DOCSLIB.ORG

The Cambridge Companion to Shakespeare’S Last Plays Edited by Catherine M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cambridge Companion to Shakespeare’S Last Plays Edited by Catherine M Cambridge University Press 978-0-521-88178-4 - The Cambridge Companion to Shakespeare’s Last Plays Edited by Catherine M. S. Alexander Index More information INDEX Abrams, Richard 202 Ayliff, H. K. 148 Accession Day Tilts 52, 66 Aylmer, John, Bishop of London 50 Adams, Robert M. 8, 26 Adelman, Janet 16, 107, 181 Bacon, Sir Francis 108 Adès, Thomas, The Tempest 3 Barber, C. L. 181 Adlington, William 48 Barbieri, Carlo, Perdita 3 Admiral’s Men 62, 64 Barry, Spranger 145 Adorno, Theodor W. 7 Bartholomeusz, Dennis 118, 119, Aeneas 71 120, 133 Agate, James 120 Barton, Anne 110, 184 Ainley, Henry 121 Barton, John 131, 139–40, 144 Alexander Theatre, Liverpool 119 Bassett, Linda 127 Alexander, Catherine 4 Bate, Jonathan 153 Alfred, Mike 140 BBC Shakespeare 139, 148, 176, 179 Allen, Shirley S. 133 Beaumont, Francis 9, 21–3, 29, 39, 185–6, Alma-Tadema, Sir Lawrence 143 188–9, 190 Amadis de Gaule 47 Cupid’s Revenge 23 American Repertory Theatre 26 The Knight of the Burning Pestle 82 Amis and Amiloun 66 The Masque of the Inner Temple and Gray’s Amyot, Jacques 48 Inn 38, 40, 65, 188 Anderson, Mary 120, 122 Beaumont, Francis and John Fletcher Anne of Denmark, Queen 39, 77 The Coxcomb 191 Apuleius, The Golden Asse 48 A King and No King 31 Ariosto, Orlando Furioso 47 The Maid’s Tragedy 41, 191 Aristotle 47, 51, 52 1647 Folio 187 Arne, Michael 115 1679 Folio 187, 189 Arne, Thomas 115, 146 Beethoven, Ludwig van 5 Arnold, Matthew 157 Begg, S. 142 Arundel, Earl of, see Howard, Thomas Bellarmine, Cardinal 71, 85–6, 87 Ashcroft, Peggy 197 Benson, Frank R. 176 Astraea 50, 61, 63, 77 Bentley, G. E. 19, 26, 29, 190 Athenaeum, The 175 Bergeron, David 72 Atkins, Robert 176 Bergmann, Frederick Louis, see Pedicord Aubrey, John 188 Berry, Philippa 72 Auden, W. H. 155–6 Berry, Ralph 195 The Sea and the Mirror 158–61, 169–71 Bertram, Paul 202 Augustine, St 52 Betterton, Thomas 189 Austern, Linda 35, 44 Betts, Hannah 177 213 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88178-4 - The Cambridge Companion to Shakespeare’s Last Plays Edited by Catherine M. S. Alexander Index More information index Bevington, David 68 Calvert, Charles and Adelaide 119–20 Bevis of Hampton 47 Campion, Thomas, The Lord Hay’s Masque Bible 49 75–6 Bishops’ Bible 84 Cardboard Citizens 176 Geneva Bible 84 Carey, George, Lord Chamberlain 38 Great Bible 61 Carleton, Dudley 83, 84–5 Henry VIII recension (1535) 196 Carr, Robert 76, 86 King James Bible 84 Carroll, Tim 144 Billington, Michael 26 Cartland, Barbara 102 Birmingham Rep 148 Catherine of Aragon 62 Blackfriars District 33, 51, 187 Cecil, Robert, first Earl of Salisbury 86 Blackfriars Hall 62, 198 Cervantes, Miguel de, Don Quixote 186 Blackfriars Theatre 8, 23, 29–43, 49, 51, 62, Césaire, Aimé 162–3, 169–71 114, 178, 187, 188, 190, 191 Une Tempête 162–3 Blake, William 138 Chamberlain, John 78, 83, 84–5 Blenerhasset, Thomas, A Direction for the Chamberlain’s Men, see King’s Men Plantation in Ulster 79, 81 Chambers, E. K. 132, 201 Bly, Mary 27 Chapman, George 29, 39 Boaden, James 133 Byron plays 29 Boccaccio, Giovanni 65, 136 The Masque of the Middle Temple and Boderie, Antoine Lefèvre de la, French Lincoln’s Inn 79 Ambassador to London 