The Sources of Shakespeare's Plays


Book Description

First published in 1977. This book ascertains what sources Shakespeare used for the plots of his plays and discusses the use he made of them; and secondly illustrates how his general reading is woven into the texture of his work. Few Elizabethan dramatists took such pains as Shakespeare in the collection of source-material. Frequently the sources were apparently incompatible, but Shakespeare's ability to combine a chronicle play, one or two prose chronicles, two poems and a pastoral romance without any sense of incongruity, was masterly. The plays are examined in approximately chronological order and Shakespeare's developing skill becomes evident.







Biblical References in Shakespeare's Plays


Book Description

Analyzes the biblical references that Shakespeare makes in his plays, surveying the different English Bibles available to Shakespeare, and pointing out which of these he referred to most often (the King James version only appeared near the end of his career). Also examines biblical references found in literary source material used by Shakespeare to determine whether he used or adapted these or added others from his own memory; and what these allusions would have meant to audiences of the time.--From publisher description.




Folger Library, Two Decades of Growth


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Rethinking Shakespeare Source Study


Book Description

This book asks new questions about how and why Shakespeare engages with source material, and about what should be counted as sources in Shakespeare studies. The essays demonstrate that source study remains an indispensable mode of inquiry for understanding Shakespeare, his authorship and audiences, and early modern gender, racial, and class relations, as well as for considering how new technologies have and will continue to redefine our understanding of the materials Shakespeare used to compose his plays. Although source study has been used in the past to construct a conservative view of Shakespeare and his genius, the volume argues that a rethought Shakespearean source study provides opportunities to examine models and practices of cultural exchange and memory, and to value specific cultures and difference. Informed by contemporary approaches to literature and culture, the essays revise conceptions of sources and intertextuality to include terms like "haunting," "sustainability," "microscopic sources," "contamination," "fragmentary circulation" and "cultural conservation." They maintain an awareness of the heterogeneity of cultures along lines of class, religious affiliation, and race, seeking to enhance the opportunity to register diverse ideas and frameworks imported from foreign material and distant sources. The volume not only examines print culture, but also material culture, theatrical paradigms, generic assumptions, and oral narratives. It considers how digital technologies alter how we find sources and see connections among texts. This book asserts that how critics assess and acknowledge Shakespeare’s sources remains interpretively and politically significant; source study and its legacy continues to shape the image of Shakespeare and his authorship. The collection will be valuable to those interested in the relationships between Shakespeare’s work and other texts, those seeking to understand how the legacy of source study has shaped Shakespeare as a cultural phenomenon, and those studying source study, early modern authorship, implications of digital tools in early modern studies, and early modern literary culture.




King Lear


Book Description

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink




Shakespeare's Books


Book Description

Shakespeare's Books contains nearly 200 entries covering the full range of literature Shakespeare was acquainted with, including classical, historical, religious and contemporary works. The dictionary covers works whose importance to Shakespeare has emerged more clearly in recent years due to new research, as well as explaining current thinking on long-recognized sources such as Plutarch, Ovid, Holinshed, Ariosto and Montaigne. Entries for all major sources include surveys of the writer's place in Shakespeare's time, detailed discussion of their relation to his work, and full bibliography. These are enhanced by sample passages from early modern England writers, together with reproductions of pages from the original texts. Now available in paperback with a new preface bringing the book up to date, this is an invaluable reference tool.




Hamlet and the Ur-Hamlet


Book Description




In Shakespeare's Shadow


Book Description

The true story of a self-taught sleuth's quest to prove his eye-opening theory about the source of the world's most famous plays, taking readers inside the vibrant era of Elizabethan England as well as the contemporary scene of Shakespeare scholars and obsessives. What if Shakespeare wrote Shakespeare . . . but someone else wrote him first? Acclaimed author of The Map Thief, Michael Blanding presents the twinning narratives of renegade scholar Dennis McCarthy and Elizabethan courtier Sir Thomas North. Unlike those who believe someone else secretly wrote Shakespeare, McCarthy argues that Shakespeare wrote the plays, but he adapted them from source plays written by North decades before. In Shakespeare's Shadow alternates between the enigmatic life of North, the intrigues of the Tudor court, the rivalries of English Renaissance theater, and academic outsider McCarthy's attempts to air his provocative ideas in the clubby world of Shakespearean scholarship. Through it all, Blanding employs his keen journalistic eye to craft a captivating drama, upending our understanding of the beloved playwright and his "singular genius." Winner of the 2021 International Book Award in Narrative Non-Fiction




The Rape of Lucrece


Book Description

The Rape of Lucrece - William Shakespeare - The Rape of Lucrece (1594) is a narrative poem by William Shakespeare about the legendary Roman noblewoman Lucretia. In his previous narrative poem, Venus and Adonis (1593), Shakespeare had included a dedicatory letter to his patron, the Earl of Southampton, in which he promised to compose a "graver labour". Accordingly, The Rape of Lucrece has a serious tone throughout. The poem begins with a prose dedication addressed directly to the Earl of Southampton, which begins, "The love I dedicate to your Lordship is without end." It refers to the poem as a pamphlet, which describes the form of its original publication of 1594.The dedication is followed by "The Argument", a prose paragraph that summarizes the historical context of the poem, which begins in medias res. The poem contains 1,855 lines, divided into 265 stanzas of seven lines each. The meter of each line is iambic pentameter. The rhyme scheme for each stanza is ABABBCC, a format known as "rhyme royal", which has been used by Geoffrey Chaucer, John Milton and John Masefield. One evening, at the town of Ardea, where a battle is being fought, two leading Roman soldiers, Tarquin and Collatine, are talking. Collatine describes his wife, Lucrece, in glowing terms—she is beautiful and chaste. The following morning, Tarquin travels to Collatine's home. Lucrece welcomes him. Tarquin entertains her with stories of her husband's deeds on the battlefield.Tarquin spends the night, and is torn by his desire for Lucrece. His desire overcomes him, and he goes to Lucrece's chamber, where she is asleep. He reaches out and touches her breast, which wakes her up. She is afraid. He tells her that she must give in to him, or else he will kill her. He also threatens to cause her dishonor by murdering a slave and placing the two bodies in each other's arms, and then he would claim that he killed her because he discovered them in this embrace. If she would give in to him, Tarquin promises to keep it all secret. Lucrece pleads with him to no avail. He rapes her. Full of shame and guilt, Tarquin sneaks away. Lucrece is devastated, furious and suicidal. She writes a letter to her husband, asking him to come home. When Collatine gets home, Lucrece tells him the whole story, but doesn't say who did it. Collatine demands to know. Before she tells him, Lucrece gets the soldiers, who are also there, to promise to avenge this crime. She then tells her husband who did it, and she immediately pulls out a knife, stabs herself and dies. Collatine's grief is great—he wants to kill himself, as well. His friend, Brutus, suggests that revenge is a better choice. The soldiers carry Lucrece's body through the streets of Rome. The citizens, angered, banish Tarquin and his family.