Walter Miksch

80 matches between Arden of Faversham and Kyd

From Die Verfasserschaft des Arden of Feversham (1907), pp.1929.

1 AF 1.8 [Read them, and leave this] melancholy moode.
  S&P 3.1.152 [To drive away this] melancholy moode.
2 AF 1.16 previe meetings in the Towne.
  S&P 1.4.108 privie inquirie through the towne.
3 AF 1.99 and he usurpes it, having nought but this
  S&P 3.4.10 Your Lord usurps in all that he possesseth
4 AF 1.164 see you doo it cunningly.
  S&P 5.2.1 see you handle it cunningly.
5 AF 1.197 Arden to me was dearer then my soule.
  S&P 5.2.99 Whose life to me was dearer then mine owne.
  Sp.T 4.4.31 Erasto, dearer then my life to me.
6 AF 1.268 A weeping eye that witnesses hartes griefe
  AF 1.325 [The rancorous venome of thy] mis-swolne hart
  AF 4.19 [My] harts greefe [rends my other powers]
  S&P 3.2,15 [And here my] swolne harts greef [doth stay my tongue]
  Sp.T 3.13.119 [Then sound the burden of thy] sore harts greefe.
7 AF 1.297 Hath any other interest herein.
  S&P 2.1.202 I have some interest therein.
8 AF 1.303 you seeke to robbe me of her love.
  S&P 2.1.251 Thou didst bereave me of my dearest love.
9 AF 1.336 vengeance light on me.
  S&P 2.1.111 all vengeance light on me.
10 AF 1.374 Now will I be convinced or purge my selfe.
  S&P 2.1.255 to purge my selfe.
11 AF 1.487 how I am usde;
  AF 1.489 can he use you unkindely.
  S&P 4.1.72 use her at thy pleasure.
  Sp.T 3.10.26 Els woudst thou not have usde thy sister so.
12 AF 1.493 be it spoken in secret heere.
  S&P 5.2.56 be it spoke in secret heere.
13 AF 1.495 hard words and blowes.
  S&P 2.1.67 words and stripes.
14 AF 1.592 Did I not plead the matter hard for you.
  S&P 4.1.228 That I may plead in your affections cause.
15 AF 2.245 domineer’d with it amongst good fellowes.
  S&P 2.1.2856 dominere with the money.
16 AF 2.33 about a peece of service.
  S&P 1.4.61 a hot piece of servise.
17 AF 2.49 furrowes in his stormye browes
  S&P 1.4.136 furrowes of her clowding brow
18 AF 2.97 Plat me no platformes.
  S&P 1.3.153 Typhon me no Typhons.
19 AF 2.84 matter of great consequence.
  S&P 4.1.243 Under couler of great consequence.
20 AF 3.34 be in good health, as I Michaell was at the making heere of.
  S&P 2.256 my maister was in good health at the sending hereof.
21 AF 3.989
 
soft-metled cowardice, / With which Black Will was never tainted with
  S&P 4.1.87 Love never tainted Soliman till now.
22 AF 3.167 and you be offended, ile be gone.
  Sp.T 3.14.1256 so short? Then ile be gone.
23 AF 3.167 Then be not nice.
  S&P 1.2.23 Then be not nice.
24 AF 3.176 liberal hand.
  S&P 3.1.63 liberall hands.
25 AF 3.195 how hast thou misdone.
  S&P 2.1.300 how art thou misdone.
26 AF 3.2012 Do lead thee with a wicked fraudfull smileAs unsuspected, to the slaughterhouse.
  S&P 5.3.40 leade a Lambe unto the slaughterhouse.
27 AF 4.245
 
