George Chapman (1) (–1634)
Autore di Bussy D'Ambois
Per altri autori con il nome George Chapman, vedi la pagina di disambiguazione.
Sull'Autore
George Chapman had a reputation in his own time for being a learned writer. On the payroll of the Elizabethan impresario, Philip Henslowe, he wrote for the Admiral's Men and was imprisoned with Ben Jonson for supposedly seditious theater. He translated the Iliad and Odyssey of Homer and completed mostra altro Hero and Leander by Christopher Marlowe. Chapman's works are full of humanist scholarship from classical sources, while his tragedies are mostly based on contemporary French history. In Bussy d'Ambois (1607), the best known of this series, the hero is the aspiring, stoic man who is doomed to extinction in a crass world. Chapman's comedies, which are much more lighthearted, experiment in the comedy of "humours" that Jonson was to perfect. The plays are mostly written for the boy companies. (Bowker Author Biography) mostra meno
Fonte dell'immagine: wikipedia
Opere di George Chapman
The Roaring Girl and Other City Comedies [The Shoemaker's Holiday, Every Man In His Humour, Eastward Ho!] (Oxford… (2001) 87 copie
May-day, a comedie 3 copie
Poems and minor translations 3 copie
The Tragedies of George Chapman 3 copie
The warres of Pompey and Caesar 2 copie
Homer, 2 vols. 2 copie
Homer's Odyssey, 2 vols. 2 copie
Mermaid Series (14 vols) 2 copie
Homer's Hymns and Epigrams 2 copie
The Iliad 1 copia
Old city manners : a comedy 1 copia
Hero and Leander and Other Poems 1 copia
The Battle of the Frogs and Mice 1 copia
Dramatic Works vol 3 1 copia
Regents Renaissance Drama 1 copia
Charlemagne; or, The distracted emperor — Attributed author — 1 copia
Monsieur d'Olive, a comedie 1 copia
Comedies, Tragedies, Poems 1 copia
Opere correlate
Four Revenge Tragedies: The Spanish Tragedy; The Revenger's Tragedy; The Revenge of Bussy D'Ambois; and The Atheist's… (1995) — Collaboratore — 193 copie
Court Masques: Jacobean and Caroline Entertainments, 1605-1640 (World's Classics) (1995) — Autore, alcune edizioni — 66 copie
Chapman's Homeric Hymns and Other Homerica (Bollingen) (2008) — Traduttore, alcune edizioni — 23 copie
The bloody brother : a tragedy, by John Fletcher and Nathan Field (circa 1616-17) and refurbished by Phillip Massinger… (1948) — attributed author, alcune edizioni — 7 copie
Alphonsus, emperor of Germany, reprinted in facsimile from the edition of 1654 — attributed author, alcune edizioni — 3 copie
Robert Chester's "Loves martyr, or, Rosalins complaint" : (1601) with its supplement, "Diverse poeticall essaies"… — Collaboratore — 3 copie
The Ancient British drama, in three volumes — Collaboratore — 2 copie
The Iliad (Chapman v. 1) — Traduttore — 1 copia
The Iliad (Chapman - V. 2) — Traduttore — 1 copia
The Odyssey (Chapman - v. 2) — Traduttore — 1 copia
The Odysseys of Homer Translated According to the Greek, By George Chapman Volumes II (1897) — Traduttore, alcune edizioni — 1 copia
Works Of George Chapman; Homer's Iliad And Odyssey Volume 3 (1875) — Traduttore, alcune edizioni — 1 copia
Etichette
Informazioni generali
- Data di nascita
- 1559 (circa)
- Data di morte
- 1634-05-12
- Sesso
- male
- Nazionalità
- England
- Luogo di nascita
- Hitchin, Hertfordshire, England
- Luogo di morte
- London, England
- Luogo di residenza
- Hitchin, Hertfordshire, England
London, England - Istruzione
- Oxford University
- Attività lavorative
- poet
dramatist
translator
Utenti
Discussioni
Iliad by George Chapman in Ancient History (Dicembre 2016)
Recensioni
Liste
Potrebbero anche piacerti
Autori correlati
Statistiche
- Opere
- 48
- Opere correlate
- 23
- Utenti
- 446
- Popolarità
- #54,979
- Voto
- 4.0
- Recensioni
- 3
- ISBN
- 83
- Lingue
- 2
The real-life Frith was charged with theft and a host of notoriously male behaviors - drunkenness, swearing, dueling, swaggering, and cross-dressing. Middleton and Dekker's Moll affects some of those behaviors but is presented sympathetically as an outspoken free-thinker transcending the rigid constraints of her class and gender. Such froward behavior attracts some undesired admirers to this "maddest, fantastical'st girl" (2.1.192) for her "heroic spirit and masculine womanhood" (2.1.336-7), but much of the play rehearses the knee-jerk attacks on one who "strays so from her kind [that] Nature repents she made her" (1.2.214-5). Her non-binary gender presentation is at the heart of her offense: "It is a thing One knows not how to name; . . . 'Tis woman more than man, Man more than woman, and . . . The sun gives her two shadows to one shape" (1.2.129-33). The fact that such attacks come from the play's senex, Sir Alexander Wengrave, who blocks a heterosexual pair of true lovers from wedded bliss, makes clear where the plot's sympathies rest.
The play offers Moll several memorable bits of stage business. Twice in act 3 when in male garb she draws her weapon to engage with and defeat male opponents. Then act 4 finds her placing a viol da gamba between her trousered legs to perform two songs about transgressive wives, and in act 5 she engages in a bout of "canting," a slang duel that ends with yet another song.
Her verbal climax comes earlier, in an articulate attack on a would-be seducer, the poorly endowed Laxton (lacks stone): "Thou'rt one of those That thinks each woman thy fond flexible whore. . . . What durst move you, sir, To think me whorish? . . . "Cause, you'll say, I'm given to sport, I'm often merry, jest? Had mirth no kindred in the world but lust? . . . I scorn to prostitute myself to a man, I that can prostitute a man to me. . . she that has wit and spirit May scorn to live beholding to her body for meat Or for apparel . . . Base is the mind that kneels unto her body . . . My spirit shall be mistress of this house As long as I have time in't" (3.1.72-140).
Though Moll is the play's featured character, her part in the love-plot is relatively small. It is mostly limited to unmasking plotters and dodging entrapment while allying with the young lover Sebastian Wengrave to cozen his father and marry his true love Mary (about whom the roaring girl says "I pitied her for name's sake, that a Moll Should be so crossed in love" (4.1.68-9). Much of the play is taken up with the misadventures of two city gallants, whose attempts to "wap, niggle and fadoodle" (5.1.189-95) with two housewives and bamboozle their husbands are thwarted by the wives themselves (as in Shakespeare's Merry Wives).
In the end, though this city comedy flirts with transgression at every turn, it ends up affirming heterosexual marriage and wifely wiles. Sir Alexander the senex apologizes for his errors and praises Moll as "a good wench" and the foxy housewives as "kind gentlewomen, whose sparkling presence Are glories set in marriage" (5.2.268-9). Perhaps the chief roarer speaks for her sisters as well as herself when she proclaims, "I please myself, and care not else who loves me" (5.1.332).… (altro)