An Old-Spelling, Critical Edition of The History of the Two Maids of More-Clacke PDF Download
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Author: Alexander S Liddie
Publisher: Routledge
ISBN: 0429687184
Category : Literary Criticism
Languages : en
Pages : 307
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Book Description
First published in 1979, this volume is an old-spelling, critical edition of a comedy by Robert Armin, written between 1598 and 1606, a period spanning his employment as a comic actor in Shakespeare’s company. Had all his writings been among the many of his period which disappeared, we should not be crucially deprived. Nonetheless, Alexander S. Liddie suggests that Armin’s life and work deserve a niche in our understanding of the literary, theatrical and social scene of Shakespearian England. Armin’s talent, though limited, was varied, and he was one of only a few playwrights of his era who combined the creative function with the mimetic art. While the style of The Two Maids of More-clacke is admittedly garbled and rarely lucid, its plot incredibly labyrinthian and its characterisations vague, these elements also serve as vehicles for an extended criticism-by-parody of Shakespeare’s major tragedies, particularly Hamlet. All those interested in Shakespeare must be curious to assess this popular entertainer’s response to the great dramatist.
Author: Alexander S Liddie
Publisher: Routledge
ISBN: 0429687184
Category : Literary Criticism
Languages : en
Pages : 307
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Book Description
First published in 1979, this volume is an old-spelling, critical edition of a comedy by Robert Armin, written between 1598 and 1606, a period spanning his employment as a comic actor in Shakespeare’s company. Had all his writings been among the many of his period which disappeared, we should not be crucially deprived. Nonetheless, Alexander S. Liddie suggests that Armin’s life and work deserve a niche in our understanding of the literary, theatrical and social scene of Shakespearian England. Armin’s talent, though limited, was varied, and he was one of only a few playwrights of his era who combined the creative function with the mimetic art. While the style of The Two Maids of More-clacke is admittedly garbled and rarely lucid, its plot incredibly labyrinthian and its characterisations vague, these elements also serve as vehicles for an extended criticism-by-parody of Shakespeare’s major tragedies, particularly Hamlet. All those interested in Shakespeare must be curious to assess this popular entertainer’s response to the great dramatist.
Author: Charles Cathcart
Publisher: Routledge
ISBN: 1317100182
Category : Literary Criticism
Languages : en
Pages : 199
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Book Description
Significant and unexplored signs of John Marston's literary rivalry with Ben Jonson are investigated here by Charles Cathcart. The centrepiece of the book is its argument that the anonymous play The Family of Love, sometimes attributed to Thomas Middleton and sometimes to Lording Barry, was in part the work of John Marston, and that it constitutes a whimsical statement of amity with Jonson. The book concerns itself with material rarely or never viewed as part of the "Poets' War" (such as the mutual attempted cuckoldings of The Insatiate Countess and the Middle Temple performance of Twelfth Night) rather than with texts (like Satiromastix and Poetaster) long considered in this light.
Author: Catherine A. Henze
Publisher: Taylor & Francis
ISBN: 1317055993
Category : Literary Criticism
Languages : en
Pages : 217
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Book Description
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays’ songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.
Author: Library of Congress. Copyright Office
Publisher: Copyright Office, Library of Congress
ISBN:
Category : Copyright
Languages : en
Pages : 1626
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Book Description
Author: Nora Johnson
Publisher: Cambridge University Press
ISBN: 0521117372
Category : Art
Languages : en
Pages : 221
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Book Description
This book uncovers important links between acting and authorship in early modern England.
