27 results
Impressive Shakespeare: Identity, Authority and the Imprint in Shakespearean Drama. Harry Newman. Material Readings in Early Modern Culture. London: Routledge, 2019. xvi + 200 pp. $150.
- Laurie Maguire
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- Journal:
- Renaissance Quarterly / Volume 73 / Issue 3 / Fall 2020
- Published online by Cambridge University Press:
- 02 October 2020, pp. 1130-1131
- Print publication:
- Fall 2020
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Chapter 5 - Early Shakespeare, Chaucer, and Narrative Theory:
- Edited by Rory Loughnane, University of Kent, Canterbury, Andrew J. Power
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- Early Shakespeare, 1588–1594
- Published online:
- 17 April 2020
- Print publication:
- 30 April 2020, pp 121-146
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Summary
Arden of Faversham contains an unusual number of characters, both main and minor, who tell stories. The main storyteller, Franklin, is the play’s only fictitious character – one who has affinities with another story–teller of the same name in a collection of tales, Chaucer’s Franklin. This essay argues that the authors of Arden use the story-telling characters to explore the function of narrative within drama.
What is a source? Or, how Shakespeare read his Marlowe
- Edited by Peter Holland, University of Notre Dame, Indiana
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- Book:
- Shakespeare Survey
- Published online:
- 05 November 2015
- Print publication:
- 24 September 2015, pp 15-31
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Contributors
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- By Pascale Aebischer, Patricia Cahill, Thomas Cartelli, Chris Chism, David Clark, Danielle Clarke, Catherine Clifford, Mary Thomas Crane, Sarah Dewar-Watson, Andrew Duxfield, Lars Engle, Alison Findlay, Adam Hansen, Elizabeth Hanson, Thomas Healy, Lisa Hopkins, Paulina Kewes, Jacques Lezra, Laurie Maguire, Jenny C. Mann, Leah S. Marcus, Paul Menzer, Lucy Munro, Catherine Nicholson, Syrithe Pugh, Tom Rutter, Kathryn Schwarz, James R. Siemon, Elizabeth Spiller, Holger Schott Syme, Aleksandra Thostrup, Brian Walsh, Martin Wiggins, Gillian Woods
- Edited by Emily C. Bartels, Rutgers University, New Jersey, Emma Smith, University of Oxford
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- Book:
- Christopher Marlowe in Context
- Published online:
- 05 July 2013
- Print publication:
- 11 July 2013, pp ix-xiv
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Chapter Four - Marlowe and character
- from Part I - Marlowe’s works
- Edited by Emily C. Bartels, Rutgers University, New Jersey, Emma Smith, University of Oxford
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- Book:
- Christopher Marlowe in Context
- Published online:
- 05 July 2013
- Print publication:
- 11 July 2013, pp 39-48
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Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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3 - Marlovian texts and authorship
- Edited by Patrick Cheney, Pennsylvania State University
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- Book:
- The Cambridge Companion to Christopher Marlowe
- Published online:
- 28 May 2006
- Print publication:
- 15 July 2004, pp 41-54
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Summary
None of Marlowe's plays or poems exist in manuscript (for one partial exception, see the discussion of The Massacre at Paris, below). Our earliest witnesses are printed. Printed texts reveal a great deal about the circumstances of printing; but they can also be encouraged to speak about the circumstances of composition and consumption. A chapter about Marlovian texts and authorship is thus also a chapter about critics and readers, about tastes and preferences: not just about what Marlowe wrote but about how it was received.
The first of Marlowe's texts to reach print was Tamburlaine, possibly his first play. On 14 August 1590 the publisher Richard Jones made an entry in the Stationers' Register (the register in which publishers entered their right to a work) for the two parts of Tamburlaine. In the same year he published both parts as a single volume, in a small octavo format.
