bluuebunny/crossref_metadata_2025_split huggingface dataset:
Elizabethan Reading
Authors: Miola Robert S 
Published: November 2023

Abstract
The temptation has proven irresistible: people have always imagined that Shakespeare’s poetry and drama arose not from his reading but from his life. The sonnets, accordingly, recount actual passions and aspirations; the tragedies reflect some personal catastrophe, perhaps the death of Shakespeare’s only son Hamnet in 1596 at the age of n. This desire to see the life behind the art motivates the recent film, Shakespeare in Love, wherein Gwyneth Paltrow’s captivating Viola de Lesseps inspires the smitten poet to write Romeo and Juliet, and then, as she sails out of his life, Twelfth Night. Revealing more about their inventors and audiences than about Shakespeare, such delightful fantasies have no basis in fact.’
Histories
Authors: Miola Robert S 
Published: November 2023

Abstract
In order to write his plays about English history Shakespeare turned to contemporary history books, called chronicles, particularly those by Edward Hall and Raphael Holinshed. Recounting the past sequentially, these books discussed politics, weather, local events, disasters, and marvellous occurrences like the birth of a baby with two heads. The chronicle accounts of kings, queens, rebellions, battles, wars, councils, and the like entertained as well as informed; they provided a long-running series on the lives of the rich and famous, who happened also to be the royal, the powerful, the good, and the evil.
Romances
Authors: Miola Robert S 
Published: November 2023

Abstract
Towards the end of his career Shakespeare began to write a different kind of play. Pericles (1607), The Winter’s Tale (1609), Cymbeline (1610), The Tempest (16n), and The Two Noble Kinsmen (1613-14) recount marvellous adventures-voyages, shipwrecks, riddles and prophecies, the loss of spouses or children, supernatural apparitions, magic, and miraculous reunions. Called romances or tragicomedies, these plays usually start with a fatal error, crime, or misfortune, move through purgative suffering and repentance, and conclude with some sort of deliverance and restoration. Ben Jonson sneered at such works, ‘tales, tempests, and such like drolleries’. So did George Bernard Shaw, who recalled Morton’s ridicule of the standard romance recognition by means of a token or birthmark: ‘In Morton’s masterpiece, Box and Cox, Box asks Cox whether he has a strawberry mark on his left arm. “No,” says Cox. “Then you are my long-lost brother,” says Box as they fall into one another’s arms and end the farce happily.’
The Genres Staged
Authors: Danson Lawrence 
Published: November 2023

Abstract
WE know what the genres looked like to one theoretically inclined playwright: on Ben Jonson’s title-page, Comedy and Tragedy stand decorously apart, in their assigned places, paired with their adjuncts, pastoral poetry and satire. What would the genres look-and sound like, not frozen on the expensive and exclusive page, but on the popular and often rowdy stage? One answer is found in the induction-a dramatized introduction-to a play called A Warning for Fair Women, performed by Shakespeare’s company, the Lord Chamberlain’s Men, in 1599.
Tragedy
Authors: Danson Lawrence 
Published: November 2023

