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The Senses in Early Modern England, 1558–1660
The senses in early modern England, 1558–1660 Edited by Simon Smith, Jacqueline Watson, and Amy Kenny MANCHESTER 1824 Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 www.manchesteruniversitypress.co.ukDownloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access The senses in early modern England, 1558–1660 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 1 02/04/2015 16:18 Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 2 02/04/2015 16:18 The senses in early modern England, 1558–1660 edited by simon smith, jackie watson and amy kenny Manchester University Press Simon Smith, Jackie Watson, and Amy Kenny - 9781526146465 Downloaded from manchesterhive.com at 09/27/2021 05:33:41PM via free access MUP_Smith_Printer.indd 3 02/04/2015 16:18 Copyright © Manchester University Press 2015 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for isbn 978 07190 9158 2 hardback First published 2015 The publisher has no responsibility for the persistence or accuracy of URLs for external or any third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. -
Edmund Spenser and Elizabethan Portraiture Author(S): Tarnya Cooper and Andrew Hadfield Source: Renaissance Studies, Vol
Edmund Spenser and Elizabethan portraiture Author(s): Tarnya Cooper and Andrew Hadfield Source: Renaissance Studies, Vol. 27, No. 3 (JUNE 2013), pp. 407-434 Published by: Wiley Stable URL: https://www.jstor.org/stable/24420119 Accessed: 09-04-2019 14:13 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wiley is collaborating with JSTOR to digitize, preserve and extend access to Renaissance Studies This content downloaded from 117.240.50.232 on Tue, 09 Apr 2019 14:13:08 UTC All use subject to https://about.jstor.org/terms Renaissance Studies Vol. 27 No. 3 DOI: 10.1111/j.l477-4658.2012.00819.x Edmund Spenser and Elizabethan portraiture Tarnya Cooper and Andrew Hadfield Edmund Spenser (1554P-99), although his work is largely the preserve of specialists today, is a recognizable figure from the realms of English Literature from the mid-seventeenth century onwards. He is invariably depicted as a man with a ruff and a neatly clipped beard and, if shown in fuller profile, wearing the doublet and tights that were thought to have been de rigeurat Elizabeth's court. There is no particular distinction between the images produced for a scholarly audience and a more popular one. -
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. -
The Revenge of Bussy D'ambois
Vol.1:no.1 "Let me not to the marriage of true minds admit impediments..." Fall 2001 A Golden Book, bound richly up From the Editors: Comparing Chapman’s words in Bussy Oxford is d’Ambois with Ashbourne portrait images Shakespeare: By Barbara Burris ©2001 n George Chapman’s play, The Revenge of Bussy D’Ambois, an unsuccessful imitation of Hamlet published in 1613, the main character, Clermont D’Ambois, describes with any questions? Iglowing praise a “famous Earle” as he was seen traveling from Italy to Germany; ending his first newsletter of the Shakespeare 1 with the words, “And t’was the Earle of Oxford.” Fellowship comes off the press at a And yet Clermont—who is modeled after Hamlet—also attacks Oxford and his poetry Tmomentous crossroads in intellec- and “works” in an earlier speech, which includes an amazingly detailed description of the tual history. The paradigm has shifted. The book in the Ashbourne portrait of Shake-speare: intellectual revolution adumbrated in 1920 by the man with the funny name has finally, As these high men doe, low in all true grace, in the wake of Charlton Ogburn’s The Mys- Their height being privilege to all things base. And as the foolish Poet that still writ terious William Shakespeare (1984) and All his most selfe-loved verse in paper royall, subsequent events, come of age. The pro- Or Partchment rul’d with Lead, smooth’d with verbial handwriting is on the wall: an over- the Pumice; whelming preponderance of circumstan- Bound richly up, and strung with Crimson tial evidence, much of it accumulated only strings; in the last 25 years, supports the “Looney” Never so blest as when hee writ and read theory identifying Edward de Vere, 17th The Ape-lov’d issue of his braine; and never But joying in himselfe; admiring ever. -
English Renaissance Literature Clark Library UCLA