29, 77, 83 Chapman, George, Ben Jonson and John Boethius 65, 68 Marston, Eastward Ho! 82 Boétie, Etienne de la 66 Charles I, King 144 Boleyn, Anne 62 Charlton, H. B. 11–12 Bond, Samantha 8, 124 Chaucer, Geoffrey 49, 52–3, 64, 66, 68 Bonjour, Adrien 131–2 The Knight’s Tale 9, 64–5, 66, 67, 69, 193 Bradbrook, Muriel 78 The Legend of Good Women 65, 69 Bradley, A. C. 110, 156 The Merchant’s Tale 69 Brathwaite, Edward Kamau 161–2, The Squire’s Tale 69 169–71 Troilus and Criseyde 65 Letter Sycorax 164 Chedgzoy, Kate 160 Caliban 163–4 Cheek by Jowl 151–2 Briggs, Julia 202 Children of Paul’s 29, 34, 36 Britland, Karen 3 Children of the Chapel, see Children of the Brook, Peter 121 Queen’s Revels Brooks, Peter 111 Children of the Queen’s Revels 21, 23, 29, 34, Brown, Ivor 27 36, 190 Browning, Robert, Caliban upon Setebos Cibber, Susannah 145 156–7, 158, 169–71 Cicero 108 Bruce, Susan 76 Cinthio, Giovanni Battista 48 Bruch, Max, Hermione 3 City of London pageant (1559) 57 Bruni, Emily 125 Clarke, Charles Cowden 135 Brutus 71–2 Clopper, Laurence M. 69 Bullough, Geoffrey 180 Coghill, Nevill 128–9, 132 Bulwer, John, Chirologia, Or the Natural Coleridge, Samuel Taylor 110, 118, 138, 186 Language of the Hand. Chironomia, Or Colie, Rosalie 105 the Art of Manual Rhetoric 68 Collins, William 137 Burbage, James 29 Colman, George (the Elder), The Sheep- Burbage, Richard 29, 51 Shearing; or, Florizel and Perdita 115 Burke, Kenneth 99 Comédie-Française 2 Butler, Martin 41, 45, 74–5, 76, 77, Condell, Henry 20, 139, 174, 187, 188 80, 85–6 Cooke, Dominic 148–9 214 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88178-4 - The Cambridge Companion to Shakespeare’s Last Plays Edited by Catherine M. S. Alexander Index More information index Cooper, Helen 32, 111, 192, 193 Durfey, Thomas Copernicus 122 The Fool’s Preferment; or, the Three Dukes Cornwall, Barry 150 of Dunstable 145 Covent Garden, Theatre Royal 3, 114–15, The Injured Princess; or, The Fatal Wager 116, 118, 145–6, 175 144–5, 146, 147 Crane, Ralph 95 Dyce, Reverend Alexander 190 Cranmer, Thomas 62 Craven, Hawes 143 Edinburgh Festival 176 Creswick, William 117 Edward VI, King 22 Cromwell, Thomas 62 Edwards, Philip 127 Cumberland, Richard, Palamon Edwards, Richard and Arcite 189 Damon and Pithias 198 Palamon and Arcite 64, 198 Daily Advertiser and Oracle, The 116 Eggen, Arne, Cymbeline 3 Daily Telegraph, The 120, 153 Elam, Keir 94, 110 Damas, Léon 162 Eliot, T. S., Marina 181 Daniel, Samuel 22, 42 Elizabeth I, Queen 22, 50, 57, 62, 63–4, 66, Tethys’ Festival 42, 77 71, 72, 77, 79, 197, 198 Darwin, Charles 157 Elizabeth Stuart, Princess xi, 38, 57, 76, 78–9, Davenant, Charles, Circe 174 114, 188, 191 Davenant, Sir William 44, 189, 192 Englands Wedding Garment, or a Preparation The Rivals 189 to King James his Royall Coronation Davenant, Sir William and John Dryden, The 71–2, 74 Tempest; or, the Enchanted Island English Shakespeare Company 144 1, 3, 155 Erasmus 66 Davies, Thomas 133 Erickson, Peter 172 Day, John, William Rowley and George L’ Étudiant Noir 162 Wilkins, The Travails of the Three Evans, Ifor 110 English Brothers 87 Ewbank, Inga-Stina 43, 131 Dean, Paul 180–1 Dee, Dr John 61 Farnham, Willard 110 Dekker, Thomas, The Whore of Babylon 84 Faucit, Helena 118, 149 DelVecchio, Doreen and Antony Hammond 179 Felperin, Howard 111 Dench, Dame Judi 122, 151 Ficino, Marsilio 61 Denny, Honora 75–6 Field, Nathan 