Thomas Killigrew and the Seventeenth Century English StageThomas Killigrew and the Seventeenth Century English Stage



Thirsk, Joan, 'Younger Sons in the Seventeenth Century', in The Rural Economy of England: Collected Essays (London: Hambledon Press, 1984), pp. 335–57. Thomas, David, and Arnold Hare, eds, Restoration and Georgian England (Cambridge: ...

Author: Philip Major

Publisher: Routledge

ISBN: 9781317010395

Category:

Page: 236

View: 261

Despite his significant influence as a courtier, diplomat, playwright and theatre manager, Thomas Killigrew (1612-1683) remains a comparatively elusive and neglected figure. The original essays in this interdisciplinary volume shine new light on a singular, contradictory Englishman 400 years after his birth. They increase our knowledge and deepen our understanding not only of Killigrew himself, but of seventeenth-century dramaturgy, and its complex relationship to court culture and to evolving aesthetic tastes. The first book on Killigrew since 1930, this study re-examines the significant phases of his life and career: the little-known playwriting years of the 1630s; his long exile during the 1640s and 1650s, and its personal, political and literary repercussions; and the period following the Restoration, when, with Sir William Davenant, he enjoyed a monopoly of the London stage. These fresh accounts of Killigrew build on the recent resurgence of interest in royalists and the royalist exile, and underscore literary scholars' continued fascination with the Restoration stage. In the process, they question dominant assumptions about neatly demarcated seventeenth-century chronological, geographic and cultural boundaries. What emerges is a figure who confounds as often as he justifies traditional labels of dilettante, cavalier wit and swindler.

The Oxford English Literary HistoryThe Oxford English Literary History



Thomas Killigrew and the Seventeenth-Century English Stage (Ashgate Publishing, 2013), 151–74. Smith, Helen, 'Grossly Material Things': Women and Book Production in Early Modern England (Oxford University Press, 2012).

Author: Margaret J. M. Ezell

Publisher: Oxford University Press

ISBN: 9780192537829

Category:

Page: 599

View: 599

The Oxford English Literary History is the new century's definitive account of a rich and diverse literary heritage that stretches back for a millennium and more. Each of these thirteen groundbreaking volumes offers a leading scholar's considered assessment of the authors, works, cultural traditions, events, and ideas that shaped the literary voices of their age. The series will enlighten and inspire not only everyone studying, teaching, and researching in English Literature, but all serious readers. This volume covers the period 1645-1714, and removes the traditional literary period labels and boundaries used in earlier studies to categorize the literary culture of late seventeenth-century England. It invites readers to explore the continuities and the literary innovations occurring during six turbulent decades, as English readers and writers lived through unprecedented events including a King tried and executed by Parliament and another exiled, the creation of the national entity 'Great Britain', and an expanding English awareness of the New World as well as encounters with the cultures of Asia and the subcontinent. The period saw the establishment of new concepts of authorship and it saw a dramatic increase of women working as professional, commercial writers. London theatres closed by law in 1642 reopened with new forms of entertainments from musical theatrical spectaculars to contemporary comedies of manners with celebrity actors and actresses. Emerging literary forms such as epistolary fictions and topical essays were circulated and promoted by new media including newspapers, periodical publications, and advertising and laws were changing governing censorship and taking the initial steps in the development of copyright. It was a period which produced some of the most profound and influential literary expressions of religious faith from John Milton's Paradise Lost and John Bunyan's Pilgrim's Progress, while simultaneously giving rise to a culture of libertinism and savage polemical satire, as well as fostering the new dispassionate discourses of experimental sciences and the conventions of popular romance.

Early Modern Catholics Royalists and CosmopolitansEarly Modern Catholics Royalists and Cosmopolitans



Killigrew's and Behn's plays harken back to an earlier period of intense AngloSpanish rivalry. ... “Thomas Killigrew's Thomaso as Two-Part Comedy,” in Thomas Killigrew and the SeventeenthCentury English Stage: New Perspectives, ed.

