Paul Rubow

95 matches between Arden of Faversham and Kyd

In Shakespeare og hans Samtidge (‘Shakespeare and his Fellows’), Copenhagen, 1948, Paul Rubow indicated some 50 multi-word parallels between Arden of Faversham and The Spanish Tragedy, and 56 matching multi-word parallels with Soliman and Perseda. Since these are scattered over two chapters, interspersed with Danish text, I have excerpted the quotations and arranged them in sequence. Scene (here in Arabic numerals) and line numbers correspond to the Revels edition, by M.L. Wine (1973). The right-hand column gives the page numbers in Rubow’s text, and notes which collocation matches had been identified by Walter Miksch in 1907. Words highlighted in bold face are exact verbal matches; those underlined fulfil the same semantic or syntactical function in both passages.

1 AF 1.8 Read them, and leave this melancholy moode. p. 143 M1
  SP 3.1.52 To drive away this melancholy moode.
2 AF 14.303 (torments my minde) p. 125
  AF 1.11 That showes me nothing but torments my soule.
  Sp.T 3.8.13 Madame, these humors doe torment my soule.
  Sp.T 3.1.43 But this, O this, tormentes my labouring soule.
  Yet still tormented is my tortured soule.
3 AF 1.16 And they have privie meetings in the Towne. p. 142 M2
  SP 1.4.106 Make privie inquirie for it through the towne.
4 AF 1.17–18 Nay, on his finger did I spy the Ring
Which at our Marriage day the Priest put on.
p. 142
  SP 2.1.14547 Why didst thou deck her with my ornament?
Could nothing serve her but the Carcanet
Which, as my life, I gave to thee in charge?
5 AF 1.445 learne of me | To ease thy griefe. p. 129
  Sp.T 3.7.70 to ease the greefe that I sustaine.
  SP 1.4.126 Come therefore, gentle death, and ease my griefe.
6 AF 1.74 there is no credit in a dreame. p. 129
  Sp.T 3.1.18 And theres no credit in the countenance.
7 AF 1.856 Sweete Arden, come againe
Within a day or two, or els I die.
p. 141
  SP 3.2.56 Returne him backe, fair starres, or let me die.
Returne him backe, fair heavens, or let me die.
8 AF 1.164 But, Michael, see you doo it cunninglie. p. 143 M4
  SP 5.2.1 Lord marshall, see you handle it cunningly.
9 AF 1.1857 Is this the end of all thy solemne oathes?
Is this the frute thy reconcilement buds?
Have I for this given thee so many favours…
p. 122
  Sp.T 4.1.1ff Is this the love thou bearst Horatio?
Is this the kindnes that thou counterfeits?
Are these the fruits of thine incessant teares!
Hieronimo, are these thy passions,
Thy protestations and thy deepe lamentes
10 AF 1.1956 Before I saw that falshoode looke of thine,
Fore I was tangled with thy tysing speech,…
p. 141
  AF 1.2134 So list the Sailer to the Marmaids song,
So lookes the travellour to the Basiliske.
  SP 2.1.154ff What are thy words but Syrens guilefull songs,
That please the eare but seeke to spoile the heart?…
What are thy teares but Circes magike seas,
Where none scape wrackt but blindfould Marriners?…
What are thy lookes but like the Cockatrice
That seekes to wound poore silly passengers?
11 AF 1.2056 now I see | That which I ever feared, and find too true. p. 127
  AF 3.106 I now I see, and too soone find it trew,
  Sp.T 4.1.35 Madame, tis true, and now I find it so.
12 AF 1.258 that witnesses heartes griefe. p. 144 M6
  SP 3.2.14 swolne hearts griefe.
  SP 3.13.119 thy sore harts greife.
