Editing James Shirley’s Poems

West, Philip

doi:10.1353/sel.2012.0001

Cited by 4 publications

(2 citation statements)

References 11 publications

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“…It is certainly true that Shirley often rewrote, reworked and re‐edited his writings over time, and that he worked very closely with Mosely during the 1640s and 1650s (Ravelhofer, 2017a, 8; West, 2012; Štollová, 2017). But Shirley’s portrayal of a kingdom in the process of political disintegration is not unprecedented.…”

Section: Caroline Drama and James Shirley: State Of The Artmentioning

confidence: 99%

Staging the prince and the people: Kairós in James Shirley’s The Politician

Zirak-Schmidt

2021

Orbis Litterarum

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On 2 February 1626 Charles I was officially crowned king of England, Ireland and Scotland at Westminster. At the coronation, Bishop William Laud prayed that Charles, 'being underpropped with due obedience and the condigne love of this his people, he may […] royally ascend up to the Throne of his forefathers', a prayer that was echoed at the coronation in Holyrood, Scotland, in 1633 (quoted in Cressy, 2015b. This ideal of obligation, love and duty between a king and his subjects embedded in the coronation oath was ubiquitous during Charles's reign. In 1649, after the civil wars, Charles was tried by Parliament for making war against his people, implicitly violating the trust of his people and his coronation oath (Cressy, 2015b, 76-83). This fiction of the reciprocity of obligation also informs the thematic content in The Politician (c.1638), a critically neglected tragedy by one of the last great writers of the English Renaissance, James Shirley (1596-1666). 1 Performed just a few years before the outbreak of the civil wars at Dublin's St Werburgh Street Theatre, The Politician takes place in Norway, telling the story of would-be usurper Gotharus, the eponymous politician, and his mistress, Queen Maprisa, who plot to install their supposed son, Haraldus, on the throne. 2 They hope to achieve this by turning the lusty and tyrannical King of Norway against his heir, the noble Prince Turgesius. However, their plan fails due to an uprising of the people who

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Section: Caroline Drama and James Shirley: State Of The Artmentioning

confidence: 99%

Staging the prince and the people: Kairós in James Shirley’s The Politician

Zirak-Schmidt

2021

Orbis Litterarum

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“…All too often there is no corroborating evidence to explain Shirley's work, and we have to rely on internal clues, hints, and nuances, a problematic—but necessary—process. Furthermore, Shirley was, as Philip West has pointed out in an astute analysis of his poetry, an almost obsessive reviser of his work, so we can never be entirely sure in what state texts reached us (West, ). Three of Shirley's Irish plays were not published until the 1650s: Love's Victory in 1653 and The Gentleman of Venice and The Politician published together in 1655.…”

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Culture and anarchy in mid‐seventeenth‐century Ireland: The strange case of James Shirley at Werburgh Street

Hadfield

2018

Literature Compass

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In this essay, I will explore the work of James Shirley as the first incumbent English playwright in Ireland. I will look at the reasons why Shirley might have gone to Ireland and what his prolonged, not always happy, time in Dublin tells us about the state of Anglo-Irish theatre and the relationship between the metropolitan and colonial capitals. I will argue that Shirley's drama was shaped by the conflicting forces of the Dublin theatre. He was expected to establish English civility but also had to appeal to an audience which needed to be entertained. He was chosen because he was successful, but the prologues to his plays suggest that he felt much more of a failure. He had an ostensibly hostile attitude to his audience-which may not have helped his popularity-but produced works which engaged with contemporary concerns in an oblique manner. There have been numerous studies of English writers in Ireland, and perhaps more work needs to be carried out in other areas if we want to increase our understanding of early modern Ireland, rather than this relatively exhausted field. But if any major English writer still has anything to reveal about the Irish culture in which he worked, it is surely Shirley.Given that so much is hidden from view, confusing and invariably mysterious James Shirley's years in Ireland are often written about with a definitive confidence. Shirley went to Ireland in 1636, persuaded by his friend and collaborator, John Ogilby (1600-1676), the Scots writer, theatre impresario, and dancing master (Clark, n.d.). Ogilby was made the Irish Master of the Revels by Thomas Wentworth, earl of Strafford, who seems to have thought that a good theatrical tradition would help him establish rule in Ireland and would cement the often uneasy alliance of New English officials and Old English Dubliners (Fletcher, 2000, pp. 261-271). Strafford was very keen on drama, planning

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Responding to Criticisms of Phylogenetic Methods in Stemmatology

Howe¹,

Connolly²,

Windram³

2012

sel

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Phylogenetic methods from evolutionary biology have been used in recent years for stemmatic analysis of manuscript and other traditions. However, some scholars have criticized the applicability of these methods. We review the methods used and the criticisms made. We argue that many of the criticisms arise from a misunderstanding of present methods. While other criticisms may be valid, they also apply to conventional stemmatic analysis. We argue that a combination of phylogenetic methodology and traditional scholarship is likely to be the most useful.

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Editing James Shirley’s Poems

Cited by 4 publications

References 11 publications

Staging the prince and the people: Kairós in James Shirley’s The Politician

Staging the prince and the people: Kairós in James Shirley’s The Politician

Culture and anarchy in mid‐seventeenth‐century Ireland: The strange case of James Shirley at Werburgh Street

Responding to Criticisms of Phylogenetic Methods in Stemmatology

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