Timoclea at the Siege of Thebes: Difference between revisions
 
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[[Playwright's Name]] ([[Year]])
[[Anon.]] ([[1574]])
Anonymous, 1574
 


==Historical Records==
==Historical Records==


<Reproduce relevant documentary evidence from historical records here. (For example, entries from Henslowe's Diary).>
The Revels accounts record payments for preparation for a play of "Timoclia at the sege of Thebes. by Alexander", and for the supply of "Apparell propertyes and Necessaries" for its production at Hampton Court Palace at Candlemas 1574. A masque of ladies "with lightes being vj vertues" was planned to follow it, "but not showen for the Tediusnesse of the playe that nighte." Most of the payments to workers and artificers have more to do with the masque, but some items give some indication of the staging of the play: two dozen pairs of gloves (a traditional etiquette of court practice) made "for children" indicates a large cast, while players' houses were used for a setting, and a number of property weapons were prepared. (Feuillerat, 206-12).
The Revels accounts record payments for preparation for a play of "Timoclia at the sege of Thebes. by Alexander", and for the supply of "Apparell propertyes and Necessaries" for its production at Hampton Court Palace at Candlemas 1574. A masque of ladies "with lightes being vj vertues" was planned to follow it, "but not showen for the Tediusnesse of the playe that nighte." Most of the payments to workers and artificers have more to do with the masque, but some items give some indication of the staging of the play: two dozen pairs of gloves (a traditional etiquette of court practice) made "for children" indicates a large cast, while players' houses were used for a setting, and a number of property weapons were prepared. (Feuillerat, 206-12).
 
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==Theatrical Provenance==
==Theatrical Provenance==


<Enter information about which company performed the play, and where/when it was performed, etc.>
The play was prepared and presented by the boys of Merchant Taylors School, London, under the direction of their master Richard Mulcaster. The venue was perhaps the Hall at Hampton Court, and the date 2 February 1574.
The play was prepared and presented by the boys of Merchant Taylors School, London, under the direction of their master Richard Mulcaster. The venue was perhaps the Hall at Hampton Court, and the date 2 February 1574.
 
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==Probable Genre(s)==
==Probable Genre(s)==


<List possible genres of the play: if noted by a critic, cite them, e.g. "Comedy (Harbage)". If an original speculation, simply list the genre.>
Classical romance.
Classical romance.
 
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==Possible Narrative and Dramatic Sources or Analogues==
==Possible Narrative and Dramatic Sources or Analogues==


<Enter any information about possible or known sources. Summarise these sources where practical/possible, or provide an excerpt from another scholar's discussion of the subject if available.>
The story of Timoclea, identified by Feuillerat, is told in Plutarch's ''Lives'' (Life of Alexander), and is that of a feminist heroine (included by Thomas Heywood in his ''Gynaikaion'' of 1624), and thus throws an interesting light on Richard Mulcaster's educational purposes in promoting school drama with his boys, one of whom would have played the title role before the queen and her court. Sister of the Greek hero Theagenes, killed fighting alongside Philip of Macedon at the battle of Chaeronea, she is raped following the sack of Thebes by the forces of Alexander the Great. The man responsible, a captain, is lured by her to a well with the promise of concealed loot, then thrown in and stoned to death by Timoclea. Arrested and brought before Alexander, she proudly reveals her identity and her story, and is pardoned and freed.
The story of Timoclea, identified by Feuillerat, is told in Plutarch's Lives (Life of Alexander), and is that of a feminist heroine (included by Thomas Heywood in his Gynaikaion of 1624), and thus throws an interesting light on Richard Mulcaster's educational purposes in promoting school drama with his boys, one of whom would have played the title role before the queen and her court. Sister of the Greek hero Theagenes, killed fighting alongside Philip of Macedon at the battle of Chaeronea, she is raped following the sack of Thebes by the forces of Alexander the Great. The man responsible, a captain, is lured by her to a well with the promise of concealed loot, then thrown in and stoned to death by Timoclea. Arrested and brought before Alexander, she proudly reveals her identity and her story, and is pardoned and freed.
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    Timoclea also appears in the first scene of John Lyly's Campaspe, of ten years later, as a fellow captive with the title character following Alexander's capture of Thebes. Lyly drops any reference to the Plutarchan legend of rape, revenge, and pardon as distracting from his central focus.
Timoclea also appears in the first scene of John Lyly's ''Campaspe'', of ten years later, as a fellow captive with the title character following Alexander's capture of Thebes. Lyly drops any reference to the Plutarchan legend of rape, revenge, and pardon as distracting from his central focus.
 
