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The First Part of Sir John Oldcastle
(the un iversity or a bic ag o FOUNDID BY J OH N D. ROCKEFELLEB T H E FIRS T PA RT OF SIR JOH N OLDCA STLE A H IS TORICAL DRAM A BY MICH ON , TH Y M H THW Y AND AN ON A A , ROBERT WILSON E E DIT D WITH AN IN TROD UCTION , CRITICAL TEXT . AND NOTES A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE OF THE UNIVERS ITY OF CHICAGO IN CAN DIDACY FO R T H E D E G RE E O F DOCTOR OF PHILOSOPHY (DEPARTM EN T OF ENGLIS H ) JOHN ROBERTSON M ACARTHUR J J J J J CHICAGO S C T T F RES M AND C M P Y O , O AN O AN 1 907 E L! CONTENTS ACKNOWLEDGM ENTS HIS TORY OF T H E TEXT AND ITS EDIT IONS ’ Recor ds in Henslowe . Records in the Stationers Re r . E i s : B . R giste d tion A , , C , D , etc elations of ° A B . r E i . r , , C , D Othe d tions The Second Pa t of Sir John Oldcastle . SOURCES AND GROWT H OF T H E PLAY ' The Rea l Sir John Oldcastle . Immediate Sources — h Holinshed . Causes w ich led to the Wr iting of Sir John Oldcastle : Oldcastle and Falsta ff ; Influence of r r r s Foxe ; G owth of the Oldcastle Sto y in two fo m , Catholic and Protestant ; Wr iting of Sir John Old ’ cas tle ; Wee ver s Poem ; Influence of Henry IV and V ’ — on Oldcastle ; Influence of Peele s Edward I Rela ’ tions in detail ; Relation to Gr eene s Pin ner of Wake R rr E field ; elation to the Me y Devil of dmonton . -
CHOATE-DOCUMENT-2020.Pdf
Copyright Evan Choate 2020 ABSTRACT Fictional Texts, Imaginary Performances, and Historiographic Desire in Renaissance England by Evan Choate This dissertation explores how and why we care about history. I argue that our investment in the past is inseparable from the ways we represent it. Historiographic desire both animates and is animated by a continuous performance of historical proliferation that we experience as exhaustion, frustration, boredom, paranoia, and disappointment. Far from blunting history’s appeal, these affects mark the depth of our investment in it. To understand the dynamics of history as vertiginous webs of fictional texts and imaginary performances, I look to the radical innovations in methodology that emerged from the crucible of the English Reformation, which are too often understudied in the context of literary historicism. By attending the reciprocal evolution of drama and historiography over the course of the sixteenth century, I provide a novel account of the productive tensions among history, desire, and subjectivity that persist to this day. The theater was fundamental to the way Protestant historians such as John Foxe encountered the past. For Foxe, the renewable presence of performance and the duality of theatrical representation provided the basic structure for understanding how and why the past mattered. Theater provided a means of reconciling the objectivity that Foxe wanted from history and his awareness of the inherent subjectivity of actually producing history. Foxe’s influential recentering of history as a mode of experiencing the present was iv essential to the emergence of the commercial theater in London, which produced plays with a level of characterological sophistication and depth unlike anywhere else in sixteenth-century Europe. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Jane Shore, Edward IV, and the Politics of Publicity
Jane Shore, Edward IV, and the Politics of Publicity joseph mansky, Bard College n 1614, the ghost of Richard III gleefully recalled the “peece of Iustice” he 1 had inflicted on “Mistresse Shore,” the mistress of his brother Edward IV. i“ ’ ” fi ’ Shore s wife, as she was also known, rst appeared in Thomas More s His- tory of King Richard III. She featured as the only female exemplar in the second edition of the Mirror for Magistrates (1563), and through a spate of verse com- 2 plaints, she continued to tell her story in the 1590s. All versions follow roughly the same outline: Shore’s wife rises to power as Edward’s favorite mistress and then falls precipitously once Richard seizes the throne. Richard’s ghost, in the 1614 narrative poem by Christopher Brooke, revels in his hypocrisy “when (with a fained hate / To