13 AF 1.3245 Arden, now thou hast belcht and vomited
The rancorous venome of thy mis-swolne hart.
p. 143
  SP 3.2.1415 And here my tongue dooth stay with swolne hearts greef.
And here my swolne harts greef doth stay my tongue.
14 AF 1.333.57 … And, Arden, though I now frequent thy house,
Tis for my sisters sake … | And not for hers …
(ARDEN) And thou and Ile be freends, if this prove trew.
As for the base tearmes I gave thee late,
Forget them, Mosbie: I had cause to speake, …
(FRANKLIN) Then, Mosbie, to eschew the speache of men,
Upon whose generall brute all honor hangs,
Forbeare his house.
(ARDEN) Forbeare it! nay, rather frequent it more:
The worlde shall see that I distrust her not.
To warne him on the sudden from my house
Were to confirm the rumour that is growne.
(MOSBIE) By my faith, sir, you say trew,
And therefore will I sojourne here a while,
Untill our enemies have talkt their fill;
And then I hope, theile cease, and at last confesse
How causeles they have injurde her and me.
pp. 120-1
  Sp.T 3.14.135ff (CASTILLE) Hieronimo, I hope you have no cause
(HIERONIMO) These be the scandalous reports of such
As love not me, and hate my Lord too much …
(LORENZO) Hieronimo, I never gave you cause.
(HIERONIMO) My good Lord, I know you did not.
(CASTILLE) There then pause;
And for the satisfaction of the world,
Hieronimo, frequent my homely house, …
And when thou wilt, use me, my sonne, and it:
But heere …
Embrace each other, and be perfect freends.
(HIERONIMO) Ile be freends with you all.
For divers causes it is fit for us
That we be freends: the world is suspitious,
And men may think what we imagine not …
(LORENZO) And that, I hope, olde grudges are forgot.
15 AF 1.336–7 Hell fire and wrathfull vengeance light on me,
If I dishonour her or injure thee.
p. 142 M9
  SP 2.1.114 Which if I doe, all vengeance light on me.
  SP 5.2.74 And mischiefe light on me, if I sweare false.
16 AF 1.373 Now will I be convinced or purge my selfe. p. 143
  SP 2.1.259 Great ease it were for me to purge my selfe.
17 AF 1.383 Ile take a lytle to prevent the worst. p. 127
  AF 14.294 But to prevent the worst, Ile buy some rats bane.
  Sp.T 3.2.78, 80 But, Pedringano, to prevent the worst, …
Heere, for thy further satisfaction, take thou this.
18 AF 1.399 Loth am I to depart, yet I must go p. 140
  AF 1.408–12 And so farewell, sweete Ales, till we meete next.
Farewell, Husband, seeing youle have it so;
And, M. Francklin, seeing you take him hence,
In hope youle hasten him home, Ile give you this.
— And if he stay, the fault shall not be mine.
  SP 5.1.34ff I go, Perseda; thou must give me leave.
— Though loth, yet Solimans command prevailes …
— Lord Brusor, come; tis time that we were gone.
— Perseda, farewell; be not angrie
For that I carry thy beloved from thee;
We will returne with all speede possible …
That for my carrying of Erastus hence
She curse me not; and so farewell to both.
19 AF 1.446 They shall be soundly feed to pay him home. p. 142
  AF 1.515 Ile pay him home.
  SP 3.2.34 And I will pay you both your sound delight.
  Cf. Corn. 3.3.62 pay home the penaltie.
20 AF 1.492 Ah, M. Greene, be it spoken in secret heere. p. 136 M12
  SP 5.2.58 For be it spoke in secret heere, quoth he.
21 AF 1.511 I shall be the man | Shall set you free. p. 127
  AF 1.600 is it Clarke must be the man?
