Shakespeare's Venus and Adonis, Lucrece, and Other Poems

Total Page:16

File Type:pdf, Size:1020Kb

Shakespeare's Venus and Adonis, Lucrece, and Other Poems m F CANNOT LEAVE THE LIBRARY. i & ] (A/21 i COPYRIGHT DEPOSIT. ' / HI LIBRARY OF CONGRESS. ^| SHAKESPEARE'S VENUS AND ADONIS, LUCRECE, AND OTHER POEMS. Edited, with Notes, WILLIAM J. ROLFE, A.M., FORMERLY HEAD MASTER OF THE HIGH SCHOOL, CAMBRIDGE, MASS. WITH ENGRA VINGS. ^%x JUN 29 1883" J W Ho.l/ffcZ NEW YORK °r washing HARPER & BROTHERS, PUBLISHERS, FRANKLIN SQUARE. I88 3 . ~2 ENGLISH CLASSICS. Edited by WM. J. ROLFE, A.M. Illustrated. i6mo, Cloth, 56 cents per volume ; Paper, 40 cents per volume. Shakespeare's Works. PREFACE. Shakespeare's Poems have generally received less attention from editors and commentators than his plays, and in some editions they are omitted altogether. It has been my aim to treat them with the same thoroughness as the plays. All varies lectiones likely to be of interest to the student are recorded. The 1599 edition of Venus and Adonis is col- lated for the first time, so far as I am aware, though it was discovered some fifteen years ago. Certain of the recent editors do not appear to know of its existence. The text is given without expurgation. The Rape of Lucrece needs none, and the Venus and Adonis (like the sonnets on the same subject in The Passionate Pilgrim) does not admit of it without being mutilated past recognition. Of course these poems will never be read in schools or " Shakespeare clubs." In The Passionate Pilgrim, the pieces which are certainly not Shake- speare's are transferred from the text to the Notes. Most of the others are of doubtful authenticity, but I give Shakespeare the benefit—if bene- fit it be—of the doubt. A Lover's Complaint is generally conceded to be his ; and The Phcenix and the Turtle has, I think, a better claim to be so regarded than anything in The Passionate Pilgrim. These points, however, are more fully discussed in the Notes. Cambridge, February 3, 1883. By this, the boy that by her side lay kill'd Was melted like a vapour from her sight, And in his blood that on the ground lay spill 'd, A purple flower sprung up, chequer' d with white, Resembling well his pale cheeks and the blood Which in round drops upon their whiteness stood. (V. and A. 1 165 fol.) CONTENTS. PAGE Introduction to Shakespeare's Poems 9 I. The History of the Poems 9 II. The Sources of the Poems 14 III. Critical Comments on the Poems 16 VENUS AND ADONIS 41 THE RAPE OF LUCRECE.. 81 A LOVER'S COMPLAINT 143 THE PASSIONATE PILGRIM 156 THE PHOENIX AND THE TURTLE 163 Notes 167 VENUS GENETRIX. THE DEATH OF LUCKECE. INTRODUCTION SHAKESPEARE'S POEMS. I. THE HISTORY OF THE POEMS. Venus and Adonis was first published in quarto form, in * 1593, with the following title-page: miretur vulgus : mihi Venvs and adonis | Vilia flauus I ministret aqua. London Pocula Castalia plena | Apollo | I Field, and are to be sold at the Imprinted by Richard | white Greyhound in Paules Church-yard. signe of the \ | 1593. * For this title-page, as well as for much of the other information we have given concerning the early editions, we are indebted to the " Cam- bridge " ed. : IO SHAKESPEARE'S POEMS. The book is printed with remarkable accuracy, doubtless from the author's manuscript. A second quarto edition was published in 1594, the title- page of which differs from that of the first only in the date. A third edition in octavo form (like all the subsequent editions) was issued in 1596 from the same printing-office " for Iohn Harison." A fourth edition was published in 1599, with the following title-page (as given in Edmonds's reprint) Vilia miretur vulgus : mihi VENVS AND ADONIS. | I