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Shakespeare's Plays and Their Authorship, Dating, and Historical Context

Explore the scholarly debates and historical analysis surrounding the authorship and dating of Shakespeare's plays, including 'Pericles, Prince of Tyre', 'Coriolanus', 'The Winter's Tale', 'Cymbeline', 'The Tempest', the lost play 'Cardenio', and 'Henry VIII'. Discover insights into the collaborative nature of some works, the influence of contemporary events on their composition, and the performance history that sheds light on Shakespeare's era.

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1

Inclusion of 'Pericles' in Folios

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'Pericles' absent in First Folio, included in Third with canonical/apocryphal plays, raising authorship doubts.

2

Stylistic division of 'Pericles'

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Wilkins likely wrote scenes 1-9, Shakespeare scenes 10-22, based on stylistic analysis.

3

Wilkins's prose work link

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Similarities between 'Pericles' and Wilkins's 'The Painful Adventures' suggest his involvement.

4

Scholarly debate on text inconsistencies

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Delvecchio/Hammond see text flaws as transmission errors; Vickers/Jackson argue for Wilkins's co-authorship.

5

The drama 'Coriolanus' was first officially recorded in the ______ in ______.

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Stationers' Register 1623

6

The content of 'Coriolanus' includes mentions of the ______ and the severe winter spanning ______.

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Midlands corn riots 1607-08

7

The play's design implies it was crafted for the ______, which was obtained by the ______ in ______.

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indoor Blackfriars Theatre King's Men 1608

8

Experts like R. B. Parker and Lee Bliss have dated 'Coriolanus' to around ______, with Bliss suggesting it might have debuted at the ______.

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1608-1609 Blackfriars Theatre

9

The play 'Cymbeline' shares themes and language with '______,' hinting at a similar time of creation.

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Philaster

10

'Cymbeline' was likely penned for performance at the ______, which began to be used by Shakespeare's troupe in ______.

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Blackfriars Theatre 1608

11

The estimated time of 'Cymbeline's' composition is endorsed by the ______ edition by Roger Warren and the ______ edition by Martin Butler.

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Oxford Shakespeare New Cambridge Shakespeare

12

First recorded performance of 'The Tempest'

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Whitehall Palace on November 1, 1611.

13

Stylistic placement of 'The Tempest' in Shakespeare's works

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Written after 'Coriolanus,' 'The Winter's Tale,' and 'Cymbeline'.

14

The lost play '______' is believed to be the work of Shakespeare and John Fletcher, as noted in a publication by Humphrey Moseley in ______.

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Cardenio 1653

15

Lewis Theobald's adaptation of the play, known as '______,' was released in ______.

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Double Falsehood 1727

16

Evidence of the play's connection to the ______ is a payment record for a 1613 performance of '______.'

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King's Men Cardenno

17

The legitimacy of Theobald's assertion of using Shakespearean scripts is contested, with scholars like ______ endorsing the attribution, while others, including ______, are doubtful.

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Gary Taylor E. K. Chambers

18

Historical context of 'Henry VIII'

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Reflects early 17th-century England's political/cultural milieu.

19

Play's insight contribution

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Offers perspective on English history's events/figures.

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The Authorship and Composition of "Pericles, Prince of Tyre"

The authorship of "Pericles, Prince of Tyre" is a matter of scholarly debate, as the play was not included in the First Folio of Shakespeare's works, leading to questions about Shakespeare's sole authorship. It was later included in the Third Folio, which contained both canonical and apocryphal plays, adding to the uncertainty. Current scholarship generally supports the idea of a collaborative effort between William Shakespeare and George Wilkins. Stylistic analysis suggests that Wilkins likely wrote the first nine scenes, while Shakespeare is thought to have penned scenes 10 through 22. This division is corroborated by similarities between the play and Wilkins's prose work, "The Painful Adventures of Pericles Prince of Tyre." While some scholars, such as Doreen Delvecchio and Anthony Hammond, have attributed inconsistencies in the text to flawed transmission rather than co-authorship, their views are contested by others, including Brian Vickers and MacDonald P. Jackson, who advocate for Wilkins's significant contribution to the play.
Scene from an Elizabethan theater with wooden stage and trap door, carved balcony and empty benches, soft lighting from above.

The Dating and Performance History of "Coriolanus"

The play "Coriolanus" has a complex history of publication and performance. It was first recorded in the Stationers' Register in 1623 and is believed to have been written between 1605 and 1609. The play's content, including references to events like the Midlands corn riots and the harsh winter of 1607-08, helps narrow down the dating. The structure of "Coriolanus" suggests it was intended for the indoor Blackfriars Theatre, which the King's Men acquired in 1608. Scholars such as R. B. Parker and Lee Bliss have dated the play to approximately 1608-1609, with Bliss proposing that it may have been the inaugural production of the King's Men at the Blackfriars Theatre.

Chronological Placement of "The Winter's Tale"

Dating "The Winter's Tale" is challenging due to the absence of direct contemporary references. However, an account by Simon Forman documents a performance at the Globe Theatre in 1611. Stylistic analysis, including the use of rare words, places the play's composition near that of "Measure for Measure" and "Pericles," and in close proximity to "The Tempest." John Pitcher, editor of the Arden Shakespeare edition, suggests a composition date of late 1610 to early 1611, positioning "The Winter's Tale" after "Coriolanus" but before "Cymbeline" and "The Tempest" in the chronology of Shakespeare's works.

Connections and Dating of "Cymbeline"

"Cymbeline" exhibits thematic and linguistic similarities with "Philaster," a play by Beaumont and Fletcher, indicating a contemporaneous period of composition. The play's design elements suggest it was written for the Blackfriars Theatre, which Shakespeare's company began using in 1608. References to Thomas Heywood's "The Golden Age" and the political context of Prince Henry's investiture in 1610 provide additional evidence for dating "Cymbeline" to around 1610. Both Roger Warren's Oxford Shakespeare edition and Martin Butler's New Cambridge Shakespeare edition support this timeframe for the play's creation.

The Composition and Sources of "The Tempest"

"The Tempest" is generally dated to between September 1610 and October 1611, with a recorded performance at Whitehall Palace on November 1, 1611. The narrative draws inspiration from the 1609 shipwreck of the Sea Venture and subsequent accounts, particularly William Strachey's "A True Reportory." Stylistic analyses align "The Tempest" with Shakespeare's later works, suggesting it was written after "Coriolanus," "The Winter's Tale," and "Cymbeline."

The Lost Play "Cardenio" and Its Attribution to Shakespeare

"Cardenio" is a lost play that has been attributed to Shakespeare and John Fletcher in a 1653 publication by Humphrey Moseley and in Lewis Theobald's 1727 adaptation titled "Double Falsehood." The play's association with the King's Men is confirmed by a 1613 court payment for a performance of "Cardenno." The dating of "Cardenio" is informed by its source material, Cervantes's "Don Quixote," which was first translated into English in 1612. The authenticity of Theobald's claim to have used Shakespearean manuscripts is debated among scholars, with some, like Gary Taylor, supporting the attribution to Shakespeare and Fletcher, while others, such as E. K. Chambers, remain skeptical.

Historical Context and Dating of "Henry VIII"

"Henry VIII" is believed to be a collaborative work between Shakespeare and Fletcher, likely composed between 1612 and 1613. The play's content reflects the historical and political milieu of the era, which, along with thematic analysis, supports its dating to this period. The play's portrayal of events and figures from English history provides insight into the political and cultural context of early 17th-century England.