“Anti-Stratfordian Theory” Or Shakespeare's Authorship Question
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Shakespeare Wrote Shakespeare
OPEN FORUM The Pages of The Oxfordian are open to all sides of the Authorship Question Shakespeare Wrote Shakespeare David Kathman or the vast majority of Shake- speare scholars, there is no ‘au- thorship question’; they agree that F the works of William Shake- speare were written by William Shake- speare of Stratford-upon-Avon (allow- ing for some collaboration), and tend to ignore or dismiss anyone who claims oth- erwise. In the following pages I will try to explain, from the perspective of a Shake- speare scholar, why the Stratford Shakespeare’s authorship is so generally ac- cepted by historians, and why those historians do not take seriously the various attempts to deny that attribution. I realize from experience that this explanation is not likely to convince many committed antistratfordians, but at the very least I hope to correct some misconceptions about what Shakespeare scholars actually believe. For the purposes of argument, we can distinguish among three main strands of William Shakespeare’s biography, which I will call Stratford Shakespeare, Actor Shakespeare, and Author Shakespeare. Stratford Shakespeare was baptized in Stratford-upon-Avon in 1564, married Anne Hathaway in 1582, had three children with her, bought New Place in 1597 and various other properties in and around Stratford over the following decade, and was buried in there in 1616. Actor Shakespeare was a member of the Lord Chamberlain’s/King’s Men, the leading acting company in London from 1594 on, and an original sharer in the Globe and Blackfriars playhouses. Author Shakespeare signed the dedications of Venus and Adonis (1593) and The Rape of Lucrece (1594), and over the next twenty years was named on title 13 THE OXFORDIAN Volume XI 2009 Kathman pages as the author of numerous plays and poems, and was praised by such crit- ics as Francis Meres and Gabriel Harvey. -
Shakespeare and London Programme
andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries. -
1940, February
Li. _____.... d1Y l '"'T�� tt r t>' J�:� 6•1?4�' news-£e e UN<\ The SHAKESPEARE FELLOWSHIP-E.wA,HIM,rnN AMERICAN BRANCH VOL. I FEBRUARY, 1940 NO. 2 The Secret Personality of "Shakespeare" Brought to Light After Three Centuries The Ashbourne portrait (above), owned by the cally for the first time in history - with results Folger Shakespeare Library, and two other famous likely to change the whole course of Shakespearean paintings of the poet have been dissected scientifi• research. Solution of authorship mystery at hand. 2 NEWS-LETTER Scientific Proof Given that Lord Oxford Posed for Ancient Portraits of the Bard X-RAYS AND INFRA-RED PHOTOGRAPHY SHOW THAT EDWARD DE VERE, MYSTERIOUS LITERARY NOBLEMAN, IS THE REAL MAN IN THE FAMOUS ASHBOURNE "SHAKESPEARE" AND ALSO IN OTHER PAINTINGS OF ENGLAND'S GREATEST DRAMATIST. CHARLES WISNER BARRELL'S EPOCH-MAKING DISCOVERIES ARE FEATURED BY SCIENTIFIC AMERICAN AND TELEGRAPHED TO MORE THAN 2,000 NEWSPAPERS BY THE ASSOCIATED PRESS AND OTHER NEWS AGENCIES. WORK OF AMERICAN SECRETARY OF THE SHAKESPEARE FELLOW SHIP REPRESENTS A LANDMARK IN ELIZABETHAN RESEARCH AND MAY CAUSE IMMEDIATE REVALUATION OF THE COMMONLY ACCEPTED THEORY OF THE AUTHORSHIP OF THE PLAYS. Early in the morning of December 13, 1939 - It has remained for the American secretary of a date not soon to be forgotten by anyone in THE SHAKESPEARE FELLOWSHIP and a skilled terested in the pictorial record of "Mr. William group of technicians working under his direction, Shakespeare" - the news operators of the As to bring to light and accurately interpret after sociated Press began to tap out across two exhaustive corroborative studies among Eliza thousand wires leading to newspapers throughout bethan and Jacobean art, historical and genealog the length and breadth of the American continent, ical records, facts which the foremost "orthodox" a feature story that began as follows: Shakespearean authorities have completely over New York, Dec. -
English 725: Shakespeare: Tragedies Week 1 Organization Romeo and Juliet. Acts
