This ISSUE Family Favourite

Total Page:16

File Type:pdf, Size:1020Kb

This ISSUE Family Favourite Issue 8 / Summer 2016 PUMP IT UP SUMMER FUN EL VERGEL The council’s new leisure The Elephant bursts The best in Latin centre proves a big hit. into life with a host of American and THIS And now there’s free free events and festivals Mediterranean food swim and gym for locals this summer served fresh at this ISSUE family favourite THE ELEPHANT 1 Hannah Maule-ffinch Sophie Hinds and Holly photo: Cobham-Weekes, Cover THIS IS THE ELEPHANT This is the Elephant. And this is the Elephant Magazine. he Elephant Magazine is the publication dedicated to all things Elephant and Castle. We want to celebrate all that Tis fabulous about our neighbourhood and our community. We want to look back with fondness on the area’s past and look forward with optimism to the future. The Elephant is changing and the Elephant Magazine will be following every step of the way. The Elephant Magazine is published by Southwark Council. We welcome your ideas, comments and contributions, so please get in touch. Editor: Richard Wells / Additional copy: Nikki Spencer / Main photography: Hannah Maule-ffinch / Designed by Westco Design and printed by Swiss Post / Enquiries: [email protected] 2 THE ELEPHANT Photography from left to right: East Street market sign; market trader, Strata; elephant statue; Metropolitan Tabernacle; Elephant and Castles band; musician; historic East Street; Jamyang food; LCC exhibition; Ilaria Mezzogorii; Cuming collection vase; market trader and produce; People’s Bureau; Rockingham estate; City Hunt; Cinema Museum; Elefest; Metro Central Heights; Baldwins; Imperial War Museum; LCC paint pots; Reg and Jean Brown. THE ELEPHANT 3 THE LOW-DOWN ON THE LOW LINE A new street beneath the railway line in Elephant and Castle is set to become a creative hub for the whole borough. Up to one hundred burgeoning artists, But providing studio space is only part of home to the public space, with the Sidecar designer-makers and creative start-ups are the plan. Spare Street also includes public Coffee bar downstairs. Upstairs, in the due to move into Spare Street, the new space, with a coffee bar and gallery, and hot-desk area, there are traces of Elephant permanent home of local arts organisation an extensive programme of talks and events and Castle’s past, including 1970s signage Hotel Elephant. is planned. reclaimed from the doctor’s surgery on the Heygate estate (where Hotel Elephant was Spare Street is a new street that has been Reuben explains “Spare Street is very based for a while) along with signs from the created from a series of refurbished railway much about nurturing talent, so we’ll help bakery and the old Giraffe pub. arches (between Steedman Street and and support young people and provide Hampton Street) just off Walworth Road. a springboard for their careers through “We thought it would be good to have our Creative Enterprise Programme which them here” says Reuben “for continuity.” The project has received funding from includes talks, networking events, skills Meanwhile, large neon letters taken from the council and The Mayor of London’s workshops, mentoring sessions and new the former London Park Hotel (now the Regeneration Fund. It represents the first commissions for emerging artists.” site of the Highpoint development) spell phase of a joint council and Network out ‘HOTEL’ over the arches at the front Rail plan to refurbish underused railway Spare Street officially opened in June and of the building. arches as part of a ‘Low Line’ project, the first of many artists and creatives are loosely based on the famous High Line already starting to move in. “The name ‘Hotel Elephant’ came from in New York. the title of an exhibition I did at the Morley “We’ll have everyone from fine artists to Gallery and it just stuck” explains Reuben, “We decided to name it Spare Street after jewellery makers and graphic designers” who has lived and worked in the area for the early 20th century artist, Austin Osman says co-director and Camberwell graduate, over 30 years. He set up Hotel Elephant as Spare, who lived and worked in the area” Emily Woodhouse. “We’ll make sure that a not-for-profit company in 2009, with the explains Hotel Elephant director and local there’s a good mix so they can bounce aim of providing much needed studio and artist, Reuben Powell. ideas around and complement each other.” exhibition space in Southwark. Emily joined in 2011 and, over the years, they’ve had “At only 17 years of age, Spare had his “What’s also great about Spare Street is temporary premises all over Elephant and work accepted for the Royal Academy that it’s very flexible” she adds. “There’s Castle but this is their first permanent home. Summer Exhibition in 1904. So it’s fitting hot-desk space and individual and open- that our project, Spare Street, is all about plan workspaces alongside growth space “We’re delighted, as it enables us to build encouraging young talent” says Reuben. for expanding creative businesses. Also, on the success of our previous projects. “So many young people come to study rather than being hidden away, alone in Our mission is to establish Spare Street creative subjects at London College of a studio somewhere, these artists make up as a destination which celebrates and Communication and we want them to one whole street, with a café and public encourages creative enterprise and be able to stay on in the area and work exhibition space that anyone can visit. All of artistic production in Southwark” says here. Finding affordable studio space is which will help to raise their profile.” Reuben, proudly. notoriously hard so this will make a huge difference.” To make the most of the space, the original “It feels wonderful” says Emily “I think it’s mezzanines have been extended to run still sinking in that, after years of moving, we the full length of the arches. The first arch is don’t have to move anymore” she smiles. 