If neither of these two do happely fall,
Yet let your comfort be: …
  Sp.T 3.13.18 If neither, yet let this thy comfort be.
28 AF 4.7980 Stab the slave!
The Pesant will detect the Tragedy!
  S&P 3.5.9 Stab the slaves.
  S&P 5.2.1278 Stab in the marshall,
Least he detect us unto the world.
29 AF 4.81 The wrinkles in his fowle death-threatning face.
  S&P 1.3.99 the warlike wrinckles of my front.
30 AF 4.84 he will murther me to make him sport.
  S&P 3.5.1314 feare of servile death thats but a sport.
31 AF 4.87 What dismall outcry cals me from my rest?
  S&P 1.5.78 What dismall Planets …
  Sp.T 2.5.1 What outcries pluck me from my naked bed?
  Sp.T 4.4.109 dismall out-cry.
32 AF 5.9 Arden sent to everlasting night.
  S&P 1.1.26 downe to everlasting night.
  S&P 5.2.104 To send them down to everlasting night
33 AF 6.37 But often times my dreames presage to trew.
  S&P 5.3.22 my nightly dreames foretould me this.
34 AF 8.56 And nips me as the bitter Northeast wind
Doeth check the tender blosoms in the spring.
  Sp.T 1.1.13 Deaths winter nipt the blossomes of my blisse.
35 AF 8.25 To make my harvest nothing but pure corne.
  AF 10.83 Why should he thrust his sickle in our corne.
  S&P 4.1.221 thrust his sickle in my harvest corne.
  Sp.T 2.6.9 The Sickle comes not till the corne be ripe.
36 AF 8.30 Cheefe actors to Ardens overthrow.
  Sp.T 4.4.147 Author and actor in this Tragedie.
37 AF 8.39 But what for that? I may not trust you, Ales:
  Sp.T 3.4.82 But to what end? I list not trust the Aire.
38 AF 8.56 To forge distresseful looks.
  S&P 2.1.114 forge alluring lookes.
39 AF 8.63 conceale the rest, for tis too bad.
  S&P 5.2.52 The rest I dare not speake, it is so bad.
40 AF 8.121 And thereon will I chiefly meditate.
  Sp.T 2.2.26 But whereon doost thou chiefly meditate?
41 AF 8.165 my blisse is mixt with bitter gall.
  S&P 1.6.23 mixt with bitter sorrow.
42 AF 8.167 to the gates of death to follow thee.
  S&P 3.5.16 I would follow her though she went to hell.
43 AF 9.18 Then either thou or all thy kinne are worth.
  S&P 1.4.756 more then thou and all thy kin are worth.
44 AF 9.19 I hate them as I hate a toade.
  S&P 3.2.27 Lucina hates me like a Toade.
45 AF 9.27 a phillope on the nose.
  S&P 5.3.82 a phillip may cracke it,
46 AF 9.39 Lime your twigs to catch this wary bird.
  Sp.T 3.3.28 Heere comes the bird that I must ceaze upon.
  Sp.T 3.4.412 he breakes the worthles twigs,
And sees not that wherewith the bird was limde.
47 AF 9.43 with, eager moode.
  S&P 5.4.149 With eager moode
48 AF 10.1 heavens gate
  S&P 2.1.9 gates of heaven
49 AF 10.15 honors tytle
  S&P 2.1.271 honors title
50 AF 10.17 my deserts or your desires decay
  S&P 1.4.138 I read her just desires, and my decay
51 AF 10.44 too close for you.
  Sp.T 3.3.27 this corner it to close with one.
52 AF 10.98 haughty pride.
  S&P 5.5.33 haughtie pride.
53 AF 10.97 No, let our love be rockes of Addamant.
  S&P 4.1.97 My thoughts are like pillers of Adamant.
54 AF 10.100 leave protestations now.
  S&P 1.4.29 Leave protestations now.
55 AF 11.29 you had best not to meddle with that.
  S&P 2.2.478 you had not best go to him.
56 AF 12.2 in hells mouth.
  Sp.T 1.1.16 into dangers mouth.
57 AF 12.43 we haue mist the marke.
  S&P 1.1.20 you both doo misse the marke.
58 AF 12.54 so slight a taske as this.
  S&P 1.5.28 so slight a taske.
59 AF 12.65 First tell me how you like my new device.
  Sp.T 1.2.191 How likes Don Balthazar of this device?
60 AF 12.73 A fine devise! [also 14.126]
  S&P 4.1.248 O fine devise!
61 AF 13.39 brydle thine envious tongue.
  S&P 1.5.104 Bridle the fond intemperance of thy tongue.
62 AF 13.54 It is the raylingest knave in christendome.
  S&P 1.3.208 the braginst knave in Christendom.
63 AF 13.80 a sugred kisse.
  S&P 2.1.7 sugred kisse.
64 AF 13.88 what folly blinded thee?
  S&P 1.5.97 If wilfull folly did not blind mine eyes.
65 AF 13.93 And hurte thy freende whose thoughts were free from harme.
  S&P 2.2.28 To wrong my friend whose thoughts were ever true.
66 AF 13.105 To lincke in lyking with a frantick man!
  S&P 4.2.63 And is she linkt in liking with my foe?
67 AF 13.119 Impose me pennance.
  S&P 1.4.27 Impose me taske.
68 AF 13.152 He whome the divel drives must go perforce.
  Sp.T 3.12.82 Needs must he goe that the divels drive.
69 AF 14.114 Instead of faire wordes and large promises
My hands shall play you goulden harmonie.
  S&P 4.1.6 large promises.
  Sp.T 2.1.521 Now to these favours will I adde reward,
Not with faire words, but store of golden coyne.
70 AF 14.1378
 
