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146:
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395:. Apelles quickly falls in love with her too; when the portrait is finished, he deliberately mars it to have more time with his sitter. Campaspe in turn falls in love with Apelles. When Apelles eventually presents the completed portrait to Alexander, the painter's behaviour reveals that he is in love with Campaspe. Alexander magnanimously resigns his interest in Campaspe so that the true love between her and Apelles can flower; he turns his attention to the invasion of
486:, the play is presented mainly as a series of dialogues, soliloquies, and alternating orations. Notably, Apelles is a crucial figure in both works. Lyly expanded his use of dialogue for the play, using short, sharp exchanges for innovative comic and dramatic effect, as shown by this extract from Act 3 Scene 1, where Alexander the Great visits Apelles' studio to check on his progress in painting Campaspe's portrait, and begins to question him about the art of painting:
125:. Their publication made Lyly the first English writer to see his plays reprinted in a single year. A fourth quarto edition appeared in 1591, printed by Thomas Orwin for William Brome. (Rather than using the terms Q1, Q2, Q3, & Q4 to describe these four quarto editions, some scholars have preferred Q1a, Q1b, Q1c, and Q2.) None of the four name Lyly on their title page. Q1 titles the play
168:, which uses Q4 as its copy text. Blount had entered it into the Stationers' Register on 9 January 1628, naming each play individually under a group entry. This edition not only modernised some of the spelling, but also printed the lyrics of three of the play's four songs for the first time (the last, in Act 5 scene 3, remains missing). Amongst them is the often reprinted
22:
453:
dance, and sing. Two
Macedonian officers, Clitus and Permenio, both begin the play in bringing on Campaspe and her fellow captive Timoclea, and also appear later to express their concern as Alexander's distracted state leads to a breakdown in military discipline, personified in a further scene where the
141:
while their modern counterparts tend to prefer the shorter title. Q1 erroneously states on its title page that it was performed on "twelfe day at night", which Q2 corrects to "newyeares day at night" (a fact confirmed by Court records) and Q3 follows. However Q4, using Q1 as its copy text, reverts to
452:
The play also features the witty pages that are a hallmark of Lyly's drama, here called
Psyllus, Manes, and Granichus, servants to Apelles, Diogenes, and Plato respectively. Additionally, one scene brings on Sylvius and his three performing sons, Perim, Milo, and Trico, who take turns to tumble,
208:
Some scholars have questioned whether these songs are authentically Lylian in authorship, although according to the play's most recent editor, G. K.Hunter, this "is a hypothesis impossible to disprove; but the evidence that has been adduced to support it is equally without force."
692:
marked a significant turning point in
English drama. According to Frederick Kiefer, Lyly's prose style "created a form of dramatic speech unprecedented in the theater", and, as J. F MacDonald observed, is the moment when the "real movement towards prose in the drama begins." With
764:, performed twice, 22–3 February 1732, at Odell's Theatre in Aycliffe Street in Goodman's Fields. Henry Giffard, the theatre's manager, played Apelles, his wife played Campaspe, and his brother played Alexander, with the veteran actor Philip Huddy taking on the role of Diogenes.
449:(anachronistically drawn from several different centuries) appear as well, all invited into Alexander's presence by his messenger Melippus for debate. An eighth philosopher, Chrysus, another Cynic, begs Alexander for money, but is given short shrift.
716:
as well. Instead, Campaspe delivers a romantic historical tale purely for its entertainment value. His departure from the
Medieval mindset provided a model for later writers to follow. The play has been called "the first romantic drama" of its era.
416:
Alexander also spends his time in Athens with his close friend and advisor
Hephestion (who disapproves of his infatuation with Campaspe), and in conversing and consorting with the philosophers of the era – most notably with
767:
In 1908, students from Lady
Margaret Hall in Oxford performed in an all-female, Elizabethan dress production in the city's New Masonic Hall, on 7, 8, and 9 December, directed by Miss Hadow, in aid of the college library.