Apollo Pocula Castalia plena mi?iistret Im- flauus aqua. | I printed at London for William Leake, dwel- ling in Paules | Churchyard at the signe of the Greyhound. | 1599. This edition was not known until 1867, when a copy of it was discovered at Lamport Hall in Northamptonshire by Mr. Charles Edmonds, who issued a fac-simile reprint of it in 1870. Of course it is not included in the collation of the Cambridge ed., which was published before the discovery f but it was evidently printed from the 3d edition. Mr. Ed- " monds says : A few corrections are introduced, but they bear no proportion to the misprints." Of the fifth edition a single copy is in existence (in the Bodleian Library), lacking the title-page, which has been restored in manuscript with the following imprint: "Lon- Printed I. H. for Iohn Harrison 1600." don by | | The I date may be right, but, according to Halliwell f and Edmonds, the publisher's name must be wrong, as Harrison had as- signed the copyright to Leake four years previous. The Cambridge editors assumed in 1866 that this edition (the 4th of their numbering) was printed from that of 1596; but it is certain, since the discovery of the 1599 ed., that it " must have been based on that. Of the text they say : It * It is omitted by Hudson in his " Harvard " ed. (see account of early eds. of V. and A. vol. xix. p. 279), published in 1881. t Outlines 0/ the Life of Shakespeare (2d ed. 1882), p. 222. INTRODUCTION. n contains many erroneous readings, due, it would seem, partly to carelessness and partly to wilful alteration, which were repeated in later eds." Two new editions were issued in 1602, and others in 1617 and 1620. In 1627, an edition (of which the only known copy is in the British Museum) was published in Edinburgh. In the Bodleian Library there is a unique copy of an edi- tion wanting the title-page but catalogued with the date 1630 ; also a copy of another edition, published in 1630 (discovered since the Cambridge ed. appeared).* A thir- teenth edition was printed in 1636, "to be sold by Francis Coules in the Old Baily without Newgate." The first edition of Lucrece was published in quarto in 1594, with the following title-page: London. Printed by Richard Field, for LVCRECE. | I Iohn Harrison, and are to be sold at the signe of the | white Greyhound in Paules Churh-yard. | 1594. The running title is "The Rape of Lvcrece." The Bod- leian Library has two copies of this edition which differ in some important readings, indicating that it was corrected while passing through the press, t A second edition appeared in 1598, a third in 1600, and a fourth in 1607, all in octavo and all "for Iohn Harrison" (or " Harison "). In 1616, the year of Shakespeare's death, the poem was reprinted with his name as " newly revised ;" but " as the readings are generally inferior to those of the earlier edi- tions, there is no reason for attaching any importance to an assertion which was merely intended to allure purchas- " ers (Camb. ed.). The title-page of this edition reads thus : ^Bibliographical Contributions, edited by J. Winsor, Librarian of Har- vard University : No. 2. Shakespeare's Poems (1879). This Bibliography of the earlier editions of the Poems contains much valuable and curious information concerning their history, the extant copies, reprints, etc. t On variations of this kind in the early editions, cf. The Two Noble Kinsmen, p. 10. : I2 SHAKESPEARE'S POEMS. r William of By | VCRECE. | | | L M THE | RAPE Reuised. : Printed by T. Shakespeare. Newly | LONDON | | Jackson, and are to be solde at his shop neere S. for Roger | Conduit in Fleet-street. 