Abstract
‘BoY KILLED IN TRAGEDY’, the headline reads, and I buy the paper, expecting to find the review of a play. To my disappointment I find that the story has nothing to do with plays or genres. Instead it’s a report about a little boy whose bike veered into the path of a passing bus. The child died instantly. And even I, despite my reprehensibly narrow interests, get the point.
14 February 1838, John Forster on W. C. Macready as King Lear at the Theatre Royal, Covent Garden, London from The Examiner, 14 February, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), PP· 48-54.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
John Forster (1812-76) was theatre critic of The Examiner from 1833 to 1838, and later became its editor. He was a close friend of Charles Dickens, to whom this review has often been mistakenly attributed (for example, by Edgar and Eleanor Johnson in their The Dickens Theatrical Reader (1964), J. C. Trewin, in his Theatre Bedside Book (1974), and Gamini Salgado in Eyewitnesses of Shakespeare (1975) ). John Forster’s authorship is conclusively demonstrated in an article by W. J. Carlton, The Dickensian, September 1965, who shows that Forster copied into it long passages from two earlier reviews of King Lear which he had published in the Weekly True Sun, 26 January 1834, of an actor called Samuel Butler as Lear, and in the New Monthly Magazine, June 1834, of Macready’s first London performances as Lear, at Drury Lane and Covent Garden.
5 February 1898, St John Hankin (1869-1909) on Beerbohm Tree’s Julius Caesar, in The Academy, no. 1344, pp. 160-1, reprinted in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 308. 10
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
M.R. Tree’S julius Caesar’ is a triumph of actor-management. It is also, in my humble opinion, a grievous insult to Shakespeare. Shakespeare wrote a play of which the central character was an idealised Brutus. It was the story of how a nobleminded Roman, partly from a traditional worship of ‘Liberty,’ partly through being worked upon by astute plotters like Cassius, took the life of Julius Caesar. How for a few hours it looked as if all were going well with him and his fellow¬conspirators, until the fiery Antony, by a successful appeal to the greed of the mob, turned the tables on them so that they fled from Rome, only to fall at Philippi under the avenging swords of Antony and Caesar’s nephew Octavius.
1January 1922, Harley Granville-Barker (1877-1946) on Twe!fth Night directed by Jacques Copeau (1879-1949) at the Vieux Colombier, Paris, from The Observer .
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
It is very cheering to an Englishman to see a crowded French audience carried away in spontaneous enjoyment of a Shakespeare play.
[1962], Laurence Kitchin on Peter Brook’s production of King Lear, with Paul Scofield (born 1922) as Lear, at the Royal Shakespeare Theatre, Stratford-upon-Avon, from his Drama in the Sixties (1966), pp. 174-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
For opposite reasons, Lear is as difficult to cast as Juliet. The actress young enough to look right for her earlier scenes can rarely project the suffering met with later.
I May 1964, Ronald Bryden (born 1927) on Laurence Olivier as Othello at the Old Vic Theatre, London, from the Nevo Statesman, in his The Unfinished Hero and Other Essays (1969), pp. 21-3.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
All posterity will want to know is how he played. John Dexters1 National Theatre Othello is efficient and clear, if slow, and contains some intelligent minor novelties. But in the long run all that matters is that it left the stage as bare as possible for its athlete. What requires record is how he, tackling Burbage s2 role for the first time at 57, created the Moor. He came on smelling a rose, laughing softly with a private delight; barefooted, ankleted, black. He had chosen to play a Negro.
[1973], Peter Thomson (born 1938) on Richard II directed by John Barton (born 1928) at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Survey 27 (1974), pp. 151-4.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
It would be easy to make John Barton s production of Richard II sound gimmicky and gratuitously theatrical, merely by listing some of its ingredients. The designers, Timothy O’Brien1 and Tazeena Firth,2 had flanked the central acting area with two escalators joined by a bridge which could ride noiselessly up and down them—a piece of refined visible mechanism that would have made Piscator3 jealous, and could carry Richard down to the base court like glistering Phaethon on the Victoria Line. For their fight, Mowbray and Bolingbroke had been provided with elaborate hobby-horses similar to those used for The Chances4 during Chichester’s opening season.
[1976], Roger Warren (born 1943) on Macbeth, directed by Trevor Nunn at The Other Place, Stratford-upon-Avon, with Ian McKellen and Judi Dench, from Shakespeare Survey 30 (1977), PP-z77-8-
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Trevor Nunn’s Macbeth at the Other Place (the RSC’s studio theatre) was the best example of the company’s developing work on a single play. Mr Nunn’s elaborate version at Stratford in 1974... was drastically simplified for the Aldwych in 1975; it had been further refined for the small confines of the Other Place, where it was played within a black magic circle painted on the floor, outside which the cast sat on boxes until needed; and, as at the Aldwych, there was no interval, which helped prevent the second half from winding down.
[1985], Roger Warren on Howard Davies s production of Troilus and Cressida at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Quarterly, yj (1986), pp. 116-18.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Howard Davies’s1 production of Troilus and Cressida took place during the Crimean War. A war-shattered nineteenth-century interior was the setting throughout, with heavy Victorian furniture added to suggest the different locations. The Greek council became a war cabinet meeting around a long table. The Myrmidons’ mess was a smoky, seedy saloon bar. The Trojan council took place amid the silver and cut glass of a family dining room; Cassandra was a family embarrassment, the mad sister whose remarks were tolerated but could be safely disregarded.
[1987], Stanley Wells on Titus Andronicus, directed by Deborah Warner (born 1959) at the Swan Theatre, Stratford-upon-Avon, from Shakespeare Survey 41 (1989), pp. 178-81.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Deborah Warner’s1 Titus Andronicus, in the Swan Theatre at Stratford-upon-Avon, offered no theatrical glamour, none of the allurements of pageantry or of sumptuous costumes with which directors have sometimes sugared what they have obviously regarded as a bitter pill of a play.
3 October 1990, Paul Taylor (born 1955) on The Tempest^ directed by Peter Brook; from The Independent.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The bleeping of digital watches is a common enough curse in theatres, but during the press night for Peter Brooks production of La Tempete, the competition came from an actual alarm clock. It was the kind that climbs into a peevish apoplexy unless instantly humoured and, as its owner scrabbled desperately in his/her bag, ones annoyance slowly turned to sweating compassion.
Shakespeare Criticism in the Twentieth Century
Authors: Taylor Michael 
Published: November 2023