whose very lookes
Will ad unwounted courage to my thought.
  S&P 1.2.512 The sight of this shall shew Persedas name,
And ad fresh courage to my fainting limmes.
71 AF 14.214 I protest to thee by heaven.
  S&P 5.2.26 I heere protest by heavens.
72 AF 14.302 a sudden qualm.
  S&P 2.1.50 A suddaine qualme.
73 AF 14.331 help to lift his body forth.
  S&P 5.4.94 helpe to lift her bodie up.
74 AF 14.332 And let our salt teares be his obsequies.
  S&P 5.4.12 And with our teares bewaile her obsequies.
75 AF 14.359 Peace foole.
  S&P 4.1.4 Peace, foole.
76 AF 14.381 Finde out the Murthrers.
  Sp.T 3.8.25 To finde them out, that murdered my Sonne.
77 AF 14.408 I loved him more than all the world beside.
  Sp.T 2.6.5 she lou’d me more then all the world.
78 AF 16.2 Confesse this foule fault and be penitent. [General confession]
  Sp.T 3.6.26 Confesse thy folly and repent thy fault.
79 AF 18.3 I am by the law condemned to die.
  Sp.T 3.6.39 by our law he is condemnd to die.
80 AF 18.18 But now I finde it and repent too late.
  S&P 2.2.5960 And all to late repents his surquedry.
  Sp.T 4.1.35 and now I find it so.

Parallels in situations and thoughts

81 AF 1.41 See his disseverd joints and sinewes torne.
  Sp.T 3.13.1223 Then will I rent and teare them thus and thus
Shivering their limmes in peeces with my teeth.
82 AF 1.1667 Susan being a Maide,
May begge me from the gallows of the Shriefe.
  Sp.T 3.3.12 if need should be, my noble Lord
Will stand betweene me and ensuing harmes.
83 AF 1.3045
 
Villaine, what makes thou in her company?
Shees no companion for so base a groome.
  S&P 1.5.712 It is not meete that one so base as thou
Shouldst come about the person of a King.
84 AF 1.345 Who lives that is not toucht with slaunderous tongues
  Sp.T 3.14.76 And no man lives that long contenteth all.
85 AF 1.34651
 
—Then, Mosbie, to eschew the speache of men,
Upon whose generall brute all honor hangs,
Forbeare his house.
—Forbeare it! nay rather frequent it more
  Sp.T 3.14.150 —And for the satisfaction of the world,
Hieronimo frequent my homely house.
86 AF 1.4056
 
—and stay no longer there.
Then thou must nedes
—And if he stay, the fault shall not be mine.
  S&P 5.1.42 We will returne with all speede possible.
87 AF 1.527
 
