https://folgerpedia.folger.edu/_mw/api.php?action=feedcontributions&user=GeorgiannaZiegler&feedformat=atomFolgerpedia - User contributions [en]2024-03-28T14:55:50ZUser contributionsMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Shakespeare%27s_Sisters_exhibition_material&diff=29771Shakespeare's Sisters exhibition material2019-01-16T14:49:53Z<p>GeorgiannaZiegler: /* English Women as Professional Playwrights (case 12) */</p>
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<div>''This article relates to the exhibition. For other uses, see [[Shakespeare's Sisters (disambiguation)]].''<br />
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This article offers a comprehensive list of each piece included in [[Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700|''Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700'']], one of the [[Exhibitions at the Folger]].<br />
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== The Clifford Women: Patrons, Readers, and Writers (case 1) == <br />
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[[File:STC 15227 copy 1 E4r.jpg|235px|right|thumb|Aemilia Lanyer's 1611 dedication of her ''Salve Deus Rex Judaeorum'' to Lady Anne Clifford. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/6w3jc8/ 54134].]]<br />
[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Lady Anne Clifford, Diarist and Historian (case 1)| Lady Anne Clifford]] (1590–1676) was a great reader and a powerful noblewoman who spent much of her life trying to recoup the large properties that she was prevented from inheriting as a woman. She was aided by her mother, Margaret Clifford, countess of Cumberland (1560–1616). This pious and intelligent woman encouraged her daughter’s education by hiring the poet and historian Samuel Daniel as Lady Anne’s tutor. She also gave support and encouragement to Aemilia Lanyer, one of England’s first published women poets. Lanyer remembers her happy time with the Clifford women at the country estate of Cookham, “where many a learned Booke was read and skand.” Lady Anne kept a detailed diary through much of her life, and collected a large library.<br />
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The collection of items in Case 1 contained works with dedicatory poems to both Clifford women, as well as a book owned and read by Lady Anne.<br />
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Aemilia Lanyer's ''Salve Deus Rex Judæorum'' is dedicated to a group of women who supported writers, which included both Lady Anne and her mother, Margaret Clifford; Lucy, countess of Bedford; and Mary Sidney, countess of Pembroke, herself a poet. The central portion of Aemilia Lanyer’s work, “Hail God King of the Jews,” is a religious poem in which she comments on Christ’s passion from a woman’s point of view, focusing on Pilate’s wife and on a defense of Eve. This was a bold move on Lanyer’s part, since women were not encouraged to interpret scripture at all. Lanyer also included a poem at the end titled “The Description of Cooke-ham,” an early country-house poem telling of her days at the Clifford estate.<br />
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Samuel Daniel’s moralistic poem to his student, Lady Anne Clifford, praises her innocent virtue and says that her mother who gave her being, also <br />
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''… labour[s] to adorne''<br />
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''That better part, the mansion of your minde,<br />
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''With all the richest furniture of worth,<br />
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''To make y’as highly good as highly borne.'' <br />
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Daniel probably began tutoring Lady Anne by the time she was eight or nine, and she included his portrait in the “Great Picture” of her family which she later commissioned.<br />
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Also shown was Lady Anne's own copy of John Selden’s ''Titles of Honor'', on which she wrote “I began, to overlook this Book the 18 of February and I did make an end of reading, or over looking it all over the first of March following 1638.” The book interested her because it deals with the inheritance of land and titles. She spent much of her life collecting ancient documents to prove her right to inherit her mother’s property in the north of England. In the process she became the first great female antiquarian.<br />
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=== Items included ===<br />
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*Amelia Lanyer. ''Salve Rex Judaeorum''. London: Printed by Valentine Simmes for Richard Bonian, 1611. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=162742/ STC 15227 copy 1]; displayed [http://luna.folger.edu/luna/servlet/s/6w3jc8/ E4r].<br />
*FACSIMILE from Skipton Castle, Yorkshire. English School. Portrait of Lady Anne Clifford. Oil on panel, 17th-century.<br />
*FACSIMILE from Skipton Castle, Yorkshire. English School. Portrait of Lady Margaret Clifford. Oil on panel, 17th-century.<br />
*Amelia Lanyer. ''Salve Rex Judaeorum''. London: Printed by Valentine Simmes for Richard Bonian, 1611. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=162742/ STC 15227 copy 2]; displayed [http://luna.folger.edu/luna/servlet/s/11hp3g/ E1r].<br />
*Samuel Daniel. ''The whole workes of Samuel Daniel Esquire in poetrie''. London: Printed by Nicholas Okes, for Simon Waterson, 1623. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=163276/ STC 6238 copy 1]; displayed [http://luna.folger.edu/luna/servlet/s/fd3513/ p. 71 inscription].<br />
*John Seldon. ''Titles of honor''. London: Printed by William Stansby for Richard Whitakers, 1631. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=166785/ STC 22178 copy 3]; displayed [http://luna.folger.edu/luna/servlet/s/ep1863/ title page inscription].<br />
*LOAN from the Library of Congress. Virginia Woolf. ''Second Common Readers''. New York: Harcourt, Brace, and Company, 1932. PR99 .W78 1932a; displayed essay on Donne after three centuries.<br />
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== Portrait of Elizabeth Cary (wall between cases 1 and 2) ==<br />
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*FACSIMILE from the Sarah Campbell Blaffer Foundation, Houston, Texas. Paul van Somer. Portrait of Elizabeth Cary, 1st Viscountess Falkland. Oil on canvas, ca. 1620.<br />
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== English Translations of French Religious Works (case 2) == <br />
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[[File:STC17320 title page.jpg|235px|thumb|right|The title page of Marguerite de Navarre's ''A godly medytacyon of the christen sowle'', translated by Elizabeth I. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/71xlmi/ 17989].]]<br />
Many aristocratic Englishwomen could read French, and were especially attracted to religious writings. Religion was a central part of daily life at a time when the Protestant church was relatively new in England and France, competing with the older Catholic tradition. Writing prayers and translating religious texts was an acceptable way for women to make their private voices heard publicly. Elizabeth I studied French, and, at the age of eleven, translated ''A Godly Meditation of the Christian Soul'' from the French of Marguerite de Navarre. Mary Sidney, countess of Pembroke, rendered Philippe de Mornay’s ''Discourse of Life and Death'' into English in 1592, and shortly thereafter, Baroness Elizabeth Richardson made her own abridgement and revision of Sidney’s translation in her commonplace book. The 1630 translation by [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Elizabeth Cary, The Reply (case 2)| Elizabeth Cary]], viscountess Falkland of Jacques du Perron’s ''Reply . . . to the Answer of the most Excellent King of Great Britain'' provided an important voice for English Catholics in their ongoing debate with Protestants.<br />
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At the age of eleven, Princess Elizabeth, later Queen Elizabeth I, translated Marguerite de Navarre's ''A Godly Meditation of the Christian Soul'' for her stepmother, Queen Katherine Parr, as a 1545 New Year’s gift. Protestant reformer John Bale edited the work and had it published three years later in Germany, when Elizabeth was just fifteen. In the original manuscript, Elizabeth points out how the book feminizes the relationship between the individual soul and God, describing how “she [the soul] doth perceive how of herself . . . she can do nothing . . . unless it be through the grace of God, whose mother, daughter, sister, and wife by the Scriptures she proveth herself to be.”<br />
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[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Mary Sidney, Psalms (case 2)| Mary Sidney]] translated Philippe de Mornay's Discourse of Life and Death in 1592. Mornay was a leader of the French Huguenots and a close friend of the Sidney family, who were strong supporters of the Protestant cause. In the early seventeenth century, Elizabeth Ashburnham Richardson summarized Mary Sidney’s translation of Mornay and meditated on several points. She reduced the original thirty-one printed pages to four, with her own introduction and conclusion. Shown here are her manuscript and her signature.<br />
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=== Items included ===<br />
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*FACSIMILE the Royal Collection, by gracious permission of Her Majesty, Queen Elizabeth II. Portrait of Queen Elizabeth I. Watercolor on vellum attached to a playing card. Attributed to Levina Teerlinc, ca. 1560-5.<br />
*Marguerite de Navarre. ''A godly medytacyon of the christen sowle''.Translated by Elizabeth I, Queen of England. Wesel: Dirik van der Straten, 1548. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164180/ STC 17320]; displayed [http://luna.folger.edu/luna/servlet/s/71xlmi/ title page].<br />
*FACSIMILE from Musée Condé, France. Attributed to François Clouet and Jean Clouet. Portrait of Marguerite d’Angoulême, Queen of Navarre. Oil on wood panel,ca. 1540.<br />
*Mornay, Philippe de, seigneur du Plessis-Marly. ''A discourse of life and death''. Translated by Mary Sidney, Countess of Pembroke. London: Printed by John Windet for William Ponsonby, 1592. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164713/ STC 18138]; displayed title page.<br />
*LOAN from the Beinecke Library, Yale University. Elizabeth Cary. ''Reply of the most illustrious Cardinal of Perron''. Douay: Martin Bogart, 1630. Me65 D925+R4G; displayed dedication to Henrietta Maria.<br />
*Elizabeth Richardson, Baroness Cramond. “A discourse of ye teadiousness of life and profitt of death” from ''Instructions for my children''. Manuscript, 1606. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=232934/ V.a.511]; displayed [http://luna.folger.edu/luna/servlet/s/7d3055/ fol. 84] with facsimile of Elizabeth Ashburnham’s [http://luna.folger.edu/luna/servlet/s/1oj1k8/ signature].<br />
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== Mary Sidney's Psalms (wall panel between cases 2 and 3) == <br />
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*FACSIMILE from National Portrait Gallery, London. Nicholas Hilliard. Portrait of Mary Sidney Herbert, countess of Pembroke. Watercolor on vellum, ca. 1590.<br />
*FACSIMILE images from Bodleian Library, Oxford University. Mary Sidney. ''The Psalmes of David translated into divers and sundry kindes of verse''. Manuscript, ca. 1620–30. Bodl. MS. Rawl. poet. 24.<br />
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== Versifying the Psalms (case 3) ==<br />
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[[File:240- 744q frontis and title page.jpg|350px|thumb|right|The frontis and title page of Elisabeth Sophie Chéron's ''Pseaumes de David et Cantiques''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/fou266/ 54142].]]<br />
The Psalms were a form of religious verse from the Old Testament that was attractive to Protestant and Catholic readers alike in different countries. A number of women writers found comfort and inspiration in composing their own versions in a variety of verse forms. The seven Penitential Psalms asking God for mercy were especially popular. They are usually the Psalms numbered 6, 31, 37, 50, 101, 129 and 142 in the Vulgate version. Working with the Psalms also provided an opportunity for women to have a political voice. Esther Inglis made some of her calligraphic masterpieces for supporters of the English Protestant cause, while Laura Battiferri, a major patron of the Jesuits, dedicated her Penitential Psalms to Vittoria Farnese Della Rovere, granddaughter of Pope Paul III, who convened the Council of Trent, leading to reforms in the Catholic Church.<br />
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The book by John Calvin displayed was translated by [[A Meditation of a Penitent Sinner STC 4450|Ann Locke Prowse]] who was active in the early Calvinist movement in England. A friend of preacher John Knox, she visited the Protestant stronghold of Geneva and translated both this work and one by a student of Calvin, Jean Taffin. Her sequence of twenty-one sonnets meditating on Psalm 51 was printed at the back of her translation of Calvin’s Sermons on Isaiah. She prays for God to give her a voice:<br />
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''Lord loose my lippes, I may expresse my mone,''<br />
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''And findyng grace with open mouth I may''<br />
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''Thy mercies praise, and holy name display.''<br />
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[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Laura Battiferri, Psalms (case 3)| Laura Battiferri]] also translated the Psalms. She was already recognized as a major poet — a new Sappho — and was connected with the court circles in Florence, and the whole book is dedicated to the pious Vittoria Della Rovere, duchess of Urbino. Battiferri writes to the duchess: “I have set out to translate his [David’s] penitential songs into Tuscan rhymes, with no other purpose than to pray that it please the Divine Bounty to support this hand and open these lips….”† Each individual Psalm is dedicated to a cloistered nun in Florence or Urbino. The dedicatee of Psalm 51 is Sister Vincentia Biliotti in Florence.<br />
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Thomas Bentley's ''Monument of Matrones'' includes ''Morning and Evening Praiers, with Divers Psalms'', a book of prayers and Psalms translated by Lady Elizabeth Tyrwhit, one of Queen Katherine Parr’s ladies-in-waiting. Tyrwhit was part of a small group of women at court who shared the queen’s interest in Lutheran-influenced devotional reform. Tyrwhit’s book was first published in 1574, but only one copy of that edition survives.<br />
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Other women, like [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Esther Inglis, Psalms (case 3)| Esther Inglis]] and Sophie Chéron, translated Psalms and meditated further on them by [[:File:Decorating the Psalms Shakespeare's Sisters 2012 Case 3.pdf| decorating their books]] with calligraphy and illustration. Inglis was a skilled calligrapher and she created many manuscripts on religious themes that she gave to English and French courtiers active in the Protestant cause. The embroidered manuscript above displayed is a version of the Psalms (from the French Geneva Bible) full of her intricate calligraphy. It was a gift to Prince Henry, son of King James I. Sophie Chéron's book of Psalms is printed, but is also decorated with engravings. She believed people were inspired by the stories of the Psalms represented in pictures. Although she was herself a gifted painter, poet, and musician, the illustrations in this book were done by her brother.<br />
