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Watch The Maze Runner Full Movie Online Free Streaming HD Click here: Watch Now! <---To Watch The Maze Runner Full Movie Online Free Streaming HD Info about The Maze Runner Modern Complete Works There are six major modern scholarly editions of the Complete Works of Shakespeare: The Riverside Shakespeare (edited by G. Blakemore Evans in 1974, with a second edition in 1996), The Oxford Shakespeare: The Complete Works (edited by Stanley Wells, Gary Taylor, John Jowett and William Montgomery in 1986, with a second edition in 2005), The Norton Shakespeare: Based on the Oxford Edition (edited by Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Haus in 1997, with a second edition in 2008), The Arden Shakespeare: Complete Works (edited by Richard Proudfoot, Ann Thompson and David Scott Kastan in 1998, with a second edition in 2002 and a third in 2011), The Complete Pelican Shakespeare (edited by Stephen Orgel and A. R. Braunmuller in 2002), and The RSC Shakespeare: Complete Works (edited by Jonathan Bate and Eric Rasmussen in 2007). Additionally, as with Oxford, Arden, Pelican and the RSC, the New Cambridge Shakespeare, the New Penguin Shakespeare, the Signet Classic Shakespeare, the Dover Wilson Shakespeare, the Shakespeare Folios and the Folger Shakespeare Library all publish scholarly editions of individual plays, although none have issued a complete works volume. Arden presents the plays alphabetically without any attempt to construct an overall chronology. Oxford, Riverside, Norton and RSC all present chronologies which differ from one another and which attempt to construct only approximate dating. The following list adopts the Oxford Shakespeare chronology, although none of the major chronologies has any real authority over any of the others. Chronology The Two Gentlemen of Verona (1589Â–1591) Extract from Francis Meres' Palladis Tamia (1598), which makes reference to twelve of Shakespeare's plays. First official record: in Francis Meres' Palladis Tamia (1598), referred to as "Getleme of Verona." First published: First Folio (1623). First recorded performance: an adaptation by Benjamin Victor was performed at Drury Lane in 1762. The earliest known performance of the straight Shakespearean text was at Covent Garden on 15 April 1784, although because of the reference to the play in Palladis Tamia, we know it was definitely performed in Shakespeare's lifetime.
Evidence: Stanley Wells argues that the play's "dramatic structure is comparatively unambitious, and while some of its scenes are expertly constructed, those involving more than, at the most, four characters betray an uncertainty of technique suggestive of inexperience." As such, the play is considered one of the first Shakespeare composed upon arriving in London c.1590, at which point he would have lacked theatrical experience. Furthermore, the discussion between Launce and Speed regarding the vices and virtues of Launce's mistress (3.1.276-359) seems to borrow from John Lyly's Midas, which was written in late 1588 and/or early 1589, thus fixing a terminus post quem for the play. This situates the date of composition as somewhere between 1589 and 1591, by which time it is known Shakespeare was working on the Henry VI plays. In his 2008 edition of the play for the Oxford Shakespeare, Roger Warren, following E.A.J. Honigmann, suggests Shakespeare may have written the play prior to his arrival in London, possibly as early as 1587, although he acknowledges this theory is purely speculative. The Taming of the Shrew (1590Â–1591) 1596 second quarto of A Shrew First official record: possible version of the play entered into Stationers' Register by Peter Short on 2 May 1594 as "a booke intituled A plesant Conceyted historie called the Tayminge of a Shrowe." First record of the play as it exists today is found in the First Folio (1623). First published: possible version of the play published in quarto in 1594 as A Pleasant Conceited Historie, called The taming of a Shrew (printed by Peter Short for Cuthbert Burby). This text was republished in 1596 (again by Short for Burby) and 1607 (by Valentine Simmes for Nicholas Ling). The play as it exists today was first published in the First Folio as The Taming of the Shrew.
Additional information (publication): there is a general lack of scholarly agreement regarding the exact relationship between the 1594 A Shrew and the 1623 The Shrew. Originally, A Shrew was seen as a non-Shakespearean source for The Shrew, meaning The Shrew must have been completed sometime after 2 May 1594. This remained the predominant theory until 1850, when Samuel Hickson suggested that A Shrew was in some way derived from The Shrew. Peter Alexander developed Hickson's work into his reported text/bad quarto theory, which necessitates that The Shrew must have been written prior to 2 May 1594. However, there are other theories about the relationship between the texts. In 1942, R.A. Houk posited the "Ur-Shrew" theory, suggesting that the plays are two completely unrelated texts by different authors based on the same (now lost) source. In 1943, G.I. Duthie refined this theory, suggesting that A Shrew was a reported text of an early draft of The Shrew. In his 1998 edition of A Shrew for the New Cambridge Shakespeare: The Early Quartos series, Stephen Roy Miller suggested A Shrew was an adaptation of The Shrew written by someone other than Shakespeare. Critics remain divided on this issue. First recorded performance: according to Philip Henslowe's diary, a play called The Tamynge of A Shrowe was performed at Newington Butts on 13 June 1594. This could have been either the 1594 A Shrew or the Shakespearean The Shrew, but as the Admiral's Men and the Lord Chamberlain's Men, Shakespeare's own company, were sharing the theatre at the time, and as such Shakespeare himself would have been there, scholars tend to assume it was The Shrew. The Shakespearean version was definitely performed at court before Charles I and Henrietta Maria on 26 November 1633,
where it was described as "likt."