vnchast Life) I forced her to goe / Bare-foote, on penance, with deiected State.” But this “peece of Iustice” seems to have backfired. Shifting from medieval England to early modern London, Richard’s ghost bitterly complains, But now her Fame by a vild Play doth grow; Whose Fate, the Women so commisserate, That who (to see my Iustice on that Sinner) 3 Drinks not her Teares; & makes her Fast, their dinner? On the stage, Mistress Shore attracts not condemnation but intense sympathy. Women playgoers, Richard’s ghost claims, are particularly moved by her specta- 1. Christopher Brooke, The ghost of Richard the Third (London, 1614), sig. F1r. 2. For the literary history of Mistress Shore, see James L. -
Hamlet and the Invention of Tragedy1
Hamlet and the invention of Tragedy1 Helen Cooper UNIVERSITY COLLEGE, OXFORD The first thing that should be said about Hamlet is that he is a serial killer. He kills off a higher proportion of the speaking cast list, either directly with his own hand or indirectly, than any other Shakespearean character, including Richard III and Macbeth. To begin with, his victims include the entire Polonius family. He kills Polonius deliberately, though it is true that he believes him to be someone else at the time; but such an instance of mistaken identity, of killing B when one had set out with the intention of killing A, is not acceptable as an excuse for murder in a court of law. Laertes he kills with his own hand, though inadvertently; the text leaves open the opportunity, taken up in many productions, to have Hamlet engineer the change of swords deliberately as result of realizing that Laertes’ is unbated, but he cannot know that it is poisoned. Ophelia’s death he causes indirectly, but there can be no question but that he carries total moral responsibility for it, first tendering her affection, then proceeding through public humiliation to private violent abuse, and finally murdering her father. The First Quarto has Laertes make the double accusation of responsibility for the catastrophes to both Polonius and Ophelia explicit: Griefe upon griefe, my father murdered, My sister thus distracted: Cursed be his soule that wrought this wicked act.2 At no point, however, does Hamlet acknowledge his own role in bringing about her death, nor does he show any compunction over it. -
Sir John Oldcastle Downloaded From
484 July Sir John Oldcastle Downloaded from INCE the early days of the English Reformation Sir John S Oldcastle has held a high place in the traditions of his country. Two of the chief advocates of protestantism, seeking edification in the history of their Lollard predecessors, published accounts of http://ehr.oxfordjournals.org/ his Bufferings; and his renown, proclaimed by Tyndale's work,1 and doubtless increased by the issue of Bale's Bre/e Chronyclc* grew higher and higher till he came to be regarded as a, national heTo. Early in the reign of Elixabeth, however, Foxe had to defend his eulogy of Oldcastle against the criticism of a Roman catholic historian ; and a generation or so later the Lollard advocates broke a lance with the dramatist*, whose traditions made Oldcastle fl. roystering buffoon. The sympathies of the ascendant at University of Manitoba on August 31, 2015 party were on Foxe's side; his reply succeeded in silencing hiB opponent, and Shakespeare was driven to change the surname of a famous character from Oldcastle to Falstaff.1 Oldcastle'a fame has been kept alive down to modern times by fresh editions of old works and the publication of new ones. He has been associated with Wycliffe, HUB, and Latimer as one of the heroes of the Reformation,4 and with "W»t Tyler and John Ball as a ' popular leader' of the middle ages;' and in the hands of one writer the lAf* and Time$ of Lord Cobham have been made to fill two sub- 1 This nrk, which tu poMbhwl in 1AM, U unfortunately lori. -
Sir John Oldcastle and the Construction of Shakespeare's