English 725: Shakespeare: Tragedies Week 1 Organization Romeo and Juliet. Acts 1-2 Week 2 Romeo and Juliet. Acts 3-5 Romeo and Juliet Week 3: Julius Caesar, Acts 1-2 Julius Caesar, Acts 3-5 Week 4: Julius Caesar Review Week 5: EXAM: Take Home Hamlet, Acts 1-2 Week 6: Hamlet, 3-5 Hamlet Week 7: Hamlet Othello, Acts. 1-2 Week 8: Othello, Acts 3-5 Othello Week 9: Review of Hamlet and Othello Week 10: King Lear, Acts 1-2 King Lear, Acts 3-5 Week 11: King Lear Macbeth, Acts 1-2 Week 12: Macbeth, Acts 3-5 Macbeth Week 13: The Winter’s Tale, Acts 1-2 The Winter’s Tale, Acts 3-5 Week 14 The Winter’s Tale Paper Due: (Submitted online by 5:00 P.M.) Week 15 Review Review Final Exam: Take Home Exam Assignments: --One in class report; 20-30 minutes (see topics below) --Complete reading assignment before each class. --One take home midterm exam; one take home final exam. --One 4000-6000 word paper: due April 28. Topics listed below. To be submitted online by 5:00 P.M. Early drafts of the paper may be submitted for me to return and read no later than one week before the due date. --Final exam: Take Home Exam Learning objectives: Through classroom discussion and original written criticism, students will be able to explain the historical importance of Shakespeare’s tragedies as works of art and as historical documents. Students will learn how to analyze, evaluate, and employ interpretative approaches in speaking and writing about Shakespeare and will develop a professional competency in critical thinking and writing about literature. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
Othello Theme: the Challenges of Staging the Play
Discovering Literature www.bl.uk/shakespeare Teachers’ Notes Curriculum subject: English Literature Key Stage: 4 and 5 Author / Text: William Shakespeare, Othello Theme: The challenges of staging the play Rationale These activities encourage young people to join the debate about how to stage and cast Othello. Students will consider the sensitive question of who should play the central roles – black or white actors, men or women. Using controversial paintings, playbills and production photos, they will explore how changing social contexts have shaped the way Othello has been staged over the course of four centuries. They will debate the pros and cons of different productions, and plan how they would stage the play if they could do so themselves. Content Literary and historical sources from the site: Portrait of Richard Burbage (early 17th century) The first illustrated works of Shakespeare edited by Nicholas Rowe (1709) Painting of Ira Aldridge as Othello (1826) Playbill advertising Ira Aldridge’s appearance as Othello in Northampton (1831) Playbill advertising Ira Aldridge’s appearance as Othello, Richard III and Shylock in Newcastle (1845) Paul Robeson as Othello and Uta Hagen as Desdemona (1943–44) Postcard of Olivier as Othello (1964) Photograph of Hugh Quarshie and Lucian Msamati in Othello (2015) Photograph of Joanna Vanderham and Hugh Quarshie in Othello (2015) Recommended reading (short articles): Playing Othello: Hugh Quarshie Othello, the role that entices and enrages actors of all skin colours: Andrew Dickson External -
Richard Burbage and William Shakespeare
detail of the sketch showing the head of Tamora (fig. 3) was compared with two authentic portraits of the actor,1 one of which is here reproduced in part (fig. 4). Optical resemblances emerged in six respects: (1) medium-high, sloping forehead, (2) prominent nose, (3) nostrils (curved lower edge of the left nostril), (4) thin outside upper lip, (5) thin outside lower lip, (6) low chin. No divergences were detected. According to the expert opinion, this result suggests that the persons depicted in the Titus sketch (as Tamora) and in the Burbage portraits are identical. In the case of the actor playing Titus, whom I believe to be William Shakespeare, it was not possible for the Bundeskriminalamt experts to make a forensic pictorial comparison, as a considerable portion of the head is concealed – the forehead by a broad laurel wreath and much of the face by a beard, sideburns and a moustache (fig. 5). However, identification of Richard Burbage in the Peacham sketch does not only constitute evidence that Peacham drew it directly from an Elizabethan performance and that the first great Shakespearean actor was presumably depicted here for the first time. In view of the close cooperation and joint appearances of Burbage and Shakespeare as the main actors in the Lord Chamberlain's Men, it also allows us to conclude that this 1594 drawing of the opening scene of William Shakespeare’s early revenge play Titus Andronicus shows the playwright himself in the role of the eponymous hero (cf. fig. 5).2 In her essay "Rereading the Peacham Drawing" June Schlueter propounds the thesis that "the Peacham drawing depicts a sequence from Eine sehr klägliche Tragœdia von Tito Andronico und der hoffertigen Käyserin (A very Lamentable Tragedy of Titus Andronicus and the Haughty Empress), a play perfomed in Germany by English actors which survives, in German, in a volume published in Leipzig in 1620 as Engelische Comedien und Tragedien" (Schlueter 1999, 171). -
