Book of the Month: The Taming of A Shrew

Tags

,

The Book of the Month for July 2014 is The Taming of a Shrew. If you’re a member of the Malone Society, take advantage of this great deal and buy a copy today for only £5.00 plus £3 postage! (The regular price is £15).

JULY: 
The Taming of A Shrew

Our Book of the Month for July is a significant text in the early history of a well-known play. Perhaps one of the most familiar stories of the period thanks to Shakespeare’s version, this Malone Society edition includes several key differences to the Bard’s play, including the situating of the action in Greece and providing elder sister Kate with not one, but two younger, much-desired sisters. The framing device involving the drunken Sly remains, yet here he plays a more active role, reappearing at the end of the play to intercede in the action, and indeed vowing to tame his own wife! This text would be a key addition to any Renaissance drama scholar’s bookshelf.

__________

The Society’s edition is a photofacsimile of the Huntington copy of the 1594 First Quarto, the earliest play to be printed by Peter Short, who went on to print plays by Shakespeare, Jonson, and Samuel Daniel.

HOW TO ORDER:
If you are based in the UK, please fill in your details on the form below. Then click the ‘buy now’ button to purchase your copy for just £8.00 (£5 + £3 for postage):

 buy now

If you are based outside of the UK, please send your details (name and postal address including postcode) with a cheque (plus P&P) to The Shakespeare Institute, Mason Croft, Church Street, Stratford-upon-Avon, CV37 6HP, UK.

Packaging and Postage:

Europe & Ireland £6.00

USA/Canada £12.00

Australia/New Zealand - please send cheques ($9.00 AUD for the book + $16.00 postage) to Dr. David McInnis, the Australia/New Zealand Regional Representative or email him for EFT details:
School of Culture and Communication
Room 216, John Medley West
University of Melbourne 3010
AUSTRALIA.

The Fair Maid of the Exchange: Malone Society Staged Reading and Symposium

Tags

, , ,

This guest post comes from Dr Eoin Price, who recently gained his PhD from The Shakespeare Institute, where he currently works. He is preparing a book about the meaning of the terms ‘public’ and ‘private’ in Renaissance theatrical discourse and has work forthcoming in Literature Compass and The Map of Early Modern London [http://mapoflondon.uvic.ca/]. His reviews of Renaissance drama can be read at asidenotes.wordpress.com and Reviewing Shakespeare [http://bloggingshakespeare.com/reviewing-shakespeare/author/eoinprice/]

The Fair Maid of the Exchange

Are comedies meant to end happily? We’re often told this, but it’s easy to cite examples that don’t fit the bill. In Shakespearean comedy, we are left with unaccommodated figures like Shylock or Malvolio, while in Love’s Labour’s Lost death postpones the expected marriage. Jonson’s Volpone ends with punishment and the happy ending of Marston’s Antonio and Mellida turns out to be a ruse: in the tragic sequel, Antonio must avenge Mellida’s death. Renaissance dramatists devised a variety of ways to undercut the assumption that a comedy ends happily. To the long list of established comic undercutting must be added The Fair Maid of the Exchange, a curious play, of uncertain authorship, which was given a deserved outing in the form of a staged reading sponsored by the Malone Society and hosted by Somerville College, Oxford. A terrific cast, assembled at short notice by Edwina Christie and directed by Gerald Baker, used the full space of the Flora Anderson Hall to deliver a subtle and surprising production. As the illuminating post-show symposium discussion demonstrated, there were a number of points of interest: in the first session Martin Wiggins addressed the difficulties in attributing to the play a date, author, or playing company, Katherine Duncan-Jones discussed the play’s allusions to Shakespeare, Susan Anderson focused on the representation of disability, Tim Smith-Laing (who played the character known as ‘the Cripple’) talked about his experience acting in the play, and Baker commented on his experience directing it.

L-R: Martin Wiggins, Susan Anderson, Katherine Duncan-Jones, Gerald Baker, Tim Laing-Smith and Lucy Munro. Photo credit: Jackie Watson.

