Difference between revisions of "Two Shapes"
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Greg identified this play with the lost
Greg identified this play with the lost [[Caesar's Fall]],recorded in the diary one week earlier. Henslowe had paid out £5 for Caesar's Falland attributed it to Munday, Drayton, Webster and "the Rest", with Middleton's name noted above the words "the Rest". Dekker's name does not appear in the Caesar's Fallrecord, but Greg argued that the close correspondence between the dramatists and the payments make this identification "beyond doubt" ([http://www.archive.org/stream/henslowesdiary02hensuoft#page/222/mode/1up Greg II, 222]). Subsequent commentators have followed suit.
Revision as of 20:17, 2 November 2013
See the relevant MS entry in the Henslowe-Alleyn Digitisation Project site here.
Payments to Playwrights (Henslowe's Diary)
- Lent vnto Thomas downton the 29 of maye
- 1602 to paye Thomas dickers drayton mydellton
- & webester & mondaye in fulle paymente for
- ther playe called too shapes the some of iijll
The payment to Thomas Downton indicates that the play was written for the Admiral's Men.
Possible Narrative and Dramatic Sources or Analogues
W. W. Greg notes that the title is not in Henslowe's hand, and may be Downton's (Greg I, 233). The second word of the title has occasioned some uncertainty. Malone recorded it as "The Two Harpies" and Collier as "too harpes", noting that the second word might also be hapes, or hopes. However, Greg and Foakes read it as "Two Shapes": Greg explained, "There can be no question as to the letters hapes, but there is something before them. This looks at first sight like a c, but I am convinced on examination that it is really an s, of which the tail is almost invisible" (Greg I, 233, Foakes 202).
Greg identified this play with the lost "Caesar's Fall," recorded in the diary one week earlier. Henslowe had paid out £5 for "Caesar's Fall" and attributed it to Munday, Drayton, Webster and "the Rest", with Middleton's name noted above the words "the Rest". Dekker's name does not appear in the "Caesar's Fall" record, but Greg argued that the close correspondence between the dramatists and the payments make this identification "beyond doubt" (Greg II, 222). Subsequent commentators have followed suit.
Doris Feldman and Kurt Tetzeli von Rosador (who follow Greg in assuming that "Two Shapes" was about Julius Caesar) argue that the word "shape" probably refers to disguises (OED, 7); they note that Middleton commonly associates the word with duplicity and suggest that it refers to Caesar's legendary ability to dissimulate (329).
Andrew Gurr drops "Two Shapes" from Appendix I ("The Plays"), adding a note to the entry for "Caesar's Fall" that describes the diary entry for "Two Shapes." In that note he includes the comment that "Chambers and others think" "Two Shapes" must be the same play as "Caesar's Fall" (265).
References to the Play
For What It's Worth
While the word "shapes" could certainly refer to disguises, it may be worth noting that it could also refer to ghosts (OED, 6.c.). If the play was about Julius Caesar, the title may thus refer to spectral versions of Caesar and/or other characters, perhaps inspired by the ghost in Shakespeare's play.
If the sums for Caesar's Fall and Two Shapes are added together as payment for a single script, that script becomes the most expensive item in the repertory for the year (160s., or £8), excepting possibly Richard Crookback, for which (with additions to The Spanish Tragedy) Jonson was paid 200s. (£10).
Site created and maintained by David Nicol, Dalhousie University; updated 15 May, 2011.