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Ariel’s alchemical songs
Natalie Roulon

It has often been stressed that The Tempest is Shakespeare's most musical play: 1 the island's soundscape is uniquely rich and varied, its ‘noises,/Sounds, and sweet airs’ (3.2.127–8) enhance its supernatural atmosphere and Prospero's magic power is wielded largely through the music of Ariel and his fellow spirits. Unsurprisingly, music is one of the aspects of the play that has received the most critical attention, the perfect integration of this ‘dangerously refractory material

in Shakespeare and the supernatural
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Snow in Arcadia: redrawing the English lyric landscape, 1586–95
Author: Anne Sweeney

It has traditionally been held that Robert Southwell's poetry offers a curious view of Elizabethan England from the restricted perspective of a priest-hole. This book takes apart that idea – and the poetry – word by word and discovers layers of new meanings, hidden emblems and sharp critiques of Elizabeth's courtiers, and even of the ageing queen herself. Using the most recent edition of Southwell's poetry and manuscript materials, it addresses both poetry and private writings, including letters and diary material, to give context to the radicalisation of a generation of Southwell's countrymen and women. The book shows how the young Jesuit harnessed both drama and literature to give new poetic poignancy to their experience. Bringing a forensic approach to Southwell's ‘lighter’ pieces, it shows the extent to which Southwell engaged exclusively through them in direct artistic debate with Spenser, Sidney and Shakespeare, placing the poetry firmly in the English landscape familiar to Southwell's generation. Those concerned with early modern and Elizabethan culture will find much of interest in this study, including insights into the function of the arts in the private Catholic milieu, touched by Southwell in so many ways and places, from William Byrd's holy music to Mary Stuart's coded embroideries.

This book presents a biography of the poetics and politics of London in 1613, from Whitehall to Guildhall, that is, Shakespeare's London. It examines major events at court, such as the untimely death of Prince Henry and its aftermath, and the extravagant wedding of Princess Elizabeth to Frederick of Germany and her journey to the Continent. The city flourished with scores of publications on a vast array of topics, including poetry, travel narratives, music, and, of course, plays. The book offers summaries and analyses of most of these texts, knowing that some of them may not be well-known to all readers. Many of these publications had a kind of link to the court. In order to understand the context of the year 1613, the book actually begins in October 1612 with Prince Henry's illness and death in November, which had a major impact on what happened in 1613. It proceeds more or less chronologically from this event to Princess Elizabeth's wedding and the stunning array of dramatic performances at court, and includes the journey to her new home in Germany. As part of the year's cultural nexus, the narrative reaches into the Guildhall experience to explore the riches of the books that emanated from London's printers and to examine specifically the drama performed or published in 1613. The final major focus centres on the Carr-Howard wedding at the year's end, full of cultural activities and ripe with political significance.

Musical comedy
R. S. White

‘If music be the food of love, play on.’ Twelfth Night Ever since the seventeenth century, Shakespeare’s plays have been adapted into musical forms, whether lyric, symphonic, balletic, or operatic, 1

in Shakespeare’s cinema of love
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The elephant in the graveyard
John Drakakis

radio, which relied at its inception on some of the visual and organisational traditions of the theatre. And we might say the same about the emergence of popular music that involved imitation, adaptation, appropriation and innovation. Few, if any, white Anglo-American teenagers of the early 1950s had a clue what a line like ‘You ain’t nothin’ but a hound dog’ actually meant, or indeed where it came from. And yet, even though they may never have seen them written down, constant repetition enabled the lyrics of Elvis Presley

in Shakespeare’s resources
John Drakakis

itself but also of our capacity to recover and recognise the literary analogues that the lovers invoke and that are here subsumed into a quasi-religious experience. The reference to ‘patens’, and from there to a moral universe governed by the ‘harmony’ that is the music of ‘immortal souls’ projects the lovers into roles that are adjuncts to a fuller literary aesthetic that the modern reader brings to the text. In the post-lapsarian world (‘this muddy vesture of decay’) it is a moral harmony that is beyond the reach of

in Shakespeare’s resources
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John Drakakis

book-holders, copyists, and other writers, elaborated and improved by actors in performance, accompanied by music and songs that may or may not have originated in a completely different context. 94 This ‘diachronic form of collaboration’ might be extended to include the psychological process undertaken by a single writer, who might adapt a text in one form or genre, thereby converting it into the very ‘polyvocal’ construction of meaning that is both necessary for, and part and parcel of

in Shakespeare’s resources
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John Drakakis

– often beginning with a collaborative manuscript which was then revised, cut, re-arranged, and augmented by book-holders, copyists, and others, elaborated and improved by actors in performance, accompanied by music and songs that may or may not have originated in a completely different context. The phrase ‘collaborative manuscript’ suggests two or more writers combining their efforts, although the importation into a text of quotations of all kinds from other writings, including the classics

in Shakespeare’s resources
Westworld
Elisabeth Bronfen

thousand times. In the original play, Julius Caesar rebukes his wife, Calpurnia, who, after a nocturnal vision, pleads with him not to go to the Senate that day and insists that ‘cowards die many times’. 10 The fact that Ford shifts to the singular is itself the recycling of a prior cinematic appropriation – the deliberate misquoting by a scam artist in The Music Man (1962). 11 The dialogics at issue not only underscore the confidence game Ford is playing with this host, who, whenever he is resuscitated, fully believes in the role of the romantic gunslinger with

in Serial Shakespeare
Deadwood
Elisabeth Bronfen

drive off, Seth emerges from the saloon. Trixie and Sol note in anticipation the brief exchange of forlorn gazes between the bride and the sheriff before he walks away towards the home where his wife is waiting. The scene, however, is not over yet. An ecstatic Jane calls out, ‘we ain’t done fucking dancing’, and the music strikes up again, bringing with it what As You Like It and Much Ado About Nothing anticipate – more revelry. This time, all those touched by the standoff between Al and his new adversary are not onlookers. Doc is not the only one dancing with

in Serial Shakespeare