SEL38 (1998) ISSN 0039-3657 SirJohn Oldcastle and the Construction of Shakespeare's Authorship DOUGLAS A. BROOKS Let vs returne vnto the Bench againe, And there examine further of this fray. -SirJohn Oldcastle, I.i.124-5 A decade ago the editors of the Oxford William Shakespeare: The CompleteWorks replaced the name of the character called Falstaff in Henry IVPart Iwith a hypothetically earlier version of the character's name, Sir John Oldcastle. The restoration of Oldcastle to the Oxford edition makes it the first authoritative text to undo an alteration which, as scholars have long suspected, Shakespeare himself must have made sometime between a non-extant 1596 performance text and the 1598 quarto of the play. The resulting scholarly debate over this editorial decision has touched on a number of significant issues linked to the authority and authenticity of "Shakespearean" texts, and it has raised important questions about how these texts were shaped by the material, religious, and political conditions in which they were produced.l In the case of HenryIVPart I, crit- ics have struggled to reconstruct how an early version of the text with Oldcastle as the protagonist of the unworthy knight plot might have placed the play and its author in a complicated Douglas A. Brooks recently completed his Ph.D. at Columbia University, and is assistant professor of Shakespeare and Renaissance Drama at Texas A&M University. He is currently working on a book about early modern dramatic authorship and print. 334 SIR JOHN OLDCASTLE position between an individual's reputation and a nation's. -
Ricardian Register
Ricardian Register Richard III Society, Inc. Vol. 47 No. 2 September, 2016 King Richard III Printed with permission ~ Jamal Mustafa ~ Copyright © 2014 In this issue: Thomas More, John Morton and Richard III ~ A Footnote to a Footnote: William Brandon of Soham, Henry Tudor’s Standard Bearer ~ In the Vigil of St Bartholomew ~ A Monk Expounds upon Knighthood: Alexander Barclay and St George ~ Richard III’s Intestinal Infection—Fact vs. Fiction ~ 2016 Annual Report Inside cover (not printed) Contents Thomas More, John Morton and Richard III 2 A Footnote to a Footnote: 4 In the Vigil of St Bartholomew 8 A Monk Expounds upon Knighthood: 11 Richard III’s Intestinal Infection—Fact vs. Fiction 18 Ricardian Reviews 23 2016 Annual Report: Richard III Society, American Branch 34 ex libris 40 Board, Staff, and Chapter Contacts 42 Membership Application/Renewal Dues 43 Advertise in the Ricardian Register 44 From the Editor 44 Submission guidelines 44 ❖ ❖ ❖ ©2016 Richard III Society, Inc., American Branch. No part may be reproduced or transmitted in any form or by any means mechanical, electrical or photocopying, recording or information storage retrieval—without written permission from the Society. Articles submitted by members remain the property of the author. The Ricardian Register is published two times per year. Subscriptions for the Register only are available at $25 annually. In the belief that many features of the traditional accounts of the character and career of Richard III are neither supported by sufficient evidence nor reasonably tenable, the Society aims to promote in every possible way research into the life and times of Richard III, and to secure a re-assessment of the material relating to the period, and of the role in English history of this monarch. -
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. -
The Directors' Festival
The Directors’ Festival The UK’s biggest celebration of screen directing talent The Queen Elizabeth II Conference Centre, Saturday 1st July 2017 #DUKFest17 @Directors_UK Welcome to The Directors’ Festival 2017 Contents Message from Chair Steve Smith 5 Message from CEO Andrew Chowns 7 History of Directors UK 10 Programme 12 Biographies 16 “The ALEXA Mini is the perfect camera for drone aerials, it’s cleverly designed, intuitive to operate and allows us to create beautiful images in the air that match seamlessly with the ARRI cameras on the ground.” The Helicopter Girls And Then There Were None (BBC); Mission Impossible 5 (Paramount); McDonalds: We Are Awake (Tantrum), Detectorists (BBC) www.arri.com/alexamini “The ALEXA provides a canvas that gives you total creative confi dence to use di erent optics for di erent projects, safe in the knowledge that the core quality is already