By Peter Kirwan
As well as the thirty-six performs of the 1st Folio, a few 80 performs were attributed in entire or half to William Shakespeare, but so much are infrequently 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 ways from publication heritage, theatre historical past, attribution reports and canon conception, Peter Kirwan unveils the old assumptions and ideas that formed the development of the Shakespeare canon. Case stories deal with performs comparable to Sir Thomas extra, Edward III, Arden of Faversham, Mucedorus, Double Falsehood and A Yorkshire Tragedy, displaying how the plays' contested 'Shakespearean' prestige has formed their fortunes. Kirwan's booklet rethinks the impression of authorial canons at the remedy of nameless and disputed performs.
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Extra resources for Shakespeare and the Idea of Apocrypha: Negotiating the Boundaries of the Dramatic Canon
Example text
John Dryden, ‘An Epilogue’, Miscellany poems containing a new translation of Virgills eclogues, Ovid’s love elegies, odes of Horace, and other authors (London, 1684), 292. The original 1677 Prologue to Circe was heavily revised for the Epilogue of 1684, with the references to Shakespeare, Fletcher and Jonson only being added in the revision. 38 Canonising the Apocrypha Shakespeare first penned the implicitly inferior Pericles ahead of the masterwork Othello, but the weaker work is excused because ‘‘Tis miracle to see a first good play’.
This was the most significant moment yet in the stigmatising of the disputed plays, the point at which they were first removed from the canon for being aesthetically deficient according to a Shakespearean standard; yet this standard was determined subjectively by Pope. Pope’s specific role in removing the plays, however, was quickly forgotten. With the disappearance of the plays from collected editions of Shakespeare, the plays fell into critical neglect, and references to them became less frequent.
1: Hamlet, Julius Caesar, Richard III, Cromwell, Tempest, Merry Wives; Vol. 2: Macbeth, Othello, 1 Henry IV, Titus, Measure, London Prodigal; Vol. 3: Antony & Cleopatra, Pericles, Lear, 2 Henry IV, Puritan, Two Gentlemen; Vol. 4: Oldcastle, Locrine, Henry V, Timon, Comedy of Errors, Dream; Vol. 5: 1, 2 and 3 Henry VI, Henry VIII, As You Like It, Merchant of Venice; Vol. 6: John, Troilus & Cressida, Richard II, Romeo, Shrew, Love’s Labour’s Lost; Vol. 7: Winter’s Tale, Coriolanus, Cymbeline, Yorkshire, Much Ado, All’s Well.