4 THE ELEPHANT Hotel Elephant Arches 1-5, Spare Street, London SE17 3EP www.hotelephant.co.uk THE ELEPHANT 5 THERE WERE TIMES WHEN I GOT THE JITTERS BUT I COULDN’T THINK OF ANYTHING ELSE I’D RATHER DO, SO I JUST KEPT GOING. 6 THE ELEPHANT GOING INTO ORBIT Hidden away in railway arches just off Walworth Road, Orbit Beers combines owner Robert Middleton’s passion for craft beer with his lifelong love of indie music. It’s even had the thumbs up from cult American band the Pixies. obert Middleton, of Orbit Beers, “We put in a new floor and drainage, Every Saturday during the summer they admits that he knew very little about juiced up the electrics and improved the have ‘Tap Room’ days so people can see Rbrewing until four years ago when water flow as we need a lot of water to the brewery, meet the team and either drink he embarked on a road trip around his make beer” Robert explains. in or take away. native Scotland in his VW camper van after chucking in his job in the city. In May 2014, Robert hired Mario as head “It makes the brewery a bit of a community brewer and they made their first beer a hub” says Robert. “Local people really “I’d worked for 26 years in the pensions few months later. Assistant brewer, Robbie, enjoy it.” industry and I couldn’t stand the excitement joined in October that same year. a minute longer” the 53-year-old says, Once a month, they create a bigger event, with his tongue firmly in his cheek. “I had “It’s very much a team effort” says Robert, playing a selection of vinyl, provided by no idea what I wanted to do but I knew I adding “it was scary at first.” Rat Records in Camberwell, and have a never wanted to see an office again.” food van. “London is a crowded market with more “I was looking to give the trip a purpose than 75 craft breweries but the European “It’s a lovely laidback atmosphere and a bit and someone I got chatting to in a bar styles of beer we do are a bit different. We different from just going to a bar” he adds. suggested I tour around all the craft have grown slowly but steadily and have breweries in Scotland, so I did. Until I drank had lots of warm and positive feedback Perhaps not surprisingly, music is always beer in Scotland I wasn’t a beer aficionado from customers.” playing while the trio work, although they at all - I used to drink Stella and didn’t really all have quite different tastes. “For Robbie think about it - but the independent, craft Orbit’s tag line is “Hi-Fidelity Brewing” it’s hip hop, Mario likes left-field jazz and beers tasted so good. As I learned more and Robert’s love of music is reflected for me it’s indie. Whoever gets in first gets about the industry and got to understand everywhere. Beers have names such as to play DJ.” more about beer, I realised that this was Nico (after the Velvet Underground singer) what I wanted to do.” and Peel (after DJ John Peel) and their Earlier this year, Orbit was asked to brew a limited edition “White Label” beers are one-off beer for an exhibition in Greenwich On his return to London he set about named after the new releases that used to by legendary art director Vaughan Oliver, making it happen. be sent to DJs and radio stations.
Recommended publications
  • Shakespeare's Lost Playhouse
    Shakespeare’s Lost Playhouse The playhouse at Newington Butts has long remained on the fringes of histories of Shakespeare’s career and of the golden age of the theatre with which his name is associated. A mile outside London, and relatively disused by the time Shakespeare began his career in the theatre, this playhouse has been easy to forget. Yet for eleven days in June, 1594, it was home to the two companies that would come to dominate the London theatres. Thanks to the ledgers of theatre entrepreneur Philip Henslowe, we have a record of this short venture. Shakespeare’s Lost Playhouse is an exploration of a brief moment in time when the focus of the theatrical world in England was on this small playhouse. To write this history, Laurie Johnson draws on archival studies, archaeology, en- vironmental studies, geography, social, political, and cultural studies, as well as methods developed within literary and theatre history to expand the scope of our understanding of the theatres, the rise of the playing business, and the formations of the playing companies. Laurie Johnson is Associate Professor of English and cultural studies at the University of Southern Queensland, current President of the Australian and New Zealand Shakespeare Association, and editorial board member with the journal Shakespeare. His publications include The Tain of Hamlet (2013), and the edited collections Embodied Cognition and Shakespeare’s Theatre: The Early Modern Body-Mind (with John Sutton and Evelyn Tribble, Routledge, 2014) and Rapt in Secret Studies: Emerging Shakespeares (with Darryl Chalk, 2010). Routledge Studies in Shakespeare For a full list of titles in this series, please visit www.routledge.com.
