This note draws on new evidence from nineteenth-century auction catalogues to reconsider the question of whether Barnabe Barnes was the author of a lost play titled The Battle of Hexham.
本文利用19世纪拍卖目录中的新证据，重新思考巴纳比·巴恩斯(Barnabe Barnes)是否是失传戏剧《赫克瑟姆之战》(the Battle of Hexham)的作者这个问题。
{"title":"Reconsidering The Battle of Hexham","authors":"Misha Teramura","doi":"10.12745/et.26.2.5454","DOIUrl":"https://doi.org/10.12745/et.26.2.5454","url":null,"abstract":"This note draws on new evidence from nineteenth-century auction catalogues to reconsider the question of whether Barnabe Barnes was the author of a lost play titled The Battle of Hexham.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Opening with the character of Architriclinus, the York Vintners’ pageant ‘The Marriage at Cana’ likely bolstered their claims over the right to search and sell sweet and other wines in conflicts with the Spicers and Mercers. The Vintners’ failure to submit their pageant for transcription into the York Register possibly signals resentments felt and privileges enjoyed by these specialist merchants – resentments and privileges perhaps shared by the only other guild to withhold their original from the city clerk despite repeated calls for its submission: the Ironmongers.
约克葡萄酒商(York Vintners)的选美比赛“卡纳的婚礼”(the Marriage at Cana)以阿基里林纳斯(Architriclinus)为开头，可能会支持他们在与斯派塞(spicer)和美塞(mercer)家族发生冲突时，争取寻找和销售甜葡萄酒和其他葡萄酒的权利。酒商们未能将他们的盛会提交到约克登记册上，这可能表明了这些专业商人的怨恨和特权——也许还有另一个公会也有同样的怨恨和特权，尽管他们一再要求提交，但他们却拒绝向城市办案员提交原件:铁商公会。
{"title":"The York Vintners’ ‘The Marriage at Cana’ and the Puzzle of Pageants Withheld from the Register","authors":"Leanne Groeneveld","doi":"10.12745/et.26.2.5539","DOIUrl":"https://doi.org/10.12745/et.26.2.5539","url":null,"abstract":"Opening with the character of Architriclinus, the York Vintners’ pageant ‘The Marriage at Cana’ likely bolstered their claims over the right to search and sell sweet and other wines in conflicts with the Spicers and Mercers. The Vintners’ failure to submit their pageant for transcription into the York Register possibly signals resentments felt and privileges enjoyed by these specialist merchants – resentments and privileges perhaps shared by the only other guild to withhold their original from the city clerk despite repeated calls for its submission: the Ironmongers.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article identifies two previously uncatalogued items that were published in the Athenaeum in November 1857, each of which is connected to the then-recent acquisition of the Conway Papers by the Public Record Office (now the National Archives). These include a printing of Jonson’s Entertainment at Britain’s Burse and a letter from John Payne Collier that seems to refer to Massinger’s lost play Philenzo and Hippolyto. The former nuances the publication history of a work whose historical and dramatic importance recent scholarship demonstrates, while the latter offers evidence regarding Collier’s claim that a manuscript of Massinger’s play once lay among the Conway Papers.
{"title":"An Edition of Jonson’s Entertainment at Britain’s Burse and a New Letter by Collier on Massinger in the Athenaeum (1857)","authors":"Marlin E. Blaine","doi":"10.12745/et.26.2.5265","DOIUrl":"https://doi.org/10.12745/et.26.2.5265","url":null,"abstract":"This article identifies two previously uncatalogued items that were published in the Athenaeum in November 1857, each of which is connected to the then-recent acquisition of the Conway Papers by the Public Record Office (now the National Archives). These include a printing of Jonson’s Entertainment at Britain’s Burse and a letter from John Payne Collier that seems to refer to Massinger’s lost play Philenzo and Hippolyto. The former nuances the publication history of a work whose historical and dramatic importance recent scholarship demonstrates, while the latter offers evidence regarding Collier’s claim that a manuscript of Massinger’s play once lay among the Conway Papers.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Signature F2r of The Coblers Prophesie (1594) by Robert Wilson brings the reader to an abrupt halt – it contains a page-stopping stage direction in gargantuan type. This article examines whether the outsized print was a botched job by the printer Thomas Scarlet or an intentional ploy to engage the reader. The anomaly suggests that printers exercised agency in textual production and collaborated in the creative impact of printed material. Play-texts exist at the intersection of print and performance, and this case study poses larger questions about the complex relationship between the theatre and the printing house in early modern England.