1616. the | A sixth edition, also printed for Jackson, was issued in 1624. The fifth and sixth editions differ considerably in their readings from the first four, in which there are no important variations. A Lover's Complaint was first printed, so far as we know, in the first edition of the Sonnets, which appeared in 1609. The Passionate Pilgri?n was first published in 1599, with the following title-page : Pilgrims. By Shakespeare. | W. THE PASSIONATE | I Printed for laggard, and are to be AT LONDON \ W. | I W. Leake, at the Grey- hound in Paules Church- sold by | yard. 1599. I In the middle of sheet C is a second title sundry notes of Musicke. LON- SONNETS To | AT I Printed for W. laggard, and are to be sold by W. DON | I at the Grey- hound in Paules Churchyard. Leake, | The book was reprinted in 16 12, together with some po- ems by Thomas Heywood, the whole being attributed to Shakespeare. The title at first stood thus : or Certaine THE PASSIONATE | PILGRIME. | | I Sonnets, betweene Venus and Adonis, newly Amorous | | aug- Shakespere. The third mented. | corrected and | By W. | is ad- ded two Loue-Epistles, Edition. Whereunto newly | | first to LLellen, and Hellens answere backe the from Paris | | I Paris. Printed by W. laggard. 16 12. againe to | | The Bodleian copy of this edition contains the following- " note by Malone : All the poems from Sig. D. 5 were writ- ten, by Thomas Heywood, who was so offended at Jaggard : ; INTRODUCTION. I3 for printing them under the name of Shakespeare that he has added a postscript to his Apology for Actors, 4to, 1612, on this subject ; and Jaggard in consequence of it appears to have printed a new title-page to please Heywood, with- out the name of Shakespeare in it. The former title-page was no doubt intended to be cancelled, but by some inad- vertence they were both prefixed to this copy and I have retained them as a curiosity." The corrected title-page is, except in the use of Italic and Roman letters, the same as above, omitting " By W.
Recommended publications
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Sonnets. Edited by C. Knox Pooler
    Presented to the LIBRARY of the UNIVERSITY OF TORONTO hy The 'Estate of the late PROFESSOR A. S. P. WOODHOIISE Head of the Department of English -» University College 1944-1964 \ '^/i^ /F. ^r:y r. -1 "^ NiL- ' 7^ ( ^S, U , - ^ ^' ^ ^/f '^i>-, '^Si^6,i(i? THE ARDEN SHAKESPEARE GENERAL EDITOR : W. J. CRAIG 1899-1906: R. H. CASE, 1909 SONNETS J^' THE WORKS OF SHAKESPEARE SONNETS EDITED BY C. KNOX POOLER ? METHUEN AND CO. LTD. 36 ESSEX STREET : STRAND LONDON First Published in igi8 z£4S CONTENTS PAOE Introduction ^* Dedication ^ Sonnets ..... 3 A Lover's Complaint *45 INTRODUCTION According to the Stationers' Registers, a license to print a book called Shakespeare's Sonnets was granted to Thomas Tjiprpe on the 20th of May, 1609. It appeared with the : Sonnets Never before following title-page Shake-speares | | At London G. Eld for T. T. and are to be ] Imprinted. | | by solde William Some instead of by Apsley. \ 1609. copies " " William have " lohn at Christ Apsley Wright, dwelling j Church gate," an indication that these two publishers shared in the venture. The publication cannot have been long delayed, for Edward Alleyn, the actor, bought a copy (for ^d.) in June. " " The words never before imprinted are not strictly accurate, as two of the sonnets, cxxxviii. and cxliv., had already ap- peared in The Passionate Pilgrim (1599). The book seems to have been issued without Shakespeare's his are knowledge, certainly without super\'ision ; misprints the often both sense unusually frequent ; punctuation neglects and and there are other errors of more rhythm ; consequence which no author or competent reader could have overlooked.