    [Show full text]
  • Actes Des Congrès De La Société Française Shakespeare, 30
    Actes des congrès de la Société française Shakespeare 30 | 2013 Shakespeare et la mémoire Actes du congrès organisé par la Société Française Shakespeare les 22, 23 et 24 mars 2012 Christophe Hausermann (dir.) Édition électronique URL : http://journals.openedition.org/shakespeare/1900 DOI : 10.4000/shakespeare.1900 ISSN : 2271-6424 Éditeur Société Française Shakespeare Édition imprimée Date de publication : 1 avril 2013 ISBN : 2-9521475-9-0 Référence électronique Christophe Hausermann (dir.), Actes des congrès de la Société française Shakespeare, 30 | 2013, « Shakespeare et la mémoire » [En ligne], mis en ligne le 13 avril 2013, consulté le 22 septembre 2020. URL : http://journals.openedition.org/shakespeare/1900 ; DOI : https://doi.org/10.4000/shakespeare. 1900 Ce document a été généré automatiquement le 22 septembre 2020. © SFS 1 SOMMAIRE Avant-Propos Gisèle Venet et Christophe Hausermann Christophe Hausermann (éd.) Foreword Gisèle Venet et Christophe Hausermann Christophe Hausermann (éd.) La mémoire et l’oubli dans les œuvres de Shakespeare Henri Suhamy Christophe Hausermann (éd.) Shakespeare and the fortunes of war and memory Andrew Hiscock Christophe Hausermann (éd.) Les enjeux de la mémoire dans The Conspiracy and Tragedy of Byron de George Chapman (1608) Gilles Bertheau Christophe Hausermann (éd.) The Memory of Hesione: Intertextuality and Social Amnesia in Troilus and Cressida Atsuhiko Hirota Christophe Hausermann (éd.) « The safe memorie of dead men » : réécriture nostalgique de l’héroïsme dans l’Angleterre de la première modernité
    [Show full text]
  • A Noise Within Study Guide Shakespeare Supplement
    A Noise Within Study Guide Shakespeare Supplement California’s Home for the Classics California’s Home for the Classics California’s Home for the Classics Table of Contents Dating Shakespeare’s Plays 3 Life in Shakespeare’s England 4 Elizabethan Theatre 8 Working in Elizabethan England 14 This Sceptered Isle 16 One Big Happy Family Tree 20 Sir John Falstaff and Tavern Culture 21 Battle of the Henries 24 Playing Nine Men’s Morris 30 FUNDING FOR A NOISE WITHIN’S EDUCATIONAL PROGRAMS IS PROVIDED IN paRT BY: The Ahmanson Foundation, Alliance for the Advancement of Arts Education, Supervisor Michael D. Antonovich, Employees Community Fund of Boeing California, The Capital Group Companies, Citigroup Foundation, Disney Worldwide Outreach, Doukas Family Foundation, Ellingsen Family Foundation, The Herb Alpert Foundation, The Green Foundation, Kiwanis Club of Glendale, Lockheed Federal Credit Union, Los Angeles County Arts Commission, B.C. McCabe Foundation, Metropolitan Associates, National Endowment for the Arts, The Kenneth T. and Eileen L. Norris Foundation, The Steinmetz Foundation, Dwight Stuart Youth Foundation, Waterman Foundation, Zeigler Family Foundation. 2 A Noise Within Study Guide Shakespeare Supplement Dating Shakespeare’s Plays Establishing an exact date for the Plays of Shakespeare. She theorized that authorship of Shakespeare’s plays is a very Shakespeare (a “stupid, ignorant, third- difficult task. It is impossible to pin down rate play actor”) could not have written the exact order, because there are no the plays attributed to him. The Victorians records giving details of the first production. were suspicious that a middle-class actor Many of the plays were performed years could ever be England’s greatest poet as before they were first published.
