The Works of Francis Beaumont and John Fletcher - Vol
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The Works of Francis Beaumont and John Fletcher - Vol
The Works of Francis Beaumont and John Fletcher - Vol. 2 of 10: Introduction to The Elder Brother Francis Beaumont and John Fletcher The Project Gutenberg EBook of The Works of Francis Beaumont and John Fletcher, by Francis Beaumont and John Fletcher This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Works of Francis Beaumont and John Fletcher Vol. 2 of 10: Introduction to The Elder Brother Author: Francis Beaumont and John Fletcher Release Date: April 21, 2004 [EBook #12098] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK BEAUMONT AND FLETCHER *** Produced by Jonathan Ingram, Jonathan Ingram, Charles M. Bidwell and the Online Distributed Proofreading Team. FRANCIS BEAUMONT Born 1584 Died 1616 JOHN FLETCHER Born 1579 Died 1625 THE ELDER BROTHER THE SPANISH CURATE WIT WITHOUT MONEY BEGGARS BUSH THE HUMOUROUS LIEUTENANT THE FAITHFUL SHEPHERDESS THE TEXT EDITED BY ARNOLD GLOVER, M.A. OF TRINITY COLLEGE AND THE INNER TEMPLE AND A.R. WALLER, M.A. OF PETERHOUSE CAMBRIDGE: at the University Press 1906 CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, C.F. CLAY, MANAGER. London: FETTER LANE, E.C. Glasgow: 50, WELLINGTON STREET. Leipzig: F.A. BROCKHAUS. New York: THE MACMILLAN COMPANY. Bombay and Calcutta: MACMILLAN AND CO., LTD. [_All Rights reserved._] NOTE: The text of the present volume was passed for press by Arnold Glover and some progress had been made in his lifetime in the collection of the material given in the Appendix. -
Philip Massinger
INSET FORMS OF ART IN THE PLAYS OF PHILIP MASSINGER Joame Marie Rochester A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Joanne Marie Rochester 2000 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographi Services services bibliographiques 395 Wellington Street 395. rue Wdlingîor, Ottawa ON K1AW OnawaON K1AW Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowuig the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts &om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. INSET FORMS OF ART IN THE PLAYS OF PHILlP MASSDJGER Jo~M~Marie Rochester PhD 2000 Graduate Department of English, University of Toronto ABSTRACT This thesis examines the use of metatheatrical inset pieces in the work of Philip Massinger, the dominant professional playwright of the London stage in the reign of Charles the First ( 1625- 1642). Although al1 Renaissance drama contains metatheatrical insets, the Caroline period is particularly nch in these devices. -
Opening of the Elizabethan Club Yale University
P n r mni l e repri t f om the Alu Week y of Dec emb r 8 , 1 9 1 l 0 0 0 0 D , ) ) e ) 7 The Elizabetha n Clu D 6 n On Wednesday evening, ecember , the ew home of the C Elizabethan lub , which is pictured above , was Opened for ‘ . T w the use of its members here ere no formal ceremonies , but a large ma'ority of those already elected , who live within H reach of New aven , were present to inspect the club house , 1 2 C S No . 3 ollege treet, and to see the first exhibition of ’ the rare volumes , prints and paintings contained in the club s A lib rary . public exhibition o f the first editions was held in the C hittenden Library on Thursday in conn ection with the H e o e t L A New aven m eting of the C nn c icut ibrary ssoci a tion . The general public and undergraduates were invited to this exhibition . It is not quite six months since the organization came into S p ossession of the C ollege treet property, and in that time extensive repairs have been made in the house so that it may properly serve as the home of the association , which di ff ers in many important respects from any club or society A heretofore known at Yale , or indeed at any merican uni ' Th E liz betha n C lu versity . e a b, which was formed to pro mote in the community a wider appreciation of literature and ” o f s ocial intercourse f ounded upon such appreciation , is in no sense a part of the traditional Yale undergraduate secret I t . -
Representations of Gentility in the Dramatic Works Of
