Reading Readings: Essays on Shakespeare Editing in the Eighteenth Century
Reading Readings begins with a long provocative essay by Random Cloud decrying eighteenth-century Shakespeare editions. The seventeen essays that follow assert the power of eighteenth-century editions to engage and inform the late twentieth-century reader. Together these essays show the many ways in which an examination of eighteenth-century Shakespeare editions can illuminate our understanding of Shakespeare, the eighteenth century, and the history and practice of editing.
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Grammatical Emendation in Some EighteenthCentury Editions of Shakespeare with Particular Reference to Cymbeline
The Scene Changes? Stage Directions in EighteenthCentury Acting Editions of Shakespeare
Examining the Parts Linebyline Analysis and the Redistribution of Meaning
Lewis Theobald Edmond Malone and Others
The EighteenthCentury Shakespeare Variorum Page as a Critical Structure
Chedworth and the Territoriality of the Reader
Hamlets Mousetrap and the PlaywithintheAnecdote of Plutarch
The Rowe Editions of 17091714 and 31 of The Taming of the Shrew
Hanmers Winters Tale
The Annotation of Shakespeares Bawdy Tongue after Samuel Johnson
Editing and the Marketplace
Warburton Anonymity and the Shakespeare Wars
Anonymity and the Erasure of Shakespeares First EighteenthCentury Editor
A Comparison of the Two Editions of A Midsummer Nights Dream
Visual Images of Hamlet 17091800
Lewis Theobald and Theories of Editing
Codifying Gender The Disturbing Presence of Women
Where lies your Text?
Contending with Ophelia in the Eighteenth Century
The Editing and Publication of Shakespeares Poems in the Eighteenth Century
actors Alexander Pope annotation anonymous appears Bianca Boskos Capell cargo century changes character Chedworth chicurmurco Chimurcho Chough cited collation commentary copy critical dulchos edition of Shakespeare editors Edmond Malone Edward Capell eighteenth eighteenth-century editions Elizabethan emballing emendation English essay example Folger Shakespeare Library Folio text footnote frailty George Steevens Gildon Grazia Hamlet Hanmer Hecuba Henry VIII Hortensio Italian John language letter Lewis Theobald Lord Lucentio madness Malone Malone's meaning modern Nicholas Rowe notes Ophelia Oxford Parolles passage Penrice Plays of William Plutarch Poet Pope Pope's Porto Preface printed published quarto reader reading reprinted response Rowe Rowe's Samuel Johnson scene Seary second Folio Shake Shakespeare editions Shakespeare London Shakespeare's plays Shakespeare's poems Shakespeare's text Shrew soliloquy speare speech stage directions Steevens's suggests tartarossa textual Thomas tion Tonson translation variants variorum edition Viola's vols volume Warburton William Shakespeare William Warburton Winter's Tale word
Страница 167 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
Страница 129 - O curse of marriage, That we can call these delicate creatures ours, And not their appetites ! I had rather be a toad, And live upon the vapour of a dungeon, Than keep a corner in the thing I love For others
Страница 81 - Hark, hark! the lark at heaven's gate sings, And Phoebus 'gins arise, His steeds to water at those springs On chaliced flowers that lies; And winking Mary-buds begin To ope their golden eyes: With every thing that pretty is, My lady sweet, arise: Arise, arise.
Страница 160 - His story requires Romans or kings, but he thinks only on men. He knew that Rome, like every other city, had men of all dispositions ; and wanting a buffoon, he went into the senate-house for that which the senate-house would certainly have afforded him.
Страница 204 - ... when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet.
Страница 293 - The Family Shakspeare ; in which nothing is added to the Original Text ; but those words and expressions are omitted which cannot with propriety be read aloud.
Страница 229 - Ophelia is a character almost too exquisitely touching to be dwelt upon. Oh rose of May, oh flower too soon faded ! Her love, her madness, her death, are described with the truest touches of tenderness and pathos. It is a character which nobody but...
Страница 173 - Our wills and fates do so contrary run That our devices still are overthrown, Our thoughts are ours, their ends none of our own: So think thou wilt no second husband wed; But die thy thoughts when thy first lord is dead.
Страница 158 - ... let us be — Diana's foresters, gentlemen of the shade, minions of the moon : And let men say, we be men of good government; being governed as the sea is, by our noble and chaste mistress the moon, under whose countenance we — steal, P.
Страница 311 - He had, what is the first requisite to emendatory criticism, that intuition by which the poet's intention is immediately discovered, and that dexterity of intellect which despatches its work by the easiest means. He had undoubtedly read much; his acquaintance with customs, opinions, and traditions, seems to have been large; and he is often learned without show.