188 Denny, Sir Edward 75 Fielding, Emma 151 Devereux, Robert, third Earl of Essex 76, 86 Finkelpearl, Philip 186 Dexter, Sally 123 Fitzpatrick, Joan 133 Digbie, Lord 71, 87 Fleetwood, Susan 151, 176 Dodd, William 137 Fletcher, John xii, 9, 10, 17, 21–4, 26, 29, Donaldson, E. T. 69 32–3, 39, 61, 64–7, 91, 174, 185–201 Doolittle, Hilda, see H. D. Bonduca 188 Doran, Greg 124–5, 126 The Faithful Shepherdess 23, 48 Dowden, Edward 2, 6–7, 8, 13, 15, 25, The Mad Lover 200–1 67, 91 The Noble Gentleman 145 Drayton, Michael 160 Philaster 22–3, 189 Drury Lane, Theatre Royal 116, 118, For plays co-authored with Beaumont, see 146, 189 Beaumont Dryden, John 174 For plays co-authored with Dryden, John, The Tempest; or, the Enchanted Shakespeare, see Shakespeare Island, see Davenant Fludd, Robert, Utriusque cosmi maioris Duffin, Ross 44 scilicet et minoris metaphysica, physica Duncan-Jones, Katherine 139, 202 atque technica historia 58 215 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88178-4 - The Cambridge Companion to Shakespeare’s Last Plays Edited by Catherine M. S. Alexander Index More information index Foakes, R. A. 26 Guardian, The 26, 125 Forbidden Planet 3 Guarini, Giambattista 22, 48, 192 Forman, Simon xi, 31, 113, 114, 136, Compendio della Poesie Tragicomica 48 144, 151 Il Pastor Fido 48 Foxe, John 50 Gunpowder Plot 84–5 Actes and Monuments 61 Gurr, Andrew 21, 29, 30, 31, 32, 44, 68 Franck, Jane P. 171 Guthrie, Tyrone 195 Frederick Henry, Elector Palatine 57, 78–9, Guy of Warwick 47 114, 188, 191 Freeman, Scott 183 Haas, Virginia Westling, see Turner Freud, Sigmund 160 Hall, Edward (1512) 39 Friedman, Susan 160 Hall, Edward (2005) 125–6 Frye, Northrop 111 Hall, Sir Peter 122–4 Fuchs, Barbara 81, 82–3 Halliday, F. E. 110 Furnivall, F. J. 2, 25 Hamilton, Donna B. 85, 86 Hammond, Antony, see Doreen DelVecchio Gair, Reavley 43 Hampton Court Conference 84 Garrick, David 146–7, 149 Hancock, Phyllida 124 Florizel and Perdita 115, 116, Hands, Terry 176 118, 119 Hardy, Robert 202 Gaskill, William 139, 151 Harington, Sir John 47 Gentleman, Francis 147 Harker, Joseph 143 Gentleman’s Magazine, The 189 Hattaway, Michael 73 George II, King 189 Hawkins, William 145–7 George III, King 189 Hay, James 75–6 Gerschow, Frederic 34, 35 Hayman, Francis 3 Gibson, Melissa 183 Hazard, Mary E. 68 Giddens, Eugene 4 Hazlitt, William 102, 115, 116, 138, 175 Gielgud, Sir John 121, 127 H. D. (Hilda Doolittle), By Avon River Gilbreath, Alexandra 125, 126, 130–1 158–61, 164, 169–71 Gillies, John 82 Healy, Margaret 74, 79, 181, 182 Gilman, Ernest 42 Heliodorus, Ethiopica 48 Girard, René 198 Heminges, John 20, 139, 174, 187, 188 Globe Theatre (16th/17th century) xi, 8, 49, 62, Henke, Robert 25, 27 113, 114, 136, 173, 178, 187–8 Henrietta Maria, Queen 87 Globe Theatre (20th/21st century) 140, 177 Henri IV, King of France 85–6 Goodman’s Fields Theatre 114 Henry VII, King 77 Gossett, Suzanne 4, 9, 10, 17, 26, 76, 81–2, 87, Henry VIII, King 22, 39, 61–2, 86, 196 178, 179–80, 183 Henry Stuart, Prince of Wales 22, 42, 57, 64, Gower, John 49, 52–3 66, 73, 76–9, 82, 84, 114, 191 Confessio Amantis 52, 53, 180 Henslowe, Philip 35 Gowthwaite Hall, Yorkshire 180 Henslowe’s Diary 19, 69 Graphic, The 142 Heywood, Thomas, The Golden Age 41 Granville-Barker, Harley 114, 120–1, Hiddleston, Tom 151 128–9, 131 His Majesty’s Theatre, London 120 Greenblatt, Stephen 81, 187–8 Hoeniger, F.