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:† (''Translation by Victoria Kirkham'')<br />
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=== Items included ===<br />
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*Ann Locke Prowse. ''A Meditation of a Penitent Sinner''. London: John Day, 1560. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164583/ STC 4450]; displayed [http://luna.folger.edu/luna/servlet/s/8995h6/ Aa3v - Aa4].<br />
*Laura Battiferri degli Ammannati. ''I sette salmi penitentiali del santissimo profeta Dauit''. Fiorenza: Appresso i Giunti, 1566. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=114145/ 252- 285q]; displayed p. 22-23 [http://luna.folger.edu/luna/servlet/s/s8g29g/ p. 22-23] with facsimile of [http://luna.folger.edu/luna/servlet/s/55b80g/ title page].<br />
*Esther Inglis. ''Les CL pseaumes de David escrites en diverses sortes de lettres par Esther Anglois, Françoise, Lislebourg''. Manuscript, 1599. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233057/ V.a.93]; displayed closed.<br />
*Esther Inglis. ''Argumenta psalmorum Davidis per tetrasticha manu Estherae Inglis exarata strenae nomine illus''. Manuscript, 1608. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233045/ V.a.94]; displayed closed. Seed pearl [http://luna.folger.edu/luna/servlet/s/t5y4mq/ binding].<br />
*Elisabeth Sophie Chéron. ''Pseaumes de David et Cantiques''. Paris: Chez Guillaume de Luyne, Michel Brunet, Charles Robustel et M. Cheron, 1694. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=93469/ 240- 744q]; displayed [http://luna.folger.edu/luna/servlet/s/fou266/ frontis and title page].<br />
*Thomas Bentley. ''The monument of matrones''. London: H. Denham, 1582. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=158914/ STC 1892 copy 2]; displayed [http://luna.folger.edu/luna/servlet/s/tf5f3z/ p. 103].<br />
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== Decorating the Psalms (wall panel above case 3) ==<br />
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*FACSIMILE of Esther Inglis. ''Les CL pseaumes de David escrites en diverses sortes de lettres par Esther Anglois, Françoise, Lislebourg''. Manuscript, 1599. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233057/ V.a.93]; [http://luna.folger.edu/luna/servlet/s/ec4e44/ illustration] for emblem indicating that the written word outlives all monuments.<br />
*FACSIMILE of Esther Inglis. ''Argumenta psalmorum Davidis per tetrasticha manu Estherae Inglis exarata strenae nomine illus''. Manuscript, 1608. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233045/ V.a.94]; [http://luna.folger.edu/luna/servlet/s/yomo77/ title page] with floral border and [http://luna.folger.edu/luna/servlet/s/n7qn2j/ dedication] to Henry, Prince of Wales.<br />
*FACSIMILE of Elisabeth Sophie Chéron. ''Pseaumes de David et Cantiques''. Paris: Chez Guillaume de Luyne, Michel Brunet, Charles Robustel et M. Cheron, 1694. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=93469/ 240- 744q]; illustrations to [http://luna.folger.edu/luna/servlet/s/tg11l5/ Psalm 8] and [http://luna.folger.edu/luna/servlet/s/6918az/ Psalm 76].<br />
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== Georgette de Montenay's Emblems (wall panel between cases 3 and 4) ==<br />
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*FACSIMILES of [http://luna.folger.edu/luna/servlet/s/87s3o2/ Emblem I] and [http://luna.folger.edu/luna/servlet/s/n656kc/ Emblem LI] from Georgette de Montenay. ''Liure d’armoiries en signe de fraternite contenant cent comparaisons de vertus et emblemes Chrestiens agences''. Frankfurt: Jean Charles Unckel, 1619. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=171126/ STC 18044.8].<br />
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== Varieties of Religious Writing (case 4) ==<br />
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[[File:STC 18044.8 portrait after p.8.jpg|thumb|240px|right|Georgette de Montenay's portrait in her ''Liure d’armoiries'', published in 1619. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/6g3c14/ 54147].]]<br />
Women practiced many kinds of religious writing in addition to translating Psalms. Their work—among Protestants, Catholics, and splinter groups—ranges from private meditations and sermons to prophecy, polemics, and didacticism. Katherine Parr, Vittoria Colonna, and<br />
[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Marguerite de Navarre, ''Marguerites'' (case 4)| Marguerite de Navarre]] revealed a deeply personal spirituality in their verses, while Eleanor Douglas was led to prophesy publicly. The Quaker Margaret Fell defended women’s right to speak in public about religious matters. Georgette de Montenay expressed her Protestant beliefs by creating a book of Christian emblems. Religious writing provided a major outlet for self-expression among women, whose piety set an example within their own households and in their religious groups.<br />
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Queen Katherine Parr's ''Prayers or meditacions'' was influenced by Marguerite de Navarre’s ''Mirror of the Sinful Soul'', a text which her stepdaughter, the future Queen Elizabeth I, had presented to her. Katherine was the sixth wife of Henry VIII, highly educated, and served as an intelligent companion to the aging king. Her book was written around 1546/7 but published after the death of Henry VIII, probably because of its Lutheran and more radical Protestant leanings.<br />
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Other religious writing took the form of emblems, such as those by [[:File:Georgette de Montenay Shakespeare's Sisters 2012.pdf| Georgette de Montenay]]. The emblem is a literary form that reveals its message through a combination of image, motto, and poem. Montenay created the first emblem book used for religious propaganda, in support of the Calvinist faith. Her book was republished many times in several languages. In the frontispiece portrait, de Montenay is depicted as a writer with pen, ink, and paper.<br />
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Another writer, Vittoria Colonna, is known mainly for her secular love poetry and her friendship with Michelangelo, but in her later life, she turned to spiritual poetry in which she expresses love for Christ.<br />
She writes:<br />
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''He is the author of peace, rest from war,''<br />
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''Quiet is found in him.'' †<br />
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She was influenced in her religious thinking by the English cardinal Reginald Pole, who resided in Italy and became her mentor.<br />
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Although most women had never been encouraged to preach openly by established churches, Quakers believed that because men and women could equally receive God’s spirit, both could preach. Margaret Fell, married to Quaker founder George Fox, justified women’s claim to speaking by looking at biblical women who testify to the truth. As examples, she cites Mary Magdalene and Mary the mother of James who followed Jesus, as well as women in the early Christian church, mentioned in the book of Acts.<br />
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Also shown were the tracts of Eleanor Davies, a well-educated woman who, in 1625, had a vision of the Day of Judgment. She associated herself with the Old Testament prophet Daniel and began writing and publishing many prophetic tracts. A number of them were kept and bound together by her daughter, Lucy Huntingdon, in ''The bill of excommunication for abolishing henceforth the Sabbath''. Many of the tracts show Davies’ own annotations in preparation for the publication of corrected versions. She denounced Charles I, supported Oliver Cromwell, and believed that the end of the world was at hand.<br />
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:† (''Translation by Ellen Moody'')<br />
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=== Items included ===<br />
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*Catherine Parr. ''Prayers or meditacions, wherein the minde is stirred''. London: W. Powell, ca. 1550. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=165567/ STC 4824a]; displayed [http://luna.folger.edu/luna/servlet/s/5869pi/ title page].<br />
*Vittoria Colonna. ''Rime''. Venegia: Appresse Gabriel Giolito de’ Ferrari, 1559. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245054/ PQ4620 C96 R5 1559 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/q3ig29/ p. 79].<br />
*LOAN from Lisa Baskin. Marguerite de Navarre. ''Marguerites''. Lyons: Pierre de Tours, 1549. Displayed title page.<br />
*Abraham Bosse. ''Les vierges sages''. Paris: Le Blond, ca. 1640. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=256123/ Art Box B745 no.6 (size L)] [http://luna.folger.edu/luna/servlet/s/b80896/ Image] of Art Box B745 no. 6 (size L).<br />
*Georgette de Montenay. ''Liure d’armoiries en signe de fraternite contenant cent comparaisons de vertus et emblemes Chrestiens agences''. Frankfurt: Jean Charles Unckel, 1619. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=171126/ STC 18044.8]; displayed [http://luna.folger.edu/luna/servlet/s/6g3c14/ portrait after p. 8].<br />
*Eleanor Douglas. ''The bill of excommunication, for abolishing henceforth the Sabbath called Sunday or first day''. London: [s.n.], 1649. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=153693/ D1979 Bd.w. D2010]; displayed [http://luna.folger.edu/luna/servlet/s/p47011/ title page] of D1979 with [http://luna.folger.edu/luna/servlet/s/0i3kc1/facsimile] of daughter's signature at front of book. <br />
*Margaret Fell. ''Womens speaking justified''. London: [s.n.], 1666. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=151581/ F642 copy 1]; displayed [http://luna.folger.edu/luna/servlet/s/vuaf9o/ title page].<br />
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== Portrait of Princess Marguerite of Angoulême (virtine after case 4) == <br />
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*FACSIMILE from the Walker Art Gallery, National Museums Liverpool. Jean Clouet. Portrait of [http://www.liverpoolmuseums.org.uk/walker/collections/13c-16c/princess.aspx Princess Marguerite of Angoulême]. Oil on panel, ca. 1530.<br />
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== Continental Women Writing About Love (case 5) == <br />
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[[File:176-725q title page.jpg|210px|thumb|right|The title page of Marguerite de Navarre's ''Contes et nouvelles''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/8dy63l/ 54155].]]<br />
While religious themes dominated early modern women’s writing in England, women in Italy and France wrote about secular love as well. Some, such as Vittoria Colonna, Gaspara Stampa, and [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Louise Labé, ''Oeuvres'' (case 5)| Louise Labé]] used the imagery of Petrarch’s sonnets to speak of their own loves from a female point of view. Veronica Franco drew on the more overtly sexual tradition of Pietro Aretino and Latin verse to compose her sensual poetry. Tullia d’Aragona’s dialogue about the nature of love responded to neo-Platonic writings such as Castiglione’s ''The Courtier'', while Marguerite de Navarre’s ''Heptaméron'' used linked stories modeled on Boccaccio’s ''Decameron'' to explore many types of love. All of these writers brought fresh perspectives to the dominant male traditions of love literature.<br />
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Although both Marguerite de Navarre and Vittoria Colonna wrote religious works, they were both well known for their secular writing about love. In an early portrait of Marguerite, before she became queen of Navarre, she is pictured with a parrot, which may represent eloquence and love, both symbols appropriate for the author of the ''Heptaméron''. This collection of love stories was gathered together and first published in 1559 after Marguerite's death. Influenced by the poet Giovanni Boccaccio’s ''Decameron'', Marguerite created a framing tale of a group of French nobles who are stranded on their way home from a spa. To pass the time, they tell stories, most dealing with various relationships between the sexes.<br />
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For her part, Vittoria Colonna was the first major poet to use Petrarchan love imagery from a female point of view. Her poems express longing and mourning for her husband, the soldier Francesco Ferrante d’Avalos, who died in 1525. Her poems circulated widely during her lifetime, and she gave a manuscript copy of her sonnets to her friend, Michelangelo.<br />
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Another Italian poet was Tullia d’Aragona, a high-class courtesan who moved in elite literary circles with writers such as Tasso and Aretino. Her ''Dialogue on the Infinity of Love'' is set in her own home, and imagines her debating the nature of love with her friend, poet Benedetto Varchi. She creates a complex persona, sometimes playing dumb or submissive, other times smart or arrogant, in an intellectual neo-Platonic game.<br />
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[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Gaspara Stampa, ''Rime'' (case 5)| Gaspara Stampa's]] 311 poems were partly inspired by her unhappy love affair with Count Collaltino di Collalto. She also uses Petrarchan imagary of the cruel, disdainful dark lady, later also used by Shakespeare, but she inverts it to refer to her male lover. In the first poem she hopes other women will envy her for loving such a man. Stampa was educated in Latin and Greek and was a talented musician as well.<br />
<br />
Like many of the women writing during this period, [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Lady Anne Southwell, poems (case 5)| Lady Anne Southwell]] wrote both secular and religious works, and her manuscript miscellany contains both, as well as a list of books, receipts, and letters. It was compiled and written by various members of Southwell's household.<br />
<br />
=== Items included ===<br />
<br />
*Vittoria Colonna. ''Rime della diuina Vettoria Colonna marchesana di Pescara''. Venice: Marco Salvioni, 1539. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=80467/ 230- 717q]; displayed B8v.<br />
*Tullia d’Aragona. ''Dialogo della signora Tullia d’Aragona della infinità di amore''. Vinegia: Appresso Gabriel Giolito de Ferrari, et fratelli, 1552. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=75266/ PQ4562 A9 D5 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/8vv6vw/ title page].<br />
*Gaspara Stampa. ''Rime''. Venetia: Plinio Pietrasanta, 1554. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245055/ PQ4634 S65 R5 1554 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/gscl28/ A1r].<br />
*LOAN from Houghton Library, Harvard University. Louise Labe. ''Oeuvres''. Lyon: [s.n.], 1555. FC5 L1125 555o; displayed title page.<br />
*LOAN from the Annenberg Rare Book and Manuscript Library, University of Pennsylvania. Veronica Franco. ''Terze Rime''. 1575. PQ4623.F6 T4 1575; displayed Capitolo 16.<br />
*Marguerite de Navarre. ''Contes et nouvelles''. Paris: Aux depens de la Compagnie, 1740. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245162/ 176- 725q]; displayed [http://luna.folger.edu/luna/servlet/s/8dy63l/ title page].<br />
<br />
== Women Poets (wall panel above case 5) == <br />
<br />
*FACSIMILE from the Uffizi Gallery, Florence, Italy. Christofano dell’Altissimo. Portrait of Vittoria Colonna. Oil on panel, ca. 1550.<br />
*FACSIMILE from Art Resource. Daniel Antonio Bertoli after Guercino. Portrait of Gaspara Stampa. Engraving, 1738.<br />
*FACSIMILE from Art Resource. Pierre Woeiriot. Portrait of Louise Labé. Engraving, 1555.<br />
