158:
Finally, the record
Halliwell had found identifying Black as the librarian that had made a transcript of the Forman manuscript for Collier in 1832 was rediscovered, confirming that Collier never had access to the manuscript. Most modern scholars accept the section as authentic, but some still suspect it might be a forgery. Katherine Duncan-Jones, for example, did not use it as a source for her biography of Shakespeare, finding it "strangely suspicious that Forman, who nowhere else in his copious papers reveals any interest in the theatre, should suddenly have taken to playgoing in the last year of his life", apparently unaware that Forman does reveal an interest in theatre elsewhere in the manuscripts.
19:
144:
arguments about the manuscript's handwriting. An earlier examiner of the manuscript had transcribed the section title as "A Book of Places", and
Tannenbaum theorised that the section originally contained descriptions of places in England that Forman had visited and that Collier had altered the title
157:
both examined the manuscript without finding any evidence of tampering. It was also learned that
Tannenbaum, who had not examined the manuscript but relied instead on photostats, had compared the section with writing Forman had done ten years earlier instead of using a control from the same period.
120:
mentions characters "Ridinge", a detail that critics with a knowledge of
Jacobean dramaturgy and stagecraft had found startling, although subsequent scholars, commenting on a horse evidently present on stage in another play, have opined that it is within the realm of possibility. Also the idea that
121:
Forman, a worldly-wise and canny operator, would spend his time drawing sententious morals from the stage plays he saw struck some modern critics as psychologically false, and in the 20th century suspicion emerged that the
145:
and either inserted forged leaves or had chemically removed the ink for his forgeries. However, subsequent scholars examined the leaves under ultraviolet light and found no trace of forgery or rebinding. In 1945,
129:'s forgeries, although Collier, who announced his discovery of the document in 1836, claimed to have used a transcription made for him by an unnamed "gentleman" (identified in 1841 by
108:
mentioned that Bliss had drawn his attention to them in the summer of 1832, and Black noted them on a proof-sheet of his catalogue of the
Ashmole manuscripts.
234:
358:
368:
87:
acted at the Globe on 30 April 1611; but from its description it covered the king’s earlier reign, and so was not
Shakespeare's
105:
49:
that records his descriptions of four plays he attended in 1610-11 and the morals he drew from them. It is now in the
190:
Scholars, critics, and editors usually assume that this "1610" is a mistake for "1611," and that the whole of the
130:
53:
catalogued as MS Ashmole 208. The document is noteworthy for being the only preserved eyewitness accounts of
237:. Online summary report. 29 Aug. 2011. SHAKSPER: The Global Electronic Shakespeare Conference. P. 11, n. 20.
174:
97:
363:
140:
published an elaborate case arguing that the section was a forgery. Much of
Tannenbaum's case centered on
154:
137:
69:
101:
126:
297:
89:
248:
Medicine and Magic in
Elizabethan London: Simon Forman, Astrologer, Alchemist, and Physician
50:
31:
277:
150:
352:
64:
27:
141:
46:
18:
314:
Voices of
Shakespeare's England: Contemporary Accounts of Elizabethan Daily Life
54:
146:
96:
The notes were discovered in Forman’s extensive papers in or before 1832 by
75:
280:, and R. W. Hunt. "The Authenticity of Simon Forman's Bocke of Plaies" in
59:
43:
The Bocke of Plaies and Notes therof p formans for Common
Pollicie
17:
133:
as William H. Black, who catalogued the Ashmolean Collection).
303:, New York: Oxford UP, 1981, pp. 16, 20; Scragg, 81, 88.
57:’s plays on the professional stage during his lifetime:
45:) is a section of a manuscript by the London astrologer
194:
most likely dates from that year. See: E.K. Chambers,
261:
Shakspearian Scraps and Other Elizabethan Fragments,
276:, Columbus: Ohio State UP, 1950, 1987: 155-159;
329:London: Arden Shakespeare 2001: xii-xiii, 289.
22:Simon Forman's description of a production of
8:
327:Ungentle Shakespeare: Scenes From His Life,
284:23 (July 1947), 193-200; Halliday, F. E..