Load more

Recommended publications
  • The New Changeling 1 Leaders: Gordon Mcmullan, King’S College London Kelly Stage, University of Nebraska-Lincoln
    2018 SAA Seminar: The New Changeling 1 Leaders: Gordon McMullan, King’s College London Kelly Stage, University of Nebraska-Lincoln Seminar Respondent: Professor Suzanne Gossett, Loyola University Chicago Seminar summary It is ten years since the publication of Gary Taylor and John Lavagnino’s landmark Oxford Middleton edition – time, we feel, for reflection on the impact of the edition and of other recent developments in Middleton studies, as well as in early modern drama more generally, on the study and teaching of The Changeling, the most frequently taught play in the Middleton canon and thus a valuable test case. Our working premise is that critical fields, especially in respect of plays prominent in the teaching canon, tend to change more glacially than we might wish, and our plan for the seminar is to assess the current state of play in Changeling studies. We aim to provoke new work in light of developments over the last decade, both those prompted by the Oxford edition and those that are freestanding by virtue of being under way before 2007. The former include Annabel Patterson’s elegant introduction to the Oxford edition and a range of related engagements with the play by, e.g., Tanya Pollard, Michael Neill, Carol Thomas Neely, Courtney Lehmann, Pascale Aebischer and Barbara Ravelhofer, as well, most recently, as essays by Jay Zysk, Brad Ryner and Jennifer Panek rethinking issues of embodiment, sexuality and religion that were hallmarks of an earlier phase of Changeling criticism. The latter include, inter alia, David Nicol’s Middleton & Rowley (2012), which directly addresses the collaborative nature of the play and throws down the gauntlet to critics' persistent tendency to ignore collaboration or downplay the scenes thought to be Rowley’s.
    [Show full text]
  • John Ford - Poems
    Classic Poetry Series John Ford - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive John Ford(17 April 1586 - 1640) John Ford was an English Jacobean and Caroline playwright and poet born in Ilsington in Devon in 1586. <b> Life and Work</b> Ford left home to study in London, although more specific details are unclear — a sixteen-year-old John Ford of Devon was admitted to Exeter College, Oxford on 26 March 1601, but this was when the dramatist had not yet reached his sixteenth birthday. He joined an institution that was a prestigious law school but also a centre of literary and dramatic activity — the Middle Temple. A prominent junior member in 1601 was the playwright John Marston. (It is unknown whether Ford ever actually studied law while a resident of the Middle Temple, or whether he was strictly a gentleman boarder, which was a common arrangement at the time.) It was not until 1606 that Ford wrote his first works for publication. In the spring of that year he was expelled from Middle Temple, due to his financial problems, and Fame's Memorial and Honour Triumphant soon followed. Both works are clear bids for patronage: Fame's Memorial is an elegy of 1169 lines on the recently-deceased Charles Blount, 1st Earl of Devonshire, while Honour Triumphant is a prose pamphlet, a verbal fantasia written in connection with the jousts planned for the summer 1606 visit of King Christian IV of Denmark. It is unknown whether either of these brought any financial remuneration to Ford; yet by June 1608 he had enough money to be readmitted to the Middle Temple.