  AF 3.159–60 I am the very man | Markt … To give …
  Sp.T 3.6.30 I am the man
  Sp.T 3.14.119 no, I am not the man.
22 AF 1.522–3 And heer’s ten pound to wager them withall;
When he is dead, you shall have twenty more.
(repeated: 1.566, 569; 2.103–4; 14.126–7)
p. 142
  SP 5.2.64 At this he lept for joy, swearing and promising
23 AF 1.526–7 — Will you keepe promise with me?
— Or count me false and perjurde whilst I live.
p. 136 M8
(less)
  SP 2.1.123 For this thy perjurde false disloyalty.
  SP 5.2.74 And mischiefe light on me, if I sweare false.
24 AF 1.636 Now, Ales, lets in and see what cheere you keepe. p. 127
  Sp.T 1.5.12 Now come and sit with us, and taste our cheere.
25 AF 2.33 about a peece of service. p. 144 M16
  SP 1.4.60 a hot piece of service.
26 AF 3.39–40 But stand close, and take you fittest standing,
And at his comming foorth speede him.
p. 128
  AF 9.38 Take your fittest standings
  Sp.T 3.2.85 There take thy stand, and see thou strike him sure.
27 AF 3.104–6 Seest thou this goare that cleaveth to my face?
From hence nere will I wash this bloody staine.
Til Ardens hart be panting in my hand.
p. 122
  Sp.T 2.5.52ff Seest thou this handkercher besmerd with blood?
It shall not from me, till I take revenge.
Seest thou those wounds that yet are bleeding fresh?
Ile not intombe them, till I have reveng’d.
28 AF 3.131 how chaunce your face is so bloody? p. 143
  SP 1.4.61 how chance his nose is slit? (SP 3.6.13 & 5.3.13)
29 AF 3.165 And traine thy M(aister) to his tragedy. p. 129
  Sp.T 2.1.93 This very sword … | Shall be the worker of the tragedie.
30 AF 3.167 Then be not nice, but … p. 137 M23
  SP 1.2.23 Then be not nice, Perseda …
31 AF 3.181–5 No sooner shall ye enter through the latch
Over the thresholde to the inner court,
But on your left hand shall you see the staires
That leads directly to my M(aisters) chamber:
There take him and …
pp. 121-2
  Sp.T 3.11.12ff Then list to me, and Ile resolve our doubt.
There is a path upon your left hand side,
That leadeth from a guiltie Conscience
Unto a forrest of distrust and feare, …
There shall you meet with …
  Cf. ibid. 1.1.63 The left hand path, declining fearefully,
Was ready dounfall to the deepest hell, …
32 AF 3.195–6 Ah, harmeles Arden, how, how hast thou misdone,
That thus thy gentle lyfe is leveld at?
p. 126
  Sp.T 2.5.28–9 O poore Horatio, what hadst thou misdonne,
To leese thy life ere life was new begun?
33 AF 3.201–2 Do lead thee* with a wicked fraudfull smile
As unsuspected, to the slaughterhouse. *‘the lambe’ (l. 191)
p. 137 M26
  SP 5.3.43 To leade a Lambe unto the slaughter-house.
34 AF 4.22–6 She will amend, and so your greefes will cease;
Or els shele die, and so your sorrows end.
If neither of these two do happely fall,
Yet let your comfort be that others beare
Your woes, twice doubled all, with patience.
p. 123 M27
  Sp.T 3.13.14ff If destinie thy miseries doe ease,
Then hast thou health, and happy shalt thou be:
If destinie denie thee life, Hieronimo,
Yet shalt thou be assured of a tombe:
If neither, yet let this thy comfort be,
Heaven covereth him that hath no buriall.
35 AF 4.31–3 At home or not at home, where ere I be,
Heere, heere it lyes, ah Francklin, here it lyes
That wil not out till wretched Arden dies.
p. 123
  Sp.T 3.6.15–16 But come, for that we came for: lets begin,
