William the Conqueror: Difference between revisions

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==Historical Records==
==Historical Records==
===Performance Records ===


<Reproduce relevant documentary evidence from historical records here. (For example, entries from Henslowe's Diary).>
==== Playlists in Philip Henslowe's diary ====
<br>[[category:Henslowe's records]]


Fol. 8<sup>v</sup> ([http://www.archive.org/stream/henslowesdiary00unkngoog#page/n76/mode/2up Greg, I.16])
<br>


:In a listing headed as follows:
:::::::: Jn the name of god Amen begninge the 27 of
::::::::desembʒ 1593 the earle of susex his men
:::{| {{table}}
| R''es'' at william the conkerer the 4 of Jenewary 1593 [i.e. 1594]. . . ||. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ||xxii<sup>s</sup>
|}
<br>
[[category:Solo performance]]


==Theatrical Provenance==
==Theatrical Provenance==


<Enter information about which company performed the play, and where/when it was performed, etc.>
Sussex's Men at the Rose Playhouse.  The play is only known from this single performance.  It is not marked "ne".
 
<br>


[[WorksCited|Wiggins, ''Catalogue'' (#903)]] backdates "William the Conqueror" to 1591, based on its solo performance that is not marked "ne." In the entry for this play, Wiggins explains his reasoning for similarly backdating other plays in Sussex's Rose repertory that Henslowe did not mark "ne."
<br><br>


==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.>
Romantic comedy? ([[WorksCited|Harbage]])
 
<br><br><br>
 


==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.>
See [[#Critical Commentary|Critical Commentary]] and [[#For What It's Worth|For What It's Worth]] below.
<br><br><br>


==References to the Play==


None known


==References to the Play==


<List any known or conjectured references to the lost play here.>


==Critical Commentary==


[[WorksCited|Malone]] does not comment on the narrative of this play (p. 293), nor does [[WorksCited|Collier]] (p. 31).


==Critical Commentary==


<Summarise any critical commentary that may have been published by scholars. Please maintain an objective tone!>
[[WorksCited|Hazlitt]] notes of this play: "A play on this subject is also mentioned in Heywood's ''Apology for Actors'', 1612" (p. 253).




[[WorksCited|Fleay, ''BCED'', 2.298, #122]] makes a new suggestion: "Query ''Fair Em'', retained from L.Strange's Men, like ''The Jew of Malta''."  That is to say, he 'lumps' it with the extant play ''Fair Em, or the Miller's Daughter of Manchester, with the Love of William the Conqueror''. Fleay's suggestion has met with fairly general acceptance: for instance, [[WorksCited|Greg II]] ([http://archive.org/stream/henslowesdiary02hensuoft#page/158/mode/2up #32, p. 158]), [[WorksCited|Harbage]], and more recently '''Knutson'''. [[category:F. G. Fleay]]
<br><br>
[[WorksCited|Wiggins, ''Catalogue'' #903]], on the other hand, describes the play without assuming that it is ''Fair Em'', and offers a summary of its possible content in terms of the usual features of William the Conqueror's career in chronicle histories.  That is, it describes the conquest of Britain by William in 1066. [[category:Holinshed]] 
<br><br>


==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.>
[[WorksCited|Hazlitt]] is presumably thinking of this passage from the ''Apology for Actors'':
 
:Thirdly, playes haue made the ignorant more apprehensiue, taught the vnlearned the knowledge of many famous histories, instructed such as ca~ not reade in the discouery of all our English Chronicles: & what man haue you now of that weake capacity, that can not discourse of any notable thing recorded euen from ''William the Conquerour'', nay from the landing of ''Brute'', vntill this day. (Heywood, ''Apology'', F1r)


It is not very clearly an allusion to any specific William the Conqueror play.
<br><br>


==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.>
<div style="padding-left: 2em; text-indent: -2em">Heywood, Thomas. ''An Apology for Actors''. London, 1612. ''EEBO''.</div>
 
<div style="padding-left: 2em; text-indent: -2em">Knutson, Roslyn L. "What's So Special About 1594?" ''Shakespeare Quarterly'' 61.4 (2010): 449-467.</div>
 
<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 [[Matthew Steggle]], Sheffield Hallam University; updated 12/9/2016.
[[category:all]][[category:Sussex's]]
[[category:all]][[category:Sussex's]][[category:Rose]][[category:Found lost plays]][[category:English history]][[category:English kings]][[category:Update]][[category:Plays]]

Latest revision as of 13:20, 4 October 2022

Anon. (1593)


Historical Records

Performance Records

Playlists in Philip Henslowe's diary


Fol. 8v (Greg, I.16)

In a listing headed as follows:
Jn the name of god Amen begninge the 27 of
desembʒ 1593 the earle of susex his men
Res at william the conkerer the 4 of Jenewary 1593 [i.e. 1594]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiis


Theatrical Provenance

Sussex's Men at the Rose Playhouse. The play is only known from this single performance. It is not marked "ne".

Wiggins, Catalogue (#903) backdates "William the Conqueror" to 1591, based on its solo performance that is not marked "ne." In the entry for this play, Wiggins explains his reasoning for similarly backdating other plays in Sussex's Rose repertory that Henslowe did not mark "ne."

Probable Genre(s)

Romantic comedy? (Harbage)


Possible Narrative and Dramatic Sources or Analogues

See Critical Commentary and For What It's Worth below.


References to the Play

None known


Critical Commentary

Malone does not comment on the narrative of this play (p. 293), nor does Collier (p. 31).


Hazlitt notes of this play: "A play on this subject is also mentioned in Heywood's Apology for Actors, 1612" (p. 253).


Fleay, BCED, 2.298, #122 makes a new suggestion: "Query Fair Em, retained from L.Strange's Men, like The Jew of Malta." That is to say, he 'lumps' it with the extant play Fair Em, or the Miller's Daughter of Manchester, with the Love of William the Conqueror. Fleay's suggestion has met with fairly general acceptance: for instance, Greg II (#32, p. 158), Harbage, and more recently Knutson.

Wiggins, Catalogue #903, on the other hand, describes the play without assuming that it is Fair Em, and offers a summary of its possible content in terms of the usual features of William the Conqueror's career in chronicle histories. That is, it describes the conquest of Britain by William in 1066.

For What It's Worth

Hazlitt is presumably thinking of this passage from the Apology for Actors:

Thirdly, playes haue made the ignorant more apprehensiue, taught the vnlearned the knowledge of many famous histories, instructed such as ca~ not reade in the discouery of all our English Chronicles: & what man haue you now of that weake capacity, that can not discourse of any notable thing recorded euen from William the Conquerour, nay from the landing of Brute, vntill this day. (Heywood, Apology, F1r)

It is not very clearly an allusion to any specific William the Conqueror play.

Works Cited

Heywood, Thomas. An Apology for Actors. London, 1612. EEBO.
Knutson, Roslyn L. "What's So Special About 1594?" Shakespeare Quarterly 61.4 (2010): 449-467.


Site created and maintained by Matthew Steggle, Sheffield Hallam University; updated 12/9/2016.