Shakespeare DT Vrs.2
William Shakespeare (1564-1616) William Shakespeare is considered the greatest playwright of all time, and his writings have been celebrated for over 400 years.. He was an English poet, playwright and actor. Although his plays are what he is known for best, he also wrote poems that are still popular today. Shakespeare’s Family Life Shakespeare was born in Stratford-upon-Avon, England, about 100 miles away from London. He was the child of John Shakespeare, a leather merchant, and Mary Arden, a local land heiress. Shakespeare had two older sisters, Joan and Judith, and three younger brothers, Gilbert, Richard and Edmund. In 1582 Shakespeare married Anne Hathaway. Hathaway was from Shottery, a small village a mile from Stratford. Together they had 8 children. Shakespeare in London After he and Anne had twins in 1585, there are no records of the next several years of his life. Historians often refer to these years as the "lost years." There are lots of theories and stories about what Shakespeare was doing during this time. He and his family eventually ended up in London where Shakespeare was working at the theatre. During his time in London, Shakespeare’s first printed works were published. He also became a founding member of The Lord Chamberlain’s Men, a company of actors. Shakespeare was the company's main playwright, producing about two plays a year, for almost twenty years. An acting company in England at this time would worked together to put on plays.There were typically around ten actors in a company including a lead actor, character actors, and some comedians. -
Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on Twelfth Night 2017 with Alex LaGrand who worked on King Lear 2016 with Zack Powell who worked on Henry IV Part II 2015 with John Ahlin who worked on Macbeth 2000 with Jerry Hands who worked on Much Ado About Nothing 1984 with Derek Jacobi who worked on Othello 1964 with Laurence Olivier who worked on Romeo and Juliet 1935 with Edith Evans who worked on The Merry Wives of Windsor 1918 with Ellen Terry who worked on The Winter’s Tale 1856 with Charles Kean who worked on Richard III 1776 with David Garrick who worked on Hamlet 1747 with Charles Macklin who worked on Henry IV 1738 with Colley Cibber who worked on Julius Caesar 1707 with Thomas Betterton who worked on Hamlet 1661 with William Davenant who worked on Henry VIII 1637 with John Lowin who worked on Henry VIII 1613 with John Heminges who worked on Hamlet 1603 with William Shakespeare. -
Pembroke's Men in 1592–3, Their Repertory and Touring Schedule
Issues in Review 129 22 Leland H. Carlson, Martin Marprelate, Gentleman: Master Job Throckmorton Laid Open in his Colours (San Marino: Huntington Library, 1981), 72–81; Donald J. McGinn, John Penry and the Marprelate Controversy (New Bruns- wick, NJ, 1966), 134. 23 John Laurence, A History of Capital Punishment (New York, 1963), 9; see also Naish, Death Comes to the Maiden, 9, and Frances E. Dolan, ‘“Gentlemen, I have one more thing to say”: Women on Scaffolds in England, 1563–1680’, Modern Philology 92 (1994), 166. Pembroke’s Men in 1592–3, Their Repertory and Touring Schedule Some years ago, during a seminar on theatre history at the annual meeting of the Shakespeare Association of America, someone asked plaintively, ‘What did bad companies play in the provinces?’ and Leeds Barroll quipped, ‘Bad quartos’. The belief behind the joke – that ‘bad’ quartos and failing companies went together – has seemed specifically true of the earl of Pembroke’s players in 1592–3. Pembroke’s Men played in the provinces, and plays later published that advertised their ownership have been assigned to the category of texts known as ‘bad’ quartos. Even so, the company had reasons to be considered ‘good’. They enjoyed the patronage of Henry Herbert, the earl of Pembroke, and gave two of the five performances at court during Christmas, 1592–3 (26 December, 6 January). Their players, though probably young, were talented and committed to the profession: Richard Burbage, who would become a star with the Chamberlain’s/King’s Men, was still acting within a year of his death in 1619; William Sly acted with the Chamberlain’s/King’s Men until his death in 1608; Humphrey Jeffes acted with the Admiral’s/Prince’s/Palsgrave’s Men, 1597–1615; Robert Pallant and Robert Lee, who played with Worcester’s/ Queen Anne’s Men, were still active in the 1610s.