For here lyes that which bids me to be gone.
36 AF 4.47 Looking that waies for redresse of wrong. p. 129
  Sp.T 3.6.4 we | For all our wrongs can compasse no redresse.
37 AF 4.62–3 pleads to me for lyfe | With just demaund. p. 129
  Sp.T 2.1.54 satisfie my just demaund.
38 AF 4.79 And pittiles black Will cryes Stab the slave. p. 137 M28
  Sp.T 3.5.10 Then stab the slaves, and send their soules to hell.  (more)
39 AF 4.82 Gapes open wide, like graves to swallow men. p. 129
  Sp.T 1.2.51 (the ocean) gapes to swallowlandes.
40 AF 4.87 What dismall outcry cals me from my rest?
— What hath occasiond such a fearefull crye?
p. 124 M31
  Sp.T 2.5.1
ibid. 4.4.108
What out-cries pluck me from my naked bed?
He shrikes: I heard, and yet, me thinks, I heare
His dismall out-cry eccho in the aire.
41 AF 5.1–5 Black night hath hid the pleasures of the day
And sheeting darknesse overhangs the earth
And with the black folde of her cloudy robe
Obscures us from the eyesight of the worlde,
In which swete silence such as we triumph.
p. 129
  Sp.T 2.4.1ff, 17ff Now that the night begins with sable wings
To over-cloud the brightnes of the Sunne,
And that in darkenes pleasures may be done, …
And heavens have shut up day to pleasure us.
The starres, thou seest, hold backe their twinckling shine,
And Luna hides her selfe to pleasure us.
42 AF 5.5 such as we triumph. p. 129
  Sp.T 3.3.9 when such as I prevaile
43 AF 5.10 Greene, get you gone. p. 143
  AF 8.104 Go, get thee gone.
  AF 9.34 No sir, get you gone.
  AF 14.140 Tush, get you gone.
  Sp.T 4.1.250 Brusor, get thee gone.
44 AF 5.10–12 Greene, get you gone and linger here about,
And at some houre hence come to us againe,
Where we will give you instance of his death.
p. 137
  SP 2.1.73–6 Goe thou forthwith, arme thee from top to toe,
And come an hour hence unto my lodging,
Then will I tell thee this offence at large,
And thou in my behalfe shalt work revenge.
45 AF 6.16 With that he blew. p. 143
  AF 14.56–7 With that comes Franklin … with that he slinks away.
  AF 14.65–6 With that comes Arden
  SP 2.2.21 With that they drew, and there F. had the prickado.
46 AF 6.38 their nightly fantasies p. 126
  Sp.T 1.3.76 my nightly dreames.
47 AF 7.5 For heare I sweare, by heaven and earth and all. p. 126
  Sp.T 4.1.25 For heare I sweare, in sight of heaven and earth.
48 AF 8.5–6 And nippes me as the bitter Northeast wind
Doeth check the tender blossoms in the spring.
p. 128 M34
  Sp.T 1.1.12–13 But in the harvest of my sommer joyes,
Deaths winter nipt the blossomes of my blisse.
  Sp.T 3.13.147–8 But suffered thy faire crimson coloured spring
With withered winter to be blasted thus.
49 AF 8.25 To make my harvest nothing but pure corne. p. 128 M35
  Sp.T 3.6.7 Thou talkest of harvest, when the corn is greene  (more)
50 AF 8.32 They will insult upon me for my mede. p. 129
  Sp.T 3.1.53 Or for thy meed hast falsely me accusde.
51 AF 8.56–7 To forge distressefull looks to wound a breast
Where lyes a heart that dies when thou art sad.
p. 137 M38
  SP 2.1.117 Ah, how thine eyes can forge alluring lookes
And faine deep oathes to wound poor silly maides.
 (less)
52 AF 8.63 And thou — conceale the rest, for tis too bad. p. 142 M39
  SP 5.2.53 The rest I dare not speake, it is so bad.
53 AF 8.121 And thereon will I chiefly meditate. p. 126 M40