    [Show full text]
  • Representing Women and Politics in Jacobean England
    SAA Seminar 25: Representing Women and Politics in Jacobean England Seminar Leader: Christina Luckyj, Dalhousie University Seminar Abstracts Mary Adams, “The trope of Illegitimacy in some entertainments of 1613” My paper will examine the notions of (un)chastity and illegitimacy in several works composed in 1613, chiefly among them Middleton’s Chaste Maid in Cheapside and Shakespeare and Fletcher’s All is True (Henry VIII). My purpose will be to show that these plays, which have little else in common, both problematize legitimacy as part of a quarrel with succession and alliance as instruments of power and abuse of power. I will look at other works composed by these authors around the same time, particularly Middleton’s mayor’s show The Triumph of Truth and his show commemorating the New Rivers project. I’ll also discuss how contemporary events—particularly the Howard/Carr nullity scandal, Prince Henry’s death and Princess Elizabeth’s marriage, middle class unrest, and King James I’s expansion of absolute power and corresponding devaluation of aristocratic titles—helped trigger this concern with legitimacy. Several authors have already looked at the association of female sexual promiscuity with economic chaos and debased currency in a Chaste Maid in Cheapside, a play in which sex and economics are intertwined. However, though all children of this play are illegitimate, legitimacy itself has gone largely unexamined. In his 1613 Lord Mayor’s Show, Middleton suggests that because London is the mother of the mayor, he owes her the filial duty of resisting economic temptation (in the form of the promiscuous Envy), especially bribery from aristocrats at the expense of the guild craftsmen.
    [Show full text]
  • From the Romans to the Normans on the English Renaissance Stage
    From the Romans to the Normans on the English Renaissance Stage Lisa Hopkins EARLY DRAMA, ART, AND MUSIC From the Romans to the Normans on the English Renaissance Stage EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Brigham Young University Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences From the Romans to the Normans on the English Renaissance Stage by Lisa Hopkins Early Drama, Art, and Music MedievaL InsTITUTE PUBLICATIOns Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data are available from the Library of Congress. ISBN: 9781580442794 eISBN: 9781580442800 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in, or introduced into a retrieval system, or trans- mitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Chapter 6 Valiant Welshwomen: When Britain Came Back N The MYTH OF the essential continuity of the island’s inhabitants, Ino nation loomed larger than the Welsh, to the extent that they might be referred to simply as “the British,” as in R.
    [Show full text]
  • Call for Papers Practices of Collaboration in Early Modern
    Call for Papers Practices of Collaboration in Early Modern Theatre: Authors, Actors, Printers, Playhouses, and Their Texts (Susanne Gruss & Lena Steveker) international conference, 02-04 December 2021, Friedrich-Alexander-University Erlangen-Nürnberg (Germany) or Université du Luxembourg (Luxembourg) keynote speakers: Andy Kesson (University of Roehampton, London), Lucy Munro (King’s College, London) and Tiffany Stern (Shakespeare Institute, University of Birmingham) The culturally pervasive conception of dramatic authorship, which privileges the creative output of a single authorial mind, results from an oversimplification of the manifold practices of cultural production from which plays emerged in early modern England. These plays are in fact the products of a complex culture of collaboration which was pervasive in English theatre and theatrical culture in its formative years. While this is not a new insight – Gordon McMullan, for instance, argued that “collaboration is a much more appropriate model for textual production in general than is ostensibly ‘solo’ writing” as early as 1996 (438) – it is only more recently that critics have started to explore the various practices of collaboration that contributed to early modern theatre in more detail. Even though early modern collaboration is habitually referenced as a “normal activity” of playwrights (Vickers 2017, 7), academic interest remains largely restricted to collaboration as a form of authorial ‘teamwork’ in the works of repeat collaborators (Francis Beaumont and John Fletcher or Thomas Middleton and William Rowley – see Masten 1997, Hirschfeld 2004, Hutchings and Bromham 2008, Nicol 2012). More recent research in repertory studies has taken into view the collaborative practices within particular playhouses, for example between authors and playing companies (see Munro 2005 and 2020, Gurr 2009, Rutter 2017).
