El día 21 acabaremos con Ben Jonson y también con Webster. Tragedia. Traed el texto de The Duchess of Malfi.
Otra cosa. Están abiertas las encuestas de docencia para esta asignatura; las podéis realizar cuando queráis en https://encuestas.unizar.es/
Tenemos ya fecha para el examen de la primera convocatoria, el 20 de enero.
Y nos anuncian que anunciemos que...
se
ha convocado la segunda edición del PREMIO LITERARIO
DE NARRATIVA CORTA patrocinado por el Consejo Social
de la Universidad de Zaragoza y el Departamento de
Ciencia, Universidad y Sociedad del Conocimiento del
Gobierno de Aragón. Más información: https://consejosocial.unizar.
______________________________
Esta semana trataremos sobre Jonson y Webster. Veremos algunas escenas de Volpone. Traed los textos de Volpone y The Duchess of Malfi, y recordad haceros ya con las obras de Shakespeare que no están incluidas en las fotocopias—empezando por Henry V.
Ben Jonson
To the Memory of My Beloved,
The Author, Mr William Shakespeare,
And What He Hath Left Us
To draw no envy, Shakespeare, on thy name,
Am I thus ample to thy book and fame;
While I confess thy writings to be such
As neither man nor muse can praise too much:
‘Tis true, and all men’s suffrage. But these ways
Were not the paths I meant unto thy praise:
For silliest ignorance on these may light,
Which, when it sounds at best, but echoes right;
Or blind affection, which doth ne’er advance
The truth, but gropes, and urgeth all by chance; 10
Or crafty malice might pretend this praise,
And think to ruin where it seemed to raise.
These are as some infamous bawd or whore
Should praise a matron: what could hurt her more?
But thou art proof against them, and indeed
Above the ill fortune of them, or the need.
I therefore will begin. Soul of the age!
The applause, delight, the wonder of our stage!
My Shakespeare, rise: I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie 20
A little further, to make thee a room;
Thou art a monument without a tomb,
And art alive still while thy book doth live,
And we have wits to read, and praise to give.
That I not mix thee so, my brain excuses:
I mean with great, but disproportioned, muses;
For if I thought my judgement were of years
I should commit thee surely with thy peers:
And tell how far thou didst our Lyly outshine,
Or sporting Kyd, or Marlowe’s mighty line. 30
And though thou hadst small Latin, and less Greek,
From thence to honour thee I would not seek
For names, but call forth thundering Aeschylus,
Euripides, and Sophocles to us,
Pacuvius, Accius, him of Cordova dead,
To life again, to hear thy buskin tread
And shake a stage; or when thy socks were on,
Leave thee alone for the comparison
Of all that insolent Greece or haughty Rome
Sent forth, or since did from their ashes come. 40
Triumph, my Britain, thou hast one to show
To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
And all the muses still were in their prime
When like Apollo he came forth to warm
Our ears, or like a Mercury to charm!
Nature herself was proud of his designs,
And joyed to wear the dressing of his lines,
Which were so richly spun and woven so fit
As, since, she will vouchsafe no other wit. 50
The merry Greek, tart Aristophanes,
Neat Terence, witty Plautus, now not please,
But antiquated and deserted lie
As they were not of nature’s family.
Yet must I not give nature all: thy art,
My gentle Shakespeare, must enjoy a part.
For though the poet’s matter nature be,
His art doth give the fashion. And that he
Who casts to write a living line must sweat
(Such as thine are) and strike the second heat 60
Upon the muses’ anvil: turn the same
(And himself with it) that he thinks to frame;
Or for the laurel he may gain a scorn:
For a good poet’s made, as well as born;
And such wert thou. Look how the father’s face
Lives in his issue: even so, the race
Of Shakespeare’s mind and manners brightly shines
In his well-turnèd and true-filèd lines:
In each of which he seems to shake a lance,
As brandished at the eyes of ignorance. 70
Sweet swan of Avon! What a sight it were
To see thee in our waters yet appear,
And make those flights upon the banks of Thames
That so did take Eliza, and our James!
But stay, I see thee in the hemisphere
Advanced, and made a constellation there!