The title page is an endearing example of early modern advertising. It provides a racy plot summary, boasts of recent stage success, and promotes the quarto as hot off the press:
Tamburlaine the Great. Who, from a Scythian shepherd, by his rare and wonderful conquests, became a most puissant and mighty monarch, and (for his tyranny and terror in war) was termed ‘The Scourge of God’. Divided into two tragical discourses, as they were sundry times showed upon stages in the city of London by the right honourable Lord Admiral his servants. Now first and newly published.
7 - Diagnosing memorial reconstruction: the Poem, the Play, the Text
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
- Print publication:
- 23 February 1996, pp 159-226
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Summary
Foul! No repetitions…
Foul! No synonyms!…
Foul! No non sequiturs.
Tom Stoppard, Rosencrantz and Guildenstern are DeadI am not so much concerned with discrediting this method as with trying to discover whether there may not be sound ways of using it.
H. T. PriceTHE POEM
With suspect texts containing between 757 and 3,416 lines of dialogue (the totals for A Yorkshire Tragedy and Q Richard 3, respectively), the Poem provides our largest catchment area of material for evaluation. This verbal matter can be affected by a number of agents: revising or indecisive authors, playbook annotators, actors, scribes, and compositors. The amorphous category of repetitions, for instance, which critics cite as strong evidence of memorial reconstruction, is easily attributable to all five of the above. How, then, do we distinguish a memorial repetition from any other?
REPETITION
External Echoes/Recollection
Harry Hoppe claimed to have identified twenty-four ‘true inter-play borrowings’ (also known as ‘echoes’, ‘parallels’, and ‘external recollections’) in Q1 Romeo and Juliet. All of his ‘borrowings’ come from Shakespearean texts, twenty of them from plays written in the same period as Romeo and Juliet (Richard 2, The Taming of the Shrew, 3 Henry 6, Titus Andronicus, The Two Gentlemen of Verona, and Richard 3); thus, the possibility of authorial self-borrowing is strong, and undermines any value Hoppe's parallels may have.
His parallels are of negligible value anyway; they contain proverbial phrases (e.g. The Merry Wives of Windsor: ‘we burn daylight’), or common sentiments (Richard 2: ‘And then be gone’) or refer to parallel situations (The Two Gentlemen of Verona: ‘a ladder quaintly made of cords’).
6 - Introduction
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
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- 23 February 1996, pp 151-158
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Summary
Some circumstantial evidence is very strong, as when you find a trout in the milk.
Henry David Thoreau, Journal 11 November 1854–Is there any other point to which you would wish to draw my attention?
–To the curious incident of the dog in the night-time.
–The dog did nothing in the night-time.
–That was the curious incident.
A. Conan Doyle, The Silver BlazeIt should be apparent from the previous chapters that much New Bibliographic analysis of suspect texts is confirmatory rather than diagnostic. The features of suspect texts (texts suspected of being reconstructed from memory) are measured against a priori expectations of the features a memorially reconstructed text should exhibit. When the features of the material suspect text agree with those of the hypothetical model of memorial reconstruction, this congruence is taken to ‘prove’ memorial reconstruction. Small wonder that so many texts have been designated memorial reconstructions.
In articles and introductions to editions, New Bibliographers regularly list the features allegedly typical of, and confined to, suspect texts. The following comments on Q King Lear are representative:
Q seems to contain some ‘connective’ phrases by actors, and many of its misreadings might well be due either to actors' blunders or to mishearing… [M]islineation is a constant feature in Q… Occasionally it is altogether unmetrical. Prose is printed as verse. Still more often is verse printed as prose… I think that the characteristics of Q point to a reported text.