747:
in 1924 (London; pp. 609–35.) The Malone
Society published their reprint of the play, overseen by W.W. Greg (No. 75; Oxford, 1934 for 1933). Daniel A. Carter published the play as part of his collected
752:
in 1988 (Lewisburg, London, and
Toronto). The most recent modern edition remains the 1991 Revels Plays edition (Manchester University Press), edited by G. K. Hunter (published in a single volume along with
662:
Nay, if all be too hard or soft, so many rules and regards that one’s hand, one’s eye, one’s mind must all draw together, I had rather be setting of a battle than blotting of a board. But how have I done
743:(Oxford, 1902; vol ii, pp. 302–60; reprinted 1967), still the only complete collected works of Lyly ever published. Joseph Quincy Adams printed the play as part of his
368:
105:, and the name used in Court records. Lyly was in Oxford's service at the time, and was paid £20 for this and for the subsequent Shrove Tuesday Court performance of his
145:
1058:
66:, and was, according to F. S. Boas, "the first of the comedies with which John Lyly inaugurated the golden period of the Elizabethan theatre".
771:
The first modern performance by professional actors of the uncut play took place on 27 October 2000 at The Bear
Gardens theatre, London, for
257:. (The play must therefore have been written between 1580 and 1583.) Lyly derived most of his material for his portrayal of the character of
519:
If you will paint as you are, a king, your
Majesty may begin where you please; but as you would be a painter, you must begin with the face.
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in 1584 in three separate editions, printed by Thomas Dawson for the bookseller Thomas Cadman, without any previous entry appearing in the
102:
402:
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Laïs sings (the lyrics remain missing) to entertain two unruly soldiers, Milectus and Phyrgius, as they forget their martial calling (
421:, whose famous tub is prominently featured onstage. Diogenes is little impressed with the conqueror, although Alexander is with him (
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90:
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as Manes. The performance was directed by James Wallace, and was recorded on digital audio for the Globe's archives.
697:, according to Jonas Barish, "Lyly invented, virtually single-handed, a viable comic prose for the English stage"
172:, sung by the love-struck Apelles at the end of Act 3, in which he describes Cupid gambling away parts of himself:
482:(1578) in using antitheses, alliterations, repetitions, balanced clauses, and matching parts of speech. Like his
357:
111:
by a warrant issued on 12 March, although he would have to wait until 25 November to actually receive his money.
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composed original music for the four songs, and also played Psyllus, alongside Roddy McDevitt as Granichus and
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captive, Campaspe. He grants the young woman her freedom, and has her portrait painted by the artist
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137:. Editors and scholars of the eighteenth and nineteenth centuries generally referred to the play as
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133:, although in all four the running title (printed along the tops of the text's pages) is given as
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927:, The Revels Plays, Manchester University Press, 1991; Act 2 Scene 2, lines 167-8, p. 84.).
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share a conversation, and four other philosophers from various classical Greek schools,
160:
So too does the next edition of the play, printed with its own individual title page in
1090:
at Early English Books Online Text Creation Partnership with the University of Michigan
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58:, who commissioned him to paint her portrait. Widely considered Lyly's earliest drama,
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953:, The Revels Plays, Manchester University Press, 1991; Act 5 Scene 4, line 3, p. 124.
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862:, The Revels Plays Companion Library, Manchester University Press, 2014; p. 145.
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The play seems to have been revived in an adapted and cut down version retitled
93:). The play was performed, as the first quarto states on its title page, by the
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Later on, Alexander borrows Apelles charcoal to try his own hand at drawing:
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201: O Love, has she done this to thee?
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203: What shall (alas) become of me?
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Never finish; for always in absolute beauty there is somewhat above art.
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979:, Connotations – A Journal for Critical Debate, Vol. 28, 2019; p. 32.
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tradition of earlier drama. And unlike most of his subsequent plays,
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992:, University of Toronto Quarterly, Vol 2.4, July 1933; pp. 465–81.
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836:, Oxford University Press, 2012; Volume II: 1567–1589, pp. 322–4.