Or count me false and perjurde whilst I live.
when Erastus doth forget this favour,
  S&P 4.1.1967 Then let him live abandond and forlorne.
88 AF 3.108 I cannot paint my valour out with words. (Shakebag)
  S&P 1.3.69 I fight not with my tongue (Basilisco)
89 AF 4.912 But she is rooted in her wickednes,
Perverse and stobburne, not to be reclaimde;
Good counsell is to her as raine to weedes,
And reprehension makes her vice to grow.
  S&P 2.1.1257 thou art so corrupt
That in thee all their influence dooth change,
As in the spider good things turne to poison.
90 AF 8.1067 I, now I see, and too soone find it trew,
Which often hath beene tould me by my friends,
  Sp.T 3.7.4950 Now see I what I durst not then suspect,
That Bel-imperias Letter was not fainde.
91 AF 4.878 Nay, he must leave to live that we may love,
May live, may love; for what is lyfe but love?
  S&P 4.1.2369 If so your life depend upon her love,
And that her love depends upon his life,
Is it not better that Erastus die
Ten thousand deaths then Soliman should perish?
92 AF 13.77 Who is that? Mosbie?   what, so familiare?
  Sp.T 4.1.58 How now Hieronimo, what, courting Bel-imperia.
93 AF 14.1701 Although I wisht you to be reconciled,
Twas more for feare of you then love of him.
  Sp.T 3.14.902 But for his satisfaction and the worlds,
Twere good my Lord that Hieronimo and I
Were reconcilde, if he misconster me.
94 AF 14.328 But wherefore should he come? Heere is nought but feare.
  S&P 2.2.313 Neptune, bring him backe againe;
But, Eolus and Neptune, let him go;
For heere is nothing but revenge and death.
95 AF 16.11 Say, Mosby, what made thee murther him?
  Sp.T 4.4.165 Why hast thou done this undeserving deed?
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Volumes II and III of the Complete Works of John Ford contain the six plays that Ford wrote at the beginning of his theatrical career in collaboration with other dramatists: The Laws of Candy (1619-20) with Massinger, The Witch of Edmonton (1621) with Dekker and Rowley, The Welsh Ambassador (1623) with Dekker, The Spanish Gypsy (1623) with Dekker, Rowley, and Middleton, The Sun’s Darling (1624) with Dekker, and The Fair Maid of the Inn (1626) with Massinger and Webster. This is the first time that Ford’s co-authored works have been collected. In Volume II the General Editor, Sir Brian Vickers, contributes two Introductions, ‘Co-authorship in Jacobean and Caroline Drama’, and ‘Identifying Co-Authors’. In the first he reviews collaborative authorship (practiced by every dramatist of this period), in terms of theatrical conditions, the competing companies, the need for new repertoire, the process of assigning individual contributions and assembling the whole play. In the second he discusses the methods that have been applied over the last two centuries to identify co-authors. He then provides separate discussions of the authorship problem in each play, evaluating previous attributions and bringing new evidence to bear. A special feature of this volume is the introduction of a new methodology, based on computer software programs that identify student plagiarism. Used in combination with high-speed search engines and a large electronic database of contemporary plays, this method permits for the first time accurate identification of each co-author’s contribution.

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Brian Vickers, The One King LearHarvard University Press, 21 April  2016. Hardcover $45.00 • £30.00 • €35.00. 410 pages. 6-1/8 x 9-1/4 inches, 7 halftones, 1 line illustration, 2 tables. ISBN 9780674504844

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Praise for The One King Lear:

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The One ‘King Lear’ is concerned with one of the most interesting and controversial issues relating not just to the two texts of what some see as Shakespeare’s greatest play, but to the dramatist and his art. There is much to enjoy in this book, and much to learn from it.”

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B39-2005(Co-Editor) Shakespeare. The Critical Tradition. The Merchant of Venice, ed. by William Baker and Brian Vickers (London and New York; Continuum, 2004), pp. xli, 437. General Editor’s Preface, pp. ix–xli.

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B38-2004(General Editor) Shakespeare. The Critical Tradition. Coriolanus, 1687–1940, ed. by David George (London and New York; Continuum, 2004), pp. xxvi, 448. General Editor’s Preface, pp. viii–xxiii.