L-R: Martin Wiggins, Susan Anderson, Katherine Duncan-Jones, Gerald Baker, Tim Smith-Laing and Lucy Munro. Photo credit: Jackie Watson.

In the second session, Susan North offered an illustrated account of Jacobean embroidery and Rebecca Tomlin analysed the place of commerce in the play. In this post, however, I want to focus on the play’s oddly abrupt ending, which was so skilfully handled in the staged reading.

It’s first necessary to offer a brief and partial plot summary. In the play, two brothers, Antony (Peter van Dolen) and Ferdinand Golding (Ariel Levine) pursue the titular fair maid, the pleasingly alliteratively-named Phillis Flower (Edwina Christie). Phillis loves neither man but instead apparently unrequitedly loves the Cripple (Tim Smith-Laing) who, at the play’s outset, had bravely defended Philis and Ursula (Constance Greenfield) from an attack by the outlaws Bobbington and Scarlet (effectively doubled by the actors playing Antony and Ferdinand).

L-R: Constance Greenfield as Master Barnard, Jakub Boguszak as Master Bowlder, Tim Laing-Smith as Cripple and Sophie Duncan as Mall Berry. Photo credit: Jackie Watson.

L-R: Constance Greenfield as Master Barnard, Jakub Boguszak as Master Bowdler, Tim Smith-Laing as Cripple and Sophie Duncan as Mall Berry. Photo credit: Jackie Watson.

A third brother, Frank (Luke Rollason) also falls in love with Phillis but manages to hide his affection from his brothers. Calling upon a favour from the Cripple, he helps manipulate the situation to suit his own cause, winning the support of Master (Simon Tavener) and Mistress Flower (Lynn Randall) in the process. In the final scene, when the plot is revealed, Phillis must finally choose who she loves; after reflection, she chooses Frank.

Luke Rollason as Frank, Simon Tavener as Master Flower, and Edwina Currie as Phillis Flower. Photo credit: Jackie Watson

Luke Rollason as Frank, Simon Tavener as Master Flower, and Edwina Christie as Phillis Flower. Photo credit: Jackie Watson

On the one hand, this might be seen to be a fairly uncomplicated ending. Antony and Ferdinand have done nothing to suggest that they would be deserving husbands and the Cripple passes up on the opportunity to return Phillis’ love; Frank may be a somewhat underhanded and mischievous fellow, but he is also charismatic and clever. However, the production did a wonderful job of rendering such a reading problematic. The image of Phillis, surrounded by suitors, wavering before choosing Frank, was an evocative one. In the post-show discussion Tim Smith-Laing hinted at the difficulties in deciding how to play the Cripple’s reaction. Does he feign his disinterest in Phillis, or is he secretly in love with her? Is he happy about the arrangement? It’s difficult to tell, or for the actor to transmit that information, but the fact that the Cripple is a silent watcher for much of the final scene is instructive. Upon entering, he asks ‘‘Gentlemen sweet bloods, or brethren of familiarity,/I would speake with Phillis, shall I haue audience?’ (TLN 2587-8) He does not have audience; these are in fact, the last words he speaks in the play and the rest of the ending is played out around him. Some may feel glad about the prospective union of Phillis and Frank, but several spectators commented on feeling like the fair maid had made the wrong choice.

There may, then, already be misgivings among the audience before the final revelation, which causes a postponement to the festivities. Master Flower, the father of the bride-to-be, is unexpectedly arrested for (unknowingly, as it happens) possessing a stolen diamond. The play ends in infamy, as Flower says: ‘Words here are little worth, wife and friends all/Goe with me to my tryall, you shall see/A good conceit now brought to infamie’ (TLN 2690-2). In the day’s final discussion session, Caroline Barron suggested that this ending might offer a critique of the dark side of commerce; Flower is implicated in this seedy business even if not completely aware of his transgression. Again, the staging here drew out brilliantly the strangeness of the ending. The accusatory lines, spoken by Master Wood, were here delivered, to general surprise, by an audience member, Richard Proudfoot. The metatheatrical playfulness was certainly funny, but this staging also emphasised the jarring nature of the ending. The strangeness of his appearance may partly be to do with cuts made to the text, which slightly obscure the backstory of the diamond, but it was a smart and effective way to conclude this curious comedy. In the printed text, as well as in the performance, Wood emerges, like an inverse deus ex machina, not to solve a convoluted problem, but to cause one.