*FACSIMILE from the Worcester Art Museum, Worcester, Massachusetts. Follower of Jacopo Tintoretto. Portrait of Veronica Franco. Oil on canvas, ca. 1575.<br />
*FACSIMILE from the Pinacoteca Civica, Brescia, Italy. Moretto da Brescia. Portrait of Tullia d’Aragona dressed as Salome. Oil on canvas, ca. 1525–49.<br />
<br />
== ''Miscellany of Lady Anne Southwell'' (vitrine after case 5) ==<br />
<br />
*Lady Anne Southwell. ''Miscellany of Lady Anne Southwell''. Manuscript, ca. 1587-1636. [http://luna.folger.edu/luna/servlet/s/68zr12/ V.b.198]; displayed [http://luna.folger.edu/luna/servlet/s/n3ms38/ 56v-57r].<br />
<br />
== Italian Heroic Romance (case 6) == <br />
<br />
[[File:168- 765q v.1 author portrait.jpg|230px|thumb|right|Laura Terracina's portrait in her commentary on ''Orlando furioso'', published in 1584. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/uhrofg/ 54143].]]<br />
Knights, ladies, and battles were the subjects of popular romances in prose or verse that were largely directed to a female audience. Ludovico Ariosto’s ''Orlando Furioso'' (1516) and Torquato Tasso’s ''Gerusalemme Liberata'' (1581) were two Italian romances that had wide influence at home and abroad. Drawing on stories of King Arthur, Charlemagne, and other historical events, both works inspired Italian women writers to engage with the romance tradition in different ways. Following Ariosto, Laura Terracina wrote a moral commentary on ''Orlando Furioso'', while Moderata Fonte created a female knight in her own poetic romance. Inspired by Tasso, Margherita Sarrocchi and Lucrezia Marinella wrote heroic epics drawing on historical figures from the Ottoman wars in the thirteenth and fifeenth centuries.<br />
<br />
First published in 1581, Torquato Tasso's ''Jerusalem Liberated'' is an epic poem in twenty cantos. It celebrates the feats of Godfrey of Bouillon, who led the First Crusade in which Christians defeated the Turks at Jerusalem in 1099. The struggle between east and west was a “hot” topic in Tasso’s time when the Ottoman Empire was threatening Europe. Over half a century earlier, Ludovico Ariosto penned his famous poetic romance about the chivalric knight Orlando (or Roland) in 1516. While detailing the knight’s futile search for his lady-love Angelica, the poem also recounts the medieval struggle between Christians and Muslims. The Folger copy is special edition printed on blue paper with gold decoration is illustrated with fine woodcuts.<br />
<br />
These two heroic romances serve as the basis for several works on view, including the first heroic epic by a woman, written by Margherita Sarrocchi. It tells of the feats of an Albanian warrior, George Scanderbeg, against the Ottomans in the fifteenth century. It is dedicated to Giulia d’Este, daughter of the duke of Modena. One of the most learned women of her time, Sarrocchi corresponded with Galileo and Tasso, wrote Latin poems and lectured on philosophy. Her decision to write an heroic epic in the style of Tasso’s ''Gerusalemme'', considered the highest example of that poetic form, shows her intellectual self-confidence.<br />
<br />
Using the same heroic romance tradition, Laura Terracina produced a 42-canto poem linked to Ariosto’s epic. A prolific Neapolitan poet, and member of an elite literary academy, Terracina's work was especially popular. Rather than telling a discrete story, it provides moral commentary, using the first octave of each canto in Ariosto’s Orlando Furioso. Terracina strongly encourages women to make their own voices heard by reading and writing. Addressing male writers she says:<br />
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''Oh if only women would give up the needle,''<br />
<br />
''the thread and cloth, and take on the burden of study''<br />
<br />
''I think they would give you writers great difficulties.'' †<br />
<br />
Also following the tradition of Ariosto’s chivalric romance is Moderata Fonte’s ''Thirteen Songs''. It follows the adventures of the beautiful female knight, Risamante, who searches for her inheritance. Fonte argues for the equality of women and men:<br />
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''Women of every age have been endowed by Nature''<br />
<br />
''with great judgment and spirit''<br />
<br />
''nor are they less apt in revealing with attentive study''<br />
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''the same wisdom and courage with which men are born.'' ††<br />
<br />
:† ''Canto 37, Translation''<br />
:†† ''Translation by Irma Jaffe and Gernan''<br />
<br />
=== Items included ===<br />
<br />
*Laura Terracina. ''La prima parte de’discorsi sopra le prime stanze de’canti d’Orlando furioso''. Venetia: Per gli heredi di Luigi Valuassori, & Giouan Domenico Micheli, 1584. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=76195/ 168- 765q v.1]; displayed [http://luna.folger.edu/luna/servlet/s/uhrofg/ author portrait].<br />
*Moderata Fonte. ''Tredici canti del Floridoro''. Venetia: Francesco Rampazetto, 1581. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=195917/ 183- 328q]; displayed [http://luna.folger.edu/luna/servlet/s/b73nt6/ A1r].<br />
*Margherita Sarrocchi. ''La Scanderbeide : poema heroico''. Roma: Lepido Facij, 1606. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=115912/ 252- 745f]; displayed [http://luna.folger.edu/luna/servlet/s/h8yv83/ title page].<br />
*LOAN from Houghton Library, Harvard University. Lucrezia Marinella. ''L’Enrico''. Venice: Imberti, 1635. IC6 M3386 635e; displayed title page.<br />
*Lodovico Ariosto. ''Orlando Furioso''. Venetia: Appresso Gabriel Gioli di Ferrarii, 1544. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245158/ PQ4567 A2 1544 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/5kgci9/ leaf 16].<br />
*Torquato Tasso. ''La Gerusalemme liberata''. Venetia: Dal Sarzina, 1625. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245157/ 177- 100q]; displayed p. 177.<br />
<br />
==Women Reading Sidney's ''Arcadia'' (wall between 6 and 7) ==<br />
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*Wall Panel: “Women Reading Sidney’s ‘Arcadia’” with quotes from Lady Anne Clifford’s Diary and Virginia Woolf’s ''The Common Reader, Second Series''<br />
*Edward Hall. ''The vnion of the two noble and illustrate famelies of Lancastre and Yorke''. London: Richardi Graftoni, 1548. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=168848/ STC 12721 copy 2]; displayed Mary Sidney [http://luna.folger.edu/luna/servlet/s/4zaux9/ verse and signature] after Fol. cclx (26), before Fol. F.<br />
<br />
== Sidney Family Ties (case 7) ==<br />
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[[File:V.a.104 fol.1.jpg|250px|thumb|right|The first sonnet of Lady Mary Wroth's ''Pamphilia to Amphilanthus'', in Wroth's ca. 1615 manuscript of the sequence. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/j1rydy/ 23388].]]<br />
The Sidneys were one of the most literary families in Tudor and Stuart England. The matriarch, Mary Dudley Sidney, knew several languages and was a great letter writer. Her son, Sir Philip Sidney, wrote a sonnet sequence and composed the prose romance ''Arcadia'', based on Ariosto, for his sister, Lady Mary Sidney. After Philip’ early death in 1586, Mary Sidney completed her brother’ work, and it was published as ''The Countess of Pembroke’s Arcadia''. In the next generation, their niece, Lady Mary Sidney Wroth, wrote her own sonnet sequence and the prose romance ''Urania''. Thus they carried on the Italian heroic romance tradition in England, and inspired other writers such as Anna Weamys, who composed her own ''Continuation'' of the ''Arcadia'' in 1651, indicating the work’s continued popularity.<br />
<br />
In dedicating the ''Arcadia'' to his sister, Mary Sidney, countess of Pembroke, Philip Sidney says it is the work of his youth, written “most of it in your presence, the rest, by sheetes, sent unto you, as fast as they were done.” Sidney left the work incomplete, and after his early death, Mary Sidney took over the complicated editorial work of arranging the manuscript versions he had left into the revised edition on exhibit. It is credited in the introduction as being “most by her doing, all by her directing.” The Folger's copy was owned by Dorothy Wylde, who wrote her name and the date 1645 across from the dedication to Mary Sidney.<br />
<br />
Philip Sidney's niece, [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Lady Mary Wroth, ''Urania'' (case 7)| Lady Mary Wroth]], wrote two of the items on display: the ''Urania'' and the sonnet sequence ''Pamphilia to Amphilanthus''. In 107 sonnets and songs, ''Pamphilia to Amphilanthus'' develops the theme of Pamphilia’s unrequited love for Amphilanthus, reversing Petrarchan motifs, as Italian women writers had done, to make the beloved a man. Like the poetry of her uncle, Wroth’s poems first circulated in manuscript among her friends, and the copy on display is the only known manuscript of Mary Wroth’s sonnet sequence in her own hand. Some of Wroth's poems were later published with her prose romance, ''Urania'', the first romance written by a woman in English. It also examines Pamphilia’s frustrated love for the unfaithful Amphilanthus. Lady Mary Wroth wrote a second volume, but it was not published at the time because characters and events in ''Urania'' were seen as too close to real life for the noble families involved. Certainly, part of the story suggests Wroth’s own involvement with her cousin, William Herbert, with whom she had two children out of wedlock.<br />
<br />
Although not related to the Sidneys, Anna Weamys was influenced by Philip Sidney's writing and wrote a sequel to the ''Arcadia'' in which she rewrites some of Sidney’s plot and finishes several of the unresolved love stories by marrying off the couples. Like Mary Wroth, she was especially drawn to the character of Urania, but the two women writers treat her differently. Wroth’s Urania tends to be an agent of action in others, while Weamys’ Urania is acted upon, a victim of her parents’ authority and of male desire. As a royalist, Weamys used the romance genre to write about courtly virtues at a time when the English royal family of Charles I was in exile.<br />
<br />
=== Items included ===<br />
<br />
*Mary Wroth. ''Pamphilia to Amphilanthus''. Manuscript, ca. 1615-ca. 1620. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233141/ V.a.104]; displayed [http://luna.folger.edu/luna/servlet/s/j1rydy/ fol. 1].<br />
*Anna Waemys. ''A continuation of Sir Philip Sydney’s Arcadia''. London: William Bentley, 1651. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=142267/ 166- 792q]; displayed [http://luna.folger.edu/luna/servlet/s/rtq0i6/ title page].<br />
*FACSIMILE by kind permission of Viscount De L’Isle from his private collection. Marcus Gheeraerts the Younger. Double portrait of Two Ladies (probably) Lady Mary Wroth and Lady Barbara Sidney, the landscape with Haymakers. Oil on panel, 1612.<br />
*Mary Wroth. ''The Countesse of Mountgomeries Urania''. London: Augustine Matthews?, 1621. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=169407/ STC 26051 copy 1]; displayed engraved [http://luna.folger.edu/luna/servlet/s/ed8xxv/ title page].<br />
*Philip Sidney. ''The Countesse of Pembrokes Arcadia''. London: John Windet for William Ponsonbie, 1593. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164131/ STC 22540 copy 1]; displayed [http://luna.folger.edu/luna/servlet/s/uy163h/ prelim 3] facing Dorothy Wylde inscription.<br />
<br />
== The Sidney and Clifford Families (wall panel after case 7) ==<br />
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[http://www.folger.edu/documents/WallAfter7_FINAL.pdf/ Family tree and description of the two families]<br />
<br />
== ''The Great Picture'' (west wend of hall) ==<br />
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*Jan Van Belcamp. ''The Great Picture''. 1646. Courtesy of Abbot Hall.<br />
<br />
== Writings By Mothers, Daughters, & Sisters (case 8) ==<br />
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[[File:DC112.M2 U7 Cage B1r.jpg|240px|thumb|right|The title page of ''Le tombeau de Marguerite de Valois royne de Nauarre'', as series of poems commemorating Marguerite de Navarre, composed by the sisters Anne, Jane, and Margaret Seymour. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/cd8131/ 54957].]]<br />
Just as the Sidney and Clifford families created literary circles, so did other families in England and France. Support from one’s family was especially important for women writers who were educated at home and often expected to fulfill household duties before intellectual pursuits. The Seymour sisters in England wrote verses in Latin on the death of Marguerite de Navarre, which were published in France. Two mother-daughter pairs, the Des Roches, and the Deshoulières, wrote poetry together, and the Des Roches hosted a literary circle in their Poitiers home. Later in the seventeenth century, the Mancini sisters each broke away from their husbands, traveled, and wrote memoirs of their colorful lives. They lived on the edge of scandal, pushing the boundaries of women beyond the home.<br />
<br />
Both Marie and Hortense Mancini led interesting lives, and both of them wrote memoirs detailing their adventures. Hortense Mancini fled from her husband, and she spent much of her married life traveling across Europe. Her sister Marie also fled from her husband, and for some time, the two traveled together. Hortense eventually settled in London where she became a patron of the arts and was supported by Charles II. Aphra Behn dedicated one of her plays to the duchess, and Susanna Centlivre’s play ''The Basset-table'' was inspired by Mancini’s gambling and literary salon. Because the rather scandalous lives of these sisters were so popular, other writers rushed fictional memoirs into print that were attributed to them. The book on display was one of those false memoirs of Marie Mancini using the same imprint as her sister’s book to make it look legitimate.<br />
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Less scandalous were the Seymour sisters, daughters of Edward Seymour, duke of Somerset, and lord protector for the young Edward VI. They received a full humanist education and went on to write a tour-de-force poem of 103 Latin couplets composed in memory of Marguerite de Navarre. Their French tutor took the manuscript to France where it was published with congratulatory poems by a number of male Humanists, including the poet Ronsard.<br />
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The mother-and-daughter pair, Madeleine and Catherine Des Roches, were learned women from Poitiers, France who held literary salons at their home and whose fame spread to Paris. Both wrote poetry, and Catherine’s works include a sonnet sequence and political poems. Their last publication, on display, contains ninety-six letters to friends and family, some of which extol female friendship and learning. It opens with an epistle from mother to daughter in which Madeleine credits her daughter’s encouragement with her own decision to “speak in public”; that is, allow her writings to be published along with those of her daughter. They both died of the plague the following year, 1587.<br />
<br />
For an engaging Question and Answer session with Elizabeth Goldsmith and video about the Mancini Sisters, please read the article [[The Mancini Sisters: Mistresses and Memoirists]].<br />
<br />
=== Items included ===<br />
<br />
*Hortense Mancini, duchess de Mazarin. ''Memoires de Madame la Duchesse de Mazarin''. Cologne: Chez Pierre du Marteau, 1675. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245049/ DC130 M28 A3 Cage]; displayed title page.<br />
*FACSIMILE from the Royal Collection, by gracious permission of Her Majesty, Queen Elizabeth II. Ferdinand Voet. Portrait of Hortense Mancini and her sister, Marie Mancini. Oil on canvas, ca. 1670-1700.<br />
*Marie Mancini. ''Les memoires''. Cologne: Chez Pierre du Marteau, 1675. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245048/ DC130 C61 M4 1676 Cage]; displayed title page.<br />