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B37-2002Shakespeare, Co-author. A Historical Study of Five Collaborative Plays (Oxford University Press, 2002), pp. xxix, 561. ISBN: 978-0-19-925653-2

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B36-2002‘Counterfeiting’ Shakespeare. Evidence, Authorship, and John Ford’s Funerall Elegye (Cambridge: Cambridge University Press, 2002), pp. xxvii, 568.

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B35-2001(General editor) Shakespeare. The Critical Tradition. Measure for Measure, 1783–1920 ed. by George Geckle (London and NJ: Athlone Press, 2001), pp. xxxvi, 382. General Editor’s Preface, pp. x–xxxiv.

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B34-2000(Editor) English Renaissance Literary Criticism (Oxford: Oxford University Press, 2000), Pp. xv, 675. ISBN: 978-0-19-818679-3

‘Vickers’s splendid, fifty-five-page introduction puts his selection in context, tracing its application of the dazzling variety of classical rhetoric. This must be one of the most pithily compressed accounts ever attempted of criticism as applied rhetoric. It treats two related features most fully: imitatio, and the conception of literature as recommending virtue.
…Vickers rightly rebuts Foucault’s ill-informed notion of originality as an eighteenth-century discovery. In the Renaissance, a route to originality lay through assimilating a model’s qualities by imitatio, as Shakespeare did.…

The introduction treats the criterion of decorum as a relatively minor topic, equivalent to “correctness”. Fuller treatment might have brought out better its ramifying, ubiquitous presence in English criticism … But most of the emphases and judgments of the introduction could hardly have been bettered…..

Since English Renaissance Literary Criticism may well become the standard reference collection, its canon assumes some importance. Certain of the inclusions are inevitable.…

Vickers’s Notes are a model of pertinence and economy. They not only adduce a wide variety of ancient source, but ascribe these discriminatingly, in accordance with modern scholarship. And they implicitly confirm the coherence of English Renaissance criticism, by pointing to the same rhetorical authorities and showing the routes by which ancient criticism and rhetoric came to be absorbed.…

However, this excellent anthology can be recommended with very few reservations.’

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‘Vickers’s introduction is lucid, wide-ranging and masterly. His notes are superb and properly acknowledge the contributions of earlier scholars. His selection of texts is enterprising, including much that is new, as well as a judicious choice of the best that is well-known. He provides a helpful glossary and user-friendly indexes to the material. This book is as useful as Russell and Winterbottom’s famous selection of Ancient Literary Criticism and when it appears in paperback teachers and students of renaissance literature will find it indispensable.’

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B33-1999(General editor) Shakespeare. The Critical Tradition. A Midsummer Night’s Dream, 1775–1920, ed. by Judith M. Kennedy and Richard F. Kennedy (London and NJ: Athlone Press, 1999), pp. xxi, 461. General Editor’s Preface, pp. x–xix.

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B32a-2002(Editor) Francis Bacon, The Essays and Counsels, Civil and Moral (The Folio Society, 2002).

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B32-1999(Editor) Francis Bacon, The Essays and Counsels, Civil and Moral (Oxford World’s Classics, 1999): pp. xliii, 216.

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B31-1998(General editor) Shakespeare. The Critical Tradition. Richard II, 1780–1920 ed. by Charles Forker (London and NJ: Athlone Press, 1998), pp. xviii, 593. General Editor’s Preface, pp. x–xv.

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B30-1998(Editor) Francis Bacon, History of the Reign of King Henry VII (Cambridge: Cambridge University Press, 1998), pp. x, 281. (“Cambridge Texts in the History of Political Thought”)

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B29-1996(General editor) Shakespeare. The Critical Tradition. King John ed. by Joseph Candido (London and NJ: Athlone Press, 1996), pp. xvi, 415. General Editor’s Preface, pp. vi–ix.