Author: Brian C. Lockey

Publisher: Routledge

ISBN: 9781317147107

Category:

Page: 388

View: 872

Early Modern Catholics, Royalists, and Cosmopolitans considers how the marginalized perspective of 16th-century English Catholic exiles and 17th-century English royalist exiles helped to generate a form of cosmopolitanism that was rooted in contemporary religious and national identities but also transcended those identities. Author Brian C. Lockey argues that English discourses of nationhood were in conversation with two opposing 'cosmopolitan' perspectives, one that sought to cultivate and sustain the emerging English nationalism and imperialism and another that challenged English nationhood from the perspective of those Englishmen who viewed the kingdom as one province within the larger transnational Christian commonwealth. Lockey illustrates how the latter cosmopolitan perspective, produced within two communities of exiled English subjects, separated in time by half a century, influenced fiction writers such as Sir Philip Sidney, Edmund Spenser, Anthony Munday, Sir John Harington, John Milton, and Aphra Behn. Ultimately, he shows that early modern cosmopolitans critiqued the emerging discourse of English nationhood from a traditional religious and political perspective, even as their writings eventually gave rise to later secular Enlightenment forms of cosmopolitanism.

Sir John Denham 1614 15 1669 ReassessedSir John Denham 1614 15 1669 Reassessed



Lewcock, Dawn, Sir William Davenant, the Court Masque and the English SeventeenthCentury Scenic Stage, c. 1605–1700 (Amherst, NY: Cambria Press, ... Thomas Killigrew and the Seventeenth-Century English Stage (Farnham: Ashgate, 2013).

Author: Philip Major

Publisher: Routledge

ISBN: 9781317054672

Category:

Page: 226

View: 446

Sir John Denham (1614/15–1669) Reassessed shines new light on a singular, colourful yet elusive figure of seventeenth-century English letters. Despite his influence as a poet, wit, courtier, exile, politician and surveyor of the king's works, Denham, remains a neglected figure. The original essays in this interdisciplinary collection provide the sustained modern critical attention his life and work merit. The book both examines for the first time and reassesses important features of Denham's life and reputations: his friendship circles, his role as a political satirist, his religious inclinations, his playwriting years, and the personal, political and literary repercussions of his long exile; and offers fresh interpretations of his poetic magnum opus, Coopers Hill. Building on the recent resurgence of scholarly interest in royalists and royalism, as well as on Restoration literature and drama, this lively account of Denham's influence questions assumptions about neatly demarcated seventeenth-century chronological, geographic and literary boundaries. What emerges is a complex man who subverts as well as reinforces conventional characterisations of court wit, gambler and dilettante.

England s FortressEngland s Fortress



He has edited a collection of essays on Literatures of Exile in the English Revolution and its Aftermath, 1640–1685 (Ashgate, 2010) and on Thomas Killigrew and the Seventeenth-Century English Stage (Ashgate, 2013).

Author: Andrew Hopper

Publisher: Routledge

ISBN: 9781317143291

Category:

Page: 306

View: 390

Overshadowed in the popular imagination by the figure of Oliver Cromwell, historians are increasingly coming to recognize the importance of Thomas Fairfax, 3rd Lord Fairfax of Cameron, in shaping the momentous events of mid-seventeenth-century Britain. As both a military and political figure he played a central role in first defeating Charles I and then later supporting the restoration of his son in 1660. England’s Fortress shines new light on this significant yet surprisingly understudied figure through a selection of essays addressing a wide range of topics, from military history to poetry. Divided into two sections, the volume reflects key aspects of Fairfax’s life and career which are, nevertheless, as interconnecting as they are discrete: Fairfax the soldier and statesman, and Fairfax the husband, horseman and scholar. This fresh account of Fairfax’s reputations and legacy questions assumptions about neatly demarcated seventeenth-century chronological, geographic and cultural boundaries. What emerges is a man who subverts as much as he reinforces assumed characteristics of martial invincibility, political disengagement and literary dilettantism.