*Anne Seymour, Jane Seymour, and Margaret Seymour. ''Le tombeau de Marguerite de Valois royne de Nauarre''. Paris: De l’imprimerie de Michel Fezandat, & Robert Granlon, 1551. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245050/ DC112.M2 U7 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/cd8131/ B1r].<br />
*Madeleine des Roches. ''Les missiues de Mes-Dames Des Roches de Poitiers mere et fille''. Paris: Chez Abel l’Angelier, 1586. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=207716/ 165- 546q]; displayed [http://luna.folger.edu/luna/servlet/s/3vccd9/ Biiir].<br />
*Madame (Antoinette) Deshoulières. ''Poesies''. Paris: Chez la Veuve de Sebastien Mabre-Cramoisy, 1688. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245181/ 217- 493q]; displayed [http://luna.folger.edu/luna/servlet/s/9a5bli/ p. 39].<br />
*FACSIMILE from Musée Condé, Chantilly, France. Elisabeth Sophie Chéron. Portrait of Madame Deshoulières. Oil on canvas, 17th century.<br />
*LOAN from the Library of Congress. Madame (Antoinette) Deshoulières. ''Poesies''. Paris: [s.n.], 1705. PQ1794 D4 1705 Pre-1801 Coll, vol. 1; displayed title page.<br />
<br />
== Women of the French Salons (case 9) == <br />
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[[File:171-523q frontis.jpg|255px|thumb|right|The frontis of Madeleine de Scudéry's ''Coversations''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/759xs2/ 54963].]]<br />
In seventeenth-century France, upper class, educated women opened their homes to male and female intellectuals for elevated conversation and the exchange of ideas. Often the hostess set the agenda for these gatherings, which rose to prominence during the reign of Louis XIV and became important sites for trying out new literary pieces and setting literary standards. Though all of the women represented in this case participated in the salons, Madame de La Fayette and Mademoiselle de Scudéry were particularly outspoken in their literary judgments. Many of their works were soon translated into English for a new and devoted audience.<br />
<br />
Abraham Bosse's print depicts a group of women who meet together over good conversation and food while their husbands are away. The elaborate chamber with richly curtained bed and patterned wall covering, as well as the ladies’ fine clothes, suggest a household of some wealth, and brings to mind salon culture, which later in the century welcomed both women and men into the conversation. The women discussed in Case 9 ran and participated in [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#French Salons (case 9)|French Salons]].<br />
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Widowed at the age of twenty-five, Madame de Sévigné relished her freedom, and established herself in Parisian society. She attended salons, and became good friends with Madame de La Fayette. The latter contributed Sévigné’s written portrait to Mademoiselle Montpensier’s Gallery of Portraits, writing of Sévigné, “your presence enhances every occasion …joy is the true state of your soul.” Over her lifetime, Sévigné wrote over a thousand letters, which first circulated in manuscript among her friends. In 1725, an unofficial edition of a few of her letters was published, and the first official editions appeared in 1734.<br />
<br />
Madeleine de Scudéry’s ten-volume novel ''Cyrus'' was set in ancient classical worlds, but many of the novel’s characters are drawn from courtiers whom Scudéry knew, including members of the salon held by Madame de Rambouillet, which Scudéry attended. The novel explores issues debated in the salons, such as knowledge, writing, and marriage. The character Sapho in volume 10 is a self-portrait, described as a woman “learned without showing off her learning.”<br />
<br />
Better known than Madame de La Fayette, Marie Madeleine Pioche de la Vergne was an intellectual, a letter-writer, and one of the first great European novelists. Her ''Princesse de Montpensier'', first published in 1662, tells of court life in the previous century, and was the first historical novel in France. Lafayette had her own salon and was a close friend of Madame de Sévigné and the philosopher François de La Rochefoucauld. Her most famous and popular novel, ''The Princess of Cleve'', was read throughout Europe and, by 1689 even adapted to the English stage. The engraved title page to this English edition shows the Princess walking with the Duc de Nemours. Both are dressed in the height of seventeenth-century fashion, in spite of the story’s setting in the sixteenth-century court of Henry II. The novel explores some of the questions about love and the relationship between the sexes that were debated in the salons.<br />
<br />
Madame de Scudéry was a well-educated writer who brought her talents to her weekly salons, called “samedis” or “Saturdays.” Her popular volumes of ''Conversations'' published in 1680, 1684, and 1685, reproduce the kinds of topics discussed in the salons: politeness, glory, lying, and magnificence versus magnanimity. One essay, “On the Manner of Writing Letters,” argues that women write more artful love letters than men because women have learned to disguise their feelings.<br />
<br />
=== Items included ===<br />
<br />
*Marie de Rabutin-Chantal, marquise de Sévigné. ''Letters of Madame de Rabutin Chantal, Marchioness de Sevigne, to the Countess de Grignan, her daughter''. London: printed for J. Hinton, 1745. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=130226/ PQ1925 A22]; displayed [http://luna.folger.edu/luna/servlet/s/30ztp5/ title page].<br />
*Abraham Bosse. ''Les femmes à table en l’absense de leurs maris''. Paris: Le Blond, ca. 1636. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=216401/ Art 264930 (size M)] [http://luna.folger.edu/luna/servlet/s/842kq8/ Image] of Art 264930 (size M).<br />
*Madeleine de Scudéry. ''Artamenes; or, The Grand Cyrus''. London: J. Darby, R. Roberts, B. Griffin, and R. Everingham, 1691. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=143742/ S2145 v.10]; displayed [http://luna.folger.edu/luna/servlet/s/wpu74g/ plate] opposite p. 27.<br />
*Madame de La Fayette. ''The princess of Cleve''. London: printed for R. Bentley and S. Magnes in Russel-Street in Covent-Garden, 1688. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=154788/ 154- 944q]; displayed title [http://luna.folger.edu/luna/servlet/s/5nbf6d/ title page engraving].<br />
*Madame de La Fayette. ''La princesse de Monpensier''. Paris: Chez Charles Osmonts, 1678. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245177/ PQ1805.L5 A68 1678 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/q7c0j6/ title page].<br />
*Madeleine de Scudéry. ''Conversations nouvelles sur divers sujets''. La Heye: Chez Abraham Arondeus, 1685. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245275/ 171- 523q]; displayed [http://luna.folger.edu/luna/servlet/s/759xs2/ frontis].<br />
*Anne-Marie-Louise d’Orléans, duchesse de Montpensier. ''La galerie de peintures''. Paris: Chez Charles de Sercy, 1663. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245285/ 175- 898q]; displayed [http://luna.folger.edu/luna/servlet/s/2kid8j/ frontis foldout].<br />
<br />
== Virginia and Vita on French Salon Writers (wall panel between 9 and 10) ==<br />
<br />
*FACSIMILE from Châteaux de Versailles et de Trianon, Versailles, France. Anonymous. Marie de Rabutin-Chantal, marquise de Sévigné. Oil on canvas, 17th century.<br />
*FACSIMILE from Châteaux de Versailles et de Trianon, Versailles, France. Pierre Mignard. Anne-Marie-Louise d’Orléans, duchesse de Montpensier, called “La Grande Mademoiselle.” Oil on canvas, 17th century.<br />
<br />
== Italian Women Playwrights (case 10) ==<br />
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[[File:PQ4632.R15 V5 Cage frontis.jpg|250px|thumb|right|The frontis of Giulia Rangone Ariberti's opera ''La virtù trionfante'', published circa 1690. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/y945y9/ 2181].]] <br />
In Renaissance Italy, unlike England, women performed as actresses in the theater, and beginning in the later sixteenth century, they also wrote and published plays. Earlier Italian drama had been the purview of male writers, since the language was realistic and frequently bawdy. But as more refined romantic comedy became popular, the dramatic genre opened to women writers. Valeria Miani’s play, for example, is an early love story set in a refined pastoral setting. The later seventeenth-century dramas by Veronica Maleguzzi Valerii and Giulia Rangoni Ariberti continue the emphasis on virtue. More unusual was Margherita Costa’s earthy ''commedia del’arte'' drama, ''Li Buffoni''.<br />
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Valeria Miani’s play, ''Amorous Hope'', tells the story of a nymph, Venelia, who is abandoned by her husband and pursued by two shepherds. In the dedication to Marietta Uberti Descalzi, a gentlewoman from Miani’s hometown of Padua, the publisher writes that “some men will never give a fair reading to a book published by a woman.” However, pastoral drama, based on the writings of Tasso and Guarini, became a popular genre for female dramatists because sex could be dealt with under the mythical cover of nymphs and shepherds.<br />
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Another Italian playwright, Giulia Rangoni, wrote ''Virtue Triumphant'', a three-act “royal opera” or masque dedicated to the Empress Eleonora Gonzaga, a great patron of the arts, to whom Rangoni was lady-in-waiting. The cast of characters from Crete, Cyprus, and Tunis reads like a Shakespearean romance, while the dramatic dialogue is interspersed at beginning, middle, and end with singing. Around 1675, Rangoni and her husband, the marchese Giovan Battista Ariberti, built a small theater in Cremona for private performances.<br />
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Also writing on virtue, the Contessa Malaguzzi was the well-educated daughter of a historic family in Reggio Emilia. She famously defended a Latin dissertation, but unable to find a paid court position based on her learning, she entered the Convent of the Visitation in Modena. In the foreword to ''Innocence Revealed'', Malaguzzi explains that the play is based on a French story about Genevieve of Brabant. The virtuous tale is set in the Italian middle ages and, like ''Romeo and Juliet'', deals with two feuding families. The play is dedicated to Laura Martinozzi, duchess of Modena.<br />
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Like many playwrights of the day, Roman-born Margherita Costa was also a singer and actress, and she spent time at the Medici court in Florence and at the French royal court. She wrote poetry, as well as a number of plays. Costa wrote her comedy ''Li Buffoni'' for the 1641 Carnival in Florence, dedicating it to her fellow actor, Bernadino Ricci. The illustration '' Li Buffoni: Comedia Ridicola'' shows the stage set and actors during the performance.<br />
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=== Items included ===<br />
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*Valeria Miani Negri. ''Amorosa speranza''. Venezia: Per Francesco Bolzetta, 1604. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=233636/ 176- 173q], displayed [http://luna.folger.edu/luna/servlet/s/8vp963/ title page].<br />
*Giulia Rangone Ariberti. ''La virtù trionfante: opera regale''. Milano: Per li heredi di Filippo Ghisolfi, 1690?. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245281/ PQ4632.R15 V5 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/y945y9/ frontis].<br />
*Ottavio Bertotti Scamozzi. ''Il forestiere istruito delle cose più rare di architettura e di alcune pitture della città di Vicenza''. Vicenza: Giovambattista Vendramini Mosca, 1761. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245282/ NA1121.V7 B4 Cage]; displayed [http://luna.folger.edu/luna/servlet/s/f5q634/ foldout] opposite p. 92.<br />
*Margherita Costa. ''Li buffoni: comedia ridicola''. Fiorenza: Nella stamp. nuoua d’Amador Massi, e Lor. Landi, 1641. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245176/ 169- 572q]; displayed frontis [http://luna.folger.edu/luna/servlet/s/9t94nx/ frontis] illustration of stage.<br />
*Veronica Maleguzzi. ''L’innocente riconosciuta: opera''. Bologna: Per Giacomo Monti, 1660. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=245175/ 168- 227q]; displayed [http://luna.folger.edu/luna/servlet/s/qd040b/ p. 14-15].<br />
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== Virginia Woolf Imagining Judith Shakespeare (wall between 10 and 11) ==<br />
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*FACSIMILE from private collection. George Charles Beresford. Virginia Woolf. Black and white photograph, 1902.<br />
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== Literary Ladies as Playwrights (case 11) == <br />
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[[File:STC11623 title page.jpg|250px|thumb|right|The title page of Margaret Cavendish's 1595 translation of ''The tragedie of Antonie''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/7qt862/ 54964].]]<br />
All of the women in this case were established literary figures from the upper classes for whom writing plays was another form of creative expression, meant to be shared primarily in private readings at home. Lady Mary Sidney and Viscountess Elizabeth Falkland drew on classical and biblical subjects through which they explored political and moral issues. Later in the century, Margaret Cavendish, duchess of Newcastle, wrote plays in a very personal style that explored the social roles of both women and men. She thought they might be performed, but preferred that they be read. And Katherine Philips was encouraged by the earl of Orrery to translate Pierre Corneille’s play on Pompey the Great, which was then acted in Dublin.<br />
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Mary Sidney’s translation of Robert Garnier’s French classical tragedy ''Marc Antoine'' marks the first time the story of Antony and Cleopatra was dramatized in England. It was intended as a closet-drama, a play to be read rather than acted. Although she followed the French closely, Sidney also based her work on Plutarch’s prose ''Life of Anthony''. The Stoic philosophy of Garnier’s play foregrounds reason over emotion, which may have appealed to Sidney, as did Cleopatra’s verbal skill and knowledge of languages. It is likely that Shakespeare knew Sidney’s translation when he wrote [[Antony and Cleopatra|''Antony and Cleopatra'']] around 1606.<br />
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Like Sidney, Elizabeth Cary’s closet history drama ''The Tragedie of Miriam'' takes the reader back to classical times. Written around 1605 and set in Judea under Roman rule, this play tells the story of Mariam, wife of the tyrant Herod. She is beautiful and chaste but also outspoken and is set against other female characters, such as Salome, who have been corrupted by the political system. Believing that Mariam has been unfaithful to him with his officer Sohemus, Herod has her put to death, but grievously mourns her afterwards. Scholars have noted similarities between the jealous-husband plot of Cary’s play and the plot of Shakespeare’s [[Othello|''Othello'']], written around the same time. Cary’s ''Mariam'' is the first published original play by an English woman.<br />
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Better known today for her poems, [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Katherine Philips, Plays and Poems (case 11)|Katherine Philips]] also translated two plays, including ''Pompey'', a translation of Pierre Corneille’s ''La Mort de Pompée'' that she made while visiting Ireland. It was successfully performed at the Smock Alley Theatre in Dublin in February 1663. Conflicting political ideals are represented by two strong heroines, Cornelia and Cleopatra. The play cultivated French heroic drama, popular at the English court, and also served to identify and unite the diverse Anglo-Irish and English communities with whom Philips associated. Her plays and poems were so popular that they continued to circulate in manuscript even after appearing in print. On display were a 1678 printed edition and a manuscript edition copied out from an earlier printing.<br />