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B28c-2008(Editor) Francis Bacon (Oxford: Oxford University Press, 2008), pp. li, 813. (“ Oxford World’s Classics”)

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B28b-2002(Editor) Francis Bacon (Oxford: Oxford University Press, 2002), pp. li, 813. (“The Oxford Authors”)

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B28a-1996(Editor) Francis Bacon (Oxford: Oxford University Press, 1996), pp. li, 813. (“The Oxford Authors”).

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B28-1996(Editor) Francis Bacon (Oxford: Oxford University Press, 1996), pp. li, 813. (“The Oxford Authors”)

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B27a-2001Ripensare Shakespeare. Questioni di critica contemporanea (Milan, 2001). Italian translation of B27 by Mario Baccianini, Marina Merella, and Alessandra Di Luzio.

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B27-1994Appropriating Shakespeare: Contemporary Critical Quarrels (New Haven and London: Yale University Press, 1993), pp. xvi, 501. Paperback ed. 1994; repr. 1996.

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B26-1989Returning to Shakespeare (London: Routledge, 1989), pp. viii, 257.

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B25a-1989Classical Rhetoric in English Poetry; second ed., with new Preface and additional bibliography (Carbondale, Ill.: Southern Illinois University Press, 1989), pp. vii, 186.

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B25-1989Classical Rhetoric in English Poetry; second ed., with new Preface and additional bibliography (Carbondale, Ill.: Southern Illinois University Press, 1989), pp. vii, 186.

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B24-1988Francis Bacon, German translation of  B15 and A30 by Reinhard Kaiser (Berlin: Wagenbach, 1988), pp. 78.

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B23a-1994Storia della retorica (Bologna: il Mulino, 1994), pp. 649. Italian translation of B23 by Rocco Coronato; introduction by Andrea Battistini.

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B23-1988In Defence of Rhetoric (Oxford: Oxford University Press, 1988), pp. xi, 508.

‘Brian Vickers has written an invaluable book for anyone concerned with the arts of language, and his title is exact. In Defence of Rhetoric is just that, but it is also more than the word ‘defence’ might ordinarily suggest. A skilled orator well versed in the art he espouses, Professor Vickers examines his subject in all its various parts. The result is a comprehensive survey of the subject that both instructs and defends.…

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– Marion Trousdale, Modern Language Review 85, 1990

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It would be inappropriate to end this discussion on anything other than a note of gratitude for the inventio, dispositio and elocutio displayed in this remarkable history.’

– Alexander Nehamas, Times Literary Supplement, 15–21 July 1988

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B22a-1987(Editor) English Science, Bacon to Newton (Cambridge: Cambridge University Press, 1987), pp. xi, 244.

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B22-1987(Editor) English Science, Bacon to Newton (Cambridge: Cambridge University Press, 1987), pp. xi, 244.

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B20-1985(Editor) Arbeit, Musse, Meditation. Betrachtungen zur Vita activa und Vita contemplativa (Zurich: Verlag der Fachvereine, 1985), pp. 307. (Proceedings of an international symposium held at the Centre for Renaissance Studies in 1981). – Introduction, pp. 1–19.

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B19a-1990Mentalidades ocultas y científicas en el Renacimento (Madrid: Alianza Editorial, 1990), pp. 318. Abridged Spanish translation of B19 by Jorge Vigil Rubio.

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B19-1984(Editor) Occult and Scientific Mentalities in the Renaissance(Cambridge: Cambridge University Press, 1984), pp. xiv., 408. – Introduction, pp. 1–55.

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B18-1982(Editor) Rhetoric Revalued. Papers from the International Society for the History of Rhetoric (Binghamton, NY: Medieval and Renaissance Texts and Studies, 1982), pp. 281. – Introduction, pp. 13–39.

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B17-1979(Editor) Shakespeare: The Critical Heritage. Volume 6. 1774–1801 (London and Boston: Routledge & Kegan Paul, 1981), pp. 650.

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B16-1979(Editor) Shakespeare: The Critical Heritage. Volume 5. 1765–1774 (London and Boston: Routledge & Kegan Paul, 1979), pp. xvi, 569.