    [Show full text]
  • Download Full-Text
    William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4
    [Show full text]
  • Dating the Shrew by Stephanie Hopkins Hughes
    Dating the Shrew by Stephanie Hopkins Hughes The Taming of the Shrew was published for the first time in the First Folio of 1623. Commonly referred to as The Shrew to distinguish it from A Shrew, a play that on May 2,1594, was entered to Peter Short in the Stationers’ Register as The Tamynge of a Shrowe and published anonymously that year in quarto. It’s clearly the same play, though sufficiently different to be distinct from the 1623 version. The title page states: “A Pleasant Conceyted Historie, called The Taminge of a Shrowe . sundry times acted by the Right honorable the Earle of Pembroke his servants . 1594.” A single copy of this edition survives, followed by a reprint in 1596 and by two more in 1607. The first in 1607 was entered in the register to Nicholas Ling at the same time as Romeo and Juliet and Love’s Labours Lost, indicating a clear connection with Shakespeare. The relationship between A Shrew (1594) and The Shrew (1623) has been vigorously debated over the years. Ann Thompson, editor of the 1984 Cambridge edition, explains the choice of theories: a) A Shrew is the original play, by an unknown writer, and the direct source of the Shakespeare play; b) The Shrew is the original play, while A Shrew (a “bad quarto”) is a memorial reconstruction of the Shakespeare play by an actor or some other person; c) both Shrews derive from a lost original, Shakespeare’s first version of the play. Despite the close resemblance in structure, the language in A Shrew is far less Shakespearean, though not totally without lyrical touches.
    [Show full text]
  • Copyrighted Material
    INDEX Note: page numbers in italics denote illustrations actors, 37, 39, 48, 84, 85–88, 95n24 Arden coat of arms, 74 see also cross-dressing; Edward Alleyn Arden Forest, 147–148, 149 Admiral’s Men, 85, 87 Arden of Faversham (Anon), 249 ado, as term, 144 Ariosto, Ludovico: Orlando Furioso, 15, adultery, 160–161, 164, 272 146, 147 Advancement of True Religion Act, aristocracy, 120, 123, 124–125, 129 33–34 Aristophanes, 107 Africans, 251–252 Aristotle, 100 Alleyn, Edward, 85, 87, 153 Armin, Robert, 159 All Is True (Shakespeare and Fletcher), Ascham, Roger, 33, 40 291 Scholemaster, The, 42 Anne Boleyn, 52, 163 As You Like It, 18, 146–153 Anne of Denmark, 169–170, 281–283 as eulogy for Christopher Marlowe, anti-semitism, 134–136 148 Antony and Cleopatra, 19, 210, 266–273 cross-dressing, 152 boy actors, 269–270 David and Goliath story, 150–151 and death, 272 green world, 147, 148, 149, 152–153 hierarchy, 266–267 homoeroticism, 152 Mars/Venus, 267–268 obedience, 149–150 Apollonius of Tyre, 102 Seven Ages of Man, 38 apprentices, 73, COPYRIGHTED88–89 songs MATERIAL and music in, 146 Apuleius, Lucius: The Golden Ass, Aubrey, John: Brief Lives, 48 130–131 authorship, 15, 23–24, 83, 84 Arden, Mary, 26, 63, 67, 147–148 autocracy, 19, 209–210 Who Was William Shakespeare?: An Introduction to the Life and Works, First Edition. Dympna Callaghan. © 2013 John Wiley & Sons, Ltd. Published 2013 by John Wiley & Sons, Ltd. 296 INDEX Babington Plot, 54, 207 Brooke, Arthur: Tragicall Historye of Bacon, Francis, 53 Romeus and Juliet, The, 223, Bagot collection,
    [Show full text]
  • Doctor Faustus, Tamburlaine and the Taming of the Shrew
    Doctor Faustus , Tamburlaine and The Taming of The Shrew Derran Charlton he sole authority for the text of The Taming of The Shrew is the Folio of 1623. It is the eleventh play, appearing amongst the comedies, after As You LIke It and before All`s Well T That Ends Well. It occupies twenty-two folio pages, pp 208-29. Page 214 is wrongly numbered 212. Of the thirty-six dramas in the Folio, eighteen had already been published as Quartos. The Folio, therefore, includes eighteen unpublished plays. Sixteen were registered on 8 November, 1623. Significantly, the remaining two, King Iohn and The Taming of the Shrew , were not registered as they probably passed as reprints of older plays, The Troublesome Raigne of Iohn King of England, an anonymous play in two parts published in 1591, and The Taming of a Shrowe registered “Secundo die Maij, 1594, Peter Shorte.” This second play was printed in a quarto edition in the same year, with the following information on its title page: A Pleasant Conceited Historie, called The Taming of a Shrew. As it was sundry times acted by the Right honorable the Earl of Pembrook his seruants. Printed at London by Peter Short and are to be sold by Cuthbert Burbie, at his shop at the Royall Exchange, 1594. A single copy of this edition survives, owned by the Duke of Devonshire. First Known Performance On 11 June 1594 a performance of “the taming of a Shrow ” at the Newington Butts theater, in the village of Newington, Surrey, is recorded in Henslowe`s diary.