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[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Margaret Cavendish, English Playwright (case 11)| Margaret Cavendish]] wrote poems, letters, fiction, and over a dozen plays. Her plays were written as conversations, and meant to be read in groups, rather than performed on stage. In them, Cavendish satirizes conventions of love, marriage, and the court, and examines many aspects of women’s lives and behavior. In her preface, Cavendish becomes the first Englishwoman to publish dramatic criticism. She praises Ben Jonson for his wit and classical learning, and Shakespeare for writing according to “Nature’s light.” Echoing the introductory poem to Shakespeare’s First Folio (1623) she writes:<br />
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''I covet not a stately, cut, carv’d Tomb,''<br />
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''But that my Works, in Fames house may have room:''<br />
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''Thus I my poor built Cottage [her plays] am content,''<br />
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''When that I dye, may be my Monument.''<br />
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When preparing this copy for exhibition, we were excited to find a hidden presentation inscription: “Mary [?last name] Her Booke Giuen by her Grace the Duches of Newcastle.” We know that Cavendish gave a number of her books as presents to friends, and also made corrections in the text, so this volume will provide new opportunities for research by scholars. More information about this discovery can be found at [http://collation.folger.edu/2012/01/a-newly-uncovered-presentation-copy-by-margaret-cavendish/ ''The Collation''].<br />
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=== Items included ===<br />
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*Robert Garnier. ''The tragedie of Antonie. Doone into English by the Countesse of Pembroke''. Translated by Mary Sidney, Countess of Pembroke. London: P. Short for William Ponsonby, 1595. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=161010/ STC 11623]; displayed [http://luna.folger.edu/luna/servlet/s/7qt862/ title page].<br />
*Elizabeth Cary. ''The tragedie of Mariam''. London: Thomas Creede for Richard Hawkins, 1613. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=162215/ STC 4613.2]; displayed [http://luna.folger.edu/luna/servlet/s/0jx2w1/ title page].<br />
*Katherine Philips. ''Poems''. London: T.N. for Henry Herringman, 1678. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=138101/ P2035]; displayed [http://luna.folger.edu/luna/servlet/s/i95ll9/ frontis and title page].<br />
*Katherine Philips. ''Copy of Poems by the most deservedly admired Mrs Katherine Philips'', ca. 1670. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=229455/ V.b.231]; displayed [http://luna.folger.edu/luna/servlet/s/v57915/ fol. 116].<br />
*Margaret Cavendish, duchess of Newcastle. ''Plays, never before printed''. London: A. Maxwell, 1668. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=156632/ N867]; displayed [http://luna.folger.edu/luna/servlet/s/03eib1/ title page].<br />
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== English Women as Professional Playwrights (case 12) == <br />
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[[File:M435 p.1.jpg|350px|thumb|right|The title page and Dramatis Personae of Mary de la Rivière's ''The lost lover''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/cl7171/ 2164].]]<br />
In London, on December 8, 1660 a woman performed the role of Desdemona in ''Othello''. This was the first record of a professional actress on the English public stage. It followed the restoration of Charles II to the English throne, and was a result of influence from the French court where Charles had spent part of his exile. The new theater audience—more courtly and sophisticated than in Shakespeare’s time—was open to the innovation of actresses and to women writing for the public stage. Aphra Behn was the first female professional playwright, and she was soon followed by others, including Susanna Centlivre, Delarivière Manley, Mary Pix, and Catherine Trotter.<br />
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The well known [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Aphra Behn, ''The Widow Ranter'' (case 12)| Aphra Behn]] wrote novels, poetry, and nineteen plays that were performed on the stage. On display was ''The Widow Ranter'', which tells the story of Bacon’s Rebellion in 1676, when Nathaniel Bacon commanded a force of Indians against the English governor of Virginia. It contains strong female roles, namely Semernia, the Indian Princess loved by Bacon, and the Widow Ranter, who dons men’s clothing to fight. Behn herself led an adventurous life, spending time in Surinam and serving as a government spy. In the mezzotint by William Vincent, the actress Anne Bracegirdle is depicted as Semernia in Aphra Behn’s ''The Widow Rante'', a role she played when she was about eighteen.<br />
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Like Behn, Delarivière Manley led an interesting life, which reads at times like the plot of a play: well-educated but orphaned at an early age, forced into bigamy with her cousin, companion to Barbara Villiers (former mistress of Charles II), and finally a successful author. ''The Lost Lover'' is her first play, and contains two strong female roles, witty Olivia and the villainess Belira. Its poor reception led Manley to write: “I am now convinc’d Writing for the Stage is no way proper for a Woman” but she produced three more plays anyway.<br />
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Drawing on a plot from a 1688 novel by Aphra Behn, playwright Catharine Trotter produced ''Agnes de Castro'' when she was about sixteen years old. It draws on the story of a Portuguese prince, Don Pedro, who falls in love with a Spanish gentlewoman, Inês de Castro. Trotter published five plays, in each of which she included strong female characters.<br />
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Mary Pix arrived on the London literary scene at the same time as Catherine Trotter and Delarivière Manley, with whom she was friends. In the Prologue to ''The False Friend'', Pix positions herself as a woman playwright:<br />
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''Amongst Reformers of this Vitious Age,''<br />
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''Who think it Duty to refine the Stage:''<br />
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''A Woman, to Contribute, does Intend,''<br />
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''In Hopes a Moral Play your Lives will Mend.''<br />
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[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Susanna Centlivre, ''The Basset-table'' (case 12)|Susanna Centlivre]] was one of the first Englishwomen to make the theater a true profession. She moved from acting to writing, producing sixteen plays. ''The Basset-table'' stars Lady Reveller, a young widow who earns extra money by hosting gambling at her home. Other colorful characters include Valeria, an intellectual who loves science, and Mrs. Sago, who “embezzles her husband’s stock.” The prim Lady Lucy sums up the difference between gambling and play-going: “one ruins my Estate and Character, the other diverts my Temper, and improves my Mind.” Because basset is a little-known card game today, the Folger Theatre retitled its 2012 production [[The Gaming Table (Folger Theatre, 2012)|''The Gaming Table'']] .<br />
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Another poet-playwright was [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Anne Finch, plays and verses (case 12)|Anne Finch]], regarded as the most important female British poet of her period. On display is the largest surviving manuscript of her works. It was transcribed by her husband Heneage Finch in a fair hand, but corrections by Anne in her crabbed writing are visible throughout. Finch served at the court of Mary of Modena, wife of James II, and composed fables, political poems, odes, and religious verse as well as plays. Both Jonathan Swift and Alexander Pope praised her poetry.<br />
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=== Items included ===<br />
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*Aphra Behn. ''The widdow ranter''. London: Printed for James Knapton, 1690. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=152576/ B1774]; displayed [http://luna.folger.edu/luna/servlet/s/0k0be7/ A4 (Dramatis Personae)].<br />
*William Vincent. ''The Indian queen''. London: J. Smith ex., ca. 1689. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=241043/ ART 232- 569.1 (size XS)] [http://luna.folger.edu/luna/servlet/s/1gk649/ Image] of ART 232-569 (size XS).<br />
*Aphra Behn. Promissory note from Aphra Behn to Zachary Baggs. Autograph manuscript signed August 1, 1685. From Papers of Jacob Tonson. Manuscript, 1680-1737. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=223207/ C.c.1 (4)] [http://luna.folger.edu/luna/servlet/s/5tc925/ Image] of C.c1.<br />
*Mrs. Manley (Mary de la Rivière). ''The lost lover''. London: printed for R. Bently, in Covent-Garden; F. Saunders, in the New-Exchange; J. Knapton, and R. Wellington, in St. Paul’s Church-Yard, 1696. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=156442/ M435]; displayed [http://luna.folger.edu/luna/servlet/s/cl7171/ p. 1].<br />
*Catharine Trotter. ''Agnes de Castro, a tragedy''. London: printed for H. Rhodes in Fleetstreet, R. Parker at the Royal-Exchange, S. Briscoe, at the corner of Charles-street, in Russel-street, Covent-Garden, 1696. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=134571/ C4801 copy 2]; displayed [http://luna.folger.edu/luna/servlet/s/p48hxl/ title page].<br />
*Susanna Centlivre. ''The basset-table''. London: printed for Jonas Browne, and S. Chapman, 1706. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=173973/ 153- 587q]; displayed [http://luna.folger.edu/luna/servlet/s/z9il89/ frontis].<br />
*Mary Pix. ''The false friend''. London: Printed for Richard Basset, 1699. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=151754/ P2328 copy 2]; displayed [http://luna.folger.edu/luna/servlet/s/s9vdm6/ B1r].<br />
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== Portrait of Anne Finch, Countess of Winchilsea (vitrine after case 12)== <br />
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*Anne Kingsmill Finch, Countess of Winchilsea. ''Miscellany poems with two plays by Ardelia'', ca. 1685-1702. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=228032/ N.b.3]; displayed [http://luna.folger.edu/luna/servlet/s/h6k18j/ p. 141].<br />
*FACSIMILE from National Portrait Gallery, London. Peter Cross. [http://www.npg.org.uk/collections/search/portrait/mw06861/ Portrait of Anne Finch, Countess of Winchilsea]. Watercolor on vellum by Peter Cross, ca. 1690.<br />
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== Learned Women (case 13) == <br />
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[[File:S902 frontis and title page.jpg|thumb|340px|right|The frontis and title page of Anna Maria van Schurman's ''The learned maid'', published in 1641. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/778ob5/ 2215].]]<br />
English and European women of the Renaissance wrote in a variety of genres and on many subjects, as did their male contemporaries. Many of the writers featured in this case were considered to be the highest examples of learned women in their age. One of them, Elizabeth Jane Weston, was a muchrespected Neo-Latin poet among her European male peers. Many of these women were also interested in the improvement of their own sex through better education. Anna Maria van Schurman defended learning for women, while Hannah Woolley and Mary Astell wrote books setting out the skills they thought women should learn. Others such as Christine de Pisan and Lucrezia Marinella defended women against the many attacks from men in an ongoing battle known as the “quarrel of women.” At a time when most women had little education, these women were living examples of greater possibilities for their sex.<br />
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It might be said that [[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Christine de Pisan, ''City of Ladies'' (case 13)| Christine de Pisan]] was the first great female scholar in the European Renaissance to make a living through her writings. Reared at the French court of Charles V, she studied the classics, and, after her husband died, she supported herself and her children by writing. Her treatise ''The City of Ladies'', written in French ca. 1404-05 presents the achievements of historical and contemporary women. “There is no man who could sum up the enormous benefits which have come about through women,” she writes, “and I proved this for you with the examples of the noble ladies who gave the sciences and arts to the world.” †<br />
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Pisan's desire that women be both educated and appreciated is echoed by the many women who wrote in the centuries after her. A poet and intellectual, Mary Astell was educated in philosophy and theology by her uncle. She felt strongly that women ought to receive a good education. “How can you be content to be in the World like Tulips in a Garden,” she asked, “to make a fine shew and be good for nothing?” A life of the mind, she writes in this book, is “a Matter infinitely more worthy your Debates, than what Colours are most agreeable, or what’s the Dress becomes you best?"<br />
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The German-Dutch scholar, religious leader, and artist Anna Maria van Schurman spent most of her life in the Netherlands, where she corresponded with a network of intellectual women across Europe. ''The Learned Maid'' is her most famous work, first published in Latin in 1641. Van Schurman argued that women who had the means and no family responsibilities should be able to study in all fields. She herself knew ten languages and was knowledgeable in history, theology, and astronomy, among other disciplines.<br />
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With knowledge of six languages, Bathsua Makin was known as the greatest female scholar in England, and she corresponded with fellow scholar Anna Maria van Schurman in the Netherlands. She became tutor to Princess Elizabeth, the daughter of Charles I, and this experience no doubt influenced her best-known work, the ''Education of Gentlewomen''. She writes: “Were a competent number of Schools erected to Educate Ladyes ingenuously, methinks I see how asham’d Men would be of their Ignorance.” And she adds, “Had God intended Women onely as a finer sort of Cattle, he would have not made them reasonable.”<br />
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Hannah Woolley was a skilled medical practitioner and published books that included cooking and medicinal recipes as well as advice on household management. In her ''Guide'' she addresses all levels of women in the home from mistresses to maids, mixing advice on general behavior, love, and childbirth with recipes for preserved pears, pumpkin pie, and digestive remedies. She says that such a book covering the many facets of women’s lives “I have not met with in any language.”<br />