English Renaissance Literature Clark Library UCLA 1. Shakespeare: 14 seventeenth-century quartos (including 6 Pavier quartos), all 4 folios (one 1st, seven 2nd, three 3rd, four 4th folios), 1640 Poems, 9 apocryphal quartos. Extensive collection of Restoration and C18th adaptations/editions of Shakespeare. William Henry Ireland forged Shakespeare annotations (in a printed book from 1592). 2. Shakespeare’s Contemporaries: 215 additional pre-1660 quarto and octavo playbooks, including plays by George Chapman, Ben Jonson, Thomas Heywood, Thomas Dekker, Beaumont and Fletcher and others. 3. Chrzanowski Collection of Shakespearean Source Material: books that either provide direct sources for Shakespeare’s plays or situate his work within broader cultural, intellectual, historical, religious, and social contexts. Collection particularly strong in sixteenth-century English chronicle histories, devotional material (including Bibles), and literary sources. Some of the authors represented include Montaigne (Florio), Ascham, Lodge, Topsell, Markham, Hakluyt, Foxe, Elyot, Marlowe, Brandt, Sidney, and Ariosto (Harington). 4. Additional Pre-1660 English Material: William Andrews Clark Jr. started his book collection with high points of British literature, but with a heavy focus on Elizabethan and early Jacobean authors. Thus the collection includes additional pre-1660 English books beyond Shakespeare, early modern drama, and the Chrzanowksi collection, including authors such as John Heywood, Thomas Coryate, Richard Brathwaite, John Donne, George Herbert, Joseph Hall, and John Selden, among many others. The Harmsworth Theological Collection also contains a large amount of sixteenth- century English religious polemic. 5. English Manuscripts: Though the bulk of the Clark’s English manuscript material dates to 1640- 1800, there are earlier manuscripts in the collection, including a heraldic MS from 1596 (part of the Chrzanowski collection) and John Selden’s university notebook. -
© in This Web Service Cambridge University Press
Cambridge University Press 978-1-107-03057-2 - Constructing the Canon of Early Modern Drama Jeremy Lopez Index More information Index Addison, Joseph, 45 Baldwyn, Charles Albright, Evelyn May, 41 Old English Drama, Th e , 10 , 12 , 22–23 , 149 Ancient British Drama (1810), 10 , 28 , 169 Bale, John Anonymous God’s Promises , 8 , 33 Arden of Faversham , 20 , 34 , 49 , 68 , 118 , 156 , Barish, Jonas, 110–13 169 , 170 , 197–205 Barton, Anne, 187 Birth of Merlin, Th e , 74 Baskervill, C. R., et al. Captain Th omas Stukeley , 74 , 170 Elizabethan and Stuart Plays , 8 , 11 , 59 , 169 , 185 Dick of Devonshire , 123–27 , 170 , 200–5 Beaumont, Francis, 45 , 50 , 106 , 109 Fair Em the Miller’s Daughter , 170 Knight of the Burning Pestle, Th e , 19 , 24 , 34 , Fair Maid of Bristow, Th e , 74 , 95–99 , 170 , 74–78 , 118 , 184 , 200–5 200–5 Beauties of Massinger (1817), 47 Famous Victories of Henry V, Th e , 170 Beauties of the English Stage (1737, 1777). First Part of Jeronimo, Th e , 72 See Th esaurus Dramaticus (1724) George a Green , 8 , 33 Bednarz, James, 191 Guy of Warwick , 155 , 170–72 , 200–5 Bell’s British Th eatre , 14 How a Man May Choose a Good Wife from a Bentley, Eric, 155 Bad , 22 Bentley, G. E., 188 Jack Straw , 74 , 169 Development of English Drama, Th e , 15 Knack to Know a Knave, A , 169 Berkeley, William Larum for London, A , 32 Lost Lady, Th e , 32 Locrine , 119 Betterton, Th omas London Prodigal, Th e , 170 Match in Newgate, A , 31 Look About You , 32 , 78–82 , 169 , 200–5 Bevington, David, 193 Lust’s Dominion , 6 Bevis, Richard, 153 Merry Devil of Edmonton, Th e , 33 , 169 , 170 Blackwell Anthology of Renaissance Drama . -
John Ford's Theatre of Ceremony: a Formal Study of His Five Major Plays
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1982 John Ford's Theatre of Ceremony: A Formal Study of His Five Major Plays Chikako D. Kumamoto Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Kumamoto, Chikako D., "John Ford's Theatre of Ceremony: A Formal Study of His Five Major Plays" (1982). Dissertations. 2075. https://ecommons.luc.edu/luc_diss/2075 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1982 Chikako D. Kumamoto JOHN FORD'S THEATRE OF CEREMONY: A FORMAL STUDY OF HIS FIVE MAJOR PLAYS By Chikako D. Kumamoto A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy April 1982 ACKNOWLEDGMENTS I wish to thank the members of my dissertation committee, Professors Anthony LaBranche, Suzanne Gossett, Bernard McElroy, and James Rocks, whose wisdom, knowledge, and goodwill were an invaluable help, and whose dedication to scholarship was a constant source of inspiration to me. They supported my efforts, on and off the campus, with patience, understanding, and intellectual precision which mark the core of their professional and humanistic concerns. I respectfully extend to them my permanent and deepest gratitude. -
Final Thesis
