By Stephen Longstaffe
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Extra info for 1 Henry IV: A critical guide
34 1 HENRY IV 83. Gerard Langbaine, ‘An Account of the English Dramatick Poets (1691)’, in William Shakespeare: The Critical Heritage, 1623–1692, (Volume 1), ed. Brian Vickers (London: Routledge, 1974 ), p. 419. 84. See Tom McAlindon, Shakespeare’s Tudor History: A Study of Henry IV, Parts 1 and 2 (Aldershot: Ashgate, 2001), p. 3. 85. Montagu, ‘Essay’, p. 9. 86. H. B. Charlton, ‘Shakespeare, Politics and Politicians’ (1929), in Shakespeare: Henry IV Parts I and II: A Casebook, ed. G. K. Hunter (London: Macmillan, 1970), pp.
4. For an excellent analysis of early responses to the play see Charles Whitney, Early Responses to Renaissance Drama (Cambridge: Cambridge University Press, 2006), pp. 70–112. 5. Meres, Palladis Tamia, p. 282. 6. Cited in Whitney, Early Responses, pp. 94–101. 7. See George Thorn-Drury, Some Seventeenth-Century Allusions to Shakespeare and his Works (London: P. J. and A. E. Dobell, 1920), p. 11; Whitney, Early Responses, p. 79. 8. Quoted in Rudolph Fiehler, ‘How Oldcastle became Falstaff ’, Modern Language Quarterly, 16: 1 (1955), 16–28 (p.
113 The same might be said of numerous New Historicist readings of the play reaching the same conclusions. Yet Greenblatt’s approach was equally influenced by Ornstein’s examination of the relationship between theatre and power. His contentions were made possible by his alignment of the theatricality of power with the theatre itself. In other words, he dissolved the boundaries between art and social contexts to argue the now widely accepted maxim that theatrical values do not exist in a realm of privileged literariness, of textual or even institutional self-referentiality [ .
1 Henry IV: A critical guide by Stephen Longstaffe