Shine forth, thou star of poets, and with rage
Or influence chide or cheer the drooping stage;
Which, since thy flight from hence, hath mourned like night,
And despairs day, but for thy volume’s light. 80
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También hay (A NIVEL AVANZADO) otros poemas coetáneos en memoria de Shakespeare.
_______________________
JOHN WEBSTER (c. 1578-c. 1638)
_____. The White
Devil, or Vittoria Corombona.
Tragedy. Premiere by Queen Anne's Men, c. 1611. Printed 1612.
_____. The Duchess of Malfi.
Tragedy. Performed at Blackfriars by the King's Men, c. 1613.
Printed
1623. http://www.gutenberg.org/files/2232/2232-h/2232-h.htm
_____. The Devil’s Law Case.
Tragicomedy. Pub. 1623.
_____. Appius and Virginia.
Drama. 1654.
- Una pequeña introducción a John Webster y sus dos dramas principales: The White Devil y The Duchess of Malfi.
- Una videolección introductoria a The Duchess of Malfi.
- Una versión televisiva de The Duchess of Malfi (BBC, 1972).
REVENGE TRAGEDY, II:
A memorable and popular tragical mode in the English Renaissance (Kyd, Marlowe, Shakespeare, Chapman, Webster....). Some elements (McAlindon):
- Violent change
- The Noble Death
- The Violation of Justice and Love
- The Treacherous Entertainmetnt
- Treacherous Words
_______________
Y aquí (A NIVEL AVANZADO):
- Webster en A History of English Literature de Legouis & Cazamian.
- Webster en la History of English Literature
de Baugh.
- Una representación reciente de The Duchess of Malfi en el Edinburgh Fringe Festival —etc.
_____________________________
Otro coetáneo de Webster y Jonson, colega y colaborador de Shakespeare: John Fletcher.
____________________
______________
NIVEL AVANZADO:
- Performing Jonson: VOLPONE (opening lines).
______________
BEN
JONSON (1572-1637)
English dramatist and poet, b. Westminster,
orphaned son of a Protestant minister, st. Westminster School, left
Cambridge without a degree, apprenticed as bricklayer to
father-in-law; volonteer in Flanders army 1592, killed enemy in single
combat, actor in London c. 1594, imprisoned for manslaughter, converted
to Catholicism for some time, married 1594, children died; returned to
Anglicanism 1606; pensioned by the King 1616; honorary MA Oxford 1619;
poet for aristocratic patrons, apologist of Stuart royalty in court
masques;
neoclassical theorist and literary authority, overweight and hard
drinker.
1590s
_____. Every
Man in his Humour. Comedy. 1596, 1598.
_____. The Isle of Dogs.
Drama. 1597. (With Nashe and others, Lost).
1600s
_____. Cynthia's Revels.
Drama. 1600.
_____. Every Man Out of His Humour. Comedy.
1600.
_____. The
Poetaster. Comedy.
Acted at Blackfriars, 1601.
_____. Sejanus
His Fall. Tragedy. 1603.
_____. The Masque
of Blackness. Acted 1605.
_____.
Eastward Ho! Comedy. 1605.
(With Marston and Chapman)
_____. Hymenaei. Masque. First performed
1606.
_____. Volpone.
Comedy. 1606.
_____. The Masque of Whiteness.
c. 1607.
_____. Masque of Beauty. 1608.
_____. Britain's Burse.
Drama. 1609.
_____. Epicoene:
Or, The Silent Woman.
Comedy. 1609-10.
_____. The Masque of Queens. 1609.
1610s
_____. The
Alchemist. Comedy. c. 1610.
_____. Oberon the Fairy Prince.
Masque. 1611.
_____. Catiline His Conspiracy.
Tragedy. Pub. 1611.
_____. Love Restored. Masque.
1612.
_____. The Devil is an Ass.
Drama. 1616.
_____. Lovers Made Men.
Masque. 1617.
_____. Bartholomew
Fair. Comedy. 1614.
_____. The Workes
of Beniamin Jonson.