Courtly Mirrors: The Politics of Chapman’s Drama Shona McIntosh, M.A. (Hons), M.Phil. Submitted in fulfilment of the degree requirements for a Doctorate in Philosophy to the University of Glasgow Department of English Literature, Faculty of Arts November 2008 2 Contents Abstract .................................................................................................. 4 Acknowledgements.................................................................................. 5 Author’s declaration ................................................................................ 6 Abbreviations .......................................................................................... 7 Chapter 1................................................................................................ 8 ‘Spirit to Dare and Power to Doe’: George Chapman at the Jacobean Court ............................................................................................................... 8 Modern Literary Criticism and George Chapman’s Drama .................. 14 General Studies of Chapman’s Drama............................................. 14 Chapman’s Ethics and Philosophy .................................................. 19 Political Readings of Chapman’s Work............................................. 27 Court Masques and Court Politics ................................................... 35 Themes of Sexuality and Gender in Chapman Criticism .................. 36 Text and Canon: Authorship, Dating and Source Material ............... 38 Radical -
George Chapman;
MERMAID SERIES, THE BEST TLtdYS OF THE OLD V^c4^Ic4TISTS GEORGE CHAPMAN W.L. PHELPS /J^^O. THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA RIVERSIDE ?^m^ THE mE'BJMQAIT> SERIES The Best Plays of the Old Dramatists -i" aXsX—^..|^— }<^>o-;- George Chapman THE MERMAID SERIES. THE BEST PLA YS OF THE OLD DRAMATISTS LITERAL RErKODUCTIONS OF THE OLD TEXT. THE BEST PLAYS OP CHRIS- THE COMPLETE PLAYS OF JOPHER MARLOWE. Edited, WILLIAM CONGREVE. Edited with Critical Memoir and Notes, by Alex. C. Ewald. by Havelock Ellis ; and contain- ing a General Introduction to . the Series by John Addington THE BEST OP SVMONDS. PLAYS WEB- STER and TOURNEUR. With II. an Introduction and Notes by THE BEST PLAYS of THOMAS J(jh.\ .-Xddi.ngtdn' Symonus. O'rW'AY. Introduction and Notes by the Hon. Kodex Noki.. XIII. & XIV. THE BEST PLAYS of THOMAS III. .MIDDLETON. With an Intro- THE BEST PLAYS OF JOHN duction by Alger.non Charles FORD. Edited by Havei.ock; SwiNliURNE. Ellis. IV. S; V. THE BEST PLAYS OF PHILIP THE BEST PLAYS OP JAMBS MASSINC.Kk. With Critical and SHIRLEY. With Introduction by BioRraphical Essay and Notes by Edmund Gosse. Arthur Symons. VI. THE BEST PLAYS of THOMAS of THE BEST PLAYS THOMAS DEKKER. Introductory Essay HEYWOOD. Edited by A. W. and Notes by Ernest Rhys. Verity. With Introduction by J. Symonds. Addington XVII. VII. THE BEST PLAYS OF BEN THE COMPLETE PLAYS OF JONSON. Fir.st .Series. Edited WILLIAM WVCHERLEY. by Brinsley Nicholson, M.D. Edited, with Introduction and XVIII. Notes, by W. C. Waku. -
So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It. -
The Comedies of George Chapman
This dissertation has been 64—11,003 microfilmed exactly as received NELSON, John Richard, 1932- THE COMEDIES OF GEORGE CHAPMAN. The University of Oklahoma, Ph.D., 1964 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE COMEDIES OF GEORGE CHAPMAN A DISSERTATION SUBOTTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY JOHN RICHARD NELSON Norman, .Oklahoma 1964 THE COMEDIES OF GEORGE CHAPMAN APPROVED BY DISSERTATION COmHTTEE TABLE OF COOTEÎfTS Chapter Page I. INTRODUCTION............................................... 1 II. THE BLIND BEGGAR OF ALEXANDRIA................................. 11 III. AN HUMOUROUS DAY’S MI R T H ...................................... 38 IV. ALL FOOLS ................................................. 73 V. MAY D A Y ................................................. 120 VI. SIR GILES GOOSECAP.............................................143 VII. THE GENTLEMANUSHER .......................................... 164 VIII. MONSIEUR D’OL I V E .............................................189 IX. THE IVIDaV'S TEARS. ........................ 208 X. CONCLUSION................ 4 " ................ 230 BIBLIOGRAPHY......................................................... 234 iix THE COMEDIES OF GEORGE CHAPMAN CHAPTER I INTRODUCTION The eight comedies of George Chapman (1559?-l63^)» which form the subject of this study, were written in the relatively short period of time from about 1596 to -
Sleeping and Dreaming and Their Technical Rôles in Shakespearian Drama
Durham E-Theses In the Shadow of Night: Sleeping and Dreaming and Their Technical Rôles in Shakespearian Drama KRAJNIK, FILIP How to cite: KRAJNIK, FILIP (2013) In the Shadow of Night: Sleeping and Dreaming and Their Technical Rôles in Shakespearian Drama, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7764/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 In the Shadow of Night: Sleeping and Dreaming and Their Technical Rôles in Shakespearian Drama by Filip Bul Krajník This thesis aims to demonstrate the variety of ways in which sleep and dreams are employed in Shakespeare’s dramatic canon. Using a historical perspective, the work primarily examines the functions of these motifs within the design of the plays: how they contribute to the structure and unity of the works, how they assist in delineating some of the individual characters, and how they shape the atmosphere of specific dramatic situations.