Book of the Month: The Shepherds’ Paradise

Tags

,

The Book of the Month for June 2014 is The Shepherds’ Paradise. If you’re a member of the Malone Society, take advantage of this great deal and buy a copy today for only £5.00 plus postage! (The regular price is £15).

JUNE: 
The Shepherds’ Paradise

Prince Basilino is betrothed to Saphira, the Princess of Navarre, whom he has never met; but he has fallen in love with Fidamira, not knowing that she in turn is in love with Agenor. Basilino leaves the kingdom in order to forget Fidamira, and heads for the Shepherds’ Paradise of Galicia, a haven of chastity. But love, it seems, is inescapable even in this chaste land, and out of the ensuing confusion emerges the future of a dynasty…

__________

The society’s edition is a transcript of the Tixall MS (Folger, MS V b 203), which represents a version of this very long play which has been abridged for court performance.  It is the only version of the text to feature the induction and interludes.

HOW TO ORDER:
If you are based in the UK, please fill in your details on the form below. Then click the ‘buy now’ button to purchase your copy for just £8.00 (£5 + £3.00 for postage):

 buy now

If you are based outside of the UK, please send your details (name and postal address including postcode) with a cheque (plus P&P) to The Shakespeare Institute, Mason Croft, Church Street, Stratford-upon-Avon, CV37 6HP, UK.

Packaging and Postage:

Europe & Ireland £6.00

USA/Canada £12.00

Australia/New Zealand - please send cheques ($9.00 AUD for the book + $16.00 postage) to Dr. David McInnis, the Australia/New Zealand Regional Representative or email him for EFT details:
School of Culture and Communication
Room 216, John Medley West
University of Melbourne 3010
AUSTRALIA.

Collecting the major works of Sir E.K. Chambers

Tags

, , ,

This guest post comes from Charles Littrell, who has put together some top tips for collecting the major works of Sir E.K. Chambers…

Sir Edmund Kerchever Chambers (1866—1954) was the first president of the Malone Society, serving from 1909 to 1939. He was a prime example of those late Victorian gentlemen who productively channelled their interests into something of great use to society. Chambers was simultaneously a leading public servant, rising from the 1890s to the 1920s to second secretary of the U.K. Department of Education, and one of the greatest ever researchers of the early modern stage. The story as we have it is that Chambers wished to write a life of Shakespeare, but decided to undertake a little preliminary research first. Over the ensuing 30 years, this research became The Medieval Stage, The Elizabethan Stage, and finally his work on Shakespeare. It would be fair to note that the Chambers Shakespeare biography is not universally acknowledged as the best of its type. The “preliminary research” works, by contrast, were and remain monumental works of painstaking scholarship.

Readers may be surprised that Chambers’s landmark works are, with some care, able to be acquired in collectable versions for modest sums.

Chambers was astoundingly prolific despite (or on second thought, more likely due to) his lack of an academic appointment.

His three major works are:

The Medieval Stage (Two Volumes, 1903)

The Elizabethan Stage (Four Volumes, 1923) and

William Shakespeare: A Study of Facts and Problems (Two Volumes, 1930)

In addition to these works, a collector and particularly a scholar should also acquire Beatrice White’s Index to the latter two works above.

All the above works were published in first editions by Oxford Clarendon Press, so were printed to last a long time with good care.

Some Collecting Tips

1)    All the works have been extensively reprinted, so collectors seeking first editions would be well advised to contact the bookseller before purchase, to confirm the above editions and publication dates. Some scholars may prefer later editions which will include some corrections from the first editions.