Evidence: a terminus ante quem for A Shrew would seem to be August 1592; a stage direction at 3.21 mentions "Simon," which probably refers to the actor Simon Jewell, who was buried on 21 August 1592. The Shrew must have been written earlier than 1593, as Anthony Chute's Beauty Dishonoured, written under the title of Shore's wife (published in June 1593) contains the line "He calls his Kate, and she must come and kiss him." This must refer to The Shrew, as there is no corresponding "kissing scene" in A Shrew. There are also verbal similarities between both Shrew plays and the anonymous play A Knack to Know a Knave (first performed in June 1592). Knack features several passages common to both A Shrew and The Shrew, but it also borrows several passages unique to The Shrew. This suggests The Shrew was on stage prior to June 1592. However, Kier Elam further narrows the terminal date of The Shrew to 1591, based on Shakespeare's probable use of two sources published that year; Abraham Ortelius' map of Italy in the fourth edition of Theatrum Orbis Terrarum and John Florio's Second Fruits. As neither Shrew play is likely to have been written any earlier than 1590, this places the likely date of composition of The Shrew as 1590-1591, with A Shrew written sometime prior to August 1592.
Henry VI, Part 2 (1591) 1594 quarto of The First part of the Contention First official record: version of the play entered into the Stationers' Register by Thomas Millington on 12 March 1594 as "a booke intituled, the firste parte of the Contention of the twoo famous houses of York and Lancaster with the deathe of the good Duke Humfrey and the banishement and Deathe of the Duke of Suffolk and the tragicall ende of the prowd Cardinall of Winchester, with the notable rebellion of Jack Cade and the Duke of Yorkes ffirste clayme unto the Crowne." First published: version of the play published in quarto in 1594 as The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinal of Winchester, with the notable Rebellion of Jack Cade: and the Duke of Yorke's first claim unto the Crowne (printed by Thomas Creede for Thomas Millington). This text was republished in 1600 (by Valentine Simmes for Millington) and in 1619. The 1619 text was printed with the 1595 octavo of Henry VI, Part 3 under the title The Whole Contention betweene the two Famous Houses, Lancaster and Yorke. With the Tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the sixt, as part of William Jaggard's "False Folio" (printed by Thomas Pavier). The 1623 Folio text of 2 Henry VI appears under the title The second Part of Henry the Sixt, with the death of the Good Duke Humfrey.
Additional information (publication): scholars are undecided as to the exact nature of the relationship between the 1594 The Contention and the 1623 2 Henry VI. There are four main theories: The Contention is a bad quarto, a reported text constructed from memory based upon a performance of 2 Henry VI; The Contention is an early draft of 2 Henry VI; The Contention is both a bad quarto and an early draft (i.e. a reported text based upon a staging of an early draft of the play); The Contention is an anonymous source for 2 Henry VI. Originally, the bad quarto theory was generally accepted by scholars. First suggested by Samuel Johnson in the original edition of The
Plays of William Shakespeare (1765), it remained the predominant theory until challenged by Edmond Malone in The Plays and Poems of William Shakespeare (1790), favouring the early draft theory. In 1929, Peter Alexander and Madeleine Doran re-established the dominance of the bad quarto theory. Scholars have continued to debate the issue since then, with no real consensus reached. The source theory, originated by Georg Gottfried Gervinus in 1849 has fallen out of favour in the twentieth and twentieth-first centuries. First recorded performance: although it is known that the play was definitely performed in Shakespeare's day, adaptations dominated the stage throughout the seventeenth and eighteenth centuries. The earliest known such adaptation was in 1681, with John Crowne's two-part play, Henry the Sixth, The First Part and The Misery of Civil War. Two more adaptations followed in 1723. The first was Humfrey Duke of Gloucester by Ambrose Philips, the second was Theophilus Cibber's King Henry VI: A Tragedy, both of which adapted scenes from 2 Henry VI. Another adaptation followed in 1817, J.H. Merivale's Richard Duke of York; or the Contention of York and Lancaster, which used material from all three Henry VI plays, but removed everything not directly related to York. The earliest known production of the Shakespearean 2 Henry VI was on 23 April 1864 at the Surrey Theatre, directed by James Anderson. Evidence: it is known that True Tragedy (i.e. 3 Henry VI) was on stage by June 1592. It is also known that True Tragedy was definitely a sequel to The Contention, meaning The Contention must also have been on stage by early 1592 at the latest. It is also thought that Henry VI, Part 1 was a new play in March 1592. If The Contention predates 1 Henry VI, the theatrical evidence would place the likely date of 2 Henry VI as 1591. Henry VI, Part 3 (1591) Source: Wikipedia_source http://facebook.com/
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