By Peter Kirwan
As well as the thirty-six performs of the 1st Folio, a few 80 performs were attributed in complete or half to William Shakespeare, but such a lot are not often learn, played or mentioned. This ebook, the 1st to confront the results of the 'Shakespeare Apocrypha', asks how and why those performs have traditionally been excluded from the canon. Innovatively combining techniques from e-book historical past, theatre background, attribution experiences and canon concept, Peter Kirwan unveils the ancient assumptions and rules that formed the development of the Shakespeare canon. Case reports deal with performs comparable to Sir Thomas extra, Edward III, Arden of Faversham, Mucedorus, Double Falsehood and A Yorkshire Tragedy, exhibiting how the plays' contested 'Shakespearean' prestige has formed their fortunes. Kirwan's e-book rethinks the impression of authorial canons at the therapy of nameless and disputed performs.
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Additional info for Shakespeare and the Idea of Apocrypha: Negotiating the Boundaries of the Dramatic Canon
The 43-play canon: 1664–1734 27 a run of plays dealing with usurpation and the fall of great men. Gardiner’s plots, hatched in his study, seem even more Machiavellian in the light of Richard III and Cassius, and set the tone for the atmosphere of political treachery in the The Tempest, which follows. The consecutive placing of Measure for Measure and The London Prodigal brings out close dramatic links between the two: the city setting, the disguised authority ﬁgure (Duke/Father) secretly overseeing lapses in morality, the virtuous maid more interested in God’s love than man’s.
He goes on to announce that he has begun work on a new ‘corrected’ edition of Shakespeare’s plays (again implicitly criticising 39 40 41 King, ‘Cardenio’, 91. I will return to the recent debates surrounding Double Falsehood/Cardenio in Chapter 4. Current thinking on Cardenio/Double Falsehood has been prompted by Brean Hammond’s edition (London, 2010) and fuelled by Gary Taylor, who has edited the collections The Quest for Cardenio with David Carnegie (2012) and The Creation and Recreation of Cardenio with Terri Bourus (Basingstoke, 2013).
Read among the authorised plays, rather than separately from them, the plays inﬂuence the reader’s perception of Shakespeare, showing the dramatist building on themes explored in other plays and responding to his own work, with each play affecting the sense of the author-at-work. As the 28 Canonising the Apocrypha cultural ﬁgure of Shakespeare was constructed, this was the danger posed by the disputed plays: they had the potential to change the way Shakespeare was read. Once the plays had been dissociated from the canon by Pope and Theobald, then, it became imperative that they be hidden.