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B15-1978Francis Bacon (London: Longman, 1978), pp. 46; repr. in British Writers ed. I. Scott-Kilvert, Vol. 1 (New York: Scribner’s, 1979), pp. 257–74.

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B14-1976Shakespeare’s Coriolanus (London: Edward Arnold, 1976), pp. 68. (“Studies in English Literature” series).

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B13-1976(Editor) Shakespeare: The Critical Heritage. Volume 4. 1753–1765 (London and Boston: Routledge & Kegan Paul, 1976), pp. xiv, 583.

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B12-1976(Editor) Hooker: The Laws of Ecclesiastical Polity. An Abridged Edition. Co-editor: A.S. McGrade (London: Sidgwick & Jackson, 1976), pp. 413. Introduction 2: “Hooker’s Prose Style”, pp. 41–59.

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B11-1975(Editor) Shakespeare: The Critical Heritage. Volume 3. 1733–1752 (London and Boston: Routledge & Kegan Paul, 1975), pp. xii, 487.

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B10-1974(Editor) Shakespeare: The Critical Heritage. Volume 2. 1693–1733 (London and Boston: Routledge & Kegan Paul, 1974), pp. xi, 549.

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B9-1974(Editor) Shakespeare: The Critical Heritage. Volume 1. 1623–1692 (London and Boston: Routledge & Kegan Paul, 1974), pp. xi, 448.

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B8-1973Towards Greek Tragedy (London: Longman, 1973), pp. xvi, 658; repr. 1979.

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B7-1970Classical Rhetoric in English Poetry (London: Macmillan, 1970), pp. 180.

‘Brian Vickers has an enviable trick of making his subject fascinating and readable. The eagerness and conviction of his style has been a feature of all his books so far, and this one does not fall short in this respect. Like The Artistry of Shakespeare’s Prose and Francis Bacon and Renaissance Prose, it opens side-questions, hints at the writer’s inadequacy to deal with certain matters and invites the reader to fill the gaps, and promises more goods to come. The reader’s expectations are thus constantly alerted, and if some remain unfulfilled by the present book, the recompense of others which are, is great. …
The first chapter, “A concise history of rhetoric”, manages, in short space, to do well something which no writer has hitherto attempted: to give a broad and informed view of the whole development of rhetoric as a literary discipline, from ancient Greece to the nineteenth century. Nowhere does his account falter or flag. …

The kernel of the book, however, is chapter 3, “The function of rhetorical figures”. Here, Dr. Vickers comes to the point of his argument, which is that “the figures contain within themselves a whole series of emotional and psychological effects” (p. 79). The thesis, that the tropes and figures of rhetoric are not at all “a nuisance, a quite sterile appendage to rhetoric” (p. 12) is persuasively argued.’

– Kirsty Cochrane, Review of English Studies, 1971

‘Brian Vickers has provided what has been missing all along, a just, even handed, and comprehensive treatment of this subject. …

Vickers manages neither to despise rhetoric nor to claim too much for it as an aid to our understanding. He is admirable aware of the twofold dangers in a mechanistic, too-technical approach to the interrelationship of rhetoric and poetry: that of losing sight of the poem and that of losing the interest of a large proportion of his readers. When he does bring his book to its natural climax in the final chapter, with rhetorical analyses of poetry by Sidney, Spenser, and Herbert, he is gentle to both poem and reader, even to the point of warning us that these “are samples and demonstrations, and suffer from the usual fault of demonstration pieces, that the points have probably been too myopically and laboriously spelled out.” …

If there is one central idea, and one fresh perspective which Vickers wishes to offer his reader, it is this “… that rhetorical figures are the conventional representation of verbal patterns expressed in states of extreme emotion” (p. 94). His argument in support of this contention is both persuasive and attractive. …

The scholar already familiar with current studies of rhetoric will still find the book a convenient addition to his library; the student looking for easy access to the field will find it a valuable tool indeed.’

– Russell M. Brown, Renaissance and Reformation 9, 1972

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B6-1969(Editor) Seventeenth Century Prose: An Anthology (London: Longman, 1969), pp. 2

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B5-1968(Editor) The World of Jonathan Swift (Oxford: Blackwell; Cambridge, MA: Harvard University Press), pp. ix, 273. – Introduction, pp. 1–24.