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Apelles Painting Campaspe in the Presence of Alexander the Great
319:
849:, The Revels Plays, Manchester University Press, 1991; pp. 1–2.
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Lend me thy pencil, Apelles; I will paint and thou shalt judge.
914:, Oxford University Press, 2012; Volume II: 1567–1589, p. 323.
888:, The Revels Plays, Manchester University Press, 1991; p. 301.
875:, Oxford University Press, 2012; Volume II: 1567–1589, p. 324.
476:," sharing significant commonalities with Lyly's famous novel
423:"Hephestion, were I not Alexander I would wish to be Diogenes"
127:
A moste excellent Comedie of Alexander, Campaspe, and Diogenes
1047:, The Revels Plays, Manchester University Press, 1991; p. 39.
1034:, The Revels Plays, Manchester University Press, 1991; p. 38.
966:, The Revels Plays, Manchester University Press, 1991; p. 24.
901:, The Revels Plays, Manchester University Press, 1991; p. 10.
1005:, English Literary History, Vol 23.1, March 1956; pp. 14–35.
940:
The Revels Plays, Manchester University Press, 1991; p. 14.
261:(the Cynic philosopher) from the translation of Plutarch's
62:
was an influence and a precedent for much that followed in
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as Campaspe and Apelles, Tom Espiner as Alexander, and
77:
was initially acted in the autumn of 1583 at the first
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I would begin with the eye as a light to all the rest.
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The proportion of the face, in just compass as I can.
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The Use of Prose in English Drama before Shakespeare
977:
John Lyly and the Most Misread Speech in Shakespeare
495:
Where do you first begin, when you draw any picture?
183: His mother's doves and team of sparrows,
129:. The three subsequent quartos shorten the title to
700:Lyly provides no moral or ethical lesson in his
46:based on the story of the love triangle between
1021:, Cambridge, Macmillan and Bowes, 1905; p. 100.
217:For his narrative source, Lyly depended on the
191: With these the crystal of his brow,
174:
679:I think so; but nothing more unlike a painter.
199: She won, and Cupid blind did rise.
527:Aurelius would in one hour colour four faces.
387:, Alexander falls in love with the beautiful
135:A tragicall Comedie of Alexander and Campaspe
8:
1065:. read-not-dead.quartexcollections.com. 2000
179: At cards for kisses. Cupid paid:
187: The coral of his lips, the rose
735:Modern publication and performance history
253:for information about the philosophers of
195: All these did my Campaspe win.
1063:Shakespeare's Globe Read Not Dead archive
535:I marvel in half an hour he did not four.
272:Other individual verbal sources include
189:Growing on's cheek (but none knows how),
823:, Oxford University Press, 1933; p. 83.
812:
1088:Q1 original spelling play text online
1043:George K. Hunter and David Bevington
1030:George K. Hunter and David Bevington
962:George K. Hunter and David Bevington
949:George K. Hunter and David Bevington
936:George K. Hunter and David Bevington
923:George K. Hunter and David Bevington
897:George K. Hunter and David Bevington
884:George K. Hunter and David Bevington
860:John Lyly and early modern authorship
845:George K. Hunter and David Bevington
739:The play was printed in R. W. Bond's
239:(the historical biographer) and upon
181:He stakes his quiver, bow and arrows,
81:, before being performed at Court at
7:
912:British Drama 1533–1642: A Catalogue
873:British Drama 1533–1642: A Catalogue
834:British Drama 1533–1642: A Catalogue
653:Your hand goeth not with your mind.
459:"Down with arms, and up with legs!"
185:Loses them too; then down he throws
97:("her Maiesties Children") and the
637:Your eye goeth not with your hand.
42:era stage play, a prose comedy by
14:
704:– thereby breaking away from the
197:At last he set her both his eyes;
89:, most likely on 1 January 1584 (
1094:Modern spelling play text online
762:The Cynic or the Force of Virtue
729:Summer's Last Will and Testament
235:. He also drew upon the work of
193:And then the dimple of his chin;
164:1632 collection of Lyly's plays
741:The Complete Works of John Lyly
354:A Short Introduction of Grammar
50:, a Theban captive, the artist
821:An Introduction to Tudor Drama
757:, edited by David Bevington).