    [Show full text]
  • Sweet Cytherea”
    Proving Oxfordian Authorship in “Sweet Cytherea” The Wind-Up Oxford’s poems do not resemble Shakespeare’s. They were two different writers. Such is Academe’s preclusive claim that a literary chasm exists between the known, usually early, writings of Edward de Vere, 17th Earl of Oxford, and the collected works we recognize by the spectacular epithet ‘Shakespeare’. (Baldrick, l7-18; Elliott, The Shakespeare Files; Kathman, website; Low, letter NY Times; Nelson, quoted, “Shakespeare Matters”, 7; Nelson, website) Since Lord Oxford published under a series of pseudonyms and proxies in order to carry on an artistic vocation shunned by his class, only three subscribed poems after his youth have survived. (“Shakespeare” Vol I, 553) There are no original notes and manuscripts to document an Oxford/’Shakespeare’ stylistic evolution. His plays are said to have been lost. (Sidney Lee, in “Shakespeare” Vol I, 112) The 1951 Encyclopaedia Britannica noted only, “He was a lyric poet of no small merit.” Orthodoxy therefore may prefer the slanted odds of comparing The Sonnets, ‘Shakespeare’s masterpiece, with Oxford’s juvenilia, involving a gap of twenty-five to thirty-five years in a life full of writing and personal change. Lacking the autograph work, critics who credit Oxford as the mind behind the name 'Shakespeare' must build their evidence from logical deduction, similar phrasing and poetic devices, biographical allusion, vocabulary, allegorical reference, and a recombination of previously disparate sources. But these investigative techniques apply to any author’s unprovenanced writings. The literary detective work is no different. Should it link an unattributed work to Francois Marie Arouet, for instance, which means simultaneously to his pseudonym Voltaire, it would be a red-letter day for literature.
    [Show full text]
  • I599-I6oi: the Author Brought Into Print Play Scene: "Loves Labors Lost" to "Troilus and Cressida "
    PART THREE I599-I6oi: the author brought into print Play scene: "Loves Labors Lost" to "Troilus and Cressida " "How many tales to please me she hath coined." "W. Shakespere," The Passionate Pilgrim, Poem 7 In his monumental 1790 edition, tided The Plays and Poems of William Shakspeare, Edmund Malone performs a curious editorial procedure. As rhe final poem to William Jaggard's The Passionate Pilgrim (1599, 1612) he prints "The Phoenix and Turtle," lifted from Robert C hester's Love's MartyJ; or Rosa/ins Complaint (r6or). Malone's procedure may obscure the textual independence of these rwo volumes of early modern poetry, bur it nonetheless highlights a shared genealogy for them: the genre of the printed miscellany.' In bringing rhe rwo volumes together, Malone makes available a set of comparisons berween rwo works of erotic verse printed at about rhe same nme. Together, rhe printing of The Passionate Pilgrim and "The Phoenix and Turde" near rhe mid-point ofShal<espeare's professional career represents a second phase of rhe national poet-playwright in print. Unlike rhe 1593-94 Venus and Lucrece, however, these works do nor show the a uthor presenting himself as a poet through the medium of print, but rather they are works rhat show a manuscript poet brought into print by others. The nature of rhe appropriation differs, as do rhe roles of Jaggard and C hester in Eliza­ bethan culture. Jaggard was a publisher and businessman on rhe look for a market success; Chester, an "obscure poet" in search of a patron (Burrow, ed., Sonnets and Poems, 82).
    [Show full text]
  • Actes Des Congrès De La Société Française Shakespeare
    Actes des congrès de la Société française Shakespeare 38 | 2020 Shakespeare et le monde animal Shakespeare’s Animal Anatomy of Music Katherine Cox Electronic version URL: http://journals.openedition.org/shakespeare/5126 DOI: 10.4000/shakespeare.5126 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Katherine Cox, « Shakespeare’s Animal Anatomy of Music », Actes des congrès de la Société française Shakespeare [Online], 38 | 2020, Online since 10 January 2020, connection on 06 July 2020. URL : http://journals.openedition.org/shakespeare/5126 ; DOI : https://doi.org/10.4000/shakespeare.5126 This text was automatically generated on 6 July 2020. © SFS Shakespeare’s Animal Anatomy of Music 1 Shakespeare’s Animal Anatomy of Music Katherine Cox 1 Music, for Shakespeare and contemporaries, echoes the design of the universe. Revealing in its own numerical construction a parallel order in the cosmos, music is bound up in the framework of every natural thing and being. Lorenzo expresses this logic in The Merchant of Venice: “[a] man that hath no music in himself / [...] / is fit for treasons, stratagems, and spoils.”1 Lacking the musical sensitivity common to all people, animals, and even objects, an unmusical man is a defective and untrustworthy creature. Condemnation of the man generates questions about the animals in Lorenzo’s exemplum, the “youthful and unhandled colts” that become docile and calm when they hear sweet music (5.1.72). Are they superior to the immovable man? Or does their ability to appreciate music diminish its moral and intellectual value? Tensions such as these, lurking just below the surface in Lorenzo’s speech, arise from the appeal of music across the animal-human divide.