Frontmatter
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
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- 23 February 1996, pp i-viii
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Shakespearean Suspect Texts
- The 'Bad' Quartos and their Contexts
- Laurie E. Maguire
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- Published online:
- 19 October 2009
- Print publication:
- 23 February 1996
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There are forty-one problematic play texts, variously classified as 'bad quartos' or 'memorial reconstructions', from Shakespeare's time. Textual criticism of these quartos has been fraught with assumption and contradiction. Laurie Maguire examines all the texts in detail. She deconstructs the theories of W. W. Greg and his followers, scrutinizing the methods by which critics diagnose texts as 'bad', and examines the historical evidence for the concept of memorial reconstruction (compilation from the recollection of actors or spectators). The valuable contextual material includes fresh analysis of the New Bibliographers, the rise of English studies, Renaissance oral culture and textual problems in non-suspect texts. The assembly of textual information about all the suspect texts in tabular form makes the book an essential reference work. The result is a study which covers a vast textual subject without sacrificing detail.
Index
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
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- 23 February 1996, pp 419-427
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2 - The rise of the New Bibliography
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
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- 23 February 1996, pp 21-72
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Summary
‘Nature and Nature's laws lay hid in night:
God said, Let Newton be! and all was light.’
– It did not last: the Devil howling Ho!
Let Einstein be!, restored the status quo.
W.W.GregTo this science of textual criticism must certainly be joined a sketch of the historical development of the study of our language and literature, and this not as a means of commemorating those who have been before us, but for the purpose of criticising their methods, and evaluating their statements.
R.B.McKerrowIn his presidential address to the Bibliographical Society in 1930, W. W. Greg reviewed the achievements of the textual colleagues with whom he was associated ‘in what will perhaps one day be recognised as a significant critical movement’. That critical movement came to be known as ‘New Bibliography’ and, as represented in editorial practice and textual journals in Britain and North America, assumed a significance and supremacy which Greg's modest prolepsis could scarcely have envisaged. With its emphasis on the material book rather than its literary content, and its formidable array of technical tools (to say nothing of vocabulary) for analysing textual evidence, the New Bibliography heralded a brave new world in editorial epistemology and procedure. By analysing all aspects of textual transmission, and formulating principles for editing, Greg and his colleagues aimed to systematise the editing of Elizabethan drama, thus delivering Shakespeare and his readers from the inaccuracies, eclecticism, and taste of previous editors.
1 - Introduction
- Laurie E. Maguire, University of Ottawa
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- Shakespearean Suspect Texts
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- 19 October 2009
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- 23 February 1996, pp 3-20
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Summary
[I]f scholars were misguided in their assessments of the two original printed texts of King Lear–if… these are not two relatively corrupted texts of a pure (but now lost) original, but two relatively reliable texts of two different versions of the play (as we now think) – then our general methods for dealing with such texts [are] called into serious question.
Jerome McGannIn the fifteen-year period 1594–1609, versions of eighteen recently performed Shakespearean plays reached print in inexpensive quarto or octavo editions. From the beginning of the Shakespeare editorial tradition in the eighteenth century, editors and textual critics have been particularly perplexed by five of these playtexts: Q1 Romeo and Juliet (1597), Q1 Henry 5 (1600), Q1 The Merry Wives of Windsor (1602), Q1 Hamlet (1603), Q1 Pericles (1609).
This perplexity was caused by the suspicion that the London playreading public was being offered a product very different from that given the London play-going public (even though all of these texts advertised recent performance on their title-pages). Certain unusual features in these first editions (imperfect metre, blunt dialogue, and allegedly jejune depiction of characters and development of situations) were deemed incompatible with composition by a proficient commercial playwright and performance by a leading company. Furthermore, these five early playtexts were all suspiciously brief (particularly in comparison with subsequent quarto versions released during Shakespeare's lifetime, and with the Folio collection of Shakespeare's works prepared by his theatre colleagues, Heminge and Condell, after his death).
List of Abbreviations
- Laurie E. Maguire, University of Ottawa
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3 - Memorial reconstruction and its discontents
- Laurie E. Maguire, University of Ottawa
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Summary
A theory is only an hypothesis in which we believe, and all history no less than all science is founded on such. The important question is what reason we have for believing it.
W.W.GregIt is not every-one's business to let himself be convinced.
