How original was Shakespeare and how was Shakespeare original? This lucid, innovative book sets about answering these questions by putting them in historical context and investigating how the dramatist worked with his sources: plays, poems, chronicles and prose romances. Shakespeare's Originality unlocks its topic with rewarding precision and flair, showing through a series of case studies that range across the output—from the mature comedies to the great tragedies, from Richard III to The Tempest—what can be learned about the artistry of the plays by thinking about these sources (including newly identified ones) after several decades of neglect. Discussion is enriched by such matters as Elizabethan ruffs and feathers, actors' footwork, chronicle history, modern theatre productions, debts to classical tragedy, scepticism, magic and science, the agricultural revolution, and ecological catastrophe. This is authoritative, lively work by one of the world's leading Shakespearians, accessible to the general reader as well as indispensable for students.
Beginning with the death of William Shakespeare in 1616, a study of the bard explores his evolution from provincial playwright to universally acclaimed, literary giant, beginning with his growing popularity during the late-seventeenth-century Restoration and ranging to the Stratford celebration of the tricentennial of Shakespeare's birth in 1864.
Shakespeare the Player overturns traditional images of the Bard, arguing that Shakespeare cannot be separated from his profession as actor any more than he can be separated from his works.
An indespensable companion to The Norton Shakespeare, Based on the Oxford Edition, this is the most comprehensive reference work on Shakespearean textual problems ever compiled in a single volume. William Shakespeare: A Textual Companion provides a wealth of information about the problems presented by texts and the processes by which editorial decisions are reached. The General Introduction discusses the critical and theoretical issues raised by different kinds of editions, the nature of early manuscripts, printed texts, and the evidence for the canon and chronology of Shakespeare's works. It also offers a concise history of the editing of Shakespeare and sets forth the editorial principles of the Oxford Edition. Included for each work, are an introduction, textual notes, press variants, discussions of emendations and problems of modernization, plausible alternative readings, and a letter-by-letter reprint of the stage directions in the control text, among other materials. --
Shakespeare as Jukebox Musical is the first book-length study of a growing performance phenomenon: musical adaptations of Shakespeare’s plays in which characters sing existing popular songs as one of their modes of communication. John Severn shows how these highly allusive works give rise to the pleasures of collaborative reception, and also lend themselves to political work, particularly in terms of identity politics and a valorisation of diversity. Drawing on musical theatre history, adaptation theory, Shakespeare studies and musicology, the book develops a critical approach that allows jukebox-musical versions of Shakespeare to be understood and valued both for their political potential and for the experiences they offer to audiences as artistic responses to Shakespeare. Case studies from the USA, the UK and Australia demonstrate how these works open new windows on Shakespeare’s plays and their performance traditions, on the wider jukebox musical trend, and on adaptation as an art form.
Typescript of the work published by Farrar, Straus & Giroux in 1999. Included in the papers of Robert Giroux located at Loyola University, New Orleans, Louisiana.
In this work of scholarship and creativity, Meagher argues that Shakespeare has been misunderstood because of a failure to recognize his own directions as a playwright. Through an examination of several of his plays Meagher uncovers Shakespeare as artist, director, and actor.
Dugas credits the reemergence of Shakespeare's plays and his rise to fame in the 1700s to economic factors surrounding the theater business including the acquisition and adaptation of Shakespeare's plays by the Tonson publishing firm, which marketed collector's editions of his work, spurring a price war and rousing public interest"--Provided by publisher.
How to Find Out About Shakespeare serves as a guide to the study of the poetry and plays of William Shakespeare. This book provides information on Shakespeare's life, his work, and the society in which he lived. Organized into 10 chapters, this book begins with an overview of England in which Shakespeare lived to develop a sense of his times, the ideas, as well as the social and political tension of England. This text then discusses the events of his life as well as the doubts that have been cast on his very existence. Other chapters look at the theater in which he earned his living and won his fame. This book discusses as well the literary criticism of his work, followed by a selection of special subjects and themes as dealt with by Shakespeare. The final chapter explains the main bibliographical tools for the study of Shakespeare. This book is a valuable resource for teachers, students, and librarians.
An introductory survey of the foundations of the text of Shakespeare, this book examines Shakespeare's writing in the environment of the theatre, and the printing of the earliest surviving texts.
Presenting striking new evidence, this book shows that "William Shakespeare" was the pen name of William Stanley, son of the Earl of Derby. Born in 1561, he was educated at Oxford, travelled for three years abroad, and studied law in London, mixing with poets and playwrights. In 1592 Spenser recorded that Stanley had written several plays. In 1594 he unexpectedly inherited the earldom--hence the pen name. He became a Knight of the Garter in 1601, eligible to help bear the canopy over King James at his coronation, likely prompting Sonnet 125's "Wer't ought to me I bore the canopy?"--he is the only authorship candidate ever in a position to "bear the canopy" (which was only ever borne over royalty). Love's Labour's Lost parodies an obscure poem by Stanley's tutor, which few others would have read. Hamlet's situation closely mirrors Stanley's in 1602. His name is concealed in the list of actors' names in the First Folio. His writing habits match Shakespeare's as deduced from the early printed plays. He was a patron of players who performed several times at court, and financed the troupe known as Paul's Boys. No other member of the upper class was so thoroughly immersed in the theatrical world.