    [Show full text]
  • The Sonnets and Shorter Poems
    AN ANALYSIS OF A NOTEBOOK OF JAMES ORCHARD HALLIWELL-PHILLIPPS THE SONNETS AND SHORTER POEMS by ELIZABETH PATRICIA PRACY A thesis submitted to the Faculty of Arts of The University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Faculty of Arts The University of Birmingham March 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. O t:O SYNOPSIS The thesis starts with an Introduction which explains that the subject of the work is an analysis of the Notebook of J. O. Halliwell-Phillipps dealing with the Sonnets and shorter poems of Shakespeare owned by the Shakespeare Centre Library, Stratford-upon- Avon. This is followed by an explanation of the material and methods used to examine the pages of the Notebook and a brief account of Halliwell-Phillipps and his collections as well as a description of his work on the life and background of Shakespeare. Each page of the Notebook is then dealt with in order and outlined, together with a photocopy of Halliwell-Phillipps1 entry. Entries are identified where possible, with an explanation and description of the work referred to.
    [Show full text]
  • The Passionate Pilgrim
    CHAPTE R 5 "TJ.ates ' . cozne· d" : ''W. S''-na kespeare , zn· Jagg' ar,d 's The Passionate Pilgrim [William Jaggard was] an infamous pirate, liar, and thief [who pro­ duced a] worthless litrle volume of stolen and mutilated poetry, parched up and padded our with dirty and dreary doggerel. Algernon Charles Swinburne, Studies in Prose and Poetry (1894), 90 W ith the 1623 First Folio and rhe 1599 and 1612 editions of The Passionate PiLgrim, William Jagga rd had primed the first collecrions of both Shakespeare's plays and his poems. Margrcra de Grazia, Sbakespeare Verbntim (1991). 167 T he above epigraphs pi npoint changing critical perceptions of William Jaggard's role in Shal(espeare's professional career. At the end of the nineteenth century, Swinburne works from a "Romantic" view of the autonomous author to judge Jaggard morally and The Passionate Pilgrim aesthetically. Jaggard is a cheat and the poetry poor. Since the poems' only begetter is a pirate, liar, and thief, and his li ttle volume stolen, mutilated, patched, padded, dirty, dreary, and worthless, who could find interest in the enterprise? A hundred years later, de Grazia helps us begin to under­ stand why. Even if we condemn Jaggard, he occupies a historic position in the printing of the national poet-playwright. He is the first to anticipate modern editors, including Malone, in the publication of both "the plays and poems ofWill iam Shakspeare." In between Swinburne and de Grazia, W illiam Empson gets at the crux of the histori cal matter when he remarks, "The Passionate Pilgrim (1599) is a cheat, by a pirate who is very appreciative of the work of Shakespeare" ("Narrative Poems," u ).
