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FROM THE 1580s AND BEYOND THE PUBLICATION of Shakespeare's First Folio in 1623, romanee and history share the same textual and theatrieal spaee in plays such as Anthony Munday' s john a Kent and john a Cumber (1589?), Robert Greene'sjamesIV(1590), the anonymousKing Leir (1592), William Rowley'sA Shoemaker,A Gentleman (1608), Shakespeare's Cymbeline (1610), Thomas Dekker's The Welsh Ambassador (1623), and J. W.'s The Valiant Scot (1626). While romanee motifs eertainly play important roles in tragedies and histories like Shakespeare's King Lear and Henry V, in so-ealled historieal romances, romanee elements eomprise what we might term the essenee of the play, informing the strueture, the mood, and the most important scenes. The plays present not romantieized history but rather historieized romance, in whieh the romantie story assumes priority of effeet over the historieal material. Traditional scholarship has not been kind to historie al romance. Irving Ribner, who may have been the first to name the mode in The English History Play in the Age 0/ Shakespeare (1957), attributed to historie al romanee a deeadenee responsible for the demise of the history play proper (see eh. 9, "The History Play in Dec1ine"). Though Ribner devotes a full ehapter to this mode,
Explorations in Renaissance Culture – Brill
Published: Dec 2, 1998
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