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"O'Callaghan, Michelle"
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Collecting Verse
In this essay, Michelle O’Callaghan investigates practices of manuscript compilation, taking Don.c.54 and Rawl.poet.31, Bodleian Library, as her main case studies. Both manuscripts evidence a degree of organization and planning, and thus possess a “significant shape,” even though one (Rawl.poet.31) was produced by a professional scribe in a short span of time as a commercial enterprise, and the other (Don.c.54) was compiled by its owner (an amateur scribe) over the course of three decades. The essay uncovers the high level of skill and awareness of manuscript design that amateur as well as professional copyists could display. It explores the kinds of interpretive work required to analyze the complex interrelationship between material form and textual content.
Journal Article
Thomas Middleton, Renaissance Dramatist
Thomas Middleton is one of the major English Renaissance dramatists alongside Marlowe, Shakespeare and Jonson. Middleton continues to fascinate audiences and readers with his black humour, his wry and witty treatment of sexuality, morality, and politics. He is a consummate professional dramatist, experimenting with stagecraft in a manner that combines the visual and the verbal to startling effect.
This book brings together these aspects of Middleton's craft through a detailed study of his major plays. Middleton experimented with, and helped to shape, a range of dramatic genres: city comedy, tragicomedy, romance, and revenge tragedy. This new guide analyses in detail how the plays work in terms of the early modern theatre and dramatic genres, as well as elucidating the broader cultural issues shaping the plays. It provides an introduction to critical readings of Middleton's works as well as modern performances, demonstrating how modern critics, producers, dramatists and film makers see Middleton's dark, playful and challenging plays as speaking to our times.
Key Features
Ideal student guide with its wide ranging introduction to Middleton's city comedies, tragedies, and collaborative plays and its readings of key texts such asThe Roaring Girl,Chaste Maid in Cheapside,Revenger's Tragedy,Women Beware Women, andThe ChangelingUses the most recent edition available, the Oxford Middleton (2007)Provides background contexts guiding readers through criticism of the plays as well as recent work on early modern theatre and cultureEmphasis on Middleton's stagecraft and its assessment of modern adaptations and film versions of his plays
eBook
Verse Miscellanies Online: A Digital Edition of Seven Printed Poetry Collections from Sixteenth- and Seventeenth-Century England
Since the EEBO-TCP files were originally tagged according to older XML-TEIP4 guidelines, it was necessary to convert these files to the current XML-TEIP5 standard; this work was undertaken by James Cummings at Oxford University Computing Services.1 The EEBO-TCP files were then enhanced through further descriptive tagging, the mark-up of typographical features, the addition of explanatory annotations, hyperlinks, and critical apparatus, including glossaries of mythological figures and historical persons, musical settings and ballad tunes, and indexes of authors and first lines.
Journal Article
\Good Ladies Be Working\
Early ballads provide evidence for a wide social range of female voices in lyric verse and song. The scene of speaking, or rather singing, in the ballad \"Attend thee, go play thee\" is of a young woman at work spinning and sewing for her mistress. The ballad therefore draws attention to the non-elite working woman's voice in performance, raising questions about how working subjectivities were fashioned through song. The trope of women singing at work can offer a way into conceptualizing working women's agency because it brings into play the complex interrelationships between gender, genre, voice, and embodiment in a figurative and material sense. \"Attend thee, go play thee\" is a remarkable ballad because it fictionalizes the conditions of its own performance, providing evidence for how and where it might have been voiced and heard. By attending to these questions of performance, it is possible to examine issues of historical agency in relation to women's writing.
Journal Article
The Duties of Societies
Over the past decade, critical attention has turned to the study of ‘the collaborative construction of meaning’ in Renaissance texts, from poetry circulating in manuscript to plays performed on the public stage.¹ Such attention to the communal contexts of literary creativity, particularly in recent work on collaboration in the theatre, has resulted in a useful corrective to the earlier critical fixation on the emergence of the author. The shift from the study of authorship to collaboration in theatre studies has led to the renewed attention to textuality and the dispersal of the authorial voice, if there can be said to
Book Chapter
Thomas Middleton and the early modern theatre
The Oxford Middleton assigns thirty-two plays to Thomas Middleton either as sole author or co-writer or reviser. Middleton was a versatile playwright, who moved between different acting companies throughout his career, experimenting with the latest fashions in plays, from sharp comedies set in Jacobean London to baroque revenge tragedies. From James I’s accession to 1606, he wrote a series of comedies for the Children of Paul’s, tailoring his plays to an all-boy acting company performing in an indoor playhouse, and to the audiences that congregated in the fashionable theatre district. He was also selling plays to the King’s Men at this time, including A Yorkshire Tragedy (c. 1605), The Revenger’s Tragedy (1606), and Timon of Athens (c. 1606), co-written with William Shakespeare, whose Macbeth (1606) and Measure for Measure (1604–5) he also substantially revised, in 1616 and 1621 respectively. Middleton consolidated his reputation in the 1610s with The Roaring Girl (1611), co-written with Thomas Dekker, and A Chaste Maid in Cheapside (1613). The early 1620s were the high-point of his career: he wrote his major tragedies, Women Beware Women (c. 1621) and The Changeling (1622), the latter co-written with William Rowley, and he regularly produced mayoral pageants for the City of London. His last play, A Game at Chess, was his most sensational play, and its popularity, coupled with its political topicality, meant that it was Middleton’s last play performed on the public stage.What is most notable about Middleton when surveying the range of his works is his versatility. Middleton, jestingly, likened the playwright to the tailor who works with an eye to the fashion.
Book Chapter