outstanding.” Cinematographer John Conroy, ISC Penny Dreadful (S-2+3), Jamestown, The Tunnel (S-2), Fortitude, Broadchurch (S-2), Luther (S-3+4), The Smoke, The Sea, Parked, Upstairs Downstairs, Silent Witness www.arri.com/alexa “Most of my documentary work is about capturing human emotion in the moment. No retakes, no second chances. With perfect ergonomics, killer sensor, and simple functionality, my AMIRA gives me complete confi dence and control.” Cinematographer Johann Perry David Beckham: For the Love of the Game; Stephen Fry: Out There; JK Rowling: Who Do You Think You Are; Till Death Do Us Part “Quite simply, the ARRI AMIRA is the best documentary camera I have had on my shoulder in over 20 years.” Cinematographer Neil Harvey (One Direction: Where We Are Tour; Fullwell73) www.arri.com/amira www.arri.com Inspiring your Vision. -
Faculty, Students, Administrators Spill the Beans
The $800,000 Football Coach * Another Crawley Budget Deficit *Football Recruitment and the Abuse of General Studies *Dave Rice Dreams of Greatness and Checking Accounts Pages 4,5 THURSDAY, MARCH 2, 1978 VOL. 60 U Bronx, NY. AM NO. 7 Permit No'7608 FORDHAM UNIVERSITY, NEW YORK NonProfit Org. s Breaking It Open: Faculty, Students, Administrators Spill the Beans by Carol Coyne SABC ran out of money. On 3:30 Wednesday, the day The noted Crawley's absence, Moore explained that he had sug- Ram goes to press, Kelly received a letter from Fr. Dunn, gested that Crawley not come to the meeting. "I thought it Nearly 200 students jammed into Bishop's Lounge to threatening Kelly and the staff on the Ram if they put out the better," Moore explained to prevent..." As he stumbled for a express their concern for conditions at Fordham which have paper. word, someone in the audience suggested "...to prevent a driven them to the points many described as "frustation and "1 was responsible for 30 staff members, but we had infor- riot?" • despair." mation which was important to communicate to the campus. Student Communications The tense and emotional meeting moved quickly as stu- This intimidation by the administration has got to stop." Most of the speakers, especially the faculty and ad- dent after student expressed complaints. Although some of • Yet another R.A., Mary Fran Evans (FC 78) said, "A ministrators, expressed the need for better communication the faculty and administrators present replied directly to stu- father and son came to look at Fordham the other day and I with the students. -
INTRODUCTION the First Part of King Henry IV
Cambridge University Press 978-0-521-86801-3 - The First Part of King Henry IV: Updated Edition Edited by Herbert Weil and Judith Weil Excerpt More information INTRODUCTION The First Part of King Henry IV Reputation In the most highly regarded twentieth-century study of history plays from different periods and nationalities, Herbert Lindenberger argues: ‘Henry IV surely provides the supreme example of a complex and serious approach to history that diverts in the very act of instructing.’1 G. R. Hibbard represents many leading critics and directors when he expands this evaluation beyond the confines of genre: ‘In size, in significance, and above all, in the sheer wealth of invention that has gone into its making, Henry IV is among the major achievements.’2 For 1 Henry IV, undisputed facts concerning the play’s reception support these superlatives. From its first appearance, probably in 1597, Part One has enjoyed great popularity and has been performed with exceptional frequency. Between 1598 and 1622, before the First Folio of 1623, there were seven quarto editions – more than for any other play by Shakespeare. Part One continues to be among the plays most often published in general texts and anthologies of literature for students around the world. Readers and audiences familiar with the reputation of 1 Henry IV will often be surprised when they approach the play itself for the first time. If they anticipate stirring action or expect to laugh whole-heartedly with Falstaff, the first two scenes may seem relatively subdued. They contain a stimulating but unstable mixture of serious and comic qualities.