Embracing the DarknessEmbracing the Darkness



Thomas Killigrew and the Seventeenth Century English Stage. New Perspectives (Farnham, Surrey & Burlington, VT: Ashgate, 2013), p. 192. R. Rapley, A Case of Witchcraft. The Trial of Urbain Grandier (Manchester: Manchester University ...

Author: John Callow

Publisher: Bloomsbury Publishing

ISBN: 9781786732613

Category:

Page: 288

View: 801

As dusk fell on a misty evening in 1521, Martin Luther - hiding from his enemies at Wartburg Castle - found himself seemingly tormented by demons hurling walnuts at his bedroom window. In a fit of rage, the great reformer threw at the Devil the inkwell from which he was preparing his colossal translation of the Bible. A belief - like Luther's - in the supernatural, and in black magic, has been central to European cultural life for 3000 years. From the Salem witch trials to the macabre novels of Dennis Wheatley; from the sadistic persecution of eccentric village women to the seductive sorceresses of TV's Charmed; and from Derek Jarman's punk film Jubilee to Ken Russell's The Devils, John Callow brings the twilight world of the witch, mage and necromancer to vivid and fascinating life. He takes us into a shadowy landscape where, in an age before modern drugs, the onset of sudden illness was readily explained by malevolent spellcasting. And where dark, winding country lanes could terrify by night, as the hoot of an owl or shriek of a fox became the desolate cries of unseen spirits.Witchcraft has profoundly shaped the western imagination, and endures in the forms of modern-day Wicca and paganism. Embracing the Darkness is an enthralling account of this fascinating aspect of the western cultural experience.

Clarendon ReconsideredClarendon Reconsidered



He has edited the collections of essays Literatures of Exile in the English Revolution and its Aftermath (2010), Thomas Killigrew and the Seventeenth-Century English Stage (2013), Sir John Denham (1614/15–1669) Reassessed: The State's ...

Author: Philip Major

Publisher: Routledge

ISBN: 9781315530673

Category:

Page: 198

View: 558

Clarendon Reconsidered reassesses a figure of major importance in seventeenth-century British politics, constitutional history and literature. Despite his influence in these and other fields, Edward Hyde, first Earl of Clarendon (1609–1674) remains comparatively neglected. However, the recent surge of interest in royalists and royalism, and the new theoretical strategies it has employed, make this a propitious moment to re-examine his influencecontribution. Chancellor of the Exchequer, Lord Chancellor and author of the History of the Rebellion (1702–1704), then and for long afterwards the most sophisticated history written in English, his long career in the service of the Caroline court spanned the English Revolution and Restoration. The original essays in this interdisciplinary collection shine a torch on key aspects of Clarendon’s life and works: his role as a political propagandist, his family and friendship networks, his religious and philosophical inclinations, his history- and essay-writing, his influence on other forms of writing, and the personal, political and literary repercussions of his two long exiles. Pushing the boundaries of the new royalist scholarship, this fresh account of Clarendon reveals a multifaceted man who challenges as often as he justifies traditional characterisations of detached historian and secular statesman.

O Let Us Howle Some Heavy NoteO Let Us Howle Some Heavy Note



Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage Amanda Eubanks Winkler ... Others, such as the musician Matthew Locke and the playwright/impresarios Thomas Killigrew and William Davenant, ...

Author: Amanda Eubanks Winkler

Publisher: Indiana University Press

ISBN: 9780253027948

Category:

Page: 249

View: 410

A multidisciplinary study of the uses of music and the portrayal of characters with mental disorder in seventeenth-century English opera and theater. In the seventeenth century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous. O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects—those who presented either a direct or metaphorical threat to the health of the English kingdom in seventeenth -century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies. “In a world centered on notions of order and harmony, witchcraft, melancholia, and madness inhabit the margins of society. However, in this impressive and wide-ranging study, Amanda Eubanks Winkler skillfully relocates this trinity of disorder close to the center of our understanding of seventeenth-century English theater. Musically insightful, historically illuminating, and interpretatively rich, O Let Us Howle Some Heavy Note will amply reward scholars of music and theater alike.” —Steven Plank, Oberlin College “Winkler has crafted an extraordinarily useful and well-informed study that fills significant gaps in the existing musicological and theatrical scholarship on this period. With its interpretive subtlety, its approachable style, and its detailed exploration of a wide range of examples—from little-known stage works to such staples of the genre as Hamlet, The Duchess of Malfi, and Dido and Aeneas—this engaging book will be of interest to any scholar or non-specialist seeking to understand the seventeenth-century’s fascination with, and ambivalence toward, portrayals of witchcraft and madness on the theatrical stage.” —Dr. Andrew Walkling, Department of History, SUNY Binghamton “Seventeenth-century England provides an outstanding backdrop for this study, which focuses on theatrical characters generally associated with mental disorder. . . . Opera scholars should find this work helpful, and specialists in gender studies will gain much from Winkler’s discussion of stereotypes, role reversals, pathological diagnoses, and so on. . . . Recommended.” —Choice

Sir William Davenant the Court Masque and the English Seventeenth century Scenic Stage C 1605 c 1700Sir William Davenant the Court Masque and the English Seventeenth century Scenic Stage C 1605 c 1700



This book examines why, when, how and where the scenic stage began in England.

Author: Dawn Lewcock

Publisher: Cambria Press

ISBN: 9781604975789

Category:

Page: 339

View: 841

This book examines why, when, how and where the scenic stage began in England. Little has been written about the development of theatrical scenery and how it was used in England in the seventeenth century, and what is known about the response to this innovation is fragmentary and uncertain. Unlike in Italy and France where scenery had been in use since the sixteenth century, the general public in England did not see plays presented against a painted location until Sir William Davenant presented The Siege of Rhodes at Lincoln's Inn Fields in 1661. Painted landscapes or seascapes, perspective views of cities or palaces, lighting effects, gods or goddesses flying down on to the stage in a chariot, all these had only been seen before on the masque stage at court or in the occasional private play performance. This study argues that Sir William Davenant (1606-1668) was involved almost from the beginning of the process and that his influence continued after his death; that, although painted scenery as such would undoubtedly have appeared on the public stage after 1660, it would not have been in the same way, for Davenant made particular positive contributions which brought about certain changes in both the presentation and reception of plays which would not have happened as they did without his work and influence. This is new work which uses dramaturgical and scenographical analysis of selected plays and masques, against known theatrical history, to discover how the staging of painted settings was organised from c1605 to c1700. This kind of investigation into the links between masque staging and the staging of plays has not been done in quite this way before. The study begins with Davenant's involvement with Inigo Jones and John Webb. It analyses the staging of the court masques and discusses what Davenant took from this and how he used the information. It suggests that the move towards verisimilitude in the drama on the scenic stage was due in part to Davenant's imaginative use of certain of the physical components of masque staging in presentations by the Duke's Company. It argues that he encouraged dramatists to integrate the scenery into their plots, particularly to provide for disclosures and discoveries, in ways not possible before. How, in so doing, he implicitly changed the stage conventions of time and place which audiences had accepted from the platform stage. It also argues that the parallel development of operatic spectacle derived mainly from the use by Killgrew and the King's Company of the techniques for engineering the spectacular effects of the transformation scenes of the masque stage to embellish the heroic drama by Dryden and others. It suggests that the two staging methods combined in the later seventeenth century to give more sophisticated ways of using the scenery and thus involved the scenic stage with the dialogue and the action in all genres, but that such experimentation ended when financial and commercial considerations made it no longer viable. Nevertheless it concludes that, by the eighteenth century, theatre practitioners had learnt to use the stage craft and mechanical techniques of the masque stage to integrate the visual with the aural aspects of a production, and that dramatists, once concerned solely with the aural expression of their theme, had become playwrights who allowed for the visual elements in their texts. Over fifty illustrations exemplify the discussion. This is an important book in the history of theatre, essential background for the staging of the court masque, and for the scenography of the Restoration theatre.