Abstract
Oxford Shakespeare Topics (General Editors Peter Holland and Stanley Wells) provide students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship, including some general anthologies relating to Shakespeare. Shakespeare Criticism in the Twentieth Century traces the reception of Shakespeare in the critical literature from the end of Victorianism to the present day. It charts a course through the turbulent waters of the twentieth century's intense and prolific engagement with Shakespeare, dramatist and poet. This is not an exhaustive history: its aim is to describe the place of the major Shakespeare critics in the schools and movements of their times. Following an introductory overview of the major trends in Shakespeare criticism in their embattled state in the twentieth century, later chapters take up the various strands of this criticism in a more expansive manner. While recognizing that these strands work from genuine differences of principle and methodology, Taylor points out connections, parallels, and echoes between and among the critical approaches. The book ranges widely across the plays and poems, and canvasses all stages of Shakespeare's career.
Introduction
Authors: Taylor Michael 
Published: November 2023

Abstract
The springboard for much twentieth-century Shakespeare criticism in all its sparkling variousness and speculative daring has to be the late nineteenth-century investment in scholarly apparatuses of various kinds: libraries, editions of Shakespeare, dictionaries, concordances, data banks, scholarly societies, bibliographies, checklists, and so on. This was the age of Grammar and Lexicography, the golden age of the philologist and the academic editor, described by M. C. Bradbrook as ‘the Industrial Revolution of Shakespearian studies … the generation that constituted scholarship on a professional scale; the age of the “Variorum Shakespeare”, a monument that time has to some extent surprised’ (1954: 1). Equally monumental, and to a similar extent equally surprised by time, were the great dictionaries of the last three decades of the nineteenth century: among them, and centrally, A New Engfoh Dictionary on Historical Principles (1888-1928) from Oxford, Joseph V./right’s English Dialfft Dictionary (1890-1904), and Farmer and Henley’s Slang and Its Analogues Past and Present (1890).
The Age of Bradley
Authors: Taylor Michael 
Published: November 2023