  Sp.T 2.2.26 But whereon doost thou chiefly meditate?
54 AF 8.123ff Wilt thou not looke? … Wilt thou not heare? … Why speaks thou not? … Thou hast been sighted … And heard as quickly … And spoke as smoothly …
When I have bid thee heare or see or speak.
p. 144
  Cf. SP 2.1.156ff & 5.4.43ff Then view my teares … What are thy teares … then view my lookes … What are thy lookes … If words, nor teares, nor lookes may win remorse | Was he not true …
Was he not valiant … Was he not loyall — ?
55 AF 8.128 And spoke as smoothly as an orator. p. 128
  Sp.T 3.10.83 Brother, you are become an Oratour.
56 AF 8.150 Then with thy lips seale up this new made match. p. 129
  Sp.T 1.1.80 Pluto was pleased, and sealde it with a kisse.
  SP 1.6.4 By mutuall tokens to seal up their loves. p. 136
57 AF 9.1–2 Come, Will, see thy tooles be in a redynes:
Is not thy Powder dancke, or will thy flint stryke fyre?
p. 130
  Sp.T 3.3.1, 4 Now, Pedringano, bid thy Pistoll holde …
And let me shift for taking of mine aime.
58 AF 9.17–18 a greater somme of money
Then either thou or all thy kin are worth.
p. 137 M43
  SP 1.4.74 It was worth more then thou and all thy kin are worth.
59 AF 9.19 Zounds, I hate them as I hate a toade. p. 137 M44
  SP 3.2.27 Lucina hates me like a Toade.
60 AF 9.26–9 Why, so can Jack of Fevershame,
That sounded* for a phillope on the nose,
When he that gave it him hollowed in his eare,
And he supposed a Cannon bullete hit him.
* (i.e. ‘swooned’)
p. 141 M45
  SP 5.3.93 mans life is as a glasse, and a phillip may cracke it.
61 AF 9.38–43 Wel, take your fittest standings, & once more
Lime your twigs to catch this wary bird.
Ile leave you, and at your dags discharge
Make towards, lyke the longing water dog
That coucheth til the fowling peece be off,
Then ceazeth on the pray with eager moode.
p. 124 M46
  Sp. T 3.4.41-5 I set the trap: he breakes the worthles twigs,
And sees not that wherewith the bird was limde.
Thus hopefull men, that meane to holde their owne,
Must look like fowlers to their dearest freends.
He runnes to kill whome I have holpe to catch.
62 AF 9.133–4 Arden, thou hast wondrous holye luck.
Did ever man escape as thou hast done.
p. 137
  SP 2.2.1-2 God sends fortune to fooles. Did you ever see
wise man escape as I have done?
p. 137
63 AF 10.3–4 That Soll may wel deserne the trampled pace
Wherein he wount to guide his golden car.
p. 130
  Sp.T 1.1.23 Ere Sol had slept three nights in Thetis lap,
And slakte his smoaking charriot in her floud.
64 AF 10. 17–19 But my deserts or your desires decay,
Or both; yet if true love may seeme desert,
I merite stil to have thy company.
pp. 137 138
M50
  SP 3.1.102 The least of these surpasse my best desart,
Unlesse true loyaltie may seeme desart.
65 AF 10.31 But that I hould thee dearer then my life. p. 128
  Sp.T 4.4.31 Erasto, dearer than my life to me.
  SP 2.1.281 Farewell, my country, dearer then my life. p. 136
  SP 5.2105 Whose life to me was dearer then mine owne.
66 AF 10.75–6 Stayd you behinde your M(aister) to this end?
Have you no other …
p. 138
  SP 5.3.42 I … came thy husband to this end
Hast thou for this …
67 AF 10.83 Why should he thrust his sickle in our corne. p. 142 M35
  SP 4.1.223 That thrust his sickle in my harvest corne.
68 AF 10.100–1 Mosbie, leave protestations now,
And let us bethink us what we have to doo.
