A History of English Drama 1660-1900

The comedy which appears in the following pages is reprinted from “the second impression,” as it is called on the title page, made by Francis Kirkman in the year 1661: the first edition is apparently no longer extant. Francis Kirkman occupies an interesting position in the history of the English drama as the first man to interest himself in the collection and preservation of old English plays. To him we owe the reprint of Lust's Dominion, which has been attributed to Marlowe, of The Thracian Wonder, of Gammer Gurton's Nedle, and of other plays; and from Kirkman we have the first attempt at a catalogue of English dramas, the foundation on which Langbaine, Baker, Reed, and others were later to build. The earlier form of Kirkman's “an exact Catalogue of all the playes that were ever yet printed” appeared as a supplement to the present play, and included six hundred and ninety items. A few years later Kirkman had increased his list to eight hundred and six. He tells us that he had seen and read all these plays and that he possesses most of them, which he is willing to sell or lend upon reasonable consideration.

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A History of English Drama 1660-1900

The Modern Language Review ◽

10.2307/3718671 ◽

1953 ◽

Vol 48 (4) ◽

pp. 461

Author(s):

James G. McManaway ◽

Allardyce Nicoll

Keyword(s):

English Drama ◽

History Of

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Waltzing in Arcadia: a Theatrical Dance in Five Dimensions

New Theatre Quarterly ◽

10.1017/s0266464x08000286 ◽

2008 ◽

Vol 24 (3) ◽

pp. 222-228 ◽

Cited By ~ 1

Author(s):

Jerzy Limon

Keyword(s):

English Drama ◽

Five Dimensions ◽

Drama Theory ◽

Main Area ◽

Space And Time ◽

Theory And Criticism ◽

Final Scene ◽

History Of ◽

Time Structures ◽

The University

Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.

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The evolution of English drama up to Shakespeare with a history of the first Blackfriars theatre / Die Entwicklung des englischen Dramas bis Shakespeare mit einer Geschichte des ersten Blackfriars-Theaters

10.1515/9783111651774 ◽

1912 ◽

Author(s):

Charles William Wallace

Keyword(s):

English Drama ◽

History Of

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Presidential Address

Transactions of the Royal Historical Society ◽

10.2307/3678115 ◽

1902 ◽

Vol 16 ◽

pp. vii-xxv

Author(s):

G. W. Prothero

Keyword(s):

Presidential Address ◽

Historical Study ◽

German History ◽

English Drama ◽

Historical Society ◽

University Of Cambridge ◽

Vice Chancellor ◽

History Of ◽

The University ◽

Of Greece

It is with no little diffidence that, in giving my first presidential address, I follow in the steps of so many distinguished predecessors—men notable in various walks of life—historians, statesmen, administrators, diplomatists. The Royal Historical Society has had the good fortune to be presided over by such men as George Grote, Lord John Russell, Lord Aberdare, and Sir M. E. Grant Duff. My immediate predecessor in this chair, Dr. Ward, whom we so unwillingly released from his presidency to fill a larger sphere of usefulness as Master of Peterhouse and Vice-Chancellor of the University of Cambridge, is known to most of us here as the author of an admirable history of the English drama, the biographer of Chaucer and Wotton, the translator of Curtius's ‘History of Greece,’ and a distinguished writer on various epochs of German history. We have all of us admired the combined courtesy, dignity, and learning with which he discharged the duties of President during his too short tenure of the office but probably only Members of the Council are fully aware of the energy and enthusiasm which he threw into the task of directing the efforts of the Society. To him is chiefly due the successful initiation of a movement for the promotion of advanced historical study in this great but ill-provided capital, which has issued in the establishment, I am glad to say, of two lectureships in the higher branches of historical learning. We parted from him, as I have said, most reluctantly, but we feel confident that the qualities which so fully justified our choice here will insure him full success in the position which he now holds—the practical headship of one of our two great and ancient Universities.

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