Abstract
And a woman too of course. Despite what Heather Dubrow says about the study of character in Shakespeare’s plays-’character has virtually become a dirty word, quite as taboo in many circles as frank glosses on Shakespeare’s sexual wordplay were to an earlier generation of editors’ (r98T 17)-the fictional hearts and minds of Shakespeare’s characters (and the even more fictive heart and mind of Shakespeare himself) continue to exert a fascination on theatre-goers, readers, and sophisticated critics alike. ‘The age of Bradley’, then-manifested most triumphantly in the first two or three decades of the twentieth century-in its insistence on the special value of character criticism as a means of understanding Shakespeare’s plays, constitutes in all probability one of those eternal moments in criticism that will survive the predations of its competitors. At all events, there is a critical consensus in this century on the contribution that Shakespeare made to the thickening of dramatic characterization whether we read his characters ‘as rhetorical constructs confined to the text or as mimetic representations of imagined persons’ (Dubrow I99T 30).
Formalist Criticism of Shakespeare
Authors: Taylor Michael 
Published: November 2023

Abstract
If close readings of Shakespeare’s works certainly did not begin in 1997 a case can be made for pushing back their time of origin to a date well before the twentieth century. A glance at the Variorum edition of any of Shakespeare’s plays reveals the extent to which editors from the eighteenth century onwards have grappled with the meanings of words. How words work, how they mean, is a syntagmatic (and paradigmatic) process and dealing with them in their contexts is the basic act of formalist criticism. Immediacy is of course variable, and it may well be the case that the broadening and multiplying of Shakespeare’s contexts while remaining ostensibly within the parameters of the works themselves is one of the twentieth century’s main contributions to the formalist criticism of Shakespeare. Now it is commonplace for critics to deal with all kinds of structural combinations of Shakespeare’s words, from those that make up images, couplets, asides, rhetorical patterns (such as isocolon and anaphora),’ soliloquies, and sequences, to those forming larger structural units, the scene, the act, the entire play, or all of the plays thought of as one capacious, allinclusive work. And then, spilling over the confining parameters of the works themselves, formalist criticism has to deal somehow with the formal groupings that make up the plays’ genres.
The Wandering Text Situating the Narratives of Isabel Allende
Authors: Frenk Susan 
Published: November 2023

Abstract
Negotiating a path through the critical geographies which have mapped the academic reception of the narratives and public personae of Isabel Allende is a disorienting experience indeed. For all their differences, however, most of these geographies participate in a general deterritorialization as they steer her texts down unmarked roads. This essay offers a reading of the faded signposts and diversion signs along the way, with a tentative sketch for an alternative journey.
Scribes and Scholars
Authors: Reynolds L D , Wilson N G 
Published: November 2023

Abstract
As we said in the preface to the first edition, this book is designed as a simple introduction for beginners to a field of classical studies which generally remains little known or understood despite its importance and intrinsic interest. In schools and universities students read Greek and Lado authors in editions equipped with an apparatus criticus, but they are too often unacquainted with the historical facts which make such an apparatus necessary, and are at a loss to evaluate the information that it gives. There are few works in English to which they can be referred, and a short guide is needed, especially one which can be read by those whose linguistic and historical knowledge is limited.
We have attempted to outline the processes by which Greek and Latin literature have been preserved, describing the dangers to which texts were exposed in the age of the manuscript book, and showing to what extent ancient and medieval readers or scholars were concerned to preserve or transmit classical texts. The history of texts cannot be separated from the history of education and scholarship, which also bulk large in these pages. On the other hand, matters of pure palaeography receive attention only if they are of direct importance for transmission.
The book is intended in the first place for students of Greek and Latin, but the theme handled is so inextricably connected with the cultural history of the Middle Ages and Renaissance that we think our account may be useful to anyone concerned with these periods. We also hope that students of biblical scholarship may find some thing of interest.
Whereas the first edition took the story no further than the Renaissance and lacked notes, the second was enlarged in both these respects. In order not to encumber a readable text with a heavy apparatus we put the notes at the end of the book and made them largely bibliographical. The new chapter had to be even more selective than the others, but it seemed worth the effort to complete the historical perspective.
Antiquity
Authors: Reynolds L D , Wilson N G 
Published: November 2023