The doctor suddenly appeared beside Will, startling him. He was sleek and prosperous, with a dainty goatee. Though he smiled reassuringly, the poet noticed that he kept a safe distance. In a soothing, urbane voice, the physician explained the treatment: stewed prunes to evacuate the bowels; succulent meats to ease digestion; cinnabar and the sweating tub to cleanse the disease from the skin. The doctor warned of minor side effects: uncontrolled drooling, fetid breath, bloody gums, shakes and palsies. Yet desperate diseases called for desperate remedies, of course. Were Shakespeare's shaky handwriting, his obsession with venereal disease, and his premature retirement connected? Did John Milton go blind from his propaganda work for the Puritan dictator Oliver Cromwell, as he believed, or did he have a rare and devastating complication of a very common eye problem? Did Jonathan Swift's preoccupation with sex and filth result from a neurological condition that might also explain his late-life surge in creativity? What Victorian plague wiped out the entire Brontë family? What was the cause of Nathaniel Hawthorne's sudden demise? Were Herman Melville's disabling attacks of eye and back pain the product of "nervous affections," as his family and physicians believed, or did he actually have a malady that was unknown to medical science until well after his death? Was Jack London a suicide, or was his death the product of a series of self-induced medical misadventures? Why did W. B. Yeats's doctors dose him with toxic amounts of arsenic? Did James Joyce need several horrific eye operations because of a strange autoimmune disease acquired from a Dublin streetwalker? Did writing Nineteen Eighty-Four actually kill George Orwell? The Bard meets House, M.D. in this fascinating untold story of the impact of disease on the lives and works of some the finest writers in the English language. In Shakespeare's Tremor and Orwell's Cough, John Ross cheerfully debunks old biographical myths and suggests fresh diagnoses for these writers' real-life medical mysteries. The author takes us way back, when leeches were used for bleeding and cupping was a common method of cure, to a time before vaccinations, sterilized scalpels, or real drug regimens. With a healthy dose of gross descriptions and a deep love for the literary output of these ten greats, Ross is the doctor these writers should have had in their time of need.
First published in 1980. At their most successful, Shakespeare's styles are strategies to make plain the limits of thought and feeling which define the significance of human actions. John Baxter analyses the way in which these limits are reached, and also provides a strong argument for the idea that the power of Shakespearean drama depends upon the co-operation of poetic style and dramatic form. Three plays are examined in detail in the text: The Tragedy of Mustapha by Fulke Greville and Richard II and Macbeth by Shakespeare.
In the 18th century in the town of Gorkha, just north of Kathmandu, ruler Prithvi Narayan fought campaigns against his neighbors and the British. During the fighting his warriors, renowned for their aggression and courage, gained the respect of the British, who appreciated that the steadfast warriors would make excellent soldiers. Upon the declaration of peace in 1816, a partnership was born. This alliance would play a vital role in UK defense over the next two centuries, from surviving the Indian Mutiny of 1857 and fighting in the jungles of Burma to the Khyber Pass, which would keep the Gurkhas in action for ninety years. The First World War sent the Regiment to the trenches, where battalion after battalion was decimated. Some 20 Gurkha battalions were deployed in the Second World War, which was soon increased to 45 following Dunkirk. Around 250,000 Gurkha soldiers would serve and were deployed most significantly in North Africa but also served with distinction in the Italian Campaign and Monte Cassino, as well as the decisive battles of Imphal and Kohima in the Far East. while the Gurkhas saw a drop in overall numbers post-war, they have continued to make integral contributions to many operations, including the Falklands and in Afghanistan, which this book examines extensively, with a special focus on Operation Herrick. In The Gurkha Way, John Sadler tells the story of the Gurkhas from their inception to modern day through interviews, unpublished diaries and correspondence. With over 200 years' experience, these steadfastly loyal soldiers are a link to an imperial past but also a key component of the modern British army. There is no other comparable unit in any of the world’s armies, (with the obvious exception of the Indian Army), or one more respected and loved by the British.
Why did Shakespeare revise his plays? In a brilliant and pioneering analysis, the distinguished critic John Jones explores the critical and dramatic significance of Shakespeare's revisions. Analyzing such plays as Hamlet, Othello, King Lear, and Troilus and Cressida, he reveals the artistic impact of the revisions and their importance for our understanding of each play's moral and metaphysical foundations.
This book illustrates the diverse and simultaneous happenings in the varied and complex Europe of the 1500s and 1600s AD, mainly focusing on England and Italy, the two major protagonists of this most fascinating period of history, when military interventions, literature, art and religious philosophies formed the Europe which we have inherited today. The book is enriched with more than 1000 illustrations and a 100-year calendar of historical events, in addition to references to 1,168 important contemporaries who lived in England, Italy and Europe during the Elizabethan and Jacobean periods. This book also delves in depth into the fascinating mystery of the authorship question in relation to who wrote the Shakespearean works.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.