XXVI To the memory of my beloved, the Author Mr William Shakespeare: and what he hath left us

Jonson, Benjamin [Ben]; Herford, C. H.; Simpson, Percy; Simpson, Evelyn

doi:10.1093/oseo/instance.00015627

Cited by 11 publications

(7 citation statements)

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“…Ultimately, Fforde offers a circular resolution when Thursday's father, a ChronoGuard capable of time travel, reveals that Shakespeare produced the plays, but only after he himself had travelled back in time with a copy of the Complete Works and given it to William Shakespeare to copy from. This resolution in turn literalizes Jonson's famous assertion that the plays are “not of an age, but for all time” (1 43).…”

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confidence: 78%

The End of The Eyre Affair: Jane Eyre, Parody, and Popular Culture

Hateley

2005

The J of Popular Culture

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confidence: 78%

The End of The Eyre Affair: Jane Eyre, Parody, and Popular Culture

Hateley

2005

The J of Popular Culture

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“…Jonson similarly flirts with the hinterland of literal and metaphorical when he names a range of classical authors to whom dead Shakespeare was superior: Aeschylus, Euripides and various others are summoned to "heare thy Buskin tread, / And shake a Stage"; while "when thy Sockes were on" there are said to be no classical superiors. 49 Jonson's grudging point is that Shakespeare is good at tragedy, but superlative at comedy -but his boot reference, with its sensitivity to the reverberations of the buskin on the wooden stage, hints at genuine observation from performance.…”

Section: Tragic Walkingmentioning

confidence: 99%

Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking

Stern¹

2021

shakespeare

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Edward Phillips characterises a "Tragedian" as "a writer of […] a sort of Dramatick Poetry […] representing murthers, sad and mournfull actions." 1 He may be picking up on Florio's New World of Words which had defined a "comedian" as, no surprise, a "writer of comedies." 2 Both seem, now, self-evident as definitions. But Shakespeare, who was, according to these classifications, both a tragedian and a comedian, used those same words in a different sense. When Rosencrantz lets Hamlet know that "the Tragedians of the City" (Hamlet, TLN 1375) have arrived, or when Cleopatra worries that "The quicke Comedians / Extemporally will stage us" (Antony and Cleopatra, 1459-60) it is actors, not writers, who are being referred to. 3 Moreover, in his lifetime Shakespeare himself was credited for being a "tragedian" and "comedian" when a player not a playwright: in the cast list appended to Ben Jonson's Every Man in His Humour (1598) he is one of the ten "principall Comoedians"; in the cast list for Jonson's Sejanus (1603) he is one of the eight "principall Tragoedians." 4 While, then, in dictionary terms, tragedian and comedian were words to describe types of playwright, for Shakespeare, as for Jonson, they were words to describe types of actor. The suggestion is that, for Shakespeare, Jonson and other early modern playwrights, mode of performance was as much part of genre as mode of writing. This article is on performing tragedy. It looks at three aspects of tragic stage production: tragic curtains; tragic walks; and speaking in a tragic tone. In exploring how tragedy could be conveyed materially and physically, beyond, beside or without words, it shows how crucial staging was to a play's categorisation and hence meaning. 5 Tragic StagingFrom the moment one entered it, the performance space itself might be visibly and obviously "tragic." Along the back of the early modern stage -the area that was also

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“…In these he would speak what Ben Jonson described as Marlowe's 'mighty line'. 28 It was a drama characterised by -as the dubious John Payne Collier observed -a 'gorgeous exaggeration of language'. 29 Alleyn was, no doubt, magnificent, but experience at Kingston's Rose contributes to the suggestion that both Alleyn's acting style and the way the repertoire was played in the theatre so closely associated with him have probably been simplified by commentators.…”

Section: Résumémentioning

confidence: 99%

Actors' Conversations at the Rose Theatres

Whately¹

2015

Cahiers Élisabéthains

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Kingston's Rose Theatre was opened in 2008, inspired by the archaeology of Philip Henslowe's 1587 Rose. Peter Hall described the new space as ‘intimate yet epic … a modern theatre which has all the strengths of the past’. This article reflects on the relationship between players and playgoers in the two theatres, considering particular practitioners' discoveries and the audience experience in various modern theatre spaces which have been influenced by the architecture of the Elizabethan public playhouses. In reassessing the character of the theatre dialogue between actor and audience, the article challenges previously held notions about our Elizabethan counterpart.

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XXVI To the memory of my beloved, the Author Mr William Shakespeare: and what he hath left us

Cited by 11 publications

References 0 publications

The End of The Eyre Affair: Jane Eyre, Parody, and Popular Culture

The End of The Eyre Affair: Jane Eyre, Parody, and Popular Culture

Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking

Actors' Conversations at the Rose Theatres

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