2)    It can be much cheaper to collect multi-volume sets from among “orphan” volumes, but this exposes the collector to the risk that the assembled set will suffer from variable quality.

3)    I find that ABE Books (www.abebooks.com) has by far the best selection, and also has good online search and sales functionality.

4)    The multi-volume sets often attract extra shipping charges, but this can sometimes be negotiated.

Medieval Stage

When searching for the 1903 volumes, use all of “Mediaeval” “Medieval” and “Mediaval” as search terms. Currently “Medieval Stage” is selling online in at least good condition for $45 to $300 for a matched 2 volume set. The more expensive sets tend to have former owner association values; otherwise collectors can find completely acceptable sets for $50 to $75. Those of a competitive shopping bent are invited to match my daughter, who acquired her two volumes separately and in excellent condition for a total of $17.07 shipping included.

Elizabethan Stage

It is possible to spend a great deal of money on the four volume set, with $700 to $800 often asked for fine sets—and not much less than that for the 2009 reprint. But good to very good sets are reasonably available for around $200, and one can sometimes do much better, with $50 for a good set achievable with luck and patience.

William Shakespeare

This is the book Chambers spent 30 years getting ready to write, including producing the above volumes. Prices for the two volume set start around $50, but $75 to $200 is more common for a set in good condition. Volume II can be purchased in good condition for less than $10, but finding an “orphan” Volume 1 is difficult.

White’s Index

White produced this under the auspices of the Shakespeare Association, and Chambers was kind enough to put in a laudatory preface. A more honest preface might have had Chambers admitting to such sparse indexing, that frustrated readers banded together to produce an independent index!

Very useful for active users, and at prices starting from $7 (but $25 more common), not a major investment.

Other works

Chambers produced a great many other works, often printed in high quality editions by Oxford Clarendon. Plus of course he had considerable input into the early Malone editions. A quick search through ABE reveals many interesting “minor” Chambers works for under $10.

Happy collecting, and happy reading.

 

Book of the Month: The Fair Maid of the Exchange

Tags

,

The Book of the Month for May 2014 is The Fair Maid of the Exchange. If you’re a member of the Malone Society, take advantage of this great deal and buy a copy today for only £5.00 plus postage! (The regular price is £15). And for those of you coming to the staged reading of Fair Maid at Oxford on 17th May (see our post here) you can pick up your copy there and browse some of our other books which will also be on sale!

MAY: 
The Fair Maid of the Exchange

Ferdinand, Anthony, and Frank all love Phyllis, but she only has eyes for the Cripple of Fenchurch. Her father, Flower, lends money to Bobbington and accepts a stolen diamond ring as security. Meanwhile, Mall Berry fends off unwanted attention from Bowdler, who tries to impress her by quoting Shakespeare.

__________

The Society’s edition reproduces the 1607 printing in type-facsimile.  This was the play’s first and only substantive edition, and includes a doubling plan for eleven actors which is viable only for a group reading, not for a fully staged production.  It was one of the first plays to be licensed for the press by Sir George Buc, the future Master of the Revels.

HOW TO ORDER:
If you are based in the UK, please fill in your details on the form below. Then click the ‘buy now’ button to purchase your copy for just £8.00 (£5 + £3.00 for postage):

 buy now

If you are based outside of the UK, please send your details (name and postal address including postcode) with a cheque (plus P&P) to The Shakespeare Institute, Mason Croft, Church Street, Stratford-upon-Avon, CV37 6HP, UK.

Packaging and Postage:

Europe & Ireland £6.00

USA/Canada £12.00

Australia/New Zealand - please send cheques ($9.00 AUD for the book + $16.00 postage) to Dr. David McInnis, the Australia/New Zealand Regional Representative or email him for EFT details:
School of Culture and Communication
Room 216, John Medley West
University of Melbourne 3010
AUSTRALIA.

