By Stephen Longstaffe
I Henry IV has regularly been one among Shakespeare's most well liked performs and this serious advisor bargains a entire consultant to the wide variety of feedback at the play and its principal figures, together with Falstaff. It introduces the play's serious and function heritage, together with outstanding level productions along television, movie and radio models. It incorporates a keynote bankruptcy outlining significant parts of present study on the play and 4 new severe essays. eventually, a advisor to serious, web-based and production-related assets and an annotated bibliography supply a foundation for extra person re. Read more...
summary: I Henry IV has continually been one among Shakespeare's hottest performs and this serious consultant deals a complete consultant to the wide variety of feedback at the play and its important figures, together with Falstaff. It introduces the play's serious and function heritage, together with impressive degree productions along television, movie and radio types. It contains a keynote bankruptcy outlining significant parts of present learn at the play and 4 new severe essays. ultimately, a consultant to severe, web-based and production-related assets and an annotated bibliography offer a foundation for extra person re
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Extra info for 1 Henry IV : a critical guide
13. 125. , 1859), p. 283. 126. Palmer, The Stratford Gallery, p. 283. 127. Jean E. Howard and Phyllis Rackin, Engendering a Nation: A Feminist Account of Shakespeare’s English Histories (London: Routledge, 1997), p. 21. 128. Howard and Rackin, Engendering a Nation, p. 166. See Valerie Traub, Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London: Routledge, 1992), pp. 50–70. See also Traub, ‘Prince Hal’s Falstaff ’; Phyllis Rackin, Stages of History: Shakespeare’s English Chronicles (Ithaca, NY: Cornell University Press, 1990), pp.
66. R. J. Dorius, ‘A Little More than a Little’, Shakespeare Quarterly, 11 (1960), 13–26. 67. A. P. Rossiter, ‘Angel with Horns: The Unity of Richard III’ (1961), in Shakespeare’s Histories: An Anthology of Modern Criticism, ed. William Armstrong (London: Penguin, 1972), pp. 123–44. 68. Robert Weimann, Shakespeare and the Popular Tradition in the Theatre: Studies in the Social Dimension of Dramatic Form and Function, ed. Robert Schwartz (Baltimore, MD: John Hopkins University Press, 1978). 69. Derek Traversi, Shakespeare: From Richard II to Henry V (Stanford, CA: Stanford University Press, 1957), p.
William Armstrong (London: Penguin, 1972), pp. 29–59 (p. 48). 102. Lily B. Campbell, Shakespeare’s ‘Histories’: Mirrors of Elizabethan Policy (1947) (San Marino: The Huntington Library, 1963), p. 15. 103. Richard Simpson, ‘The Politics of Shakespeare’s Historical Plays’, The New Shakespeare Society Transactions, 1 (1874), 396–441. 104. Campbell, Shakespeare’s ‘Histories’, p. 5. 105. Alfred Hart, Shakespeare and the Homilies (London: Oxford University Press, 1934). Robert Ornstein, A Kingdom for a Stage: The Achievement of Shakespeare’s History Plays (Cambridge: Harvard University Press, 1972) also cites Elizabethan homilies as an important source of information about contemporary political attitudes.