1616. (Folio; Contains: Comedies, Tragedies, Masques,
Epigrams, and The Forest poems).
_____. Conversations with Drummond.
1619.
1620s
_____. The Gipsies
Metamorphosed. Masque. 1621.
_____. Time Vindicated. 1623.
_____. "To the Memory of my Beloved,
The Author, Mr. William Shakespeare, and What He Hath Left Us."
In Mr. William Shakespeares
Comedies, Histories, & Tragedies. (First Folio).
London,1623.
_____. The Fortunate Isles.
1625.
_____. The Staple of Newes.
Comedy. 1626.
1630s
_____. The New Inn.
Comedy. 1630.
_____. Chloridia. Masque.
1631.
_____. The Magnetic Lady.
Comedy. 1632.
_____. Tale of a Tub. Drama.
1633.
1640s
_____. The English Grammar. Ed.
James Howell. 1640.
_____. The Underwood. In
Jonson, (Works, Second folio). 1640.9.*
_____. An Execration against Vulcan.
1640.
_____. Works.
2nd ed. 1640. (Including: Timber: Or, Discoveries)
- Unos apuntes sobre Ben
Jonson.
- The
plot of Volpone—a summary. And a shortened production of the play: VIDEO.
- The plots of Every Man in His Humour and Every Man Out of His Humour
- Una representación (abreviada) de Volpone en español:
- Y otra más completa (Laboratorio de la Máscara).
__________________________
NIVEL AVANZADO:
Una ópera cómica basada en Volpone.
- Nivel avanzado: Christopher Marlowe
- Nivel avanzado: Some Elizabethan and Jacobean Dramatists.
_____________________
The Professional Public Theatre in the Elizabethan age
Under Henry VIII:
- Strolling players and jugglers as "Beggars & Vagabonds" (1531 act)
- Office of the Revels
Under Elizabeth:
Act of Parliament (1572) vs. "Masterless Men": Companies protected by aristocrats
City vs. Players (The Lord Major to the Privy Council, 1597)
Marginal spectacles, leisure and lewdness in the "Liberties".
Popular drama (inns or playhouses) vs. "Private playhouses" and great halls.
Elizabethan companies:
- Earl of Leicester's Men (James Burbage) pre-1574
- Earl of Sussex
- Earl of Oxford (a favourite of the Anti-Stratfordians)
- Earl of Derby (Lord Strange's Men)
- Earl of Pembroke's Men
- The Queen's Men (Dick Tarlton, d. 1588)
From the late 80s:
- The Admiral's Men (Philip Henslowe, Edward Alleyn)
- The Lord Chamberlain's Men (Henry Carey, Lord Hunsdon)
Led by James Burbage - Richard Burbage - Shakespeare et al.
Playhouses:
Halls (Lincoln's Inn, Whitehall...)
Inns (The Red Lion - 1567, The Bell, The Bull...)
- Burbage's The Theatre (1576)
- Blackfriars (1576)
- The Curtain (1577)
- The Rose (Bankside) - later, Admiral's men moved to The Fortune (1600) - Philip Henslowe's papers
- The Globe (1597-1613)
Structure of the playhouses:
By C. Walter Hodges - Folger Shakespeare Library <a rel="nofollow" class="external free" href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~40370~102858:The-Globe-Playhouse,-1599-1613--A-c?sort=Call_Number%2CAuthor%2CCD_Title">http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~40370~102858:The-Globe-Playhouse,-1599-1613--A-c?sort=Call_Number%2CAuthor%2CCD_Title</a>, CC BY-SA 4.0, Link
Some suggested films to watch:
- Shakespeare in Love
- Anonymous
7-8 octubre. Traed esta semana los textos de
Marlowe (Doctor Faustus) y Kyd
(The Spanish Tragedy).
Hablaremos del drama de la era isabelina antes de Shakespeare, y veremos algún fragmento más de Doctor Faustus de
Marlowe.
Aquí hay una introducción en vídeo a Dr. Faustus.
Podéis ver también una representación de la obra completa, aquí.
- Unos apuntes sobre Christopher Marlowe.
- Y un audio de la BBC sobre Marlowe (In Our Time).