Bursary Funded Research: Performing ‘The Tragedy of Thomas Merry’

Tags

, , ,

This post is the third in our series of guest-authored posts written by scholars who have been awarded funding for their research by the Society. This post was written by Emma Whipday, a PhD candidate at University College, London.

Performing ‘The Tragedy of Thomas Merry’

I was awarded a 2014 Malone Society Bursary to stage a research production of ‘The Tragedy of Thomas Merry’ from Two Lamentable Tragedies (1601), which portrays the murder of a London shopkeeper by his neighbour. The play is significant in its tragic portrayal of a murder in the home of an ordinary Londoner, and in its unprecedented attention to the forensic processes of detection. On Friday 21st March, the production was staged at UCL in what was, to my knowledge, its first performance in modern times.

Freyja Cox Jensen as Merry and Eleanor Rushton as Rachel. Photo credit: Niina Tamura

Freyja Cox Jensen as Merry and Eleanor Rushton as Rachel. Photo credit: Niina Tamura

The play is based on a true murder that took place in London in 1594: Master Merry, who ran a tavern, murdered a neighbouring shopkeeper, Master Beech, and the surrounding community worked together to solve the crime. This sensational murder caught the attention of Elizabethan London; it was reported in news pamphlets and sung about in broadside ballads. In 1600, a play named ‘The Tragedy of Thomas Merry’ was performed at the Rose by the Admiral’s Men. The following year, a play based on Merry’s crime was printed in quarto, in a collection entitled Two Lamentable Tragedies. The title page claims that the author of the plays is Robert Yarington. The only surviving record of a Robert Yarington living in London refers not to a playwright, but to a scribe; it is impossible to discover whether he was the author of the plays, or whether he simply compiled them into a single narrative. The second play is fictional, set in Padua, and stages the murder of a nobleman’s ward. Scenes from both tragedies are intertwined in the quarto, and thus Two Lamentable Tragedies is unique in presenting a traditional, elite tragedy alongside a true and recent neighbourhood murder. In staging only the tragedy of Merry, I wanted to test whether it was performable as a standalone play.

Drawing on the Malone Society edition of Two Lamentable Tragedies (edited by Chiaki Hanabusa), which was the Society’s ‘Book of the Year’, this research production aimed to discover how our understanding of the play alters when it is performed. This project is grounded in an interdisciplinary approach to practice as research, combining the expertise of theatre practitioners with the knowledge of literary critics and historians. Freyja Cox Jensen (University of Exeter) co-organised the production; Helen Hackett and Alexander Sampson (UCL) were the executive producers; and the cast was composed of both professional actors and UCL staff and students.

Our production was prepared using Elizabethan rehearsal practices, based on the research of Tiffany Stern (Oxford). We sought to explore the ways in which reconstructing early modern rehearsal and performance practices could illuminate spatial dynamics and character development in the play. In so doing, we hoped to demonstrate the validity of practice as research as an approach to early modern drama.

The actors received their ‘parts’, composed of only their own lines and short cues, thirteen days before the production, at the read-through, at which they read the play aloud; they then met with me individually to discuss their character choices and work on their lines. A week later, we also had a single ‘stage business’ rehearsal, where we plotted use of props, fights and the closing jig, and a single dress rehearsal. These were the only times the actors rehearsed together; the rest of their work on the text took place alone. As the ‘book holder’ or prompter, I sat to the left of the playing space during the final performance, visible but not part of the action, to highlight the role of the book holder for the audience.

 - ?? as ??. Photo credit: Niina Tamura.

Charlie Howitt as Second Waterman, Becky Moore as First Waterman, Brian McMahon as Constable, and Eleanor Rushton as Rachel. Photo credit: Niina Tamura.

The performance was accompanied by music contemporary to the play. Our lutenist Sam Brown performed at the side of the stage, and was visible to the audience throughout. He drew from his repertoire pieces by various composers, including John Dowland, Robert Johnson and Francis Pilkington. Our musical director Simon Smith assisted in the selection of pieces, and worked with us on adding musical cues to the script, ensuring that our musical practices were appropriate. Music was used as an overture, in the act breaks, at moments of heightened theatricality – such as when the narrator-figure, Truth, appeared – and to accompany the closing jig.

