Download A Companion to Shakespeare's Works, Volume II: The Histories by Richard Dutton, Jean E. Howard PDF

By Richard Dutton, Jean E. Howard

This four-volume significant other to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely entire photograph of present Shakespeare feedback. Brings jointly new essays from a mix of more youthful and extra proven students from around the globe - Australia, Canada, France, New Zealand, the uk, and the USA. Examines each one of Shakespeare’s performs and significant poems, utilizing all of the assets of up to date feedback, from functionality stories to feminist, historicist, and textual research. Volumes are equipped when it comes to wide-spread different types: specifically the histories, the tragedies, the romantic comedies, and the past due performs, challenge performs and poems. every one quantity includes person essays on all texts within the correct classification, in addition to extra basic essays taking a look at serious matters and methods extra broadly proper to the style. deals a provocative roadmap to Shakespeare reviews on the dawning of the twenty-first century.This better half to Shakespeare’s histories includes unique essays on each background play from Henry VI to Henry V in addition to fourteen extra articles on such subject matters as censorship in Shakespeare’s histories, the relation of Shakespeare’s performs to different dramatic histories of the interval, Shakespeare’s histories on movie, the homoerotics of Shakespeare’s historical past performs, and kingdom formation in Shakespeare’s histories.

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Additional resources for A Companion to Shakespeare's Works, Volume II: The Histories (Blackwell Companions to Literature and Culture)

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The first article of the vow each of his men must take is that “you never shall the poor man wrong” (p. 154). But it figures no less obviously in a surprisingly large number of other plays. Sir John Oldcastle, who is known as “the best man to the poor that is in all Kent” (p. 126), is first seen distributing alms, and scenes of almsgiving begin and end The Duchess of Suffolk. “I spend my labors to relieve the poor,” says the imprisoned Princess Elizabeth in If You Know Not Me (p. 30), while More in Sir Thomas More and Cromwell in Sir Thomas Cromwell are both remarkable for interventions on behalf of their common fellow subjects.

However, in light of the Armada’s devastating defeat, even an ardent Catholic would have to consider the possibility that the pope and other prominent Catholics interpreted God’s will erroneously. That Camden does not hit his reader over the head with this appraisal hardly makes it any less obvious. Even when recounting the Armada’s inglorious end Camden relies on simple irony instead of grand interpretation: “And thus this great Armada, which had three complete Years in rigging and preparing with infinite Expense, was within one Month’s space many times fought with, and at last overthrown, with the Slaughter of many men, not an hundred of the English being missing, nor any Ship lost, save onely that small one of Cock’s: (for all the Shot from the Tall Spanish ships flew quite over the English:)” (pp.

Good fellowship, irrespective of rank, is an idle dream that cannot withstand the alienating reality of royal history as Shakespeare conceives of it. Henry’s disguised meeting with some of his common soldiers on the eve of Agincourt provides a good test case. In other plays – George a Green, Sir John Oldcastle, Heywood’s 1 Edward IV, and Samuel Rowley’s When You See Me, You Shakespeare and Contemporary Dramatists 33 Know Me – the meeting of a disguised king and his common subjects discovers their shared humanity and enforces the bond of good fellowship.

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