- Marlowe collaboration (?) with Shakespeare.
- McAlindon: The Tragic Law
- More on Marlowe and his contemporaries: Sidney Lee, "The Elizabethan Age in English Literature"
_____________________
CHRISTOPHER MARLOWE
(1564-1593)
(English dramatist and poet, b. Canterbury,
son of a shoemaker; receives a grant at King's School, Canterbury.
Enters Corpus Christi College, Cambridge, 1580; BA 1584; secret agent
working for Walshingham; MA Cambridge 1587 at the authorities'
intercession; 1589 imprisoned, tried and released for taking part in a
street fight; wrote plays for the Admiral's
Men; atheist and homosexual; caused scandal and persecution and was murdered at a tavern in Deptford)
_____. Tamburlaine
the Great. Tragedy. 2 parts, c. 1586,
_____. The Jew of
Malta. Tragedy. c. 1592.
_____. Edward II.
Tragedy. 1593.
_____. The
Tragical History of Doctor Faustus. Tragedy. c. 1592-93. Pub.
1604, 1616. (1604 online: http://www.gutenberg.org/ebooks/779
)
_____. The Massacre at Paris.
Drama. (on St. Bartholomew). Prod. Jan. 1593.
_____. Hero and Leander.
Unfinished poem, based on a Greek original. Completed by George
Chapman. 1598.
Some stage props used by Elizabethan theatrical companies: Inventory of properties belonging to the Admiral's Men company.
"The Globe Theatre": http://en.wikipedia.org/wiki/Globe_Theatre
Y
aquí una recreación del teatro
privado de Blackfriars, el otro teatro de los King's Men.
__________
Thomas Kyd (1558-94)
_____. (attr.). ? (Ur-)Hamlet.
_____. The First Part of Jeronymo.
1588.
_____. The
Spanish Tragedie. Printed
1592.
https://www.gutenberg.org/files/6043/6043-h/6043-h.htm
_____. (attr.). Solyman and
Perseda. 1592.
_____, trans. Cordelia. By
Garnier. 1594.
Aquí unos apuntes sobre Kyd
y The Spanish Tragedy.
Una lección india sobre The Spanish Tragedy de Kyd. Y unas notas sobre Kyd and The Spanish Tragedy.
__________________________
NIVEL AVANZADO: Un llamativo aspecto de The Spanish Tragedy: La escena dramática que se hace realidad.
Unas notas sobre Revenge
Tragedy, con algunos ejemplos.
____________________
Recomiendo también ver esta excelente película para captar algo del espíritu "de la
época":
Elizabeth: The Golden
Age,
continuación de la Elizabeth
del propio Shekhar Kapur. Aquí en el enlace, mi
reseña de
la misma.
__________________________________
THE UNIVERSITY WITS
John Lyly (1554-1606)
_____. Euphues.
Romance. 1578.
Comedies:
_____. Sapho and Phao
(1584);
_____. Endimion (1591);
_____. Midas (1592),
_____. Mother Bombie (1594)
George Peele (1556-96). Plays:
_____. The Araygnement of Paris (1585),
_____. Edward I (1593),
_____. The Battle of Alcazar
(1594)
_____. The Old Wives Tale
(1595)
_____. David and Fair Bethsabe
(1599).
Robert Greene (1558-92)
Prose:
_____. Pandosto: The Triumph of Time.
(Source for Shakespeare's The
Winter's Tale)
_____. Greenes
Groats-Worth of Witte (1592).
Plays:
_____. Orlando furioso
(1595),
_____. Friar
Bacon and Friar Bungay (1594)
_____. James the Fourth
(1598).
Thomas Lodge (1558-1625)
Prose:
_____. Defence of Poetry, Music, and Stage Plays, (1579) (—a reply to Gosson's Schoole of Abuse)
_____. Rosalynde, romance,
(1590), source for Shakespeare's As
You Like It.
______. The Wounds of Civill War
(1594),
_____. A Looking Glasse for
London and England (1594), in collaboration with Robert *Greene.
Other "University Wits":
Thomas Watson, Thomas Kyd, Christopher Marlowe, William Percy...