    [Show full text]
  • Dossier Pédagogique Vénus Et Adonis |
    Sommaire Préparer votre venue à l’Opéra 3 VÉNUS ET ADONIS Résumé & Synopsis 4 John Blow 5 Guide d’écoute 6 Vocabulaire 16 Références 17 VÉNUS ET ADONIS À L’OPÉRA DE LILLE Distribution 18 Entretien avec le metteur en scène 19 Costumes et scénographie 22 Repères biographiques 23 ANNEXE Fiche instruments 24 Contacts Service des relations avec les publics : OPERA DE LILLE Karine Desombre / Agathe Givry 2, rue des Bons-Enfants 03 62 72 19 13 BP 133 [email protected] 59001 Lille cedex Dossier réalisé avec la collaboration de Sébastien Bouvier, enseignant missionné à l’Opéra de Lille septembre 2012 2 Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - lire la fiche résumé et le synopsis détaillé, - faire une écoute des extraits représentatifs de l’opéra (guide d’écoute). Si vous souhaitez aller plus loin, un dvd pédagogique peut vous être envoyé sur demande. Les élèves pourront découvrir l’Opéra de Lille grâce à une visite virtuelle, les différents spectacles présentés ainsi que des extraits musicaux et vidéo. Enfin, pour guider les premières venues à l’Opéra, un document est disponible sur notre site internet : http://www.opera-lille.fr/fr/venir-a-l-opera/1ere-fois-a-l-opera/ Recommandations Le spectacle débute à l’heure précise et les portes sont fermées dès le début du spectacle, il est donc impératif d’arriver au moins 30 minutes à l’avance.
    [Show full text]
  • Titian's Later Mythologies Author(S): W
    Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp 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]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected
    [Show full text]
  • Bell Shakespeare Present VENUS & ADONIS by WILLIAM SHAKESPEARE a Bell Shakespeare and Malthouse Melbourne Co-Production Developed Through Mind’S Eye TEACHERS’ KIT
    australia’s shakespeare resource Sydney Theatre Company and Bell Shakespeare present VENUS & ADONIS BY WILLIAM SHAKESPEARE A Bell Shakespeare and Malthouse Melbourne co-production developed through Mind’s Eye TEACHERS’ KIT TEACHERS’ KIT: VENUS AND ADONIS CONTENTS 1 BELL SHAKESPEARE 2 ABOUT THIS KIT SYNOPSIS: VENUS AND ADONIS 3 BACKGROUND: VENUS AND ADONIS 4 THE CONTEMPORARY VISION: VENUS AND ADONIS 5 CHARACTERS: VENUS AND ADONIS 6 THEMATIC CONCERNS OF THE PRODUCTION 7 EDUCATIONAL CONTEXTS - VENUS AND ADONIS 8 PRE-PERFORMANCE ACTIVITIES 11 ENGLISH DRAMA MUSIC POST-PERFORMANCE ACTIVITIES 15 ENGLISH DRAMA MUSIC THE POEM: VENUS AND ADONIS 17 REFERENCES 27 © Bell Shakespeare Education 2009 1 BELL SHAKESPEARE Launched in 1990, Bell Shakespeare is a dynamic, Australian theatre company with a broad mandate to educate and entertain the public. The Company strives to present – at the highest possible standard – the works of William Shakespeare, and, from time to time, other classics. Bell Shakespeare is Australia’s only national touring Shakespeare theatre company. We are committed to taking our productions and education programmes to audiences in capital cities, regional and rural centres across Australia. We are also committed to the development and training of actors and an ongoing examination of the role of theatre in the life of the community. We believe that great theatre is a source of spiritual enrichment, wisdom and pleasure. BELL SHAKESPEARE EDUCATION ONLINE Bell Shakespeare’s education website is useful, relevant and entertaining. www.bellshakespeare.com.au/education is the key to all your Shakespearean information needs. About This Kit This kit has been devised for use in Senior English, Drama and Music with preparatory and follow- up exercises for students.