Author: Marisa R. Cull
Publisher: OUP Oxford
ISBN: 0191025321
Category : Literary Criticism
Languages : en
Pages : 225
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Book Description
Shakespeare's Princes of Wales spotlights the surprising abundance of princes of Wales—English and Welsh alike—appearing onstage in the late Tudor and early Stuart period. In drawing our attention to the oft-overlooked and frequently misunderstood Welsh inheritance, and in investigating its staged and shadowed heirs in plays and court performances by Shakespeare, Peele, Fletcher, Jonson, and more, Marisa R. Cull suggests that the growing scholarly interest in Wales's influence on English national identity must be conditioned by the political and theatrical specificity of the princedom. Illuminating the princedom's unique role as an extension of the Welsh past in contemporary England, Shakespeare's Princes of Wales reveals early modern English culture's understanding of the princedom as linked to England's most pressing national crises: the tenuous connection between bloodline and succession, the anxiety over England's native strength, and the fraught process of fashioning a British state. In the pages of this book, we meet familiar characters—Hal, Glendower, Fluellen, and more—wholly transformed through the added insights about the princedom, and encounter long-ignored or forgotten heirs, meaningfully resurrected for the insights they provide on the Anglo-Welsh past. In telling the story of the early modern princedom, Shakespeare's Princes of Wales offers new insights not only into that period's politics and theater, but also into a title that survives, in continued complexity, to this day.
Author: Jeremy Lopez
Publisher: Routledge
ISBN: 1317357353
Category : Art
Languages : en
Pages : 1147
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Book Description
The Routledge Anthology of Early Modern Drama is the first new collection of the drama of Shakespeare’s contemporaries in over a century. This volume comprises seventeen accessible, thoroughly glossed, modernized play-texts, intermingling a wide range of unfamiliar works—including the anonymous Look About You, Massinger’s The Picture, Heminge’s The Fatal Contract, Heywood’s The Four Prentices of London, and Greene’s James IV—with more familiar works such as Marlowe’s Doctor Faustus, Webster’s The Duchess of Malfi, and Middleton’s Women Beware Women. Each play is edited by a different leading scholar in the field of early modern studies, bringing specific expertise and context to the chosen play-text. With an unprecedented variety of plays, and critical introductions that focus on the diversity and strangeness of different early modern approaches to the artistic and commercial enterprise of play-making, The Routledge Anthology of Early Modern Drama will offer vital new perspectives on early modern drama for scholars, students, and performers alike.
Author: Megan Lloyd
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 1580443540
Category : History
Languages : en
Pages : 202
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Book Description
When James VI of Scotland and I of England proclaimed himself King of Great Britain he proposed a merger of parliaments as he had joined two crowns in his own person ascending the throne of England in 1603. For James, the Cambro-Celtic past led to an Anglo-Scottish present, and Wales stood as the ideal. Although the parliamentary union of Great Britain was not initiated for another 100 years, Parliament’s denial failed to deter James from wanting a Great Britain, and R. A.’s play The Valiant Welshman became part of the public spectacle of unity required to nurture James’s dream. The Valiant Welshman, the Scottish James, and the Formation of Great Britain considers national, regional and linguistic identity and explores how R.A.’s play promotes Wales, serves King James and reveals what it means to be Welsh and Scots in a newly forming "Great Britain."
Author: Mary Bly
Publisher: Oxford University Press, USA
ISBN: 9780198186991
Category : Drama
Languages : en
Pages : 234
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Book Description
Queer Virgins and Virgin Queans looks at the early modern theater through the lens of obscure and obscene puns--especially "queer" puns, those that carry homoerotic resonances and speak to homoerotic desires. In particular, it resurrects the operations of a small boys' company known as the first Whitefriars, which performed for about nine months in 1607-8. As a group, the plays performed by this company exhibit an unusually dense array of bawdy puns, whose eroticism is extremely interesting, given that the focus of eros is the male body. The laughter recoverable from Whitefriars plays harnesses the pun's inherent doubleness to homoerotic pleasure; in these plays, 'the bawdy hand of the dial' is always 'on the pricke of noone'. Mary Bly's analysis depends on the nature of punning itself, and the inflections of language and the creativity that marked Whitefriars punsters, with special emphasis on the effect of puns on an audience. What happens to audience members who sit shoulder to shoulder and laugh at homoerotic quibbles? What is the effect of catching a queer pun's double meaning in a group rather than while alone? How can we characterize those auditors, within the convoluted, if fascinating, theories of erotic identity offered by queer theorists?
Author:
Publisher:
ISBN:
Category : Criticism
Languages : en
Pages : 520
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