Shakespeare's Richard II, the Play of 7 February 1601, and the Essex Rising

Hammer, Paul E. J.

doi:10.1353/shq.2008.0005

Cited by 32 publications

(3 citation statements)

References 27 publications

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“…As I have noted, I would speculate that King James's release of the Earl of Southampton from the Tower of London was one of the contemporary events in 1603 that inspired these references to confinement. There is now persuasive evidence that the Earl's imprisonment was based on the treachery of de Vere's brother-in-law Robert Cecil, who spread a false rumor that Southampton and the Earl of Essex were trying to overthrow Queen Elizabeth (see Hammer, 2008). I suspect de Vere knew of this treachery at the time, and that it thus influenced the theme of political corruption in The Tempest.…”

Section: The Relevance Of De Vere's Authorship Of the Tempestmentioning

confidence: 99%

A Psychoanalytic Study of Edward de Vere'sThe Tempest

Waugaman

2009

The Journal of the American Academy of Psychoanalysis and Dynam

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There is now abundant evidence that Freud was correct in believing Edward de Vere (1550-1604) wrote under the pseudonym "William Shakespeare." One common reaction is "What difference does it make?" I address that question by examining many significant connections between de Vere's life and The Tempest. Such studies promise to bring our understanding of Shakespeare's works back into line with our usual psychoanalytic approach to literature, which examines how a great writer's imagination weaves a new creation out of the threads of his or her life experiences. One source of the intense controversy about de Vere's authorship is our idealization of the traditional author, about whom we know so little that, as Freud noted, we can imagine his personality was as fine as his works.

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Section: The Relevance Of De Vere's Authorship Of the Tempestmentioning

confidence: 99%

A Psychoanalytic Study of Edward de Vere'sThe Tempest

Waugaman

2009

The Journal of the American Academy of Psychoanalysis and Dynam

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“…Connolly's political drama, Under Which Flag? , is quite in keeping with the spirit of Shakespeare, both in the question asked by Henry V 's Irish captain Macmorris – ‘What ish my Nation?’ – and in the use made of Richard II , staged on the eve of the Essex Rebellion of 1601 (Albright ; Hammer ).…”

Section: Introductionmentioning

confidence: 99%

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Maley

2016

Studies Ethnicity & National

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It is a commonplace to speak of the dramatic qualities of the Easter Rising; the staging of rebellions inevitably attracts theatrical comparisons. In the case of 1916, the dramatic aspect has arguably been overplayed. Either the focus is on amateur dramatics and improvization, with the Rising itself as a piece of theatre, which plays down the history and politics as well as the rich theatrical traditions behind the Rising, or the emphasis is on a drama of martyrdom and grand gesture, a political passion‐play with Padraig Pearse at its centre, which erases many of the conflict's complexities. That 1916 also coincided with the three‐hundredth anniversary of Shakespeare's death – events in Dublin interrupted planned celebrations there by the English playwright's Irish admirers – prompts us to reflect on an approach to history as drama – and drama as history – that does not see theatre merely in terms of spectacle or violence, a theatricality that goes beyond caricature, character assassination, pantomime, or the politics of a Punch and Judy show. This article suggests that a reading of 1916 in the context of the ongoing critical debate around Shakespeare's dramatic depictions of the Irish has more to teach us than invocations of theatricality of a more limited kind.

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“…Perry and Watkins, argues that King John illustrates the transition from dynastic feudalism to the contemporary nation‐state. Two recent discussions of Richard II illustrate the immediate contemporaneity of Shakespeare’s history plays (Orgel; Hammer).…”

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confidence: 99%

Shakespearean Medievalism and the Limits of Periodization inCymbeline

Williams

2011

Literature Compass

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The Renaissance developed the concept of a ‘middle age’ between the classical period and their own culture, while ‘medievalism’ is associated with the aesthetic nostalgia of the Pre‐Raphaelite Brotherhood. Although the idea of Shakespearean medievalism applies a Victorian category anachronistically to Shakespeare, it provides an opportunity to consider the coherence and significance of Shakespeare’s relationship to the Middle Ages, as well as the purpose and agenda behind his adaptations of medieval material. After the periodization debates of the 1990s, which sought to undermine many of the traditional disciplinary distinctions between the Middle Ages and Renaissance, scholars are now turning their attention to how the Renaissance invented the idea of the Middle Ages. This has produced a wide range of new perspectives on Shakespeare’s representation of the Middle Ages that includes the possibility that Shakespeare did not conceptualize history according to fixed periods, such as Medieval and Renaissance. This article argues that Chaucer’s Franklin’s Tale is a key source for Shakespeare’s Cymbeline, and that Cymbeline’s use of the Franklin’s Tale provides a key example of Shakespearean medievalism that resists the traditional borders and boundaries of periodization.

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Shakespeare's Richard II, the Play of 7 February 1601, and the Essex Rising

Cited by 32 publications

References 27 publications

A Psychoanalytic Study of Edward de Vere'sThe Tempest

A Psychoanalytic Study of Edward de Vere'sThe Tempest

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Shakespearean Medievalism and the Limits of Periodization inCymbeline

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