Malone Society - Böcker

This edition of The Trial of Treasure will be a photographic facsimile of one of the five extant copies of this apparently anonymous play which was printed in 1567 by Thomas Purfoote. It will reproduce the copy at the Harry Ransome Library, Austin, Texas which has an anomaly in the printing not found in the other copies. In considering typographical characteristics of the text the Introduction discusses the place of this play in Purfoote’s extensive output. It also addresses the relationship with William Wager’s Enough is as Good as a Feast with which it shares some seventy lines, and considers the possibility of common authorship. The text is rich in stage directions and aspects of performance are discussed including the doubling scheme for five players and the role of the Vice which is exemplified here.

The Humorous Magistrate is a seventeenth-century satiric comedy extant in two highly distinctive manuscripts. This, the earliest and clearly working draft of the play is bound with three other plays (including The Emperor’s Favourite, published by the Malone Society in 2010) in a volume in the library of the Newdigate family of Arbury Hall, Nuneaton, Warwickshire. The second version, showing yet another stage of revision not found in the Arbury manuscript and orientated towards performance, was purchased by the University of Calgary from the English antiquarian Edgar Osborne in 1972. The relationship between the manuscripts was discovered in 2005. The anonymous play has been attributed to John Newdigate III (1600-1642). Like The Emperor’s Favourite, it takes aim at the court; its particular object of satire is governmental strategies under the Personal Rule of Charles I. The play appears in print for the first time in these separate editions. The volumes are illustrated with several plates, some provided for comparative purposes.

The Humorous Magistrate is a seventeenth-century satiric comedy extant in two highly distinctive manuscripts. The earliest and clearly working draft of the play is bound with three other plays (including The Emperor’s Favourite, published by the Malone Society in 2010) in a volume in the library of the Newdigate family of Arbury Hall, Nuneaton, Warwickshire. This, the second version, showing yet another stage of revision not found in the Arbury manuscript and orientated towards performance, was purchased by the University of Calgary from the English antiquarian Edgar Osborne in 1972. The relationship between the manuscripts was discovered in 2005. The anonymous play has been attributed to John Newdigate III (1600-1642). Like The Emperor’s Favourite, it takes aim at the court; its particular object of satire is governmental strategies under the Personal Rule of Charles I. The play appears in print for the first time in these separate editions. The volumes are illustrated with several plates, some provided for comparative purposes.

This volume is a photographic facsimile from the copy of the play by George Wapull in the Harry Ransom Centre.It was originally printed in 1576 by Hugh Jackson, and is one of only five extant copies. The introduction discusses the place of this play in Jackson’s output, including two other interludes printed by him shortly afterwards. Besides compositorial practice and some irregularities, it addresses the identity of the author, historical detail about the surviving copies, and the editorial contribution of John Payne Collier. The text is rich in stage directions and aspects of performance are discussed including the doubling scheme for four players and the active role of the Vice. The play was written at a time when interludes designed for small acting troupes were popular and exhibited remarkable theatrical expertise. The intellectual context is considered, and in particular the place of this play among the considerable number of surviving interludes from London which focus upon wealth and its abuses and other matters of economic importance at the time.

This edition of Two lamentable tragedies, a quarto printed in 1601 by Richard Read for Matthew Law, and ascribed on the title-page to Robert Yarington, is the first to be published since 1913. It offers a photographic facsimile of the copy in the British Library (C.34.e.23), one of only five to have survived. The play combines a plot based on a real-life London murder case of 1594 with one deriving from an Italian tale of an evil father and his son. The introduction contains an up-to-date consideration of many aspects of the text, including a detailed bibliographical analysis of types, page dimensions, headlines, watermarks and paper; an analysis of compositorial divisions, and of a range of books printed and published by Read and Law; and the nature of the copy-text, which can be deduced from the visualised stage directions and other indications of imaginative staging. There has long been controversy surrounding the authorship of the play, and a full discussion of the issues is provided, including possible identifications of Yarington in contemporary documents, and the question of collaboration. The volume will be essential reading for students of Renaissance drama, book history, and bibliography.

Soliman and Perseda, written c. 1588 and first published in 1592 or 1593, is a late Elizabethan romantic tragedy by Thomas Kyd, author of The Spanish Tragedy. It dramatises the triangular relationship of the Turkish emperor Soliman, his captive Perseda and her beloved Erastus, and the fortunes of the comic servant Piston and the braggart knight Basilisco, against the fictionalised backdrop of the Turkish invasion of Rhodes in the early sixteenth century. The introduction to this facsimile edition contains the fullest analysis of the text to date. It also provides an account of the play's editorial history, a detailed analysis of its original printing, and lists of all erroneous readings in the first quarto, together with significant differences between the first and second quartos. This edition provides the best access we have to an important play by one of Shakespeare's leading early contemporaries.

Collections XVII is the latest volume in the Malone Society’s pioneering series of editions of miscellaneous documents relating to English theatre and drama before 1642. It is likely to be of special interest not only to early theatre historians but to those working on Tudor and Stuart court and civic culture, manuscript writing, household drama and early modern women’s writing, as it publishes new material in each of these fields. The book includes items such as Revels Office accounts, a playscript fragment, entertainments, poems and civic shows. Many of these documents are previously unpublished, and have been freshly edited and transcribed; each has an introduction giving details of its date, authorship and historical importance. The volume will be essential reading for postgraduates and university teachers in early modern drama, theatre history and women’s writing.