p. 138 M54
  SP 1.4.30 Leave protestations now and let us hie
69 AF 11.27 Why, then, by this reconing you … p. 138
  SP 1.4.83 Why, then, by this reckoning, a …
70 AF 11.28–9 I, but you had not best to meddle with that moon p. 143 M55
  SP 2.2.51 Where you had not best go to him.
71 AF 12.54 In following so slight a taske as this p. 138
  SP 1.5.28 May soon be levied for so slight a taske
72 AF 12.68 wele meete him on the way. p. 139
  AF 13.60 My wife may hapely mete me on the way.
  AF 13.91–4 came lovingly to mete thee on thy way
Thou drewst thy sword, inraged with Jelousy,
And hurte thy freende whose thoughts were
free from harme
  AF 13.131–2 All for a woorthles kisse.
For that I injurde thee,
And wrongd my frend, shame scourgeth my offence.
  AF 13.139–40 I, after he had revyled him
By the injuryous name of perjurde beast.
  SP 2.2.19ff Then Ferdinando met us on the way,
And revil’d my master, saying he stole the chaine
With that they drew, and there F. had the prickado…
My heart had arm’d my tongue with injury.
To wrong my friend whose thoughts were ever true
And in this bosome there power foorth my soule,
For satisfaction of my trespasse past,
  SP 1.5.93 that for a worthlesse cause.
73 AF 13.8 make no battry in his flintye breast. p. 129
  Sp.T 1.3.57 My hart growne hard gainst mischiefs battery.
74 AF 13.29 Nay, then, Ile tempt thee, Arden, doo thy worst p. 126
  Sp.T 3.3.48 And doe your worst, for I defie you all.
75 AF 13.39 Fy, bitter knave, brydle thine envious tongue. p. 138 M61
  SP 1.5.104 Bridle the fond intemperance of thy tongue.
76 AF 13.78 Injurious strumpet, and thou ribald knave. p. 127
  Sp.T 3.4.28 Injurious villaine, murderer of his freend.
  Sp.T 3.1.57 Injurious traytour, monstrous homicide
77 AF 13.88 Ah, Arden, what folly blinded thee? p. 138 M64
  SP 1.5.97 If wilful folly did not blind mine eyes.
78 AF 13.105 To lincke in lyking with a frantick man. p. 138 M66
  SP 9.2.70 And is she linkt in liking with my foe?
79 AF 13.152 He whome the divel drives must go perforce. p. 128 M68
  Sp.T 3.12.82 Needes must he goe that the divels drive.
80 AF 14.19–20 I and my companye have taken… p. 129
  Sp.T 3.10.28 And with extreames abuse my companye.
81 AF 14.91–2 Wil you two performe
The complot that I have laid?
p. 128
  Sp.T 3.4.40 I lay the plot, he prosecutes the point;
I set the trap, he …
82 AF 14.126 Instead of faire wordes and large promises
My hands shall play you golden harmonie.
p. 125 M69
  Sp.T 2.1.51–2 Now to these favours will I adde reward,
Not with faire words, but store of golden coyne.
  SP 4.1.62–4 First, thanks to heaven; and next to Brusor’s valour,
Which ile not guerdon with large promises,
But straight reward thee with a bounteous largesse
  Sp.T 2.1.72 Yet speake the truth and I will guerdon thee.
  SP 2.2.38 Not with slowe sailes but with loves goulden wings,
83 AF 14.136–8 Tush, you are too faint harted; we must do it
But Mosbie will be there, whose very lookes
Will ad unwonted courage to my thought.
p. 138
  SP 1.2.52 And when long combat makes my body faint,
The sight of this shall shew Persedas name.
  Leir 5.10.38 And add fresh courage to my fainting limmes.
84 AF 14.174 Therefore I thought it good to make you frends. p. 120
  AF 14.199 fetch me a cup of Wine, Ile make them freends.
  Sp.T 2.13.12 I know no better meanes to make us freends.
