By Stephen Longstaffe
I Henry IV has regularly been considered one of Shakespeare's hottest performs and this severe advisor bargains a finished consultant to the wide variety of feedback at the play and its primary figures, together with Falstaff. It introduces the play's serious and function heritage, together with extraordinary degree productions along television, movie and radio types. It features a keynote bankruptcy outlining significant components of present learn on the play and 4 new severe essays. ultimately, a consultant to serious, web-based and production-related assets and an annotated bibliography offer a foundation for additional person re. Read more...
summary: I Henry IV has consistently been certainly one of Shakespeare's most well liked performs and this severe advisor bargains a entire consultant to the big variety of feedback at the play and its significant figures, together with Falstaff. It introduces the play's serious and function background, together with remarkable degree productions along television, movie and radio models. It features a keynote bankruptcy outlining significant components of present examine at the play and 4 new serious 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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Extra info for 1 Henry IV : a critical guide
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.
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. 141. 119. Barbara Hodgdon, The End Crowns All: Closure and Contradiction in Shakespeare’s History (Princeton, NJ: Princeton University Press, 1991), pp. 153, 158–59. 120. Kastan, Shakespeare After Theory, p. 131. 121. Richard Helgerson, Forms of Nationhood: The Elizabethan Writing of England (Chicago: University of Chicago Press, 1992), p.
Morgann, Dramatic Character of Sir John Falstaff, p. 39. Christy Desmet, Reading Shakespeare’s Characters: Rhetorics, Ethics and Identity (Amherst, MA: University of Massachusetts Press, 1992), p. 52. 41. 4 (1914), 197–240; John Dover Wilson, The Fortunes of Falstaff (Cambridge: Cambridge University Press, 1943). 42. William Hazlitt, from Characters of Shakespeare’s Plays (1817), in Henry the Fourth Parts I and II: Critical Essays, ed. , 1986), pp. 55–64 (p. 64). 43. Hazlitt, ‘Characters’, p. 55.
1 Henry IV : a critical guide by Stephen Longstaffe