Lutenist Sam Brown in rehearsal. Photo credit: Niina Tamura

Lutenist Sam Brown in rehearsal. Photo credit: Niina Tamura

The production was a great success. The actors gave wonderful performances, my services as prompter were only needed a couple of times, Tiffany Stern’s introductory talk about actors’ parts and early modern rehearsal methods was fascinating and accessible, and the audience was enthusiastic and appreciative. We were amazed by how smoothly the play went with so little rehearsal time; it seemed to suggest that, with early modern actors accustomed to learning lines from ‘parts’ and a limited rehearsal period, Elizabethan first performances may have been more polished than we might imagine. We were even more surprised by how funny the play was – the audience laughed heartily throughout, even at seemingly ‘tragic’ events. This has raised interesting questions about how comedy and tragedy interact in the play. There are plenty of comic moments, from farcical falls to one character’s mis-hearing of murder as ‘mustard’, and even seemingly ‘tragic’ moments, involving murder and dismemberment, are macabre to the point of absurdity, and thus provoke laughter. Yet the narrator-figure, Truth, repeatedly calls attention to the truth of the crime that is staged, and comments on the teary eyes of the audience, reminding them that the action they watch is ‘but a play’. In our production, Truth’s commentary became an uncomfortable counter-point to the audience’s vocal amusement; this provoked further thought about how the hybrid genre of domestic tragedy may have been received by its original audience. I will be discussing the production at Andy Kesson and Stephen Purcell’s ‘Practice as Research’ seminar at the upcoming 2014 Shakespeare Association of America Annual Meeting, and look forward to exploring this issue further.

I am extremely grateful to the Malone Society for supporting this project; their generosity made our performance possible. This allowed us to purchase necessary stage properties, from pewter tankards to stage blood. It also made it possible for us to provide refreshments for the audience, so that Freyja and I could distribute questionnaires about audience responses to the play, and then swap completed questionnaires for glasses of wine, which proved a popular bargain! We look forward to exploring these audience responses over the coming weeks.

Furthermore, thanks to the Malone Society Bursary, I was able to invite Philip Bird, an experienced actor, director and teacher, to lead a workshop for our actors on Elizabethan rehearsal practices. Philip worked with the Original Shakespeare Company in the 1990s, and regularly leads workshops on cue-scripts at Shakespeare’s Globe and elsewhere. Concentrating on examples from Shakespeare, he worked with the actors on how to approach a part, before giving out the cue-scripts for scenes of various sizes. The actors all rose to the challenge, and though they admitted to finding the experience of working with cue-scripts ‘terrifying’ at first, they produced some fantastic scenes where everyone was engaged, responsive, and listening very hard indeed. It was a demanding process, but Philip was generous with his advice, and everyone participated with enthusiasm and immense concentration. The workshop proved invaluable for the actors in preparing for the final performance.

An analogy Philip shared with us in a good luck message just before the performance proved particularly useful:

‘The audience will be on your side… Instead of baking a cake and offering it up for consumption on the night, you are bringing the ingredients and baking it in front of them. They will be delighted.’

This was a hugely enjoyable, if daunting, process for everyone involved. The fruits of this production will inform and substantially benefit my own research on both Two Lamentable Tragedies and the genre of domestic tragedy, and I hope that the performance of the play proved illuminating for other scholars in the field.

N. B. Click here if you would like to see the actors discussing their experience of working with ‘cue-scripts’ and early-modern rehearsal methods.

Book of the Month: The Comedy of George a Greene

Tags

,

Regular price reduced from £15.00 to only £5.00 plus postage. Orders may be placed throughout April 2014. Available to Society members only.

APRIL: 
The Comedy of George a Greene

Follow the raucous adventures of George a Greene in April’s Book of the Month, where love, war, and mistaken identity abound! The Earl of Kendal and King James of Scotland plot to overthrow the English King Edward, but George endeavours to thwart their plans. Will peace be restored? Will George convince his sweetheart’s father to let them marry? And what do Robin Hood and Maid Marian have to do with it all…?