85 AF 14.175 But wherefore do you bring him hether now? p. 127
  AF 14.325 But wherefore should he come? Heere is
nought but feare
  AF 14.389 But wherfore stay you? finde out the murtherers.
  AF 16.19 But wherefore stay we? Come and beare me hence.
  Sp.T 1.3.8 But wherefore sit I in a Regall throne?
  Sp.T 2.1.11 But wherefore blot I Belimperia’s name?
  Sp.T 3.7.67 But wherefore waste I mine unfruitfull words?
  Sp.T 3.6.100 But wherefore stay you? have you hope of life?
  SP 1.6.37 But wherefore stay we? Let the sequele prove — p. 135
  SP 3.6.19 Wherefore stay we? thers more behind.
86 AF 14.214–15 Yet, Arden, I protest to thee by heaven,
Thou nere shalt see me more after this night.
p. 138 M71
  SP 5.2.25ff Why then to thee, or unto anyone else,
I heere protest by heavens unto you all
That never was there …
87 AF 14.249 We have our gould; mistres Ales, adew p. 125
  AF 14.139 And make me the first that shall adventure on him.
  AF 15.11 I have the gould; what care I though it be knowne.
  Sp.T 3.3.5–6 Heere is the golde; this is the golde proposde;
It is no dreame that I adventure for.
88 AF 14. 249–50 We have our gould; mistres Ales, adew
Mosbie, farewell, and Michaell, farewell too.
p. 126
  Sp.T 1.2.132–3 Welcome Don Balthazar; welcome Nephew.
And thou Horatio, thou art welcome too.
  SP 4.1.203 Farewell, Erastus: Perseda, farewell to. p. 135
89 AF 14.272–3 what ayle you weepe?
Because her husband is abroad so late.
p. 125
  AF 14.303 My husbands being foorth torments my minde.
  Sp.T 2.5.34 My husbands absence makes my heart to throb.
  Sp.T 3.3.40 Why? because he walkt abroad so late.
90 AF 14.301–2 What aile you, woman, to cry so suddenly?
— Ah neighbours, a sudden qualm came o’er my heart.
p. 136 M72
  SP 2.1.49–50 What ailes you, madam, that your colour changes?
A suddaine qualme; I therefore take my leave.
91 AF 14.328–32 See, Susan, where thy quandam Maister lyes,
Sweete Arden, smeard in bloode and filthy gore.
— My brother, you, and I shall rue this deede.
Come, Susan, help to lift his body forth,
And let our salt teares be his obsequies.
p. 140
M73
  SP 5.4.3ff Ah, Brusor, see where thy Lucina lyes,
Butcherd dispightfullie without the walles.
— Unkind Perseda, couldst thou use her so? …
Go, Brusor, heave her to thy private tent,
Where we at leasure will lament her death,
And with our teares bewaile her obsequies.
M74
  SP 5.4.94 Come, Brusor, helpe to lift her bodie up.
  cf. Sp.T 1.4.35–6 And welding him unto my private tent,
There laid him downe, and dewd him with my teares.
92 AF 14.408 I loved him more then all the world beside. p. 128 M77
  Sp.T 2.6.6 Because she lov’d me more then all the world. p. 136
  SP 2.1.284 Dearer to me then all the world besides.
93 AF 16.2 Confesse this foule fault and be penitent. p. 126 M78
  Sp.T 3.6.26 Confesse thy folly, and repent thy fault.
94 AF 16.2 this foule fault p. 129
  AF 18.25 this foule deede
  Sp.T 3.1.92 so foule a deed.
  Sp.T 3.6.96 a fault so foule
95 AF 18.36 Seing no hope on earth, in heaven is my hope. p. 126
  Sp.T 3.1.35ff Tis heaven is my hope
As for the earth, it is too much infect
To yield me hope of any of her mould.
(32) SP 2.1.131 Ah, false Erastus, how had I misdoone,
That thou shouldest pawne my true affections pledge.
p. 135
  • Featured Publications