Abstract
A description of the processes by which classical literature has been transmitted from the ancient world to the present day may conveniently begin with a brief outline of the origin and growth of trade in books. In archaic Greece literature preceded literacy. The nucleus of the Homeric poems was handed down through several centuries during which the use of writing appears to have been completely lost; and in the second half of the eighth century, when the Phoenician alphabet was adapted for the writing of Greek, the tradition of oral literary composition was still strong, with the result that it may not have been thought necessary to commit the Homeric poems to writing at once. According to a tradition frequently repeated in an tiquity the first written text of the epics was prepared at Athens in the middle of the sixth century by order of Pisistratus. This account is not above suspicion, and even if true would not prove that copies of the text of Homer began to circulate in any considerable numbers, for Pisistratus’ object was in all probability to ensure the existence of an official copy of the poems to be recited at the festival of the Pan athenaea.
Peace
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
The war had been in progress since 43 1 B c , but by the spring of 42 1 peace was imminent. Thucydides analyses the reasons (5. 14-1 7). The Athenians, who had been confident of total victory after their success at Pylos in 425, then suffered defeats at Delion in 424 and at Amphipolis in 42 2 . So they were now less sure that they could win the war and began to think it would be better to make terms with Sparta, for fear that the allied cities in their Empire might revolt and join forces with Sparta against them. The Spartans, for their part, had suffered an unexpected disaster at Pylos and were afraid of a possible revolt by the helots. They were also aware that their thirty-year treaty with Argos was about to run out, and did not relish the prospect of fighting Athens and Argos simultaneously.
Women at the Thesmophoria
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
Women at the Thesmophoria, in Greek Thesmophoriazousai, is one of the least political plays, even though it was produced at a time of political upheaval and uncertainty. In the summer of 41 1 unrest and dissatisfaction with the conduct of the war against Sparta led to a revolution in which democracy was abandoned. For a few months it was replaced by the oppressive regime of the Four Hundred, and then by the more moderate one of Five Thousand; the traditional democratic constitution was restored in 41 o. It is not absolutely certain at what date in this period Women at the Thesmophoria was performed. No hypothesis or scholium gives the date. Some scholars have assigned it to 41 o, in the time of the Five Thousand, but it is now generally agreed that it belongs to the Dionysia of 411. It refers (804) to the defeat of an Athenian naval force commanded by Kharminos, which occurred in the winter of 41 2 / 11, but not to anything which can certainly be dated later; a comment about Councillors handing over their function (8o8-9) probably refers not to the establishment of the Four Hundred in the summer of 4 1 1 , but simply to the Council’s annual change of membership. It also refers (1060) to Euripides’ Andromeda as having been performed ‘last year’, and a scholiast (on Frogs 53) says that Andromeda was produced in the eighth year before Frogs; reckoned inclusively, the eighth year before 406 / S is 41 3 / 1 2.
Politics in the era of Depretis and Crispi, 1870–96
Authors: Duggan Christopher 
Published: November 2023

Abstract
On 20 September 1870 Italian troops breached the walls of Rome and entered the Eternal City. It was hardly a very glorious affair. There was some fighting; and there were casualties; but it was not the heroic inauguration of the Third Rome-the Rome of ‘the people’ and of the ‘national principle’-that Mazzini and his followers had dreamed of. There was no popular rising in the city; and no great feat of arms on the battlefield. Indeed it was only because the French emperor, Napoleon III, had had to withdraw his garrison of troops from the city earlier in the summer with the outbreak of the Franco-Prussian war, and then been roundly defeated and forced to abdicate after Sedan, that the Italian government had felt able to risk taking Rome at all.