Massinger (Critical Heritage Series)

The plays of Philip Massinger () have been a focus of controversy since Martin Garrett's comprehensive collection presents and explains the history of the critical reception to Massinger's work from the Critical heritage series.
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So, " 0 prequel " sorts by 0 under the label "prequel. Series was designed to cover groups of books generally understood as such see Wikipedia: Like many concepts in the book world, "series" is a somewhat fluid and contested notion.

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A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. For now, avoid forcing the issue with mere "lists" of works possessing an arbitrary shared characteristic, such as relating to a particular place. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Also avoid publisher series, unless the publisher has a true monopoly over the "works" in question.

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So, the Dummies guides are a series of works. But the Loeb Classical Library is a series of editions, not of works. Home Groups Talk Zeitgeist. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Your use of the site and services is subject to these policies and terms. Critical Heritage Series Series by cover.

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Philip Massinger

Critical Heritage Series Series by cover 1—7 of 22 next show all. With the exception of these plays and The Great Duke of Florence , produced in by Queen Henrietta's Men , Massinger continued to write regularly for the King's Men until his death. The tone of the dedications of his later plays affords evidence of his continued poverty. The prologue to The Guardian licensed refers to two unsuccessful plays and two years of silence, when the author feared he had lost the popular favour.

It is probable that this break in his production was owing to his free handling of political matters. In , Sir Henry Herbert , the Master of the Revels , refused to license an unnamed play by Massinger because of "dangerous matter as the deposing of Sebastian, King of Portugal," calculated presumably to endanger good relations between England and Spain.

There is little doubt that this was the same piece as Believe as You List , in which time and place are changed, Antiochus being substituted for Sebastian, and Rome for Spain. In the prologue, Massinger ironically apologizes for his ignorance of history, and professes that his accuracy is at fault if his picture comes near "a late and sad example. An allusion to the same subject may be traced in The Maid of Honour.

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In another play by Massinger, not extant, Charles I is reported to have himself struck out a passage put into the mouth of Don Pedro, king of Spain, as "too insolent. The servility towards the Crown displayed in Beaumont and Fletcher 's plays reflected the temper of the court of James I. The attitude of Massinger's heroes and heroines towards kings is very different. Camiola's remarks on the limitations of the royal prerogative Maid of Honour , Act V, Scene v could hardly be acceptable at court. Massinger died suddenly at his house near the Globe Theatre , and was buried in the churchyard of St.

Saviour's, Southwark , on 18 March In the entry in the parish register he is described as a "stranger," which, however, implies nothing more than that he belonged to another parish. He is buried in the same tomb as Fletcher. That grave can be seen to this day in the chancel of what is now Southwark Cathedral near London Bridge on the south bank of the Thames. There the names of Fletcher and Massinger appear on adjacent plaques laid in the floor between the choir stalls. Next to these is a plaque commemorating Edmund Shakespeare William's younger brother who is buried in the Cathedral, although the exact location of his grave is unknown.

The Virgin Martyr , in which Dekker probably had a large share, is really a miracle play, dealing with the martyrdom of Dorothea in the time of Diocletian , and the supernatural element is freely used. Caution must be used in interpreting this play as an elucidation of Massinger's views; it is not entirely his work. In The Renegado , however, the action is dominated by the beneficent influence of a Jesuit priest, Francisco, and the doctrine of baptismal regeneration is enforced. In The Maid of Honour a complicated situation is solved by the decision of the heroine, Camiola, to take the veil.

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For this she is held up "to all posterity a fair example for noble maids to imitate. Conversely, characters in Massinger's plays sometimes masquerade as Catholic clergy The Bashful Lover and even hear believers' confessions The Emperor of the East —a violation of a sacrament that would be surprising for a Catholic.


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As noted above, Massinger placed moral and religious concerns over political considerations, in ways that offended the interests of king and state in his generation. While not a "democrat" in any modern sense no one in his society was , Massinger's political sympathies, insofar as we can determine them from his works, might have placed him in a predicament similar to that of the head of the house he revered, the Earl of Pembroke—who found that he could not support King Charles in the English Civil War , and became one of the few noblemen to back the Parliamentary side.

Massinger did not live long enough to have to take a position in that conflict. It seems doubtful whether Massinger was ever a popular playwright, for the best qualities of his plays would appeal rather to politicians and moralists than to the ordinary playgoer. He contributed, however, at least one great and popular character to the English stage. He made another considerable contribution to the comedy of manners in The City Madam. For an examination of William Shakespeare's influence on Massinger, see T. Eliot's essay on Massinger.

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It includes the famous line, "Immature poets imitate; mature poets steal Eliot at Frank Kermode, ed. With John Fletcher and Francis Beaumont: With John Fletcher and Nathan Field: With Thomas Middleton and William Rowley: Some of these "collaborations" are in fact more complex: It is not necessary to suppose that Massinger, Fletcher, Ford, and Rowley-or-Webster sat down in a room together to write a play.

More than a dozen of Massinger's plays are said to be lost, [1] though the titles of some of these may be duplicates of those of existing plays.