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    For more details, please click on the book cover above.

Brian Vickers (ed.), The Complete Works of John Ford, Volume II and III. Oxford University Press, 29 September 2016. Hardcover £180.00. 992 pages. 234x156mm. ISBN 9780198748878

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.

Volume III contains the text of the plays, edited by a team composed of established and younger scholars. Five of the plays — The Laws of Candy, The Witch of Edmonton, The Spanish Gypsy, The Sun’s Darling and The Fair Maid of the Inn — have been freshly edited from the original editions, surviving copies of which have been collated to identify press corrections. The sixth, The Welsh Ambassador, has been edited from the sole extant manuscript. For each work the editors provide an introduction that discusses the play’s date and theatrical genesis, its sources, dramaturgy and other features. A full commentary is provided for all texts, giving historical explanations of the vocabulary, parallel passages in other works by Ford, and theatrical annotation, where relevant. This volume provides a unique opportunity for everyone interested in the career of a major playwright to appreciate how he learned his trade by collaborating with more experienced dramatists, a process in which his own distinctive voice was formed.

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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

King Lear exists in two different texts: the Quarto (1608) and the Folio (1623). Because each supplies passages missing in the other, for over 200 years editors combined the two to form a single text, the basis for all modern productions. Then in the 1980s a group of influential scholars argued that the two texts represent different versions of King Lear, that Shakespeare revised his play in light of theatrical performance. The two-text theory has since hardened into orthodoxy. Now for the first time in a book-length argument, one of the world’s most eminent Shakespeare scholars challenges the two-text theory. At stake is the way Shakespeare’s greatest play is read and performed.

Sir Brian Vickers demonstrates that the cuts in the Quarto were in fact carried out by the printer because he had underestimated the amount of paper he would need. Paper was an expensive commodity in the early modern period, and printers counted the number of lines or words in a manuscript before ordering their supply. As for the Folio, whereas the revisionists claim that Shakespeare cut the text in order to alter the balance between characters, Vickers sees no evidence of his agency. These cuts were likely made by the theater company to speed up the action. Vickers includes responses to the revisionist theory made by leading literary scholars, who show that the Folio cuts damage the play’s moral and emotional structure and are impracticable on the stage.

Praise for The One King Lear:

“This is a big, bold book, a major piece of scholarship for everyone to engage with. No one interested in the texts of Shakespeare’s work (and not only in the texts of King Lear) will be able to ignore it.”

– Peter Holland, University of Notre Dame

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.”

– H.R. Woudhuysen, University of Oxford

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B41-2008(Co-author) Mächtige Worte. Antike Rhetorik und europäische Literatur, by Brian Vickers and Sabine Köllmann (Berlin: LIT-Verlag, 2008), partial translation of  B23, with new material.

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B40-2007Shakespeare, ‘A Lover’s Complaint’, and John Davies of Hereford (Cambridge: Cambridge University Press, 2007), pp. xii, 329.

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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.’

– Alastair Fowler, Times Literary Supplement, 9 June 2000

‘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.’

– Peter Mack, Rhetorica (Winter 2002)

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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.…

The third part of his defence lies in an examination of the art itself. This begins in the book’s opening chapter, where he presents an eighty-two part summary of classical rhetoric. It is one of the most useful summaries I have read.’

– Marion Trousdale, Modern Language Review 85, 1990

‘“It is better to will the good than to know the truth”, Petrarch famously declared. Brian Vickers agrees and, heir to an anti-Platonist tradition that goes back at least to Isocrates in the fourth century BC, he argues that the will is best directed to the good by means of rhetoric, the art of persuasive communication and the systematization of natural eloquence. In his admirably learned, wide-ranging and thoroughly polemical history of that art, Professor Vickers also accepts the Renaissance view (which derives from Cicero and, ultimately, from Aristotle’s Rhetoric) that “the way to the will … [lies] partly through the reason”…

One of Vickers’s great accomplishments is that, with an erudition as deep as his touch is light, he shows the central role rhetoric has actually played in Western culture. He documents in painstaking detail the immense efforts devoted to the teaching and learning of rhetoric, in Rome as well as in the Renaissance….…

Vickers’s avowed goal is to restore rhetoric to the central position within culture which, he argues, it often enjoyed in the past and which he passionately, and not always unreasonably, believes it still deserves….…

Vickers’s book is also a triumph of formal exposition. It contains a remarkably lucid account of the three genres of oratory (judicial, deliberative and epideictic), of the five stages of rhetorical composition, of the six parts of the oration, and of the orator’s three duties (to instruct, to move and to delight). It also includes the best and clearest discussion of the rhetorical tropes and figures of which I am aware….…

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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B21-1986(Editor) Public and Private Life in the Seventeenth Century: The Mackenzie-Evelyn Debate (Delmar, NY: Scholars’ Facsimiles and Reprints, 1986), pp. xlii, 277. – Introduction, pp. ix–xlii.

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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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