    [Show full text]
  • Hamlet's Jest
    18. Hamlet's Jest "A fellow of infinite jest, of most excellent fancy" —Hamlet Hamlet, the greatest play by the greatest writer who ever lived, has held its sway over the human mind for 400 years. And yet it is still shrouded in mystery. When was it written? Was there an earlier version before Shakespeare's? What is it really about? Why does Hamlet delay his revenge? The greatest mystery of all, however, is for some the easiest to answer, namely, who actually wrote the play? Its authorship is commonly attributed to William of Stratford, but there are enormous difficulties in ascribing the play to him. These problems are usually glossed over or explained away by a considerable number of unwarranted assumptions. There is, however, a simpler and more logical theory of the authorship. It is that this play about the machinations of court life was written and rewritten over a period of 30–40 years by a courtier who dares us to make the obvious identification. Date Of Composition The first difficulty with the William theory concerns the time of the play's initial composition. There are two known references to a Hamlet of the 1580s, both by Thomas Nashe. He was a Cambridge graduate (1586) who became one of the 'university wits', a circle of five writers (Nashe, Peele, Greene, Lodge and Lyly) who came to London and wrote for the stage and the press. In his preface to Sidney's Astrophel and Stella (1591), Nashe alludes to the 'To be or not to be' soliloquy, which he says had been heard on the stage for five years.
    [Show full text]
  • Shakespearean Joyce – Joycean Shakespeare (Pdf)
    UNIVERSITÀ DEGLI STUDI ROMA TRE THE JAMES JOYCE ITALIAN FOUNDATION JSI – Joyce Studies in lta1y Founder: Giorgio Melchiori General editor: Franca Ruggieri Editorial Board: Roberto Baronti Marchiò (Università di Cassino e del Lazio Me‐ ridionale), Sonia Buttinelli (Università di Cassino e del Lazio Meridionale), Peter Douglas (Università RomaTre), Dora Faraci (Università Roma Tre), Anne Fogarty (Universitiy College Dublin), Fabio Luppi (Università Guglielmo Marconi), Maria Domenica Mangialavori (Università Milano ‐ Bicocca), John McCourt (Università Roma Tre), Enrico Terrinoni (Università per Stranieri, Perugia). Board of Advisors: Jacques Aubert (Université de Lyon), Roberto Baronti Marchiò (Università di Cassino e del Lazio Meridionale), Morris Beja (Ohio State University), Daniel Ferrer (ITEM, CNRS/ENS France), Anne Fogarty (University College Dublin), Ellen Carol Jones (Columbus, Ohio), Geert Lernout (University of Antwerp), John McCourt (Università Roma Tre),Timothy Martin (Rutgers University), Francesca Ro‐ mana Paci (Università del Piemonte Orientale), Fritz Senn (Zurich James Joyce Foun‐ dation), Enrico Terrinoni (Università per Stranieri, Perugia), Carla Vaglio Marengo (Università di Torino). Joyce Studies in Italy is a peer‐reviewed annual journal aimed at collecting mate‐ rials which throw light upon Joyce’s work and world. It is open to the contribu‐ tions from scholars from both Italy and abroad, and its broad intertextual ap‐ proach is intended to develop a better understanding of James Joyce, the man and the artist. The project was initiated in the early 1980s by a research team at the University of Rome, ‘La Sapienza’, led by Giorgio Melchiori. It subsequently passed to the Università Roma Tre. Originally no house style was imposed re‐ garding the individual essays in the collection but in recent issues a standardized stylesheet has been adopted wich can be found at the end of each volume.