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==References to the Play==
==References to the Play==


<List any known or conjectured references to the lost play here.>
(Information welcome)
 
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==Critical Commentary==
==Critical Commentary==


<Summarise any critical commentary that may have been published by scholars. Please maintain an objective tone!>
Feuillerat briefly identifies the source of the play, and Chambers follows him. Richard Mulcaster has received considerable attention in the last few decades; his pedagogical theory in connection with drama and playing is examined by John Astington in ''Actors and Acting in Shakespeare's Time''.
Feuillerat briefly identifies the source of the play, and Chambers follows him. Richard Mulcaster has received considerable attention in the last few decades;his pedagogical theory in connection with drama and playing is examined by John Astington in Actors and Acting in Shakespeare's Time.
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See also [[WorksCited|Wiggins]] #556.
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==For What It's Worth==
==For What It's Worth==


<Enter any miscellaneous points that may be relevant, but don't fit into the above categories. This is the best place for highly conjectural thoughts.>
Plutarch's story seems fairly simple in its essential structure, so what led to "tediousness" in the play itself can only have been rhetorical overkill, with perhaps some spectacular elaboration of military scenes, given the size of the cast (24).
Plutarch's story seems fairly simple in its essential structure, so what led to "tediousness" in the play itself can only have been rhetorical overkill, with perhaps some spectacular elaboration of military scenes, given the size of the cast (24).
 
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==Works Cited==
==Works Cited==


<List all texts cited throughout the entry, except those staple texts whose full bibliographical details have been provided in the masterlist of Works Cited found on the sidebar menu.>
Astington, John H., ''Actors and Acting in Shakespeare's Time. The Art of Stage Playing'' (Cambridge, 2010).<br>
 


<If you haven't done so already, also add here any key words that will help categorise this play. Use the following format, repeating as necessary: [[category:example]]>




Site created and maintained by [[your name]], affiliation; updated DD Month YYYY.
Site created and maintained by [[John Astington|John H. Astington]], University of Toronto; updated 23 Aug 2010.
[[category:all]]
[[category:Anon.]][[category:all]][[category:Plays]][[category:Update]][[category:Hampton Court]][[category:Merchant Taylors' Boys]][[category:Plutarch]][[category:romance]][[category:Classical]]
[[category:John H. Astington]][[category:Feuillerat]]

Latest revision as of 13:25, 28 February 2023

Anon. (1574)


Historical Records

The Revels accounts record payments for preparation for a play of "Timoclia at the sege of Thebes. by Alexander", and for the supply of "Apparell propertyes and Necessaries" for its production at Hampton Court Palace at Candlemas 1574. A masque of ladies "with lightes being vj vertues" was planned to follow it, "but not showen for the Tediusnesse of the playe that nighte." Most of the payments to workers and artificers have more to do with the masque, but some items give some indication of the staging of the play: two dozen pairs of gloves (a traditional etiquette of court practice) made "for children" indicates a large cast, while players' houses were used for a setting, and a number of property weapons were prepared. (Feuillerat, 206-12).


Theatrical Provenance

The play was prepared and presented by the boys of Merchant Taylors School, London, under the direction of their master Richard Mulcaster. The venue was perhaps the Hall at Hampton Court, and the date 2 February 1574.


Probable Genre(s)

Classical romance.


Possible Narrative and Dramatic Sources or Analogues

The story of Timoclea, identified by Feuillerat, is told in Plutarch's Lives (Life of Alexander), and is that of a feminist heroine (included by Thomas Heywood in his Gynaikaion of 1624), and thus throws an interesting light on Richard Mulcaster's educational purposes in promoting school drama with his boys, one of whom would have played the title role before the queen and her court. Sister of the Greek hero Theagenes, killed fighting alongside Philip of Macedon at the battle of Chaeronea, she is raped following the sack of Thebes by the forces of Alexander the Great. The man responsible, a captain, is lured by her to a well with the promise of concealed loot, then thrown in and stoned to death by Timoclea. Arrested and brought before Alexander, she proudly reveals her identity and her story, and is pardoned and freed.

Timoclea also appears in the first scene of John Lyly's Campaspe, of ten years later, as a fellow captive with the title character following Alexander's capture of Thebes. Lyly drops any reference to the Plutarchan legend of rape, revenge, and pardon as distracting from his central focus.


References to the Play

(Information welcome)


Critical Commentary

Feuillerat briefly identifies the source of the play, and Chambers follows him. Richard Mulcaster has received considerable attention in the last few decades; his pedagogical theory in connection with drama and playing is examined by John Astington in Actors and Acting in Shakespeare's Time.

See also Wiggins #556.


For What It's Worth

Plutarch's story seems fairly simple in its essential structure, so what led to "tediousness" in the play itself can only have been rhetorical overkill, with perhaps some spectacular elaboration of military scenes, given the size of the cast (24).


Works Cited

Astington, John H., Actors and Acting in Shakespeare's Time. The Art of Stage Playing (Cambridge, 2010).


Site created and maintained by John H. Astington, University of Toronto; updated 23 Aug 2010.