_____________________________________
NIVEL AVANZADO: The University Wits
Y una nota sobre innovaciones teatrales y
representacionales, a cuenta
de la obra de Robert Greene Friar
Bacon and Friar Bungay:
"Glass Prospective: La televisión
medieval en el teatro isabelino."
http://www.ibercampus.info/la-television-medieval-en-el-teatro-isabelino-28484.htm
_______________________________________
Unas notas sobre el principio de la crítica y teoría dramática en la literatura inglesa, en la Apology for Poetry de Sir Philip Sidney.
____________________________
NIVEL AVANZADO: Más sobre el teatro de la época Tudor.
________________________________________
The Tudor myth - the historical context
Reformation and humanist drama
Henry Medwall, Nature
(1490-1500)
John Skelton, Magnificence
(1516)
John Rastell, The Four Elements
(Anon.) (pr. 1519)
John Heywood (1497?-1580) Witty and Witless.
_____. Love.
_____. The Play of the Weather (1533)
_____. The Four P's.
_____. ? The Pardoner and the Friar
_____. ? Johan Johan.
Others:
John Redford, Wit and Science,
c. 1540
Sebastian Wescott, Liberality and
Prodigality, c. 1567.
The masques (e.g. Sir Philip Sidney)
Comedies:
Calisto and Meliboea (1530)
Thersites (Anon.). 1537
Nicholas Udall, Ralph Roister
Doister (c. 1552)
?William Stevenson, Gammer
Gurton's Needle (c. 1553)
George Gascoigne, Supposes
(1566)
The Bugbears (1561)
The classical model for tragedy: Seneca's tragedies. e.g. Thyestes (trans. Jasper
Heywood et al.)
National drama before Kyd and Marlowe:
Thomas Norton and Thomas Sackville, Gorboduc,
or Ferrex and Porrex (1562)
George Gascoigne: Jocasta,
1566
_____. The Glass of Government
(1575)
Richard Edwards, Damon and Pytias
(1564)
John Pickering, Horestes (1567)
R. Wilmot et al., Gismond of Salerno (1567)
Thomas Preston, Cambyses (1569)
George Whetstone, Promos and
Cassandra (1578)
Protestant drama:
Sir David Lyndsay, The Satire of the
Thrie Estaitis (1540)
John Bale (1495-1563). King Johan.
_____________
A chapter on English drama in the mid-16th c. (NIVEL AVANZADO).
________________
Nuestro siguiente tema (Unidad 2) es el teatro en el renacimiento excepto Shakespeare. Tras un panorama general, nos centraremos algo
más en Kyd, Marlowe, Jonson y Webster.
Empezamos en el Tema 1 hablando de teatro,
teatralidad y semiótica teatral,
con Aristóteles y Goffman como textos clave. Recordad que tenéis
materiales sobre esta unidad en el Tema 1 y también otros a nivel avanzado.
Supongo que habéis recogido en
Reprografía el bloque de lecturas de la asignatura, excepto
Shakespeare. En cuanto a las
obras de Shakespeare, es recomendable hacerse con una edición completa
(es recomendable el Norton
Shakespeare). También hay ejemplares en la biblioteca.
En el tema 2, veremos selecciones de:
Kyd, The Spanish Tragedie:
http://www.gutenberg.org/files/6043/6043-h/6043-h.htm
Jonson, Volpone, or The Fox
http://www.gutenberg.org/files/4039/4039-h/4039-h.htm
Webster, The Duchess of Malfi
http://www.gutenberg.org/files/2232/2232-h/2232-h.htm
Recordad los deberes pendientes: ir leyendo
las lecturas en Reprografía; haceros un horario de trabajo; darme la
ficha los que faltéis, encargar o localizar los libros que vayáis a utilizar para esta
asignatura. Y decidir si vais a hacer trabajos, en cuyo caso sería buena idea empezar el primero.
____________________
A mitad de camino entre la Introducción y el Tema 2 tenemos unas lecciones y materiales sobre teatro antiguo y medieval, las tradiciones sobre las que se edifica el teatro inglés renacentista.