Thomas May's The Tragedy of Antigone (1631), edited by Matteo Pangallo, is the first English treatment of the story made famous by Sophocles. This edition contains a facsimile of the copy held at the Beinecke Library of Yale University, making the play commercially available for the first time since its original publication. The extensive introduction discusses, among other things, the ownership history of existing copies and their marginal annotations, and of the play's topical political implications in the light of May's wavering between royalist and republican sympathies. Writing during the contentious early years of Charles I's reign, May used Sophocles' Antigone to explore the problems of just rule and justified rebellion. He also went beyond the scope of the original, adding content from a wide range of other classical and contemporary plays, poems and other sources, including Shakespeare's Romeo and Juliet and Macbeth. This volume will be essential reading for advanced students, researchers and teachers of early English drama and seventeenth-century political history.

The Twice-Chang’d Friar is one of four early seventeenth-century plays preserved in a manuscript miscellany in the library of the Newdigate family of Arbury Hall, Nuneaton (Arbury Hall MS A414). The play, which appears to have been written by family member and drama lover John Newdigate III, is thought to be unique to this manuscript. This edition makes the play available in print for the first time. The Twice Chang’d Friar is an Italianate city comedy based on a tale from Boccaccio’s Decameron. It tells the story of Albert, a friar who seduces Lisetta, a beautiful Venetian merchant’s wife by persuading her that he is the incarnation of Cupid. Albert’s plot is eventually uncovered by Lisetta’s brothers, whom he escapes by disguising himself in a bear’s skin. The play is a fascinating example of an amateur manuscript drama, of interest to all scholars and students of early modern drama.

This is an edition of Christopher Marlowe’s play Dr Faustus as it was printed in its revised and augmented form in 1616. It follows the publication of the Malone Society edition of the 1604 text in 2018. This is one of the most celebrated of all Elizabethan plays, famous for its treatment of the damnation of Faustus and his struggles with his divided conscience. It combines spectacular visual effects with sophisticated theological discussion.The edition reproduces in facsimile the only surviving copy of the play, which is held in the British Library. The differences from the 1604 text, including revisions and additional passages, are fully described and analysed, and placed in the context of changing theatre practices at the time. A major feature of the edition is that it identifies the printer of the 1616 text, whose name has been hitherto unknown.

This is an edition of Christopher Marlowe’s play Dr Faustus as it was first printed in 1604. This is one of the most celebrated of all Elizabethan plays, famous for its treatment of the damnation of Faustus and his struggles with his divided conscience. It combines spectacular visual effects with sophisticated theological discussion. The edition reproduces the only surviving copy, held in the Bodelian Library, Oxford, in photofacsimile. The introduction offers up-to-date analysis of the authorship, sources, staging and printing of the play. The edition will be invaluable for advanced students and established scholars working on Marlowe, Elizabethan drama generally, demonology, and early modern book production.An edition of the revised text of 1616 will be published by the Malone Society in early 2019.

Of all the tales to be found in Boccaccio’s Decameron, the tragic story of King Tancred’s efforts to frustrate the love of his daughter Gismond for Guiscardo, was probably the best known and most popular in Renaissance England. This Collections volume brings together the earliest texts of the first and last pre-1642 plays to deal with the lovers’ story: the Inner Temple tragedy, Gismond of Salern (1568), and a much-revised play probably by amateur Warwickshire dramatist John Newdigate (1620s). It presents the first modern transcription of the Hargrave MS of Gismond of Salern and the first ever printed edition of Newdigate’s untitled play, here named Glausamond and Fidelia. Together, the plays offer fresh proof of the important influence of Boccaccio, and Italian literature on English Renaissance drama. They are also fascinating examples of the period’s amateur drama, of interest to all scholars and students of early modern English theatre.

This Malone Society edition of Barnabe Barnes’s The Devil’s Charter (1607) is intended to supplement the important edition, published in 1904, of the play by R.B. McKerrow, the great editor of the works of Thomas Nashe. The new edition is based on a fresh examination of the twenty-three known copies of the quarto, which exhibit marked differences in relation to stop-press correction. The Introduction considers the play’s printing history, its date and authorship, its performance, and later history. Particular attention is paid to the possibility that Robert Armin had a hand in several scenes in the play and to how Barnes’s play may have come to be acted before King James I. Barnes is shown to have been familiar with Shakespeare’s plays and, in particular, to have borrowed elements from Macbeth, Antony and Cleopatra, and All’s Well that Ends Well.

The Aphrodysial is one of six plays written by William Percy (c. 1570-1648), brother of the Ninth Earl of Northumberland (1564-1632). This edition reproduces the copy of the text preserved in Huntington Library MS HM4, with a substantial collation of variants between it and the other extant version preserved in Alnwick Castle Library MS 509.This ‘Marinall’ is set at the underwater court of Oceanus. The action is concerned with piscatory and amatory pursuits that take place during Cytheræa’s Aphrodysial feast-day. The play offers a retelling of the Hero and Leander story, Jupiter and Neptune’s quest for Thetis’s lost magic bracelet, and the comical attempts of some fishermen, led by Proteus, to capture a talking whale. The play is notable for its extensive stage directions, which envisage performance by boy actors and adult actors respectively.