    [Show full text]
  • Venus and Adonis
    0043 CD Booklet RPM.qxd 06-12-2010 09:43 Page 1 ohn low JVenus andB Adonis Theatre of the Ayre Elizabethdirected by Kenny 0043 CD Booklet RPM.qxd 06-12-2010 09:43 Page 2 Theatre of the Ayre Elizabeth Kenny JOHN BLOW 01 Cloe found Amintas lying (A Song for Three Voices) 06.20 02 Ground in G minor for violin and continuo 03.56 MICHEL LAMBERT 03 Vos mépris chaque jour me causent mille alarmes 03.41 ROBERT DE VISÉE 04 Chaconne 05.12 JOHN BLOW Venus anD ADonis 05 OVERTURE 03.37 PROLOGUE 06 Cupid ‘Behold my arrows and my bow’ 07.00 07 Cupid’s Entry 01.14 08 Tune for Flutes 02.33 ACT 1 09 Adonis ‘Venus!’ 02.27 10 Hunters’ Music 03.51 11 Chorus ‘Come follow, follow to the noblest game’ 02.32 12 A Dance by a Huntsman 01.19 13 Act Tune 01.54 ACT 2 14 Cupid ‘You place with such delightful care’ 01.56 15 The Cupids’ Lesson 03.03 2 0043 CD Booklet RPM.qxd 06-12-2010 09:43 Page 3 Cupid and the little Cupids ‘The insolent, the arrogant’ 16 A Dance of the Cupids 01.28 17 Venus ‘Call the Graces’ 01.08 18 Chorus of the Graces ‘Mortals below, Cupids above’ 01.22 19 The Graces’ Dance 01.26 20 Gavatt 00.46 21 Saraband for the Graces 01.22 22 A Ground 01.52 23 Act Tune 02.39 ACT 3 24 Venus ‘Adonis!’ 05.03 25 Venus ‘With solemn pomp let mourning Cupids bear’ 07.05 Theatre of the Ayre Elizabeth Kenny director/theorbo/guitar Venus Sophie Daneman Adonis Roderick Williams Cupid Elin Manahan Thomas Soprano and shepherdess Helen Neeves Alto and shepherd Caroline Sartin Tenor and huntsman Jason Darnell Bass and shepherd Frederick Long Cupids from Salisbury Cathedral
    [Show full text]
  • Stylometric Techniques for Multiple Author Clustering Shakespeare‘S Authorship in the Passionate Pilgrim
    (IJACSA) International Journal of Advanced Computer Science and Applications, Vol. 8, No. 3, 2017 Stylometric Techniques for Multiple Author Clustering Shakespeare‘s Authorship in The Passionate Pilgrim David Kernot1 3 Terry Bossomaier Roger Bradbury 1Joint and Operations Analysis 2The Centre for Research in 3National Security College Division Complex Systems The Australian National University Defence Science Technology Group Charles Sturt University Canberra, ACT, Australia Edinburgh, SA, Australia Bathurst, NSW, Australia Abstract—In 1598-99 printer, William Jaggard named Modern scholars are divided on the authorship of the Shakespeare as the sole author of The Passionate Pilgrim even remaining unknown twelve. Reference [5] suggests Jaggard though Jaggard chose a number of non-Shakespearian poems in used Shakespeare‘s name because the majority of the poems the volume. Using a neurolinguistics approach to authorship were Shakespeare‘s, including 12 unidentified poems in The identification, a four-feature technique, RPAS, is used to convert Passionate Pilgrim said to be his earlier quality work and the 21 poems in The Passionate Pilgrim into a multi-dimensional never meant for publishing. She also adds there is some doubt vector. Three complementary analytical techniques are applied surrounding the authorship of the Barnfield and Griffin to cluster the data and reduce single technique bias before an poems. Reference [6] disputes Shakespeare‘s authorship, alternate method, seriation, is used to measure the distances while [7] suggest eight, not 12 of the anonymous poems are between clusters and test the strength of the connections. The Shakespeare‘s. However, [2] suggest poems 7, 10, 13, 14, 15, multivariate techniques are found to be robust and able to allocate nine of the 12 unknown poems to Shakespeare.
    [Show full text]