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Introduction -- I. The Pamphlet and its Purpose -- II. The Form and Style -- III. The Author and the Audience -- IV. The Occasion and the Results -- The Text -- Explanatory Notes -- Appendices -- A. Textual Notes -- B.A Typescript of Act IV of the Play -- C.A Typescript of the Ballad -- D.A Modern Typescript of the Text -- Bibliography
The Dutch Courtesan is a riotous tragicomedy that explores the delights and perils afforded by Jacobean London. While Freevill, an educated young Englishman and the play's nominal hero, frolics in the city's streets, taverns and brothels, Franceschina, his cast-off mistress and the Dutch courtesan of the play's title,laments his betrayal and plots revenge. Juxtaposing Franceschina's vulnerable financial position against the unappealing marital prospects available to gentry women, the play undermines the language of romance, revealing it to be rooted in the commerce and commodification. Marston's commentary on financial insecurity and the hypocritical repudiation of foreignness makes The Dutch Courtesan truly a document for our time.
Courtesan and criminal, thief and trollop, warrior and wanderer--the picara embodies the continuing archetypal pattern of a woman's autonomy. She is the sly sharpster in Defoe's heroines such as Roxana and Moll Flanders. With an ancestress like Becky Sharp, the picara evolves into Scarlett O'Hara before finding a comfortable niche as the female hero in fantasy written by women. The Picara traces the development of this character, from an autonomous woman in a harsh patriarchal society to the female hero of the modern fantasy novel.
In its seventeenth-century heyday, the English broadside ballad was a single large sheet of paper printed on one side with multiple woodcut illustrations, a popular tune title, and a poem. Inexpensive, ubiquitous, and fugitive—individual elements migrated freely from one broadside to another—some 11,000 to 12,000 of these artifacts pre-1701 survive, though many others have undoubtedly been lost. Since 2003, Patricia Fumerton and a team of associates at the University of California, Santa Barbara have been finding, digitizing, cataloging, and recording these materials to create the English Broadside Ballad Archive. In this magisterial and long-awaited volume, Fumerton presents a rich display of the fruits of this work. She tracks the fragmentary assembling and disassembling of two unique extant editions of one broadside ballad and examines the loose network of seventeenth-century ballad collectors who archived what were essentially ephemeral productions. She pays particular attention to Samuel Pepys, who collected and bound into five volumes more than 1,800 ballads, and whose preoccupations with black-letter print, gender, and politics are reflected in and extend beyond his collecting practices. Offering an extensive and expansive reading of an extremely popular and sensational ballad that was printed at least 37 times before 1701, Fumerton highlights the ballad genre's ability to move audiences across time and space. In a concluding chapter, she looks to Shakespeare's The Winter's Tale to analyze the performative potential ballads have in comparison with staged drama. A broadside ballad cannot be "read" without reading it in relation to its images and its tune, Fumerton argues. To that end, The Broadside Ballad in Early Modern England features more than 80 illustrations and directs its readers to a specially constructed online archive where they can easily access 48 audio files of ballad music.
Published with academic researchers and graduate students in mind, this volume of the 'Shakespeare Survey' presents a number of contributions on the theme of the play 'Macbeth'.
Arguing that the commercial stage depended on the unprecedented demographic growth and commercial vibrancy of London to fuel its own development, Jean E. Howard posits a particular synergy between the early modern stage and the city in which it flourished. In London comedy, place functions as the material arena in which social relations are regulated, urban problems negotiated, and city space rendered socially intelligible. Rather than simply describing London, the stage participated in interpreting it and giving it social meaning. Each chapter of this book focuses on a particular place within the city—the Royal Exchange, the Counters, London's whorehouses, and its academies of manners—and examines the theater's role in creating distinctive narratives about each. In these stories, specific locations are transformed into venues defined by particular kinds of interactions, whether between citizen and alien, debtor and creditor, prostitute and client, or dancing master and country gentleman. Collectively, they suggest how city space could be used and by whom, and they make place the arena for addressing pressing urban problems: demographic change and the influx of foreigners and strangers into the city; new ways of making money and losing it; changing gender roles within the metropolis; and the rise of a distinctive "town culture" in the West End. Drawing on a wide range of familiar and little-studied plays from four decades of a defining era of theater history, Theater of a City shows how the stage imaginatively shaped and responded to the changing face of early modern London.