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B4a-1972(Editor) Essential Articles for the Study of Francis Bacon (London: Sidgwick & Jackson, 1972), pp. xxiii, 323. – Introduction, pp. xi–xxiii.

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B4-1968(Editor) Essential Articles for the Study of Francis Bacon (Hamden, CT: Archon Press, 1968), pp. xxiii, 323. English publication by Sidgwick & Jackson (London, 1972). – Introduction, pp. xi–xxiii.

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B3b-2005The Artistry of Shakespeare’s Prose, Third Edition (London: Routledge, 2005), pp.vii, 452.

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B3a-1979The Artistry of Shakespeare’s Prose. Revised Edition (London: Methuen, 1979), pp. x, 452.

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B3-1968The Artistry of Shakespeare’s Prose (London: Methuen, 1968), pp. ix, 452.

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B42-2012(Co-editor) The Collected Works of John Ford, Volume I, edited by Gilles Monsarrat, Brian Vickers, and R. J. C. Watt (Oxford: Oxford University Press, 2012), pp. xiv, 720. ISBN: 978-0-19-959290-6

‘The pieces collected in this volume, including the Elegy on John Fletcher and various commendatory poems edited by Vickers, were all circumstantial writings, whose specific occasions are convincingly clarified; at the same time, the editors have taken care to outline the deep coherence of Ford’s ideas, together with their progressive elaboration and the unevenness of their expression, sometimes firm and felicitous, sometimes lacking conceptual clarity and rigour. In that respect, this first volume of Ford’s Collected Works does not consist of independent editions bound together; it reads as the result of efficient teamwork, presenting the reader with the exciting reconstruction of a young writer’s formative years. …

The volume does not only provide accurate, careful, old-spelling editions based on fresh collation of existing manuscripts, known copies of early editions and previous modern editions; its substantial introductions are usefully complemented with clear commentaries elucidating archaic vocabulary as well as sources, analogues, and Ford’s unacknowledged translations and borrowings from classical authors. …

Two forthcoming volumes are announced. One will gather plays Ford wrote in collaboration with fellow dramatists, the other will collect Ford’s either sole-authored plays. When the whole set is completed, it will prove an invaluable reference work likely to give Fordian studies a fresh impetus and to provide scholars with a precious tool for a better understanding of the English literary scene between 1606 and 1638.’

– Yves Peyré, Cahiers Élisabéthains 81, 2012

‘Brian Vickers’s “Preface” to this, the first of three volumes that together will make up The Collected Works of John Ford, introduces the larger project with an overview of the editorial tradition, beginning with the single surviving copy of a volume from 1652, Comedies, Tragi-Comedies: & Tragœdies: written By John Ford, and following on the discontinuous history of fallings out and failings through Henry Weber’s edition of 1811, William Gifford’s of 1827, Dyce’s revision of Gifford in 1869, and into the twentieth century. Editor-in-chief of the new edition, and part also of its team of twelve collaborating co-editors, Vickers is well placed to survey, in sorrow if not in anger, what has been well or ill done by his predecessors …

In its making this edition prompts confidence from its users. Those sections of the text I have checked are accurate; the bibliographical descriptions in the “Introductions” are careful and full of detail …

Monsarrat, Vickers, and Watt’s undertaking demonstrates … that the first volume of Ford delivers a great deal, and, with the plays still to come in this new Collected Works, promises even more.’

– Tom Lockwood, The Library 7.14.3, 2013

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B2-1968Francis Bacon and Renaissance Prose (Cambridge: Cambridge University Press, 1968), pp. xi, 316.

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B1a-1987

(Editor) Henry Mackenzie, The Man of Feeling (Oxford: Oxford University Press, 1987); reprint with corrections and bibliographical additions, pp. xxx, 137.

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B1-1967(Editor) Henry Mackenzie, The Man of Feeling (Oxford: Oxford University Press, 1967), pp. xxx, 137 (“Oxford English Novels” series).

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