Download e-book for iPad: 1 Henry IV : a critical guide by Stephen Longstaffe
By Stephen Longstaffe
I Henry IV has constantly been one in all Shakespeare's most well liked performs and this severe consultant bargains a finished consultant to the wide variety of feedback at the play and its principal figures, together with Falstaff. It introduces the play's serious and function background, together with extraordinary degree productions along television, movie and radio models. It encompasses a keynote bankruptcy outlining significant components of present study on the play and 4 new serious essays. eventually, a advisor to severe, web-based and production-related assets and an annotated bibliography supply a foundation for additional person re. Read more...
summary: I Henry IV has continually been one among Shakespeare's preferred performs and this severe consultant bargains a entire consultant to the big variety of feedback at the play and its primary figures, together with Falstaff. It introduces the play's serious and function background, together with outstanding level productions along television, movie and radio types. It encompasses a keynote bankruptcy outlining significant parts of present examine at the play and 4 new severe essays. eventually, a consultant to serious, web-based and production-related assets and an annotated bibliography supply a foundation for extra person re
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Additional resources for 1 Henry IV : a critical guide
George Thorn-Drury (London: P. J. and A. E. Dobell, 1924), p. 10. THE CRITICAL BACKSTORY 31 17. Samuel Pepys, ‘Diary’ (1667), in William Shakespeare: The Critical Heritage, 1623–1692 (Volume 1), ed. Brian Vickers (London: Routledge, 1974), p. 31. For example, Paul Jorgensen, Redeeming Shakespeare’s Words (Berkeley, CA: University of California Press, 1962). 18. George Daniel, Trinarchordia (1647), cited in Whitney, Early Responses (2006) p. 80. 19. Whitney, Early Responses (2006) p. 70. 20. Richard Cumberland, ‘Remarks Upon the Characters of Falstaff and his Group’ (1786), in Henry the Fourth Parts I and II: Critical Essays, ed.
6 Therefore it is with incredulity that we learn that Quin cut what is for many one of the most effective and enjoyable scenes of the play, the ‘play extempore’ from Act II Scene iv. Quin’s cut pleased some (Francis Gentleman felt the scene ‘rather choaked and loaded the main business’ and that it was ‘dreadfully tedious in representation’) but agitated others, perhaps the most famous of whom was Abraham Lincoln, who demanded ‘to know why one of the best scenes in the play, that where Falstaff and Prince Hal alternately assume the character of the king, is omitted in the representation’.
Greenblatt, ‘Invisible Bullets’, p. 38. 113. Michael Taylor, Shakespeare and Criticism in the Twentieth Century (Oxford: Oxford University Press, 2001), p. 189. 114. Greenblatt, ‘Invisible Bullets’, p. 32. 115. David Scott Kastan, Shakespeare After Theory (London: Routledge, 1999), p. 129. ’, in Shakespeare Left and Right, ed. Ivo Kamps (London: Routledge, 1991), pp. 241–58. 116. Kastan, Shakespeare After Theory, p. 134. 117. Kastan, Shakespeare After Theory, p. 132. 118. Kastan, Shakespeare After Theory, p.
1 Henry IV : a critical guide by Stephen Longstaffe