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Prolific Venetian poet Lucrezia Marinella also turned to a defense of her own sex in response to a vicious attack on women published by Giuseppe Passi in 1599. In Part I she praises women for their many virtues, and in Part II she condemns men for the same vices Passi had given to women. She writes: “My desire is to make this truth shine forth to everybody, that the female sex is nobler and more excellent than the male. I hope to demonstrate this with … examples, so that every man, no matter how stubborn, will be compelled to confirm it with his own mouth.” ††<br />
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:† (''Translated by Earl Jeffrey Richards'')<br />
:†† (''Translation by Anne Dunhill'')<br />
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=== Items included ===<br />
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*Christine de Pisan. ''Here begynneth the boke of the cyte of ladyes''. London: in Poules chyrchyarde at the sygne of the Trynyte by Henry Pepwell, 1521. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=162796/ STC 7271]; displayed [http://luna.folger.edu/luna/servlet/s/evjf2t/ Aaii].<br />
*Mary Astell. ''A serious proposal to the ladies, for the advancement of their true and greatest interest''. London: Printed for R. Wilkin, 1694. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=157801/ 140- 765q]; displayed [http://luna.folger.edu/luna/servlet/s/b34a9g/ title page].<br />
*Anna Maria van Schurman. ''The learned maid''. London: John Redmayne, 1659. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=142547/ S902]; displayed [http://luna.folger.edu/luna/servlet/s/778ob5/ frontis and title page].<br />
*Abraham Bosse. ''La maistresse d’escole''. Paris: Le Blond, ca. 1638. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=219700/ ART 264811 (size M)] [http://luna.folger.edu/luna/servlet/s/s43qp3/ Image] of Art 264811 (size M).<br />
*Hannah Woolley. ''A guide to ladies, gentlewomen and maids''. London: Dorman Newman, 1668. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=148547/ W3278.5]; displayed [http://luna.folger.edu/luna/servlet/s/npki90/ frontis and title page].<br />
*Elizabetha Johanna Westonia. ''Parthenicôn''. Pragae: Pauli Sessij, 1606?. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=235716/ 152- 551q]; displayed [http://luna.folger.edu/luna/servlet/s/6k797l/ title page].<br />
*Lucrezia Marinella. ''La nobilita, et l’eccellenza delle donne''. Venetia: Appresso Gio. Battista Ciotti Sanese, 1601. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=75507/ 168- 763q]; displayed [http://luna.folger.edu/luna/servlet/s/o91k9f/ title page].<br />
*Bathsua Makin. ''An essay to revive the antient education of gentlewomen, in religion, manners, arts & tongues''. London: John Darby, 1673. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=156993/ M309]; displayed [http://luna.folger.edu/luna/servlet/s/993dn5/ cover and title page].<br />
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== Virginia and Vita Looking Back (case 14) ==<br />
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[[File:DA378.P4 A3 title page with portrait.jpg|350px|thumb|right|The title page and portrait of the diary of Lady Anne Clifford, to whom Vita Sackville-West was related. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/2371h9/ 2189].]]<br />
[[Scholars' insights on Shakespeare's Sisters: Voices of English and European Women Writers, 1500-1700#Virginia Woolf (1882-1941) and Vita Sackville-West (1893-1962) (case 14)| Virginia Woolf's]] ''A Room of One’s Own'' was a twentieth-century manifesto calling for women to be educated and to have literary careers. Although Woolf did not know of as many earlier women writers as we do now, she was fascinated by those she did know. She was also inspired by the life of her dear friend, Vita Sackville-West, to write her biographical novel ''Orlando''. Sackville-West lived at Knole and was related to Lady Anne Clifford. She edited Clifford’s diary and wrote about her in a book on the history of Knole, in addition to writing biographies of other notable early modern women. Woolf, Sackville-West, and all the modern women writers who have followed, are descendants of those women to whom we have given “a room of their own” in this exhibition.<br />
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Lady Anne Clifford looms large in Vita Sackville-West’s biography of her ancestral home, Knole. Clifford was first married to Richard, earl of Dorset, one of Sackville-West’s ancestors, and her diary among the family papers provided Sackville-West with much information on the house and family in the period of James I. She sympathizes with Clifford, writing: “for my part I strongly suspect… her fighting spirit preferred even the ordeals and excitements of London to the tedium of Knole.”<br />
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In the last biography she wrote, Vita Sackville-West turned to the story of “La Grande Mademoiselle,” one of the wealthiest and most powerful women at the court of Louis XIV, and a woman whom we have noted for her Memoires. Sackville-West’s interest in her may stem from what she saw as Mademoiselle’s appreciation of her own sex. “She was intensely sensitive to feminine beauty, censorious when a woman was dowdily dressed, appreciative of grace and wit in their most feminine expressions. Yet she was no believer in a docile submission to man.”<br />
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A year after publishing the history of Knole in which Lady Anne Clifford figured so prominently, Vita Sackville-West brought out this edition of Clifford’s diary, which is based on an eighteenth-century transcript found in the papers at Knole. Sackville-West writes that Lady Anne “liked texts and maxims … and would make her secretary copy her favourites for her, which she would pin up inside the curtains of her bed, where her eye might conveniently light upon them.”<br />
<br />
First published in London in 1927, Vita Sackville-West’s biography of Aphra Behn focuses mainly on Behn’s life, but the last chapter considers her as a writer. Sackville-West felt that Behn wasted her talents as a novelist. Instead of focusing on her own fascinating life in London, Behn drew on the European romance tradition. “Given her vigour and rapidity, her shameless candour and her knockabout experience, we should have had an earlier Defoe,” Sackville-West opines, but “as a playwright, … she did a trifle better…. That she opened the way for women as writers, is her principal claim on our gratitude.”<br />
<br />
=== Items included ===<br />
<br />
*LOAN from the Library of Congress. Virginia Woolf. ''A Room of One’s Own''. New York: The Fountain Press, 1929. [http://lccn.loc.gov/unk82102261 PN471 W6 1929a].<br />
*V. Sackville-West. ''Knole and the Sackvilles''. London: W. Heinemann, 1922. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=72962/ DA690.K7 S3]; displayed title page.<br />
*LOAN from the Library of Congress. Virginia Woolf. ''Orlando''. London: L. and V. Woolf at the Hogarth Press, 1928. [http://lccn.loc.gov/83460141 PR6045 O72 O7 1928b]; displayed title page.<br />
*V. Sackville-West. ''Daughter of France''. London: M. Joseph, 1959. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=12538/ DC130.M8 S2]; displayed [http://luna.folger.edu/luna/servlet/s/6280bo/ title page] with portrait.<br />
*Anne Clifford Herbert, Countess of Pembroke. ''The diary of the Lady Anne Clifford, with an introductory note by V. Sackville-West''. London: W. Heinemann ltd., 1923. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=33470/ DA378.P4 A3]; displayed [http://luna.folger.edu/luna/servlet/s/2371h9/ title page] with portrait.<br />
<br />
[[Category: Public programs]]<br />
[[Category: Exhibitions]]<br />
[[Category: 16th century]]<br />
[[Category: 17th century]]<br />
[[Category: 18th century]]<br />
[[Category: 20th century]]<br />
[[Category: Collection]]<br />
[[Category: Manuscripts]]<br />
[[Category: Letters]]<br />
[[Category: Art]]<br />
[[Category: Books]]</div>GeorgiannaZieglerhttps://folgerpedia.folger.edu/_mw/index.php?title=America%27s_Shakespeare_Exhibition_Material&diff=29770America's Shakespeare Exhibition Material2019-01-16T14:34:52Z<p>GeorgiannaZiegler: /* Multicultural Shakespeare */</p>
<hr />
<div>This article offers a comprehensive list of each piece included in ''[[America's Shakespeare]]'', one of the [[Exhibitions at the Folger]].<br />
<br />
== Introduction ==<br />
“Be taxt, or not be taxt, that is the question.” “To be, or not to be, that is the bare bodkin.” “extremity is the trier of spirits.” “Old World, he is not only thine.” “Fig Newtons and King Lear.” “Shakespeare’s black? Not yet.” “It is of the heart that Shakespeare speaks.”<br />
<br />
Shakespeare has been part of America’s conversation from the very beginning. As you walk through this exhibition, you will hear voices from the past and present calling on him as they talk about politics, race, entertainment, relocation—anything that is part of their lives. You’ll hear Abigail Adams writing about the Battle of Bunker Hill; Abraham Lincoln moved by Macbeth; Mark Twain celebrating amateur actors along the Mississippi; Bart Simpson doing Hamlet; and Rita Dove remembering her childhood reading Shakespeare. <br />
<br />
You’ll also experience Shakespeare in a variety of media, from print to photography; stage to film and television; radio to YouTube. Whenever Americans have developed a new form of media, they have included Shakespeare because his plots and words are so widely known and admired. <br />
<br />
Shakespeare’s words have always been a common language for Americans in a diverse society. During the 19th century, they were spoken on the stages and in the schools of New York and Boston, and also in New Orleans, St. Louis, Chicago and San Francisco. Today we see and hear them everywhere. They were known by our Founding Fathers and are tweeted now. We’ve been talking with Shakespeare for generations, and his words will continue to empower the many conversations of our lives.<br />
<br />
== Forging A New Nation ==<br />
“Be taxt, or not be taxt, that is the<br />
question.” By the time the first battle of the American Revolution took place on April 19, 1775 in Concord, Massachusetts, Shakespeare had been imported from England on stage and page to the New World. His plays were performed on the east coast from Massachusetts to Virginia, where the first<br />
documented theater building opened in 1718. Though not yet taught in school, Shakespeare was widely read, most often in editions printed in England.<br />
<br />
'''As patriots and loyalists took sides, Shakespeare provided a common language through which they could express their differences. It was a war fought with ink and paper as well as with bullets and guns.''' “Be taxt, or not be taxt, that is the question,” wrote a patriot in 1770; while a loyalist Tory expressed uncertainty about whether to sign on to a boycott of British goods in 1774: “To sign, or not to sign? That is the question” – both sides channeled ''Hamlet''.* <br />
<br />
After the war, the colonists formed themselves into the American nation, ratifying the Constitution with the Bill of Rights in 1791. American acting companies were already established, and a complete edition of Shakespeare’s ''Plays and Poems'' was<br />
published in Philadelphia, proudly calling itself the “First American Edition.” <br />
<br />
<nowiki>*</nowiki>Anonymous poem, ''Georgia Gazette'', 11 March 1769; Anonymous, “The Pausing American<br />
Loyalist,” ''The Middlesex ''[England] ''Journal, and Evening Advertiser'', January 1776<br />
<br />
=== The American Revolution (1.1) ===<br />
During the American Revolution, both sides referred to Shakespeare as a<br />
way of talking about the war.<br />
<br />
A British political cartoon shows England as a man leaning on a crutch, trying to pull the American colonists by the nose: '''“And therefore is England maimed & forc’d to go with a staff.” '''(1) This quotation is from Jack Cade in ''Henry VI'', ''Part 2'', suggesting that the Colonists rebelling against the British<br />
king are like Cade and his rabble-rousers in Shakespeare’s history play. <br />
<br />
On the American side, Abigail Adams writes to her husband John after<br />
the Battle of Bunker Hill in 1775, praising the courage of the militiamen by quoting from ''Coriolanus'': '''“Extremity is the trier of spirits/ Common chances common men will bear.”''' (2 & 3) <br />
<br />
'''NEW FIND! '''While working on this exhibition, the Folger acquired a book once owned by Edward Dale (1620-1695), who immigrated to Virginia in the 1650s. The book itself<br />
is unremarkable, but inside is a list of books Dale owned at the time of his<br />
death, including a copy of Shakespeare’s Second Folio (1632). (4) What you see is one of the earliest records of Shakespeare's Works owned in America.<br />
<br />
Read more about Edward Dale’s books and listen<br />
to an actor reading Abigail Adams’s letter at Touchscreen 1 behind you. <br />
<br />
==== Items Included ====<br />
1. Matthew Darly (active 1741-1780). ''Poor old England endeavouring to''<br />
reclaim his wicked American children. ''Etching. [London]: M. Darly 39 Strand, 1777 Apr. LOC PC 1-5397 (A size). LOAN courtesy of the Prints & Photographs Division, Library of Congress,Washington, D.C. ''<br />
<br />
2. Abigail Adams (1744-1818). Letter to John Adams. Braintree, June 25, 1775. Adams Family Papers. LOAN Collection of the Massachusetts Historical Society<br />
<br />
3. Benjamin Blyth (1746-1811). ''Abigail Adams. ''Pastel on paper. ca. 1766. Reproduction. Courtesy Collection of the Massachusetts Historical Society<br />
<br />
4. Juvenal (ca. 55 - 127 AD). ''Decimus Junius Juvenalis . . . translated . . . by Barten Holyday. ''Oxford: W. Downing for F. Oxlad Senior, J. Adams, and F. Oxlad Junior, 1673 J1276 copy 2. Copy owned by Edward Dale from Virginia, 1695<br />
<br />
=== Post-Revolutionary America (1.2) ===<br />
'''After the war ended in 1783, the'''<br />
colonists established their new nation and adopted Shakespeare as their own'''.'''<br />
<br />
The first printing of Shakespeare’s image in America was part of an advertisement using an American portrayal of an English subject. The engraving, showing the statue of Shakespeare in Westminster Abbey, advertises the goods of a stationery store in Philadelphia in 1787. (1) The first complete edition of Shakespeare’s ''Works'' in America was also published in Philadelphia in 1795-1796, but it used a text edited by one of England’s great literary men, Samuel Johnson. (2) The first individual plays – ''Hamlet'' and ''Twelfth Night'' – based on stage productions had been published earlier in Boston. (3) <br />
<br />
The playbill advertises a production by the Old American Company of ''Much Ado About Nothing'' at The Theatre in New York, 1787, "never performed in America." It is signed "Vivat Respublica" or "Long Live the Republic." (4)<br />
<br />
In Thomas Jefferson, America had a cultured mind to match Samuel Johnson’s. As one of the most literate men of his age, Jefferson found himself called upon to give advice on what to read. He created a course of study that anyone could follow at home, which included reading Shakespeare in the evenings as relaxation. “Shakspear must be singled out by one who<br />
wishes to learn the full powers of the English language,” Jefferson wrote in the document on display. (5)<br />
<br />
==== Items Included ====<br />
1. James Trenchard (b. 1747). ''Books & Stationary . . . sold''<br />
at the store of Thos. Sedden. ''Philadelphia: Seddon, Spotswood, Cist, and Trenchard, 1787. AP2 A2 U6 Cage''<br />
<br />
2. William Shakespeare (1564-1616). ''The Plays and Poems of William Shakspeare. ''Corrected . . . with notes by Samuel Johnson. First American Edition. Philadelphia: Bioren & Madan, 1795-96. PR2752 1795a copy 1 Sh.Col.<br />
<br />
3. William Shakespeare (1564-1616). ''Hamlet, Prince of Denmark: a tragedy in five acts. ''“As Performed at the Theatre in Boston”. Boston: David West and John West, 1794. PR2807 A16 copy 1 Sh.Col.<br />
