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Cowden Clarke, "Ophelia; The Rose of Elsinore," The Girlhood of Shakespeare's Heroines (Pages 216-217)
Pages 216-217. These pages depict part of Jutha’s distressed behavior during her pregnancy by the lord who will abandon her. Jutha sings some of the sad and sexual songs Ophelia will later sing in Shakespeare’s play.
Cowden Clarke, "Ophelia; The Rose of Elsinore," The Girlhood of Shakespeare's Heroines (Pages 236-237)
Pages 236-237: Ophelia’s new friend at court, Thyra, reveals her attraction to and misunderstanding of the same lord who seduced and abandoned Jutha. Cowden Clark represents the unreliability and danger of male attention in Ophelia’s world.
Dryden and Davenant, The Tempest, or the Enchanted Island (Pages 12-15)
Page 12: Charged struggles between Caliban and Prospero (above) are upstaged by focus on Prospero’s daughters’ introductions to men. Here Prospero’s added daughter, Dorinda, enters for the first time (below).
Page 13: Miranda and Dorinda reveal…
Page 13: Miranda and Dorinda reveal…
Dryden and Davenant, The Tempest, or the Enchanted Island (Pages 30-31)
Page 30: Dorinda and Hippolyto (played by a female actor) titillate and amuse the audience by their confusion as they discover sexual feeling, without knowing what it is, having been raised in isolation from society on the island.
Page 31:…
Page 31:…
Garrick, Cymbeline: A Tragedy (Page 68-69)
Excerpt from Act 5, Scenes 5-6. The italics indicate that this material was not part of the performance. They produce a reading experience focused on performance as the purpose of the text even as the text includes additional materials – perhaps like…
Godwin, The Greenwood Tree: A Portrait of William Shakespeare (Pages 104-105)
Pages 104-105: Shakespeare, Ben Jonson, and Christopher Marlowe debate the age’s potential for literary greatness at a tavern, as a happy barmaid hoists a tankard.
Godwin, The Greenwood Tree: A Portrait of William Shakespeare (Pages 128-129)
Pages 128-129: The Godwins depict Queen Elizabeth I as “absorbed” by a performance of Shakespeare’s Julius Caesar. Via Elizabeth’s perspective, they offer conventional praise of Shakespeare’s ability to inspire the audience’s identification with his…
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