespeare and Hospitality This volume focuses on hospitality as a theoretically and historically cru- cial phenomenon in Shakespeare’s work with ramifications for contempo- rary thought and practice. Drawing a multifaceted picture of Shakespeare’s numerous scenes of hospitality—with their depictions of greeting, feeding, entertaining, and sheltering—the collection demonstrates how hospital- ity provides a compelling frame for the core ethical, political, theological, and ecological questions of Shakespeare’s time and our own. By reading Shakespeare’s plays in conjunction with contemporary theory as well as early modern texts and objects—including almanacs, recipe books, hus- bandry manuals, and religious tracts—this book reimagines Shakespeare’s playworld as one charged with the risks of hosting (rape and seduction, war and betrayal, enchantment and disenchantment) and the limits of gen- erosity (how much can or should one give the guest, with what attitude or comportment, and under what circumstances?). This substantial volume maps the terrain of Shakespearean hospitality in its rich complexity, offering key historical, rhetorical, and phenomenological approaches to this diverse subject. David B. Goldstein is Associate Professor of English at York University, Canada. Julia Reinhard Lupton is Professor of English and Comparative Literature at the University of California, Irvine. Routledge Studies in Shakespeare 1 Shakespeare and Philosophy 10 Embodied Cognition and Stanley Stewart Shakespeare’s Theatre The Early Modern 2 Re-playing Shakespeare in Asia Body-Mind Edited by Poonam Trivedi and Edited by Laurie Johnson, Minami Ryuta John Sutton, and Evelyn Tribble 3 Crossing Gender in Shakespeare Feminist Psychoanalysis and the 11 Mary Wroth and Difference Within Shakespeare James W.
    [Show full text]
  • 1 - Registered Charity No
    - 1 - Registered charity no. 212481 © Royal Shakespeare Company ABOUT THIS PACK This pack supports the RSC’s 2016 production of The Two Noble Kinsmen, directed by Blanche McIntyre. The production opened on 17 August 2016 at the Swan Theatre in Stratford-upon-Avon. The activities provided are specifically designed to support KS3-4 students attending the performance and studying The Two Noble Kinsmen in school, with extension activities suggested for older or more capable learners. These symbols are used throughout the pack: CONTENTS READ Notes from the production, About this Pack and Production Page 2 background info or extracts Exploring the Story Page 3 ACTIVITY Nobility and Friendship Page 5 A practical or open space activity Women in the Play Page 6 WRITE Resources Page 10 A classroom writing or discussion activity LINKS Useful web addresses and research tasks ABOUT THE PRODUCTION In the 2016 production of The Two Noble Kinsmen Blanche McIntyre and designer Anna Fleischle have created a striking set for the Swan Theatre which you can see in the image opposite. Framing the thrust stage with iron bars, the action of the play has a constant sense of being watched, but also imprisoned. Anna and Blanche referenced fighting pits in their initial discussions about the set, looking to create the sense of the audience as spectators of violent sport in watching the events of the play unfold. A play about two young men, separated by a conflict over a woman and forced to fight one another for the right to pursue her, this play The set of The Two Noble Kinsmen.
    [Show full text]