745:Chief Pre-Shakespearean Dramas
559:When will you finish Campaspe?
377:Palais des Beaux-Arts de Lille
375:, Jacques-Louis David (1814),
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551:No, but he doth it so homely.
1045:Campaspe and Sappho and Phao
1032:Campaspe and Sappho and Phao
1003:The Prose Style of John Lyly
964:Campaspe and Sappho and Phao
951:Campaspe and Sappho and Phao
938:Campaspe and Sappho and Phao
925:Campaspe and Sappho and Phao
899:Campaspe and Sappho and Phao
886:Campaspe and Sappho and Phao
847:Campaspe and Sappho and Phao
775:Read Not Dead project, with
409:by Jean-Léon Gérôme (1860),
177:Cupid and my Campaspe played
407:Diogenes Sitting in His Tub
356:by Lyly's own grandfather,
243:'s 1580 translation of the
152:, individual title page in
70:Performance and publication
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16:Elizabethan era stage play
1110:English Renaissance plays
64:English Renaissance drama
472:prose style is heavily "
1096:at elizabethandrama.org
399:and further conquests.
117:was first published in
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139:Alexander and Campaspe
95:Children of the Chapel
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25:1584 Q3 title page of
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170:Cupid and my Campaspe
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267:Erasmus of Rotterdam
123:Stationers' Register
543:Why, is it so easy?
229:Alexander the Great
79:Blackfriars Theatre
56:Alexander the Great
1115:Plays by John Lyly
819:Frederick S. Boas
791:played Clitus and
750:Plays of John Lyly
621:You lean too soft.
613:Now it blacks not.
605:You lean too hard.
419:Diogenes the Cynic
414:
411:Walters Art Museum
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166:Six Court Comedies
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154:Six Court Comedies
142:the mistaken day.
99:Children of Paul's
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975:Frederick Kiefer
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237:Diogenes Laërtius
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1069:19 February
315:Ars poetica
87:Elizabeth I
40:Elizabethan
1120:1584 plays
1104:Categories
1059:"Campaspe"
807:References
474:euphuistic
470:Campaspe's
447:Anaxarchus
443:Chrysippus
1019:John Lyly
781:Will Keen
685:Influence
675:Alexander
658:Alexander
641:Alexander
625:Alexander
609:Alexander
593:Alexander
577:Alexander
555:Alexander
539:Alexander
523:Alexander
507:Alexander
491:Alexander
455:courtesan
435:Cleanthes
431:Aristotle
383:While in
283:Terence's
91:new style
44:John Lyly
801:Alan Cox
777:Eve Best
731:(1592).
725:Campaspe
714:allegory
712:eschews
710:Campaspe
702:Campaspe
695:Campaspe
690:Campaspe
379:, France
364:Synopsis
347:Aelian's
329:Seneca's
311:Horace's
292:Cicero's
287:Eunuchus
278:Republic
259:Diogenes
251:Plutarch
233:Campaspe
150:Campaspe
131:Campaspe
115:Campaspe
75:Campaspe
60:Campaspe
48:Campaspe
35:Campaspe
27:Campaspe
667:Apelles
649:Apelles
633:Apelles
617:Apelles
601:Apelles
585:Apelles
563:Apelles
547:Apelles
531:Apelles
515:Apelles
499:Apelles
479:Euphues
393:Apelles
342:Apology
274:Plato's
213:Sources
52:Apelles
445:, and
439:Crates
397:Persia
389:Theban
385:Athens
352:, and
320:Ovid's
156:(1632)
119:quarto
54:, and
38:is an
663:here?
589:Here.
465:Style
427:Plato
1071:2023
779:and
429:and
299:and
231:and
461:).
425:).
265:by
249:of
223:of
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360:.
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318:,
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1073:.
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