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This handsomely illustrated biography provides a dramatic, human view of Shakespeare as he lived his life. Narrative and pictures follow Shakespeare from his birth and boyhood in Stratford, through his career in the London theatre, and back to Stratford during the last years of his life, in retirement. Included in the 114 illustrations—many of them taken from sixteenth- and seventeenth-century originals—are two authentic portraits of Shakespeare. Pictures of the houses in which he lived, the theatres in which he acted, the other actors with whom he worked, and the faces of many people who knew him and wrote about him—all add a sense of immediacy to the biographical narrative and make Shakespeare come alive within the context of his own age. Originally published in 1967. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Wraight's subject, Christopher Marlowe and the Elizabethan theatre world that he dominated in a theatrical partnership with the gifted, young actor Edward Alleyn, develops into a long-awaited definitive biographical study of Alleyn's theatrical career, spanning to the end of Queen Elizabeth's reign, during which he continued to act Marlowe's great roles. In particular, this book poses vital questions for Shakespearean scholars which this research has brought to light in the revelation of the true identity of "Shake-scene," who was so vituperatively attacked by the dying dramatist Robert Greene in his Groatsworth of Wit in September 1592.
Selected by Choice magazine as an Outstanding Academic Title The New Historicism of the 1980s and early 1990s was preoccupied with the fashioning of early modern subjects. But, Jonathan Gil Harris notes, the pronounced tendency now is to engage with objects. From textiles to stage beards to furniture, objects are read by literary critics as closely as literature used to be. For a growing number of Renaissance and Shakespeare scholars, the play is no longer the thing: the thing is the thing. Curiously, the current wave of "thing studies" has largely avoided posing questions of time. How do we understand time through a thing? What is the time of a thing? In Untimely Matter in the Time of Shakespeare, Harris challenges the ways we conventionally understand physical objects and their relation to history. Turning to Renaissance theories of matter, Harris considers the profound untimeliness of things, focusing particularly on Shakespeare's stage materials. He reveals that many "Renaissance" objects were actually survivals from an older time—the medieval monastic properties that, post-Reformation, were recycled as stage props in the public playhouses, or the old Roman walls of London, still visible in Shakespeare's time. Then, as now, old objects were inherited, recycled, repurposed; they were polytemporal or palimpsested. By treating matter as dynamic and temporally hybrid, Harris addresses objects in their futurity, not just in their encapsulation of the past. Untimely Matter in the Time of Shakespeare is a bold study that puts the matériel—the explosive, world-changing potential—back into a "material culture" that has been too often understood as inert stuff.
The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.