{"title":"Performative Print: A Printing Anomaly in The Coblers Prophesie","authors":"Frances Eastwood","doi":"10.12745/et.26.2.5267","DOIUrl":"https://doi.org/10.12745/et.26.2.5267","url":null,"abstract":"Signature F2r of The Coblers Prophesie (1594) by Robert Wilson brings the reader to an abrupt halt – it contains a page-stopping stage direction in gargantuan type. This article examines whether the outsized print was a botched job by the printer Thomas Scarlet or an intentional ploy to engage the reader. The anomaly suggests that printers exercised agency in textual production and collaborated in the creative impact of printed material. Play-texts exist at the intersection of print and performance, and this case study poses larger questions about the complex relationship between the theatre and the printing house in early modern England.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Middleton's Hengist, King of Kent and its multifaceted textual afterlives dramatize memorial processes, greatly dependent on the participatory experience of the formed event. These processes highlight not only that theatrical production is a means for preserving cultural memories, but also that the preservation of the past is inseparable from, and conflated with, the production of new theatrical memories. Remembering the past in the theatre — in the fullest sense of ‘re-membering’ as imaginatively putting dead bodies back together — goes hand in hand with the necessity of remembering the theatrical past, of recalling the play that vanished even as it came into being.
{"title":"'Participating immortality'","authors":"J. G. Paul","doi":"10.12745/et.26.2.4590","DOIUrl":"https://doi.org/10.12745/et.26.2.4590","url":null,"abstract":"Middleton's Hengist, King of Kent and its multifaceted textual afterlives dramatize memorial processes, greatly dependent on the participatory experience of the formed event. These processes highlight not only that theatrical production is a means for preserving cultural memories, but also that the preservation of the past is inseparable from, and conflated with, the production of new theatrical memories. Remembering the past in the theatre — in the fullest sense of ‘re-membering’ as imaginatively putting dead bodies back together — goes hand in hand with the necessity of remembering the theatrical past, of recalling the play that vanished even as it came into being.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When Coventry’s central library was destroyed in 1940, valuable early guild records were lost. No consensus has emerged regarding which records were lost during the war and which records had been lost earlier. Identifying these losses is important, because Coventry’s records hold value for the city’s history and — since Coventry was a key site for early theatre — for Britain’s literary history. As this article shows, fewer historical manuscripts were destroyed in 1940 than was once feared. Moreover, the loss of one of these manuscripts is mitigated somewhat by new evidence presented here, which suggests that some of the manuscript’s source material survives.
{"title":"Early English Drama Records and Other Manuscripts from Coventry Destroyed Before and During the Second World War","authors":"Krista A. Milne","doi":"10.12745/et.26.2.5367","DOIUrl":"https://doi.org/10.12745/et.26.2.5367","url":null,"abstract":"When Coventry’s central library was destroyed in 1940, valuable early guild records were lost. No consensus has emerged regarding which records were lost during the war and which records had been lost earlier. Identifying these losses is important, because Coventry’s records hold value for the city’s history and — since Coventry was a key site for early theatre — for Britain’s literary history. As this article shows, fewer historical manuscripts were destroyed in 1940 than was once feared. Moreover, the loss of one of these manuscripts is mitigated somewhat by new evidence presented here, which suggests that some of the manuscript’s source material survives.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138586504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay uses The Wonderfull Discouerie of Elizabeth Sawyer and The Witch of Edmonton to examine how the multiple, conflicting agendas and intertextual relationships of crime narratives in popular print and professional drama manifest on both the space of the page and of the stage. Considering paratexts as part of the intertextual ecology of early modern crime narratives as they move between print and stage reveals materialized ambivalence about the relationships among the narratives themselves; the audiences consuming, circulating, and reproducing those narratives; and the criminals whose voices are both marginalized and authoritative in the story.