__________

The Society’s edition is a type-facsimile of the edition of 1599, and includes a reproduction of the title page of the Devonshire, with annotations by Sir George Buc recording information received from William Shakespeare and the actor Edward Juby concerning the authorship of the play.

HOW TO ORDER:
If you are based in the UK, please fill your details on the form below. Then click the ‘buy now’ button to purchase your copy for just £8.00 (£5 + £3 for postage):

 buy now

If you are based outside of the UK, please send your details (name and postal address including postcode) with a cheque (plus P&P) to The Shakespeare Institute, Mason Croft, Church Street, Stratford-upon-Avon, CV37 6HP, UK.

Packaging and Postage:

Europe & Ireland £6.00

USA/Canada £12.00

Australia/New Zealand - please send cheques ($9.00 AUD for the book + $16.00 postage) to Dr. David McInnis, the Australia/New Zealand Regional Representative or email him for EFT details:
School of Culture and Communication
Room 216, John Medley West
University of Melbourne 3010
AUSTRALIA.

Forthcoming Malone Society Conference at Oxford University

Tags

,

It is our pleasure to announce that with the support of the Malone Society, there will be a staged play reading and afternoon Symposium in the Flora Anderson Hall, Somerville College on 17th May 2014. The performance will take place in the morning, followed by an academic discussion in the afternoon. The play will be the anonymous Fair Maid of the Exchange, 1601/2, which we anticipate will be very enjoyable and thought-provoking.

Registration details are currently being finalised, so watch this space for more info soon…

Book of the Month: The Raging Turk and The Courageous Turk

Tags

,

Regular price reduced from £15.00 to only £5.00 plus postage. Orders may be placed throughout March until 3 April, 2014. Available to Society members only.

MARCH: 
The Raging Turk
and The Courageous Turk

Get two Turks for the price of one in this month’s volume! In The Raging Turk the sons and brother of Bajazeth vie for their place to succeed him as Emperor, sparking a series of bloody events in which Bajazeth wages war, orders the murders of his sons and brother, and stabs his army chief with his own hands. In the final scenes Bajazeth is poisoned, but will his chosen son emerge victorious or will another seize power and become Emperor?

In The Courageous Turk love and war collide as Amurath falls in love with and subsequently marries a Greek concubine, thus halting the progress of his conquest of Europe. Amurath struggles with the limitations his martial responsibilities place on his love life, but eventually decides to continue his quest, beheading his new wife. He travels through Europe, crushing the Christian armies who try to resist him, and everything seems to be going his way until he comes face-to-face with the last Christian survivor, the general Cobelitz…

__________

The Society’s edition is a type-facsimile of the Quartos of the plays printed for Richard Meighen in 1631 and 1632.  The edition of The Courageous Turk collates the text with the known MS exemplars and includes photographs of the author, Thomas Goffe’s hand, and of the first section of the surviving actor’s part for the role of Amurath, the eponymous courageous Turk.

HOW TO ORDER:
If you are based in the UK, please fill your details on the form below. Then click the ‘buy now’ button to purchase your copy for just £8.00 (£5 + £3.00 for postage):

 buy now

If you are based outside of the UK, please send your details (name and postal address including postcode) with a cheque (plus P&P) to The Shakespeare Institute, Mason Croft, Church Street, Stratford-upon-Avon, CV37 6HP, UK.

Packaging and Postage:

Europe & Ireland £6.00

USA/Canada £12.00

Australia/New Zealand - please send cheques ($9.00 AUD for the book + $16.00 postage) to Dr. David McInnis, the Australia/New Zealand Regional Representative or email him for EFT details:
School of Culture and Communication
Room 216, John Medley West
University of Melbourne 3010
AUSTRALIA.

Follow

Get every new post delivered to your Inbox.

Join 56 other followers