<br />
4. The Theatre, New York. ''Much Ado About Nothing. ''Old American Company. March 19, 1787. Playbill. Bill Box U4 J66 1787<br />
<br />
5. Thomas Jefferson (1743-1826). Letter signed to John Minor. Monticello, August 30, 1814. With a copy of reading list for Bernard Moore. LOAN Courtesy of the Biddle Law Library & Archives at the<br />
University of Pennsylvania<br />
<br />
== Shakespeare and Westward Expansion ==<br />
“This volume left for California March 15<sup>th</sup> 1849 via the way of the plains . . ." <br />
<br />
The new country expanded westward in the 19<sup>th</sup> century, offering land and economic opportunities for settlers from the East Coast, and for immigrants from a variety of countries. Shakespeare went with them - sometimes in copies of his plays carried over the plains, and sometimes in performances by the actors who followed. Lured by the money that could be made in the mining camps and in cities such as Louisville and San Francisco, these professional actors often performed with casts drawn from local groups on makeshift stages, as well as in real theaters. <br />
<br />
Various acting troupes along the Mississippi River performed on barges<br />
or at landings. Later in the century, Mark Twain made fun of these rough Shakespeareans in ''Huckleberry Finn''. He also showed how<br />
broadly Shakespeare's language had spread within the American consciousness when he told the story of the "king" and the "duke" who<br />
perform a garbled version of Shakespeare to a naive audience along the river. The topics of the plays - love, murder, politics, revenge, jealousy - all spoke vividly to popular audiences. <br />
<br />
Listen to the passage from ''Huckleberry Finn'' at Touchscreen 1 to your right''.'' <br />
<br />
=== Shakespeare Goes West (2.1) ===<br />
'''As Americans began to spread out'''<br />
from the East Coast, they took Shakespeare with them'''. An example of this migration is the copy of Shakespeare’s ''Works'' seen here, published in Hartford, Connecticut in 1835. The inscription reads: “This volume left for California March 15<sup>th</sup> 1849 via the way of the plains and arrived home the 17<sup>th</sup> day May 1851.” (1a & b)'''<br />
<br />
West coast theatrical tours promised financial gain, which was not lost on the first great American acting family, the Booths. Junius Brutus Booth Jr. debuted in San Francisco in 1851. The following year he returned along with his father Junius Brutus Sr. and younger brother Edwin. Here an earlier photograph shows a young Edwin and his father. (2) The promptbook of Junius Brutus Booth, Jr. with his signature indicates that he played ''King John'' in San Francisco in 1857. (3)<br />
<br />
Performances of well-known speeches and readings from the plays were also popular. Actor James Edward Murdoch took his volume of notes and readings from ''Hamlet ''on the road as a kind of nineteenth-century handmade teleprompter. (4 & 5) <br />
<br />
Listen to an actor read J.D. Borthwick's humorous account of hearing a performance of ''Richard III '' in Nevada City, CA at Touchscreen 1 to your right. <br />
<br />
==== Items Included ====<br />
1a &b. William Shakespeare (1564-1616). ''The Dramatic Works. ''From the text of . . . George Steevens. Hartford, CT: Andrus and Judd, 1835. PR2754 2a1 copy 2 Sh.Col. <br />
<br />
2. Junius Brutus Booth, Sr. (1796-1852) and Edwin Booth (1833-1893). Collotype. United States, mid-19<sup>th</sup> century. ART File B725.6 no. 13 PHOTO<br />
<br />
3. William Shakespeare (1564-1616). ''King John. A Tragedy in five acts''<br />
. . . With the stage business. ''New York: Wm. Taylor and Co., 1846. PROMPT John 1''<br />
<br />
4. James Edward Murdoch (1811-1893). Lecture notes on ''Hamlet. ''Manuscript, ca. 1850. W.b.18<br />
<br />
5. James E. Murdoch as Hamlet. Reproduction of print from Laurence Hutton, ''Curiosities of the American Stage. ''New York: Harper & Brothers, 1891. PN2221 H83<br />
<br />
=== Helena Modjeska, Polish-American Actress (2.2) ===<br />
Helena Modjeska (1840-1909), a well-known Polish actress, immigrated to America in 1876 with her husband, and settled in Anaheim, California. She began her first tour of the U.S. in Carson City, Nevada in 1877 and subsequently<br />
performed Shakespeare in New York, Chicago, Minneapolis, St. Louis, San Francisco, and other cities. Conditions could be difficult. In her memoirs she mentions the horrible smell in the Cedar Rapids theater, caused by a nearby tannery. In order to make acting bearable, '''she “sprinkled the stage with eau de cologne,”''' before going on.*<br />
<br />
We see Modjeska wearing black—contrary to the customary white—as she performs Ophelia’s mad scene. (1) She delighted the large Polish community in Chicago by speaking the part in their native language. Her popularity is indicated by a published collection of plays in which she performed, printed in Indianapolis. (2) In addition to the four Shakespeare plays included, she also portrayed a glamorous Cleopatra in ''Antony and Cleopatra'', wearing the golden asp on display. (3) <br />
<br />
Rosalind was Modjeska’s favorite role. (4) You see here the prompt copy of ''As'' ''You Like It'', which according to her<br />
husband, “Madam always used.” (5) In Washington, D.C. she performed Rosalind to a distinguished audience including President Chester A. Arthur and Civil War general William Tecumseh Sherman. <br />
<br />
<nowiki>*</nowiki>Helena Modjeska, ''Memories and Impressions'' (New York: Macmillan, 1910)<br />
<br />
==== Items Included ====<br />
1. Modjeska as Ophelia. Photograph. 19th or early 20th century. ART File M692.4 no.20 PHOTO<br />
<br />
2. ''Seven''<br />
Plays as Performed by Helena Modjeska. ''Indianapolis: Hasselman-Journal Co., 1883. PR1245 S5 Ex.ill.''<br />
<br />
3. Cleopatra Snake Girdle worn by Helena Modjeska. Paris, Late 19<sup>th</sup> or early 20<sup>th</sup> century. Gold with gemstones. ART Inv. 1096<br />
<br />
4. Mora (b. 1849), photographer. Modjeska as Rosalind in ''As You Like It. ''New York: 19<sup>th</sup> or early 20<sup>th</sup> century. ART File M692.4 no. 16 PHOTO <br />
<br />
5. William Shakespeare (1564-1616). ''As You Like It. ''United States, 19<sup>th</sup> century. PROMPT AYLI 15<br />
<br />
=== Wall (near 2.2) ===<br />
Celebrations at Mardi Gras are always over-the-top, but this parade beats them all! Sponsored by club members from the Mystick Krewe of Comus, the floats feature eighteen Shakespearean plays from the well-known ''Romeo and Juliet'', ''As You Like It'', ''Hamlet'', ''Midsummer Night’s Dream'', and the ''Tempest'', to the more obscure ''Henry VIII'' and ''Pericles''. The Mystick Krewe of Comus, founded in 1856, still has members today. (1)<br />
<br />
Shakespeare’s popularity across 19th-century America is demonstrated by these playbills from the Midwest and far West. Note the various entertainments offered in one evening after the two ''Hamlet'' performances. Attending the theater in those days was like sitting in front of the TV today and watching a variety of programs. Although the Keene production of ''Midsummer Night’s Dream'' has no afterpiece, the elaborate scenery is described as a selling point. (2-5)<br />
<br />
==== Items Included ====<br />
1) Carnival Edition of The Picayune “Comus Represents Scenes From Shakespeare”. New Orleans: T. Fitzwilliam and Co., 1898. Reproduction. ART 268390<br />
<br />
2) Mercantile Library, St. Louis, Missouri. Mississippi Valley Sanitary Fair.''Three Hundredth Anniversary of the Birth of Shakspeare. April 23, 1864. ''St. Louis: Daily Union Print, 1864. Playbill. PLAYBILL 268194<br />
<br />
3) Mobile Theatre, Louisiana. ''Hamlet. ''Starring J. J. Adams. January 21, 1835. Playbill. Bill Box U7a1 M71mt 1835 no. 2<br />
<br />
4) St. Louis Theatre, Missouri. ''Hamlet. Farewell Benefit of Mr. C.D. Pitt. ''June 22, 1850. Playbill. Bill Box U7 m7 s14 n1 1850a no.4<br />
<br />
5) American Theater, San Francisco, California. ''A Midsummer Night’s Dream. ''Starring Laura Keene as Oberon. May 29, 1855. Playbill. Bill Box U7c1 S19at 1854-55<br />
<br />
== Lincoln, The Booths, and Civil War ==<br />
"It is of the heart that Shakespeare speaks."<br />
<br />
The 300<sup>th</sup> anniversary of Shakespeare’s birth in 1864 coincided with the Civil War, which began in April 1861 and lasted until April 1865. '''Once again, soldiers, actors, political cartoonists, writers, and President Lincoln himself turned to Shakespeare for language through which to express their own turmoil'''. <br />
<br />
Shakespeare’s plays continued to be performed during the war – in the North and the South – both by soldiers looking for entertainment, and by American actors such as the popular Booth brothers. <br />
<br />
This was also the first great era of American history to be captured by<br />
the new media of photography and chromolithography, bringing the past nearer to us. We see the Booth brothers in their ''Julius Caesar'' costumes, and posters announcing Lincoln’s death with words from ''Macbeth''. <br />
<br />
Shakespeare’s birthday was celebrated in American towns and cities in spite of the war. Chicago newspaperman Elias Colbert praised Shakespeare in American terms as having a “free, fearless spirit of adventure.” “It is of the heart that Shakespeare speaks." *<br />
<br />
<nowiki>*</nowiki>Elias Colbert, “Eulogy on Shakespeare” (1864) in ''Scoriae'' (Chicago: Fergus Printing Company, 1883) <br />
<br />
=== The Civil War (3.1) ===<br />
'''During the Civil War, Shakespeare was performed by soldiers in camp as well as actors on stage, and his 300th birthday was celebrated with plans to raise a statue to his honor in New York’s Central Park'''. <br />
<br />
In 1862, the Union Army’s 7<sup>th</sup> Regiment was camped at Baltimore. Their ‘Amusement Association’ acted the Trial Scene from ''The Merchant of Venice'', accompanied by music performed by the Regimental Band and a comic afterpiece, the whole ending with a tattoo (musical performance) by the Drum Corps. (1 & 2)<br />
<br />
Two years later in 1864, brothers Junius Brutus, Edwin, and John Wilkes Booth who were normally rivals on stage, teamed up in a production of ''Julius Caesar'' to raise money for a<br />
statue of Shakespeare in Central Park. (3 & 4) Designed by John Ward, the statue was finally dedicated after the war in 1872. Mrs. Folger acquired a quarter-sized bronze version of the statue from the sculptor's widow in 1911. (5) Poets, inspired by the statue, pointed to Shakespeare’s Americanness:<br />
<br />
Old World, he is not only thine!<br />
<br />
Our New World too has part, . . .<br />
<br />
In his stupendous mind and heart.<br />
<br />
William Ross Wallace* <br />
<br />
<nowiki>*</nowiki>William Ross Wallace, poem printed in ''Shakespeare: Ward’s Statue in the Central''<br />
Park, New'' ''York'' (New York: T.H. Morrell, 1873)''<br />
<br />
==== Items Included ====<br />
1. ''Fort Number 1, West Defenses of Baltimore, MD. ''Baltimore: E. Sachse & Co., 1863. Lithograph. Reproduction. Courtesy of the Hay Library, Brown University<br />
<br />
2. Fort Federal Hill, Baltimore, Maryland. ''The Merchant of Venice. ''August 8, 1862. Playbill. PLAYBILL 261129<br />
<br />
3. Winter Garden Theater, New York. ''Julius Caesar. ''November 25, 1864. Playbill. Bill Box U4 W78 1864-65 no. 2a<br />
<br />
4. John Wilkes Booth, Edwin Booth, and<br />
Junius Brutus Booth in ''Julius Caesar. ''Reproduction from original albumen print. NPG.80.163. Courtesy of the National Portrait Gallery, Washington, D.C.<br />
<br />
5. John Quincy Adams Ward (1830-1910). ''Shakespeare. ''Bronze. New York, 1870; posthumous cast, 1911. ART Inv. 1161<br />
<br />
=== Lincoln and Macbeth (3.2) ===<br />
President Abraham Lincoln loved Shakespeare and was an avid theater-goer. In an 1863 letter to actor James Hackett, Lincoln remarks that he has frequently read "Lear,' 'Richard Third,' 'Henry Eighth', 'Hamlet,' and especially 'Macbeth.'" "I think none equals 'Macbeth,'" he continues. (1) A contemporary drawing for a political cartoon shows Columbia (the U.S.) as Lady Macbeth, attempting to wash her hands of slavery while Lincoln and Grant look on. (2)<br />
<br />
'''On April 15, 1865, Lincoln was assassinated by actor John Wilkes Booth at Ford’s Theatre in Washington, D.C.,''' and the theater was draped in black for mourning. (3 & 4) Ironically, as Booth fled into hiding, he also quoted from ''Macbeth'' in the last words of his diary: “I must fight the course.’ Tis all that’s left me.” You see the diary reproduced here in facsimile; the original is on permanent display at Ford's Theater.(5)<br />
<br />
'''Shakespeare provided the words that Americans needed in order to begin healing'''. When Lincoln’s death was publicly announced, the posters once again referred to ''Macbeth'', comparing Lincoln with the virtuous Duncan of that play. (6) John Wilkes’s brother, Edwin was devastated by the assassination and went into retirement briefly. He finally returned to the stage in 1866 as Hamlet, his most famous role. <br />
<br />
See a transcription of Lincoln’s letter and listen to an actor reading it at Touchscreen 1 to your right. <br />
<br />
==== Items Included ====<br />
1. Abraham Lincoln (1809-1865). Letter signed to James H. Hackett. August 17, 1863. LOAN courtesy of the LOC Lincoln Collection. Document 25655. Manuscript Division, Library of Congress, Washington, DC<br />
<br />
2. ''Yet here’s a spot – out, damned spot, out, I say!. ''Ink drawing. 19<sup>th</sup> century. ART Box S528m1 no.2<br />
<br />
3. ''The Martyr of Liberty. ''Lithograph. United States, 1865. ART File B725.5 no.3<br />
<br />
4. Ford’s Theater with guards posted at entrance and crepe draped from windows. Photograph. Washington, DC, 1865. Reproduction from original plate. Courtesy of the Prints and Photographs Division, Library of Congress, Washington, D.C.<br />
<br />
5. John Wilkes Booth (1838-1865). Diary. Facsimile based on original at Ford’s Theatre. Washington, DC. Courtesy of Ford’s Theatre and the National Park Service<br />
<br />
6. ''Abraham Lincoln'' . . . ''Shakspeare applied to''<br />
our National Bereavement. ''Boston: James Lancey, 1865. Sh.Misc. 390 (flat) ''<br />
<br />
== The Gilded Age of Stage and Screen ==<br />
By the end of the 19<sup>th </sup>century, American theater had adopted new technologies – electric lighting and sophisticated stagecraft – to create opulent productions. At the same time, another new technology - silent film - was in its infancy. Both drew heavily on Shakespeare. <br />
<br />
Theaters such as those of Augustin Daly in New York appealed to the public with elaborate sets and costumes, and star actors, such as Ada Rehan. Beginning in 1904, Julia Marlowe and E.H. Sothern, a leading stage couple, performed Shakespeare across the country. By this time, photography was used more widely to record theatrical performances. <br />
<br />
At the same time, the film industry was just developing. During the silent film period '''between 1899 and'''<br />
1927, close to 300 films were made based on Shakespeare'''. Film appealed to an even wider audience than theater because it was cheap and easily accessible in the new nickelodeon cinemas that charged 5 cents admission. Unfortunately, many of these films are now lost, but surviving footage includes ''Taming of the Shrew'' (1908), ''King Lear ''(1916), and ''Richard III'' (1912), “the first feature-length film based on” a Shakespearean play.* '''<br />
<br />
Enjoy watching some of these early films at Touchscreen 1 and on the nearby projection. <br />
<br />
<nowiki>*</nowiki> Judith Buchanan, ''Shakespeare on Silent Film'' (Cambridge: Cambridge University Press, 2009)<br />
<br />
<nowiki>**</nowiki>Zoran Sinobad, “Shakespeare on Film and Television In . . . The Library of Congress” (January, 2012) <br />
<br />
=== Ada Rehan, Shakespearean Heroine ===<br />