    [Show full text]
  • Press Release 2018
    Brave Spirits Theatre Archive PRESS RELEASE 2018 Directors: Charlene V. Smith and Casey Kaleba Dramaturg: Claire Kimball Artistic Director: Charlene V. Smith Resident Dramaturg: Claire Kimball ---------------------------- Brave Spirits Theatre is providing these early modern theatre resources free of charge for educators, students, and theatre practitioners for research purposes only. All design, directing, and dramaturgical work is the intellectual property of the artist who created it. Any use of this work in future productions is forbidden unless the express permission of the artist is obtained. Scripts in Word document format and scene charts in Excel are available for open source use and adaptation. You are also welcome to consult BST’s script edits and doubling tracks for research or production. This page and other identfying markers should not be removed from PDF fles. If you found this document helpful in your research or practice, please consider donating to Brave Spirits Theatre at (bravespiritstheatre.com/support) to help support the company and these archives. www.bravespiritstheatre.com Brave Spirits Theatre presents The Changeling by Thomas Middleton and William Rowley in repertory with The Duchess of Malfi by John Webster October 1, 2018​: BST’s fall repertory explores depraved violence, sexual obsession, and female determination in two of the greatest tragedies written for the early modern stage. In ​The Changeling, Beatrice-Joanna goes to any ​ lengths rather than be forced to marry a man she doesn’t love--including murder. Though four hundred years old, this gripping play presents an all too familiar picture of women’s entrapment and degradation at the hands of men.
    [Show full text]
  • Redalyc.Gary Taylor Et Al. 2007 Thomas Middleton
    SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Hutchings, Mark Gary Taylor et al. 2007 Thomas Middleton: The Collected Works and Thomas Middleton and Early Modern Textual Culture Oxford: Oxford University Press SEDERI Yearbook, núm. 21, 2011, pp. 183-190 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333527608012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Gary Taylor et al. 2007 Thomas Middleton: The Collected Works and Thomas Middleton and Early Modern Textual Culture Oxford: Oxford University Press Mark Hutchings University of Reading In truth this long-awaited publication is more than a collected works. Unlike orthodox scholarly collections, for example the recent Cambridge edition of the plays of John Webster, but like the 1997 Norton Shakespeare (based on another, rather more orthodox collection, the Oxford Shakespeare of 1986), it includes critical essays on a range of topics relevant to students of early modern literature, theatre, and culture. It is then rather a hybrid: a scholarly edition which properly seeks to identify and present the Middleton canon, and a resource which aims to provide the latest scholarship on the kinds of areas with which specialists and non-specialists alike might reasonably be expected to be familiar. This servant of two masters, divided into two volumes (which raises a number of issues related to form, content, and target audience[s]) is packed with material totalling more than 3,000 pages.
    [Show full text]
  • Friar Bacon and Friar Bungay, by Robert Greene (2019) Description
    ● Friar Bacon and Friar Bungay, by Robert Greene (2019) ○ Description: Forbidden love, a prince in disguise, wizard duels, and dazzling spells and effects! ○ Link to Production: https://www.bu.edu/buniverse/view/?v=jcSrg0 ● The Devil’s Law Case, by John Webster (2018) ○ Description: Malicious merchants, lawless lawyers, star-crossed lovers, disguises, duels, and one very lovely pudding-pie. ○ Link to Production: https://www.bu.edu/buniverse/view/?v=26WUWh0 ● The Witch of Edmonton, by William Rowley, Thomas Dekker and John Ford (2017) ○ Description: A tragicomedy of black magic, bad marriages, and dancing clowns. ○ Link to Production: https://www.bu.edu/buniverse/view/?v=j21870 ● The Sea Voyage, by John Fletcher and Philip Massinger (2016) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=1d35KD1ld ● The Shoemaker's Holiday, by Thomas Dekker (2015) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=11QhoG1Zs ● Arden of Faversham, anonymous (2014) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=1RXi4R1RA ● The Woman’s Prize, or The Tamer Tamed, by John Fletcher (2013) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=jgwM1Eo ● A King and No King, by Francis Beaumont and John Fletcher (2012) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=gsYSHzj ● Bartholomew Fair, by Ben Jonson (2011) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=11Yw4gbo ● The Changeling, by Thomas Middleton and William Rowley (2010) ○ Link to Production: https://www.bu.edu/buniverse/view/?v=mGg1NJY ● The Dutch
    [Show full text]
  • Sexual Energy and Moral Order in Middleton's the Changeling
    RICE UNIVERSITY Sexual Energy and Moral Order in Middleton *s The Changeling by Dennis Hengeveld A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Thesis Director*s signature: Houston, Texas May, 1965 ABSTRACT Sexual Energy and Moral Order in Middleton's The Changeling by Dennis Hengeveld The Renaissance in England can best be characterized as a period that was neither medieval nor modem, but during which the decaying and emerging modem world views existed side by side. The modem emphasis on individualism, social mobility, and the doctrine of progress can also be found in seventeenth-century England. At the same time, the belief in an ultimate moral order and a Christian cosmosgraphy remained firm until at least the middle of the eighteenth century. Moreover, men of the Renaissance firmly believed that the best earthly form of government, in the commonwealth, in the community, and in the family, corresponded to the order God imposed on his creation as a whole. The great tragedies written during the English Renaissance were, I believe, at least partially the result of the tension that existed between these different world views. On the one hand, Renaissance protagonists possessed a large store of individual energy which made them heroic if not always good men. On the other hand, when they overstepped the bounds established for all men by moral law, whether that law was manifested in an earthly order or Icnox-m through the revelation of God's will, they had to be destroyed. Thus, an audience could appreciate the hero and at the same time understand the necessity of his destruction.