REPRESENTATIONS OF GENTILITY IN THE DRAMATIC WORKS OF THE BEAUMONT AND FLETCHER CANON MARINA HILA THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE JUNE 1997 2 TABLE OF CONTENTS page Acknowledgments 4 Abstract 5 Abbreviations 7 INTRODUCTION 8 CHAPTER ONE 29 The Tra-qedvof Bonduca (1609-14): Stoic Gentility CHAPTER TWO 73 The Knight of Malta (1616-18): Chivalric Gentility CHAPTER THREE 105 The Humorous Lieutenant (1619): Kings and Ushers CHAPTER FOUR 129 The Nice Valour (1615-16): Gentility and Political Authority CHAPTER FIVE 150 The Queen of Corinth (1616-17): Gentility and Patronage CHAPTER SIX 171 The Elder Brother (1625): Educating the Gentleman CHAPTER SEVEN 193 The Noble Gentleman (1623-26): Theatre of the Absurd CHAPTER EIGHT 221 The Scornful Lady (c. 1608-1610): Christian Language, Fashionable Manners CHAPTER NINE 248 WitwithoutMone (c. 1614): Gentility and Gender: Masculine Bonding, Feminine Charity CHAPTER TEN 272 The Wild-Goose Chase (1621): Good Manners: Gentlemen and 'Gamesters' CHAPTER ELEVEN 306 The Little French Lawye (1619): Quarrelsome Gentility Conclusion 327 Notes 329 Bibliography 340 4 Acknowledgments I am very grateful to my supervisor, Michael Cordner, for his knowledge, expertise and understanding. Without his help, the obstacles I encountered during my work would have been insurmountable. I would also like to thank my parents, Evangelos Hilas & Maria Hila for their support. 5 ABSTRACT The aim of the thesis is to study the dramatization of the selfhood of gentility in the plays of the Beaumont and Fletcher canon, mainly by focusing on issues of dramatic structure and language but also by examining the social or political context which may have generated a particular representation. -
This Essay Is Not for Wider Distribution. Thank You. The
This essay is not for wider distribution. Thank you. The Dearth of the Author Eoin Price ([email protected]) (@eoin_price) 1613 was an annus horribilis for the King’s Men. On June 29, the Globe burned down during a production of Shakespeare and Fletcher’s Henry VIII. By the end of the year, one half of that play’s collaborative team had retired. While the King’s Men rebuilt the Globe, replacing Shakespeare – a writer, a sharer, an actor – was a tougher task. It was a task made harder by the untimely retirement of the stroke-stricken Francis Beaumont, Fletcher’s younger but more senior collaborative partner.1 Beaumont was by this point a big draw for the King’s Men. Having moved from the boy companies, he and Fletcher co-wrote Philaster (1609), A King and No King (1611) and The Maid’s Tragedy (1611) for the King’s Men. Each was apparently a significant success and remained in the company’s repertory for decades.2 These losses surely represented bad news for the King’s Men, but Fletcher may have felt more ambivalent: the dual retirements of Shakespeare and Beaumont afforded him the opportunity to hold a more prominent position within the King’s Men. If there was such a thing as an immediate successor to Shakespeare, then it was Fletcher who best fit the bill. Unlike most writers of his generation, who moved from company to company in a bid to earn a living as a playwright, Fletcher wrote almost exclusively for the King’s Men from 1613. -
THE RISE of the LIBERTINE HERO on the RESTORATION STAGE by JAMES BRYAN HILEMAN (Under the Direction of Elizabeth Kraft)
THE RISE OF THE LIBERTINE HERO ON THE RESTORATION STAGE by JAMES BRYAN HILEMAN (Under the Direction of Elizabeth Kraft) ABSTRACT Structured in the style of a printed play of the period (though with only three acts), this study focuses on the proto-libertine hero in the plays of the restored stage of the 1660s and on the plays from whence he sprang. My goal is to revise the thinking about this figure, to cleanse him, and the times that produced him, of centuries of cultural effluvia by taking all these accumulations into account. He attained the zenith of his cultural career during the 1670s; his best representations, outside of the poems and the lives of noblemen such as the Earl of Rochester, are on the stage. In a sense he represents and embodies the last full flowering of the aristocracy before the commercial classes and their characteristic, Idealistic, Christian-humanist, bourgeois modes of thinking came to dominate English culture and to alternately effeminize and demonize this figure as ―the Restoration rake.‖ His Epicurean Materialism also parallels the rise of experimental science, though his fall does not. I examine his practice and the theory that informs him, his emphasis on inductive, a posteriori reasoning, the fancy-wit that combines sensations and ideas in order to create new conceptions, his notion that desire for largely physical pleasure is humanity‘s (and even women‘s) primary motivation, and his valuing the freedom to act and think contrary to ―official,‖ moral constraint, often in subversive, playful, and carnivalesque ways. This character‘s primary dramatic precursors are featured most prominently in the plays of John Fletcher, the most popular playwright of the seventeenth century, but also in those of James Shirley, Sir John Suckling, and Thomas Killigrew. -
Brian Jay Corrigan 27.1.2010.Proofed