{"title":"The Devil at the Edge of this Book: Intertextual Ecologies of Early Modern Crime Narratives","authors":"Emily George","doi":"10.12745/et.26.2.5528","DOIUrl":"https://doi.org/10.12745/et.26.2.5528","url":null,"abstract":"This essay uses The Wonderfull Discouerie of Elizabeth Sawyer and The Witch of Edmonton to examine how the multiple, conflicting agendas and intertextual relationships of crime narratives in popular print and professional drama manifest on both the space of the page and of the stage. Considering paratexts as part of the intertextual ecology of early modern crime narratives as they move between print and stage reveals materialized ambivalence about the relationships among the narratives themselves; the audiences consuming, circulating, and reproducing those narratives; and the criminals whose voices are both marginalized and authoritative in the story.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138587569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay argues that in Shakespeare’s The Merry Wives of Windsor, when the merry wives dress Falstaff as the old woman of Brentford, they reveal his true character by visually associating him with a witch and thus force the men of Windsor to punish him for his crimes. Falstaff’s behaviour matches the social disruption of the male witch; furthermore, his position as a new and unestablished member of a community, his gender, and the fact that the authorities of Windsor are inept make it difficult for the merry wives to successfully accuse him without appealing to popular witchcraft belief.
{"title":"‘Heaven guide him to thy husband’s cudgel’","authors":"Sharon Vogel Kubik","doi":"10.12745/et.26.2.5526","DOIUrl":"https://doi.org/10.12745/et.26.2.5526","url":null,"abstract":"This essay argues that in Shakespeare’s The Merry Wives of Windsor, when the merry wives dress Falstaff as the old woman of Brentford, they reveal his true character by visually associating him with a witch and thus force the men of Windsor to punish him for his crimes. Falstaff’s behaviour matches the social disruption of the male witch; furthermore, his position as a new and unestablished member of a community, his gender, and the fact that the authorities of Windsor are inept make it difficult for the merry wives to successfully accuse him without appealing to popular witchcraft belief.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138588854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The introduction to this Issues in Review entitled ‘Witches in Space’ sets out the critical history that forms the background work on the literary geographies of early modern witchcraft. The introduction first establishes the need for such work through an illustrative case study and then attends to the foundation of scholarship in the fields of literary and cultural geography as well as witchcraft studies on which this collection of essays builds.
{"title":"Witches in Space: Introduction","authors":"Sarah O'Malley","doi":"10.12745/et.26.2.5525","DOIUrl":"https://doi.org/10.12745/et.26.2.5525","url":null,"abstract":"The introduction to this Issues in Review entitled ‘Witches in Space’ sets out the critical history that forms the background work on the literary geographies of early modern witchcraft. The introduction first establishes the need for such work through an illustrative case study and then attends to the foundation of scholarship in the fields of literary and cultural geography as well as witchcraft studies on which this collection of essays builds.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores the migration of witchcraft language from the rural environs in which we typically find it to the urban space of London in Dekker and Middleton’s The Roaring Girl. The play’s characters repeatedly turn to the language of witchcraft to describe Moll’s disruptive presence in the play, a rhetorical strategy that I argue seeks to fix Moll in place in response to her unruly movement within the social, spatial, and acoustic horizons of the city, and to ostracize her from London by reimagining her as a figure that only makes sense in the rural environs beyond its walls.
{"title":"'Can you play that?'","authors":"Andrew Loeb","doi":"10.12745/et.26.2.5516","DOIUrl":"https://doi.org/10.12745/et.26.2.5516","url":null,"abstract":"This essay explores the migration of witchcraft language from the rural environs in which we typically find it to the urban space of London in Dekker and Middleton’s The Roaring Girl. The play’s characters repeatedly turn to the language of witchcraft to describe Moll’s disruptive presence in the play, a rhetorical strategy that I argue seeks to fix Moll in place in response to her unruly movement within the social, spatial, and acoustic horizons of the city, and to ostracize her from London by reimagining her as a figure that only makes sense in the rural environs beyond its walls.","PeriodicalId":42222,"journal":{"name":"Early Theatre","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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