Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
126 - Robert Armin
from Part XIII - Shakespeare’s Fellows
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
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Keywords
The AlchemistAll’s Well That Ends WellAmiensArmin, JohnArmin, Robertartificial foolAs You Like ItAutolycusBalthasarBlackfriars (playhouse)“Blow, Blow, Thou Winter Wind”Blue JohnBuffone, CarloBurbage, RichardChildren of the King’s Majesty’s Revelsclown“Come Away, Come Away, Death”countertenorCurtain (playhouse)Davies, John, of HerefordDogberryDrugger, AbelEvery Man Out of His Humour“Farewell, Dear Heart”FesteFirst ClownFool“Fools Had Ne’er Less Grace”Hall, JosephHamlet“He That Has and a Little Tiny Wit”“Hey Robin”The History of the Two Maids of More-Clacke“Hold Thy Peace”The Italian Taylor, and His Boy“It Was a Lover and His Lass”Jester“Jog On, Jog On”Jonson, BenKemp, WilliamKing Henry VIIIKing Lear“King Salomon”King’s MenLavatchLord Chamberlain’s MenLord ChandosMacbeth“A Maiden Sitting All Alone”The MalcontentMorley, Thomas“Mortall Downe, Thistle Soft”Much Ado about Nothingnatural foolNest of Ninnies“O Mistress Mine”PassarelloPorterQuips Upon Questions, Foole Upon FooleScourge of FollySir TopasTarlton, RichardThersites“Tom Tyler”TouchstoneTroilus and CressidaTutchTwelfth Night“Under the Greenwood Tree”The Valiant Welshman“Was This Fair Face”“What Shall He Have”“When Daffodils Begin to Peer”“When That I Was and-a Little Tiny Boy”The Winter’s Tale
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 948 - 953Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
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Armin, Robert. Quips Upon Questions, or, A Clownes conceite on occasion offered. London: 1600.Google Scholar
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Dusinberre, Juliet. “Topical Forest: Kemp and Mar-text in Arden.” Editing Shakespeare: Essays in Honour of Richard Proudfoot. Ed. Thompson, Ann and McMullan, Gordon. London: Arden Shakespeare, 2003. 239–51.Google Scholar
Hornback, Robert. The English Clown from the Middle Ages to Shakespeare. Suffolk: D. S. Brewer, 2009.Google Scholar
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Further reading
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Lippincott, H. F., ed. Robert Armin’s “Foole Upon Foole” (1600): A Critical Old-Spelling Edition. Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1972.Google Scholar
Seng, Peter. The Vocal Songs in the Plays of Shakespeare. Cambridge: Harvard UP, 1967.CrossRefGoogle Scholar