    [Show full text]
  • Katherina / Kate
    THE PLAY “THE TAMING OF THE SHREW” THE WOMAN KATHERINA / KATE THE FACTS WRITTEN: “The Taming of the Shrew” was completed in 1594 although Shakespeare may have begun to write it as early as 1590…. In the twelve months spanning the end of 1593 and the start of 1594 the young William Shakespeare was particularly prolific in the London theater scene. In addition to composing five plays he also completed his two long narrative poems “Venus and Adonis” and “The Rape of Lucrece”. PUBLISHED: The play was first published in the famous First Folio of 1923 AGE: The Bard was only approaching his 30th birthday when he completed the play. (Born 1564-Died 1616) CHRONO: Completed early in his career, the play falls in line as his eighth play in his full canon of 39 plays; the comedy followed on the heels of the “apprentice tragedy” of “Titus Andronicus” and was followed by the poetic romance, “Love’s Labour’s Lost.” GENRE: “The Taming of the Shrew” often finds its place in the category of the “Early Comedies” with “The Comedy of Errors” and “The Two Gentlemen of Verona.” SOURCE: Although there is no direct literary source for the “Induction”, the tale of a commoner being duped into believing he is a lord is one found in many literary traditions. Regarding the Petruchio and Katherina story, there are a variety of possible influences, but no one specific source. Oddly, another play, “A Pleasant Conceited Historie, called the taming of a Shrew (note the letter “a” and not the word “the”) was performed as early as 1592 which may be either the source of Shakespeare’s broad comedy or – and this is more probable – a corrupt, pirated edition of the original text.
    [Show full text]
  • Shakespeare's Dates
    SHAKESPEARE’S DATES: THEIR EFFECTS ON STYLISTIC ANALYSIS W. Ron Hess, CDP, assisted by Howard Bloch, PhD. & Winston C. Chow, PhD. INCE the style of a writer, particularly a great writer, will necessarily evolve and change over time, and since the favored styles of any period follow the same processes of growth and change, any analysis of a canon of works made to determine its authorship must begin with as close and accurate a system of dating as is possible. Unfortunately, in the case of the Elizabethans, this is easier said than done and it is particularly diffi- cult with that gaping gulf of anomalies known as the Shakespeare canon. With so little that is secure to use for guidelines, there will always be a danger that analysis will be more than a little dependent on factors determined deliberately or acciden- tally by the analyst; and so we find the process of dating the plays. Peter Moore’s 1997 arti- cle in The Elizabethan Review went into some depth on the many unfounded assumptions made by E. K. Chambers, the great early twentieth-century Shakespearean, whose chronolo- gy still retains its place as the standard accepted by most mainstream scholars. As Moore states, “Chambers’s dating scheme amounts to an attempt to force the plays, in their proper sequence––early, middle, late––into the span of 1590-1613” (27). Furthermore, for the sake of argument, Moore agrees with . Chambers and every other authority that the approximate sequence or order of composition of the plays can be determined on stylistic grounds with reasonable cer- tainty, [however,] that attempts to determine an exact sequence by the use of quanti- tative methods are probably hopeless.
    [Show full text]
  • Dating the Shrew by Stephanie Hopkins Hughes
    Dating the Shrew by Stephanie Hopkins Hughes The Taming of the Shrew was published for the first time in the First Folio of 1623. Commonly referred to as The Shrew to distinguish it from A Shrew, a play that on May 2,1594, was entered to Peter Short in the Stationers’ Register as The Tamynge of a Shrowe and published anonymously that year in quarto. It’s clearly the same play, though sufficiently different to be distinct from the 1623 version. The title page states: “A Pleasant Conceyted Historie, called The Taminge of a Shrowe . sundry times acted by the Right honorable the Earle of Pembroke his servants . 1594.” A single copy of this edition survives, followed by a reprint in 1596 and by two more in 1607. The first in 1607 was entered in the register to Nicholas Ling at the same time as Romeo and Juliet and Love’s Labours Lost, indicating a clear connection with Shakespeare. The relationship between A Shrew (1594) and The Shrew (1623) has been vigorously debated over the years. Ann Thompson, editor of the 1984 Cambridge edition, explains the choice of theories: a) A Shrew is the original play, by an unknown writer, and the direct source of the Shakespeare play; b) The Shrew is the original play, while A Shrew (a “bad quarto”) is a memorial reconstruction of the Shakespeare play by an actor or some other person; c) both Shrews derive from a lost original, Shakespeare’s first version of the play. Despite the close resemblance in structure, the language in A Shrew is far less Shakespearean, though not totally without lyrical touches.
    [Show full text]