Titlebook: English Historical Drama, 1500-1660; Forms Outside the Ca Teresa Grant (Associate Professor, Director of Gra Book 2008 Palgrave Macmillan,

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2634-5919 collection of essays explores other historical drama between 1500 and 1660, covering a wide range of different formats. An introduction provides a survey of current criticism, exploring both early modern and contemporary definitions of the ‘history play‘. Individual essays in chronological order dis

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https://doi.org/10.1057/9780230119024formed, well-connected observers such as England’s ambassador to Constantinople, Sir Thomas Roe, and pamphleteers anticipated there would be a lively appetite for this news; the title of one London pamphlet proclaims:

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2634-5919 cuss a wide variety of possible sources for historical drama, ranging from oral traditions to chronicles. They also explore genres outside the canon which think of ‘history‘ in different ways, such as shows, moralities and closet drama.978-1-349-52503-4978-0-230-59326-8Series ISSN 2634-5919 Series E-ISSN 2634-5927

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The Stage Historicizes the Turk: Convention and Contradiction in the Turkish History Play,formed, well-connected observers such as England’s ambassador to Constantinople, Sir Thomas Roe, and pamphleteers anticipated there would be a lively appetite for this news; the title of one London pamphlet proclaims:

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Book 2008 of essays explores other historical drama between 1500 and 1660, covering a wide range of different formats. An introduction provides a survey of current criticism, exploring both early modern and contemporary definitions of the ‘history play‘. Individual essays in chronological order discuss a wid

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Sarah Maddison,Tom Clark,Ravi de Costan creating the need to conceive of the history play as a genre, distribute plays into the categories of history and tragedy in ways that raise almost as many questions as they answer. Samuel Johnson in 1765 expressed the opinion that ‘the players who in their edition [the First Folio] divided our au

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https://doi.org/10.1007/978-3-031-69545-2 citizen dramatists were working to a different remit from those historians, such as William Camden, more nearly concerned with the Jacobean court.. Not only did their dramatizations need to work as plays, but they were also going to be played in front of a London audience notable for its strong Pro