Studies in Shakespeare, Bibliography, and Theatre

Front Cover
Associated University Presses, 1990 - Literary Criticism - 417 pages
This volume is designed to pay homage to the scholarship of James G. McManaway, and at the same time to make the best of that scholarship available to a wider audience. Twenty-one essays testify to the distinguished career of this editor, scholar, and teacher. Illustrated.

From inside the book


Philip Massinger and the Restoration Drama 1934
Further Textual Notes 1938
The Lost Canto of Gondibert 1940
Latin TitlePage Mottoes as a Clue to Dramatic Authorship 1945
The Cancel in the Quarto of 2 Henry IV 1946
The First Five Bookes of Ovids Metamorphosis 1621 Englished by Master George Sandys 1948
The Two Earliest Prompt Books of Hamlet 1949
King James Takes A Collection 1951
The Authorship of Shakespeare 1962
Notes on Act V of Antony and Cleopatra 1962
Notes on Two PreRestoration Stage Curtains 1962
Richard II at Covent Garden 1964
Shakespeare in the United States 1964
Excerpta quaedam per AW adolescentem 1967
John Shakespeares Spiritual Testament 1967

Songs and Masques in The Tempest 1953
The Colophon of the Second Folio of Shakespeare 1954
A Miscalculation in the Printing of the Third Folio 1954
Elizabeth Essex and James 1959
Textual Studies 194865 1948
A List of the Published Writings of James G McManaway

Common terms and phrases

Popular passages

Page 203 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul, All the images of Nature were still present to him, and he drew them, not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too.
Page 185 - I am as sorry as if the original fault had been my fault, because myself have seen his demeanour no less civil than he excellent in the quality he professes: besides, divers of worship have reported his uprightness of dealing which argues his honesty, and his facetious grace in writing, that approves his art.
Page 208 - Yet must I not give Nature all : thy art, My gentle Shakespeare, must enjoy a part, For though the poet's matter Nature be, His art doth give the fashion, and that he Who casts to write a living line must sweat (Such as thine are) and strike the second heat Upon the Muses...
Page 147 - Come unto these yellow sands, And then take hands: Courtsied when you have and kiss'd The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark! Burthen [dispersedly, within The watch-dogs bark! Burthen Bow-wow Hark, hark! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow. FERDINAND Where should this music be? i
Page 115 - In the corrupted currents of this world Offence's gilded hand may shove by justice, And oft 'tis seen the wicked prize itself Buys out the law: but 'tis not so above; There is no shuffling, there the action lies In his true nature, and we ourselves compell'd Even to the teeth and forehead of our faults To give in evidence.
Page 191 - Soul of the age! The applause, delight, the wonder of our stage! My Shakespeare, rise! I will not lodge thee by Chaucer, or Spenser, or bid Beaumont lie A little further, to make thee a room: Thou art a monument without a tomb, And art alive still while thy book doth live And we have wits to read and praise to give.
Page 179 - God, that men should put an enemy in their mouths, to steal away their brains ! that we should, with joy, revel, pleasure, and applause, transform ourselves into beasts ! lago.
Page 191 - Renowned Spenser, lie a thought more nigh To learned Chaucer ; and, rare Beaumont, lie A little nearer Spenser ; to make room For Shakespeare in your threefold fourfold tomb...
Page xv - MLN Modern Language Notes MLQ Modern Language Quarterly MLR Modern Language Review MP Modern Philology...

Bibliographic information