Alexander SchmidtThe response to the New Bibliography was enthusiastic. New Bibliography's ‘scientific method’ represented ‘a long-overdue revolt against the sterile warfare of theory-mongers, and cleared the air with an invigorating breeze of good sense’; it gave ‘Shakespearean scholarship a new confidence, infusing into it a new spirit of optimism’; the result was ‘that the history of literature will have to be largely re-written’. A specific focus of praise was the identification of suspect texts as memorial reconstructions by actors. ‘The establishment of the Orlando class of “bad” Quartos is the most important development… in the study of pirated dramatic texts’; ‘the chief achievement of the Greg school of… scientific bibliography [is] the distinction between “good” and “bad” quartos’.
Theories of memorial reconstruction did not begin with the New Bibliographers. The use of memory in reporting playtexts had been suggested by editors of Shakespeare from the nineteenth century. In 1842 and 1843, respectively, Collier attributed Q1 Romeo and Juliet and Q1 Hamlet to shorthand notes, supplemented by the compiler's memory, or by assistance from an ‘inferior writer’.
Notes
- Laurie E. Maguire, University of Ottawa
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Contents
- Laurie E. Maguire, University of Ottawa
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5 - Memory
- Laurie E. Maguire, University of Ottawa
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If any one faculty of our nature may be called more wonderful than the rest, I do think it is memory. There seems something more speakingly incomprehensible in the powers, the failures, the inequalities of memory, than in any other of our intelligences. The memory is sometimes so retentive, so serviceable, so obedient – at others, so bewildered and so weak – and at others again, so tyrannic, so beyond controul! – We are to be sure a miracle every way – but our powers of recollecting and of forgetting, do seem peculiarly past finding out.
Jane Austen, Mansfield Park (1814) vol.11, chapter 4ORAL CULTURE
Elizabethan England was not a ‘primary oral’ culture in the sense that Homeric Greece was with its dependence on transmitting material (legal, historical, poetic) memorially from one mind to another. Sixteenth-century England was ‘residually oral’; a society in transition, en route to becoming a documentary society, it nonetheless had very strong roots in the oral world, whether through habit, illiteracy, or expense of paper. Aides-mémoire abounded, but they were, literally, what the noun suggests: aids to memory, not a substitute for it. So important was memory to the culture that numerous systems existed for stretching its capacity and enhancing its accuracy. In dealing with the subject of memorial reconstruction we must acknowledge that actors were not the only people with trained and efficient memories.
Walter Ong has suggested that we can measure the degree of residual orality in a chirographic culture from the emphasis accorded memory in its education system.
4 - Reporting speech, reconstructing texts
- Laurie E. Maguire, University of Ottawa
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Summary
of our text,/You make a wronge construction
Heywood, 1 If You Know Not Me (1605) 78–9.evadne: where got you this report[?]
melantius: Where there was people[,] in euery place.
Beaumont and Fletcher, The Maid's Tragedy (1619) G4r,14–15Up to now my investigation of memorial reconstruction has concentrated on the twentieth century and the theories offered by textual critics to explain suspect texts. I now turn my attention to the sixteenth and seventeenth centuries, to ascertain what external evidence exists for invoking memory, reconstruction, and actors, independently or together, to explain suspect texts.
As we shall see, what evidence there is supports the theory that plays could be, and were, reconstructed from memory. However, the evidence suggests that the concept of play reconstruction is not a single sequence of processes with a single objective (reconstruction from memory by actors for the purpose of performance) but a variety of processes involving different kinds of agents (auditors, actors, or other playhouse personnel), different purposes (performance, publication, private transcript), and different combinations of memory and other aids to recall (longhand notes, shorthand notes, reports of narrative outline) often supplemented by new composition.
The brevity of this chapter testifies to the paucity of external evidence. The evidence, such as it is, is nonetheless complex, drawing on a wide range of genres, periods, and cultures. My departure point is not Elizabethan drama, but its parallel in terms of popular and edifying entertainment: church sermons.