scholarly journals Stationers' Register entry for the transfer of Henry VI Parts 1 and 2, and Titus Andronicus

10.37078/409 ◽  
2016 ◽  
Author(s):  
Keyword(s):  
Titus Andronicus ◽  
Henry Vi

Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

‘She’s Turned Fury’: Women Transmogrified in Revenge Plays

2018 ◽  
pp. 220-236
Author(s):  
Janet Clare
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Titus Andronicus ◽  
Revenge Tragedy ◽  
Henry Vi ◽  
Revenge Plays

This chapter explores early modern responses to Hecuba, arguing that whereas Euripides’ Hecuba is a sympathetic tragic heroine and successful avenger, this model was not replicated in early modern plays. Instead the two aspects of Hecuba’s role, that of lamenting mother and ruthless avenger, bifurcate in English revenge tragedy. Pitiful, mourning mothers such as Isabella from Thomas Kyd’s The Spanish Tragedy are unsuccessful, while savage ones, such as Tamora from Shakespeare’s Titus Andronicus and Queen Margaret in Shakespeare’s Henry VI trilogy, are abhorrent and aberrant, inflicting violence from a position of power. In contrast to Germany and France – where artistic treatments of the Biblical Judith decapitating General Holofernes offer a heroic, political image of female vengeance – the chapter argues that in early modern England revenge was definitively not a woman’s business.

Succession and confessional politics combined

2020 ◽  
pp. 17-34
Author(s):  
Peter Lake
Keyword(s):  
Roman History ◽  
Richard Iii ◽  
Titus Andronicus ◽  
Revenge Tragedy ◽  
Central Elements ◽  
Henry Vi

This chapter focuses on the play “Titus Andronicus,” which is considered not merely a revenge tragedy. It explains how Titus is suffused with evocations and references to the Aeneid and central elements in the plot that are taken from Ovid. It also mentions how Titus was described as a “noble Roman history” when it was entered in the stationer's register. The chapter discusses the Titus' central concerns: succession, tyranny, resistance and the nature and origins of monarchical legitimacy. It shows how Titus contains echoes of and parallels with the Henry VI and Richard III plays and how it was set within a meticulously evoked and entirely fictional version of Romanitas.

4. Plays of the 1590s

2015 ◽  
Author(s):  
Stanley Wells
Keyword(s):  
National Unity ◽  
Romeo And Juliet ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Titus Andronicus ◽  
The People ◽  
Henry Vi ◽  
National Welfare

During the first decade of Shakespeare’s career he wrote a series of closely inter-related plays based on English history drawing heavily on Holinshed’s Chronicles and other accounts. These plays show a serious concern with political problems, with the responsibilities of a king, his relationship with the people, the need for national unity, and the relationship between national welfare and self-interest. ‘Plays of the 1590s’ introduces each of these plays, sketching its origins, stories, and themes. It also touches on aspects of Shakespeare’s techniques and artistry. The plays considered are Henry VI (Parts One to Three), Richard III, Titus Andronicus, Romeo and Juliet, Richard II, Henry IV, Henry V, Edward III, and King John.

Shakespeare’s Style in the 1590s

2013 ◽  
Author(s):  
Goran Stanivukovic
Keyword(s):  
Romeo And Juliet ◽  
Richard Iii ◽  
Robert Greene ◽  
Titus Andronicus ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Social ◽  
Henry Vi ◽  
Love's Labour's Lost ◽  
Dramatic Practice

Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.

Meager Lead and Joyous Consequences: RSC Triumphs Among Shakespeare's Minor Plays

1986 ◽  
Vol 27 (1-2) ◽  
pp. 37-67 ◽  
Author(s):  
William P. Shaw
Keyword(s):  
Common Element ◽  
Titus Andronicus ◽  
Royal Shakespeare Company ◽  
Troilus And Cressida ◽  
Production History ◽  
Henry Vi ◽  
History Of ◽  
The Common ◽  
Love's Labor's Lost

Bassanio's words, as he chooses the correct casket to win Portia as his wife, might offer an insight to the production history of the Royal Shakespeare Company:An impressive number of the RSC's greatest theatrical triumphs have been stagings of Shakespeare's “meager lead,” his lesser or minor plays. To seek the common element in these surprising coups, I will examine four productions of such plays, one from each of the conventional generic categores, and spanning four decades in the history of the RSC: Brook's Love's Labor's Lost (1946) and Titus Andronicus (1955), Hall's and Barton's Troilus and Cressida (1960), Hands' Henry VI, Parts I, II, and III (1977).

Sign in / Sign up

Export Citation Format

Share Document