Ada Rehan (1857-1916) was the stage name of Ada Crehan, who immigrated to the U.S. from Ireland with her family when she was five. She began her theatrical career at the age of sixteen, but her big break came when she was noticed by New York manager, Augustin Daly. Rehan signed with him in 1879 and worked with his company for the next twenty years.<br />
<br />
Rehan played many of Shakespeare's comic heroines including Viola in ''Twelfth Night'', Rosalind in ''As You Like It'', Beatrice in ''Much Ado About Nothing'', and Kate in ''Taming of the Shrew'' - her signature role. <br />
<br />
Rehan had to grow into the more subdued role of Viola, but she eventually excelled in that as well. A critic called it '''“one of the best Shakespearean interpretations of the time.”*''' Rehan wore the costume shown here when she played Viola disguised as the young male servant, Cesario, in ''Twelfth Night''. (1a & b) You see a printed version of the play with Rehan's signature (2), as well as a costume design for Cesario, and a photograph of Cesario and Malvolio from the production (3 & 4) <br />
<br />
<nowiki>*</nowiki>Norman Hapgood, theater reviewer in the ''Commercial Advertiser'', New York, December 2, 1893<br />
<br />
==== Items Included ====<br />
1a. Costume worn by Ada Rehan as<br />
Viola/Cesario in ''Twelfth Night. ''Crimson velvet brocade and red satin. Late 19<sup>th</sup> century. 1-8-26-6-6<br />
<br />
1b. Dagger worn by Ada Rehan as<br />
Viola/Cesario in ''Twelfth Night. ''Brass jeweled hilt, yellow velvet scabbard. Late 19<sup>th</sup> century. 10-11-23-45<br />
<br />
2. William Shakespeare (1564-1616). ''Twelfe Night, or, What you will. ''New York: Privately printed for Augustin Daly, 1893. PR2837 1893-1 copy 2 Sh.Col.<br />
<br />
3. W. Graham Robertson (1866-1948). Costume design for Cesario in Daly’s production of ''Twelfth Night. ''Watercolor. Reproduction. ART Vol. b33 fol. 24<br />
<br />
4. Sarony, photographer. George Clarke as Malvolio and Ada Rehan as Viola disguised as Cesario '''in the 1893 Daly production of ''Twelfth Night. '''''Photograph. Reproduction. ART Vol. b32 fol. 108<br />
<br />
=== Julia Marlowe and E.H. Sothern, Acting Duo (4.2) ===<br />
Julia Marlowe (1866-1950) and E. H. Sothern (1859-1933) were both English actors who made their careers in the United States. Marlowe was a successful actor in her own right, preferring classical plays such as Shakespeare’s to the modern drama of Shaw and Ibsen. She then met E.H. Sothern and toured North America with him from 1904 through 1924, sharing direction of the plays, as well as managing and finances. They married in 1911.<br />
<br />
Marlowe premiered as Juliet in New York in 1887, and when she and Sothern later took their production of ''Romeo and Juliet'' across the country, '''it became the standard rendition of the play for a generation'''. They performed ''Romeo and Juliet'' at the Belasco Theatre in Washington, DC in 1912. Here you see one of her Juliet costumes along with<br />
two photographs from the 1904 production. (1-3) <br />
<br />
Marlowe and Sothern were invited to perform in the new film media, but<br />
they never made a Shakespeare movie. The Vitagraph Company was one of the earliest in the business. Because copyright law at the time had no provision for film format, the frames of early films such as ''Antony and Cleopatra,'' seen here, had to be printed on paper rolls which were then copyrighted. Thus a number of early short films are known to us today that would have been lost. (4) <br />
<br />
==== Items Included ====<br />
1. Costume worn by Julia Marlowe in the role of Juliet. White silk velvet and iridescent scale dress. American, early 20<sup>th</sup> century. 2-7-16-159 Mar. <br />
<br />
2. Hall’s Studio, photographer. Julia Marlowe and E.H. Sothern in ''Romeo and Juliet. ''New York, 1904. ART File S717.5 no.25 PHOTO<br />
<br />
3. Hall’s Studio, photographer. Julia Marlowe and E.H. Sothern in the balcony scene of ''Romeo and Juliet. ''New York, 1904. ART File S717.5 no.29 PHOTO<br />
<br />
4. Vitagraph Company of America. ''Antony and Cleopatra. ''1908. Paper print fragments, no. 5. LOAN courtesy of the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress, Washington, D.C.<br />
<br />
== Shakespeare at Home and School ==<br />
Shakespeare has entered our homes in so<br />
many ways that we probably take him for granted.<br />
<br />
His wide-spread appearance in advertising and in items for the family, such as calendars, comic books, puppets and baby books, assumes a general familiarity with Shakespeare’s works in America over hundreds of years. This familiarity was encouraged in earlier years by reading at home and by memorizing and reciting speeches in school. <br />
<br />
As more kinds of media entered our lives, reading aloud at home gave way to listening to Shakespeare on the radio, watching productions on television, film, and more recently, on YouTube, Twitter and other media. <br />
<br />
While retaining printed books, schools have also moved from film strips and slide shows to digital texts and performances on the web as they introduce Shakespeare to new generations. <br />
<br />
=== Advertising - A Touch of Class (5.1) ===<br />
Shakespeare selling sewing machines? Apparently the New Home Sewing Machine Co. thought it would work, as they offered a booklet with plot summaries of 34 of Shakespeare’s plays to capture their market. (1)<br />
<br />
Since the 1787 reproduction of Shakespeare’s image in an ad for a Philadelphia stationer’s shop, he has appeared thousands of times, selling everything from cigars to Levis, from fishing reels, beer, and whisky to cough syrup, cars, and cell phones.<br />
<br />
'''Advertisements by Coca Cola, Marcus Ward, and James Moran tobacco all rely on the use of Shakespeare to add a sense of class, luxury, and refinement to the everyday objects in our lives'''. (2-4)<br />
<br />
When Twentieth Century Fox released the film of ''A Midsummer Night’s Dream'' in 1999, Ronnie Specter, the make-up artist, created limited-edition cosmetics to attract a young audience to the movie. (5) The widespread use of Shakespeare in American advertising over many generations speaks to his continued recognition and importance in our culture. <br />
<br />
Watch clips from modern ads at Touchscreen 2 behind you.<br />
<br />
==== Items Included ====<br />
1. George L. Gray. ''Shakespere Boiled Down. ''Chicago: New Home Sewing Machine Co., 1890. Sh.Misc. 776<br />
<br />
2. “Thirst, too, seeks quality”. Magazine advertisement for Coca Cola. American, ca. 1950. Uncataloged<br />
<br />
3. Marcus Ward, Inc.. Shakspere Calendar. Belfast, Ireland and New York, 1917. Scrapbook E.4.2, folder 7<br />
<br />
4. James Moran & Co.’s Romeo, fine<br />
cut, chewing tobacco. St. Louis, MO: C. Hamilton & Co., 1874. Lithograph. LOT 10618-53A. Reproduction. Courtesy of the Prints and Photographs Division, Library of Congress, Washington, D.C.<br />
<br />
5. Max Factor. ''Discover the Beauty of a Midsummer Night’s Dream Collection. ''Advertisement. American, 1999. ART 260497<br />
<br />
=== At Home (5.2) ===<br />
'''Look in your toy chest, in the attic, on your desk, in that old box under the stairs - you’ll likely find a remnant of Shakespeare, whether it’s finger puppets, a'''<br />
calendar, a children's book, or an old classic comic'''. (2-5)'''<br />
<br />
You may even have planned a party with a Shakespearean theme, as suggested here in a magazine article during the 1964 celebration of the 400<sup>th </sup>anniversary of Shakespeare’s birth. (1) <br />
<br />
Now we watch Shakespeare on streaming video, but back in the early days<br />
of radio and television, producers loved Shakespeare as a way of legitimizing and glamorizing the new media. In the 1930s, both CBS and NBC sponsored series of radio broadcasts of Shakespeare’s plays. (6) In the 1940s with the advent of television, one manufacturer used Shakespeare as a selling point for this new media: “All the world’s a stage” – in your living room through the magic of television. (7) <br />
<br />
See the cast list starring Rosalind Russell from the CBS radio broadcast of ''Much Ado About Nothing'' and listen to some of the broadcast at Touchscreen 2 behind you. Watch clips from TV shows<br />
also. <br />
<br />
==== Items Included ====<br />
1. ''Midsummer Night’s Madness. ''Magazine article. United States, 1964. Scrapbook F.3.1 Folder 1 <br />
<br />
2. ''Shakespeare’s''<br />
Hamlet Finger Puppets. ''New York: Unemployed Philosophers Guild, 2002. ART Flat c4''<br />
<br />
3. ''Shakespeare’s Insults: a 365-day Calendar for 2011. ''Library of Congress. Petaluma, CA: Pomegranate, 2010. Sh.Misc. 2220<br />
<br />
4. Jennifer Adams with Alison Oliver, illustrator. ''Romeo and Juliet: a Counting Primer. ''Layton, UT: Gibbs Smith, 2011. Sh.Misc. 2266<br />
<br />
5. ''Julius Caesar/William Shakespeare. ''New York: Gilberton Co., 1950. Classics Illustrated comic no. 68. Sh.Misc. 1705<br />
<br />
6. William Shakespeare (1564-1616). ''Much Ado About Nothing. Radio''<br />
adaptation by Brewster Morgan. ''As presented over CBS on Monday, July 19, 1937. Mimeographed typescript. N.p., 1937. Reproduction. PROMPT Mu.Ad. Fo.4''<br />
<br />
7. ''Verily, Mr. Shakespeare ‘All the World’s A Stage’ . . . With Television. ''New York: Allen B. DuMont Laboratories, Inc., 1944. ''New Yorker ''magazine advertisement. Reproduction courtesy of Duke University Libraries<br />
<br />
=== In School ===<br />
'''When you were in school, did you have to memorize “Friends, Romans, countrymen,” or “To be, or not to be”?''' '''Most Americans from the 19th century to the present first met Shakespeare in school. '''<br />
<br />
Earlier students studied oratory and elocution in books such as ''McGuffey’s'' ''Reader'' and Cook’s ''Sequel to the American Orator''. They were thus introduced to Shakespeare through individual speeches rather than complete plays. (1 & 2)<br />
<br />
Even today when high schools read ''Julius Caesar'', or ''Hamlet'', or ''Macbeth'', students often memorize lines and act out scenes in the classroom. (3-5) Many schools have used filmstrips or slides to teach about Shakespeare's life and times. (6) They have also used films to help students visualize the action and hear the language of the plays, whether Laurence Olivier’s ''Henry V'' from the 1940s or Baz Luhrmann’s ''Romeo + Juliet'' from the 1990s. (7)<br />
<br />
Today, students produce their own versions of Shakespeare scenes and post them on YouTube.<br />
<br />
Explore the new Folger digital Shakespeare<br />
editions and other Shakespeare media at Touchscreen 2 to your left. <br />
<br />
==== Items Included ====<br />
1. Increase Cooke (1773-1814). ''Sequel to the American Orator,''<br />
or, Dialogues For Schools. ''New Haven: Increase Cooke, 1813. PN4201 .C71 1813 Cage''<br />
<br />
2. William H. McGuffey (1800-1873). ''McGuffey’s New Sixth Eclectic Reader. ''Cincinnati: Sargent, Wilson and Hinkle, 1857. LOAN courtesy of the Rare Books and Special Collections Division, Library of Congress, Washington, D.C.<br />
<br />
3. William Shakespeare (1564-1616). ''The Merchant of Venice. ''Ed. David Bevington. The Bantam Shakespeare. New York: Scott, Foresman and Company, 1988. PR2753 B4 1988 v.15<br />
<br />
4. William Shakespeare (1564-1616). ''A Midsummer Night’s Dream. ''Ed. Wolfgang Clemen. The Signet Classic Shakespeare. New York: New American Library, 1963. PR2756 S5 MND Sh.Col.<br />
<br />
5. William Shakespeare (1564-1616). ''Julius Caesar. ''Ed. Barbara A. Mowat and Paul Werstine. The New Folger Library Shakespeare. New York: Washington Square Press, 1992. PR2753 M6 1992 copy 2 v.8<br />
<br />
6. Garrett Mattingly (1900-1962). ''The Invincible Armada and Elizabethan England. ''Ithaca, New York: Published for the Folger Shakespeare Library by Cornell University Press, 1963. Booklet with slide set. Folger Archives<br />
<br />
7. Max J. Herzberg (1886-1958). ''William Shakespeare’s ‘Henry V,’ An Interpretation of the Photoplay. ''New York: Theatre Guild, 1946. Ball 1.17.34<br />
<br />
== Multicultural Shakespeare ==<br />
Immigrants first brought Shakespeare to America. <br />
<br />
Beginning in the late 17th century, English settlers brought copies of the plays with them or ordered them from London. Later, they westward, carrying their copies of Shakespeare. From the mid-19th century through the years up to World War I, these pioneers were joined by new waves of non-English speaking immigrants. Some of these groups had experienced Shakespeare productions at home and sponsored stage versions here in their own languages. Many have wanted to read Shakespeare in a way that helps them tell their own story: a Yiddish ''King Lear'', a Latino ''Romeo and Juliet'', an Asian ''Titus''.<br />
<br />
While the Africans who were brought to America as slaves did not come armed with their own Shakespeare in the 17th and 18th centuries, black Americans began to appropriate Shakespeare as early as the 19th century. For black actors, "performing Shakespeare was a way of tapping into a proven popular market with recognizable characters and stories." It was also a way of "gaining cultural power—of being taken seriously."* Because American theaters were segregated, and because there were few black theaters, many black actors had to go abroad or on tour to succeed. Only in the 20th century were back actors integrated into mainstream American theater.<br />
<br />
Shakespeare, then, is himself an immigrant in America, and is continually revised and enriched by our multicultural community.<br />
<br />
<nowiki>*</nowiki>Francesca T. Royster, "Playing with (a) Difference: Early Black Shakespearean Actors, Blackface and Whiteface," in Shakespeare in American Life, ed. Alden and Virginia Vaughan (Washington: Folger Shakespeare Library, 2007).<br />
<br />
== Immigrant Shakespeare ==<br />
'''Theater—especially comedy and variety shows—was a popular form of entertainment for the thousands of immigrants who arrived from the mid-19th century through the years up to World War I.''' These Germans, Poles, Russians, Italians and other European immigrants, settled on the East Coast but also traveled westward. Soon they supported Shakespeare in translation or in bi-lingual productions. <br />
<br />
Immigrant groups developed their own theaters. Antonio Maiori presented an Italian Hamlet in New York’s Bowery around 1901. (1) At the same time, Yiddish productions adapted Shakespeare’s plots to reflect their personal experiences. Jacob Adler (1855-1926), a Russian Jewish actor, became famous as Shylock, a role which he premiered in a Yiddish theater in the Bowery. (2&3) When he was asked to perform the role on Broadway in 1903, he did so in Yiddish with an English-speaking cast. Big-name Italian and German actors such as Fanny Janauschek (1830-1904) and Adelaide Ristori (1822-1906) as Lady Macbeth, and Tommaso Salvini (1829-1916) as Othello, Hamlet and King Lear, visited America. They toured the country, performing Shakespearean roles in German and Italian in English-speaking productions. (4-7)<br />
<br />
==== Items Included ====<br />
<br />
1. Teatro Italiano, New York. AMLETO PRINCIPI DANIMARCA. New York, NY: 1901. Playbill. 262733 PLAYBILL.<br />
<br />
2. Byron Company, Photographer. JACOB ADLER AS SHYLOCK. New York, late 19th or early 20th century. Photograph. ART File A 237 no. 11 PHOTO.<br />
<br />
3. Windsor Theatre, New York. YUDISHER KENIG LIER BY JACOB GORDIN. October 13, 1898. Playbill. Reproduction. Courtesy of Dorot Jewish Division, New York Public Library.<br />
<br />
4. Sparks Studio, Photographer. MADAM JANAUSCHEK. Philadelphia, 1887? Photograph. ART File J33 no.6 PHOTO.<br />
<br />
5. MADAME RISTORI. 19th century. Photograph/ ART File R597.4 no. 3 PHOTO.<br />
<br />
6. Booth’s Theatre, New York. ADIEU TO AMERICA OF THE ILLUSTRIOUS ITALIAN ACTOR, SIGNOR TOMMASO SALVINI [IN] OTHELLO. April 28th, 1883. Playbill. ART File S185 no.2 PHOTO (reverse).<br />
<br />
7. TOMMASO SALVINI AS OTHELLO. 1857? Photograph. ART File S185 no.9 PHOTO.[[Category: American theater]]<br />
[[Category: Exhibitions]]<br />
[[Category: William Shakespeare's works]]</div>GeorgiannaZiegler