    [Show full text]
  • The Changeling
    A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1­a sig: [N/A] img: 1­b sig: A1r ln 0001 THE ln 0002 CHANGELING: ln 0003 As it was Acted (with great Applause) ln 0004 at the Privat house in DRURY=LANE, ln 0005 and Salisbury Court. ln 0006 Written by {THOMAS MIDLETON, ln 0007 and ln 0008 WILLIAM ROWLEY.} Gent’. ln 0009 Never Printed before. ln 0010 LONDON, ln 0011 Printed for HUMPHREY MOSELEY, and are to ln 0012 be sold at his shop at the sign of the Princes­Arms ln 0013 in St. Pauls Church­yard, 1653. img: 2­a sig: A1v ln 0001 Drammatis Personæ. ln 0002 Vermandero, Father to Beatrice.
    [Show full text]
  • The Repertory of Prince Charles's
    Early Theatre 9.2 David Nicol The Repertory of Prince Charles’s (I) Company, 1608–1625 In recent years, studies by Rosalyn L. Knutson, Scott McMillin and Sally-Beth MacLean, Mary Bly and Andrew Gurr have demonstrated that reading the repertories of individual playing companies with the plays grouped together can yield fresh insights into the companies, their plays, and the general theatre history of the period concerned.1 The first stage in such a study is determining the plays that belonged to a given company at any given time, and although much of this work was carried out in the early to mid-twentieth century by E.K. Chambers and G.E. Bentley, and has been carried forward since by others (most recently by those named above), new discoveries can still be made. In the course of an ongoing study of the actor-playwright William Rowley, I have found evidence that may expand the known repertory of one of the companies he acted for: Prince Charles’s Men, a Jacobean playing company that operated between 1608 and 1625. At present, twenty-six plays have been listed as belonging to this company, of which only eight have survived. However, fifteen more plays, eight of which are extant, may tentatively be added to the company’s repertory if the available evidence is looked at in a new light. In this article I outline the history of Prince Charles’s Men, and supply the evidence for possible additions to its repertory. The company The history of the company normally known as Prince Charles’s Men2 can be divided into four periods.3 The first period (1608–c1614), covers the early years of the company, which was formed in 1608, and by 1613 was probably performing at the Curtain in Shoreditch.
    [Show full text]
  • “Here Lay My Hope”: Attribution, Collaboration
    “HERE LAY MY HOPE”: ATTRIBUTION, COLLABORATION, AND THE AUTHORSHIP OF THE THIRD ADDITION TO THE SPANISH TRAGEDY Keegan Cooper Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University October 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________________ Dr. Terri Bourus, Chair ______________________________________ Dr. Jonathan Eller ______________________________________ Dr. April Witt ii Dedication For Mom, who first introduced me to Shakespeare and inspired me to imagine and create. For Char, Beeg, and Pops. Without your company and counsel, this thesis might not have been completed. iii Acknowledgements A huge thank you to my thesis committee: Dr. Jonathan Eller and Dr. April Witt. Your feedback in and out of class has been vital these past few years. And I cannot thank my mentors enough: my thesis chair, Dr. Terri Bourus, and Dr. Gary Taylor. Without your support and guidance over the past three years, I would not have been able to finish my educational career as successfully as I have. (And thanks for employing me too!) iv Table of Contents Introduction 1 Part 1: Backstory 3 Part 2: Control Tests 19 First Segment 25 Second Segment 42 Part 3: Conclusion 50 Bibliography 52 Curriculum Vitae v Introduction The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement.
    [Show full text]