83:The fourth play described by Forman is a
216:Scragg, Leah. "MacBeth on Horseback" in
149:criticised Tannenbaum's scholarship and
301:William Shakespeare: Records and Images
167:
316:, pg 143., Greenwood Publishing, 2010.
177:, "Simon Forman's Bocke of Plaies" in
7:
93:, first published 14 years earlier.
288:Baltimore: Penguin, 1964: 109, 173.
286:A Shakespeare Companion 1564-1964,
250:, Oxford: Oxford UP, 2005: 2, n10.
181:New Series 10 (Aug. 1959), 289-91.
14:
73:at the Globe on 15 May 1611; and
41:(full title in original spelling
198:Oxford: Oxford UP, 1930, 2: 337.
80:date and theatre not specified.
359:Early Modern English literature
235:"Egan vs. Elliott and Valenza"
1:
342:53 (Winter 2002), 550-3; 551.
263:New York: Columbia UP, 1933.
369:Bodleian Library collection
34:, MS. Ashmole 208, f. 207r.
385:
325:Duncan-Jones, Katherine.
282:Review of English Studies
179:Review of English Studies
30:, 20 April 1610. Oxford,
338:Riggs, David. Review in
274:The Scholar Adventurers
259:Samuel A. Tannenbaum,
35:
340:Shakespeare Quarterly
220:26 (1973), 81-88; 86.
112:Suspicions of forgery
21:
196:William Shakespeare,
138:Samuel A. Tannenbaum
272:Altick, Richard D.
231:Thomas of Woodstock
116:The description of
218:Shakespeare Survey
127:John Payne Collier
67:on 20 April 1610;
36:
312:Wagner, John A.,
246:Kassell, Lauren.
229:Weiss, Lawrence.
70:The Winter's Tale
39:The Book of Plays
376:
343:
336:
330:
323:
317:
310:
304:
295:
289:
278:Wilson, J. Dover
270:
264:
257:
251:
244:
238:
227:
221:
214:
208:
207:Pafford, 289-90.
205:
199:
188:
182:
175:J. H. P. Pafford
172:
102:William H. Black
51:Bodleian Library
32:Bodleian Library
384:
383:
379:
378:
377:
375:
374:
373:
349:
348:
347:
346:
337:
333:
324:
320:
311:
307:
296:
292:
271:
267:
258:
254:
245:
241:
228:
224:
215:
211:
206:
202:
189:
185:
173:
169:
164:
151:J. Dover Wilson
131:James Halliwell
114:
12:
11:
5:
382:
380:
372:
371:
366:
361:
351:
350:
345:
344:
331:
318:
305:
298:Schoenbaum, S.
290:
265:
252:
239:
222:
209:
200:
183:
166:
165:
163:
160:
113:
110:
13:
10:
9:
6:
4:
3:
2:
381:
370:
367:
365:
364:English drama
362:
360:
357:
356:
354:
341:
335:
332:
328:
322:
319:
315:
309:
306:
302:
299:
294:
291:
287:
283:
279:
275:
269:
266:
262:
256:
253:
249:
243:
240:
236:
232:
226:
223:
219:
213:
210:
204:
201:
197:
193:
192:Book of Plays
187:
184:
180:
176:
171:
168:
161:
159:
156:
152:
148:
143:
142:palaeographic
139:
134:
132:
128:
124:
123:Book of Plays
119:
111:
109:
107:
106:Joseph Hunter
103:
99:
94:
92:
91:
86:
81:
79:
77:
72:
71:
66:
65:Globe Theatre
62:
61:
56:
52:
48:
44:
40:
33:
29:
28:Globe Theatre
25:
20:
16:
339:
334:
326:
321:
313:
308:
300:
293:
285:
281:
273:
268:
260:
255:
247:
242:
230:
225:
217:
212:
203:
195:
191:
186:
178:
170:
135:
122:
117:
115:
98:Philip Bliss
95:
88:
84:
82:
74:
68:
58:
47:Simon Forman
42:
38:
37:
23:
15:
125:was one of
55:Shakespeare
353:Categories
162:References
155:R. W. Hunt
147:W. W. Greg
90:Richard II
85:Richard II
76:Cymbeline
136:In 1933
118:MacBeth
63:at the
60:Macbeth
26:at the
24:Macbeth
153:and
100:or
355::
233:.
104:.
78:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