7 The Repertoire of the Renaissance Playing Companies Brian Jay Corrigan INTRODUCTION In the process of a decades-long labor of love I call The Compendium of Renaissance Drama, I have been able, perhaps for the first time, to create several comprehensive lists of extant plays in their original settings. Several years ago one such series of lists, covering playhouses and their repertoires, appeared in Discoveries, and I offer now another series of lists indicating playing companies and their repertoires. This compendium is now online at cord.ung.edu. These lists are a comprehensive reflection of the place of extant plays in the repertoires of the various playing companies, adult and children, from the time of Westminster’s Boys (1564) until the closing of the theatres in 1642. Company histories are taken from Gurr and from my own notes to be found also online in the Compendium of Renaissance Drama. Companies are listed alphabetically while the plays are listed below each company chronologically. The dates listed are keyed to Harbage and Schoenbaum’s Annals and are therefore only approximate. A question mark before an entry indicates there is debate over whether the company in question performed that play. A question mark after a date indicates doubt that the play in question was performed at or around that date. The note [later] indicates that the play is known or thought to have been performed by that company but in a year sometime after its original production. The following lists will contain repetitions where a play is known or strongly suspected to have been performed by more than one company. -
University of Oklahoma Graduate College “The Lord That Counseled Thee to Give Away Thy Land”: the Wardship Controversy in Th
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE “THE LORD THAT COUNSELED THEE TO GIVE AWAY THY LAND”: THE WARDSHIP CONTROVERSY IN THE FIRST QUARTO VERSION OF KING LEAR A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF ARTS By BRIDGET M. BARTLETT Norman, Oklahoma 2019 “THE LORD THAR COUSELED THEE TO GIVE AWAY THY LAND”: THE WARDSHIP CONTROVERSY IN THE FIRST QUARTO VERSION OF KING LEAR A THESIS APPROVED FOR THE DEPARTMENT OF ENGLISH BY Dr. David Anderson, Chair Dr. William Endres Dr. Daniel Ransom © Copyright by BRIDGET M. BARTLETT 2019 All Rights Reserved iv Table of Contents Abstract v Introduction 1 Background 3 Evidence the Play Concerns the Wardship Controversy 8 Instability and Disrupted Familial Bonds 8 Callousness and Corruption 12 Future Poverty 16 Pity and Identification 18 Expanding Pity 19 Drawing Attention to the Need Underlying Wardship 22 Willfulness 24 Edgar’s “Good Pity” 25 Lear’s Humble Acceptance “Good Pity” 26 Albany’s Unproductive Pity 27 Conclusion 28 v Abstract This thesis argues that the 1608 First Quarto (Q) version of William Shakespeare’s tragedy King Lear responds to then-ongoing popular agitation in England against the institution of wardship. Q implicitly affirms routinely-made complaints about wardship routinely but also implicitly critiques the popular agitation against the wardship system for failing to recognize the importance of wardship. After providing background information on the unpopularity of wardship, this thesis details ways in which Q references and reiterates common critiques about wardship and then explains how Q ultimately emphasizes the goodness and importance of having a system for providing care and guidance to those who lack the wisdom or rationality needed for independence. -
The Elder Brother I Wa Joh F Etche S P Y , Wh Ch S first Rin in 1 6 Ll a a for Uch P Ted 37, Seems We D Pted S
PREFAC E HE number of occasions fo r entertainment in the r- l in li o ur Uni r i i ll eve deve op g fe of ve s t es, Co eges , and l r a a an fo r ui a l la o r Schoo s, c e tes dem d s t b e p ys n which h as no t m t i r Wi an a ua sce es, e h the to th deq te u l s pp y . ’ n l r la The Elder Brother i wa Joh F etche s p y , wh ch s first rin in 1 6 ll a a for uCh p ted 37, seems we d pted s a i n for ll in r a n . occ s o s, the fo ow g e so s ( I) Th e gist of the play 15 to commend and praise learning by showing the character of A SCHOLAR as being no t only consistent With patriotic and military prowess b ut as actually more favourable to these than ra r a r ur i r or in a Al u the cha cte of me e co t e pop j y . tho gh n la is ur un r n is the to e of the p y p e comedy, the de to e of wi l r a r c weightier matter. It l be pe h ps some e om mendat ion a n is lai in ran a un r th t the sce e d F ce, co t y r an r ni o ur o wn r n i r mo e th eve k t to by ece t h sto y, and no English audience will b e likely to miss the friendly allusion to the University of Louvain in A Se I . -
Philip Massinger by A
The Project Gutenberg EBook of Philip Massinger by A. H. Cruickshank This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Philip Massinger Author: A. H. Cruickshank Release Date: February 23, 2011 [Ebook 35365] Language: English ***START OF THE PROJECT GUTENBERG EBOOK PHILIP MASSINGER*** Philip Massinger By A. H. Cruickshank Sometime Scholar and Fellow of New College, Oxford Canon of Durham, and Professor of Greek and Classical Literature, in the University of Durham Oxford Basil Blackwell, Broad Street 1920 Contents Dedication . .2 Preface . .4 Philip Massinger . .5 Appendix I. The Small Actor In Massinger's Plays . 161 Appendix II . 165 Appendix III. The Collaborated Plays . 168 Appendix IV. On The Influence Of Shakspere . 181 Appendix V. Warburton's List . 188 Appendix VI. A Metrical Peculiarity In Massinger . 189 Appendix VII. “Believe As You List” ........... 200 Appendix VIII. Collation Of Ms. Of “Believe As You List” 207 Appendix IX. “The Parliament Of Love” .......... 224 Appendix X. The Authorship Of “The Virgin Martyr” ... 228 Appendix XI. The Authorship Of “The Fatal Dowry” ... 230 Appendix XII. The Tragedy Of “Sir John Van Olden Barnavelt” ........................ 231 Appendix XIII. “The Second Maiden's Tragedy” ..... 232 Appendix XIV. “The Powerful Favorite” .......... 234 Appendix XV. “Double Falsehood” ............ 235 Appendix XVI. Middleton's “A Trick To Catch The Old One” ........................... 236 Appendix XVII . 239 Appendix XVIII. Alliteration In Massinger . -
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9 ‘I see no instruments, nor hands that play’: Antony and Cleopatra and visual musical experience Simon Smith In 1599, composer Richard Alison prefaced a book of four-part psalm settings with a particularly memorable sales pitch. Like the 1563 psalter frontispiece explored in our volume’s introduction (Figure 1), Alison’s dedicatory address imagines an ideal performance of psalms set to music. He foregrounds the breadth of sensory stimuli offered by such a performance as a clinching argument for the devotional and, of course, economic worth of his volume: And that our meditations in the Psalmes may not want their delight, we haue that excelle[n]t gift of God, the Art of Musick to accompany them: that our eyes beholding the words of Dauid, our fingers handling the Instruments of Musicke, our eares delighting in the swetenesse of the melody, and the heart obseruing the harmony of them: all these doe ioyne in an heauenly Consort, and God may bee glorified and our selues refreshed therewith.1 Stimulation of sense receptors in eye, finger, ear and heart are united in a bodily experience of ‘heauenly Consort’ that, fortuitously, both praises the Almighty and gives the performer a restorative boost. Through this experi- ence, purchasers are included in the community of worshippers that Alison constructs with collective pronouns; all one need do is simply purchase the book, take it home and follow his directions. This passage is a work of art in itself, counterpoising expressions of genuine faith with business practicalities; musical experience theory with the textual authority of the Bible; pragmatic bodily benefits with points of theological principle. -
Shakespeare, Ben Jonson, Beaumont and Fletcher by S
The Project Gutenberg EBook of Shakespeare, Ben Jonson, Beaumont and Fletcher by S. T. Coleridge This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.guten- berg.org/license Title: Shakespeare, Ben Jonson, Beaumont and Fletcher Author: S. T. Coleridge Release Date: May 24, 2008 [Ebook 25585] Language: English ***START OF THE PROJECT GUTENBERG EBOOK SHAKESPEARE, BEN JONSON, BEAUMONT AND FLETCHER*** Shakespeare Ben Jonson Beaumont And Fletcher Notes and Lectures by S. T. Coleridge New Edition Liverpool Edward Howell MDCCCLXXIV Contents Shakespeare . 3 Definition Of Poetry. 3 Greek Drama. 7 Progress Of The Drama. 15 The Drama Generally, And Public Taste. 27 Shakespeare, A Poet Generally. 37 Shakespeare's Judgment equal to his Genius. 43 Recapitulation, And Summary Of the Characteristics of Shakespeare's Dramas. 49 Outline Of An Introductory Lecture Upon Shakespeare. 59 Order Of Shakespeare's Plays. 63 Notes On The “Tempest.” ................ 69 “Love's Labour's Lost.” ................. 77 “Midsummer Night's Dream.” ............. 85 “Comedy Of Errors.” .................. 89 “As You Like It.” .................... 91 “Twelfth Night.” .................... 93 “All's Well That Ends Well.” .............. 97 “Merry Wives Of Windsor.” .............. 99 “Measure For Measure.” ................ 101 “Cymbeline.” ...................... 103 “Titus Andronicus.” ................... 107 “Troilus And Cressida.” ................. 109 “Coriolanus.” ...................... 113 “Julius Cæsar.” ..................... 115 “Antony And Cleopatra.” ................ 121 “Timon Of Athens.” ................... 125 “Romeo And Juliet.” .................. 129 Shakespeare's English Historical Plays. 139 iv Shakespeare, Ben Jonson, Beaumont and Fletcher “King John.” .....................