| 22c97e0bfee6890d5f21779eaa1e1810 |
jobTitle |
Honorary Associate |
| 22c97e0bfee6890d5f21779eaa1e1810 |
hasMembership |
faculty-of-arts&social-sciences |
| 22c97e0bfee6890d5f21779eaa1e1810 |
biography |
<p>I grew to love Renaissance plays as a private reader and as a visitor to London’s
fringe performances of old plays during the 1980s and 1990s. I owe a special debt
to the editors of modern scholarly dramatic texts because I first encountered many
of the plays I most enjoy through their work. Although I later had the chance to study
at doctoral level and have since engaged in scholarly debate, mostly as an independent
scholar, I look back with affection to those early encounters with Renaissance drama.</p><p>I
am intrigued by the ways in which writers interact with others. I like to explore
the ways in which poets and playwrights respond to the words of fellow authors. And
I am fascinated by the ways in which institutional connections– with playing
companies and publishers, for example– affect the work of writers.</p><p>Much
of this has had a focus in John Marston’s plays and poems. Marston was the subject
of my doctoral studies and also of my book,<em>Marston, Rivalry, Rapprochement, and
Jonson</em>(2008). Because‘The War of the Theatres’ was a topic at one
time notorious for over-development by excitable literary scholars, this book reflects
upon the decorum of academic debate as well as upon the plays and playwrights involved.</p><p>I
am very interested in questions of authorial agency, in literary borrowings and allusions,
and in the playing companies that flourished in the early Jacobean years. I have recently
begun to explore the popular writings published by Leonard Becket from around 1610
to the early 1630s. Becket’s miscellanies and other publications are packed
with unattributed snippets of verse from published poets. They are a kind of adventure
playground for the scholar.</p><p>Charles may be reached at c.b.cathcart@open.ac.uk.</p><h2>Publications</h2><div>2021 ‘John
Day and Edward Sharpham at the Black and White Friars’,<em>Medieval and Renaissance
Drama in England</em>, 34</div><div>2019 'Du Bartas'<em>Semaines</em> and
John Marston's<em>The Malcontent</em>',<em>Notes and Queries</em>, 264: 515–19</div><div>2019 ‘Alexander
Grosart,“the first true gentleman that ever breathed”, and the Independent
Scholar’,<em>English</em>, 68: 264-82</div><div>2019 ‘<em>Heavens
Tones’</em>and‘<em>Tones</em>of Heaven’ in<em>Antonio’s Revenge</em>and<em>What
You Will</em>’,<em>Notes and Queries</em>, 264: 469-73</div><div>2019 ‘<em>The
Insatiate Countess</em>, William Barksted’s<em>Hiren, The Fair Greek</em>, and
the Children of the King’s Revels’,<em>Early Theatre</em>, 22.1: 119-39</div><div>2018 ‘Leonard
Becket, Stationer, and<em>A help to discourse</em>’,<em>The Library</em>, 19.3:
301-24</div><div>2018 ‘Thomas Brewer and his Associates: Hayman, Taylor,
Heywood’,<em>Notes and Queries</em>, 263: 198-201</div><div>2017‘“Swell,
swell, my joys”: Ben Jonson, Quotation, and<em>A Help to Memory and Discourse</em>’,<em>Ben
Jonson Journal</em>, 24.2: 187-204</div><div>2017 ‘Robert Daborne’s
Irish Critic’,<em>Medieval and Renaissance Drama in England</em>, 30: 36-51</div><div>2016‘<em>The
Curtain-Drawer of the World</em>:<em>Hamlet</em>,<em>Lear</em>, Parkes, and Becket’,<em>Notes
and Queries</em>, 261:543-47</div><div>2016‘Edward Greene, Goldsmith; William
Marston, Apprentice; and<em>Eastward Ho!</em>’<em>Early Theatre</em>, 19.2:
81-99</div><div>2016 ‘“A Memento for Mortality”, the Publications
of Leonard Becket, and the Afterlife of<em>Hamlet</em>’,<em>Review of English
Studies</em>, 67: 275-93</div><div>2013‘“The Masque being Endid”
and<em>The Works of Mr John Marston</em>’,<em>Notes and Queries</em>, 258: 538-42.</div><div>2013 ‘“Passionate
man in his slight play”: John Marston’s prologues and epilogues’,<em>The
Dutch Courtesan</em>website:<URL:<a href="http://www.dutchcourtesan.co.uk/passionate-man-in-his-slight-play-john-marstons-prologues-and-epilogues/"
rel="nofollow">http://www.dutchcourtesan.co.uk/passionate-man-in-his-slight-play-john-marstons-prologues-and-epilogues/</a>></div><div>2012 ‘<em>Sir
Giles Goosecap, Knight</em>: George Chapman;<em>Poetaster</em>; and the Children of
the Chapel’,<em>Medieval and Renaissance Drama in England</em>, 25: 42-61</div><div>2011‘Guilpin
and the Godly Satyre’,<em>Review of English Studies</em>, 62: 64-79</div><div>2010‘John
Davies of Hereford, Marston, and Hall’,<em>Ben Jonson Journal</em>, 17.2: 242-48</div><div>2010‘Romeo
at the Rose in 1598’,<em>Early Theatre</em>, 13.2: 149-62</div><div>2009 ‘<em>How
a Man May Choose a Good Wife from a Bad</em>and<em>The Taming of the Shrew</em>’,<em>Notes
and Queries</em>, 254: 612–15</div><div>2009 ‘Lampatho’s“Delicious
Sweet” in Marston’s<em>What You Will</em>’,<em>Notes and Queries</em>,
254: 610–12</div><div>2009 ‘Old Plays and the General Reader: An
Essay in Praise of the Regents Renaissance Drama Series’,<em>Early Modern Literary
Studies</em>, 14.3:<URL:<a href="http://purl.oclc.org/emls/14-3/Cathrege.html"
rel="nofollow">http://purl.oclc.org/emls/14-3/Cathrege.html</a>></div><div>2008 <em>Marston,
Rivalry, Rapprochement, and Jonson</em>(Aldershot: Ashgate)</div><div>2007 ‘Guilpin,
Shakespeare, and“a Scourge of Wire”,<em>Notes and Queries</em>252: 307-10</div><div>2007 ‘<em>Poetaster</em>and
the Prince of Love’,<em>Ben Jonson Journal</em>, 14.2: 206-17</div><div>2006 ‘John
Marston,<em>The Malcontent</em>, and the King’s Men’,<em>Review of English
Studies</em>, 57: 43-63</div><div>2005 ‘Authorship, Indebtedness, and the
Children of the King’s Revels’,<em>Studies in English Literature, 1500-1900</em>,
45.2: 357-74</div><div>2003 ‘Borrowings and the Authorial Domain: Gostanzo,
Polonius, and Marston’s Gonzago’,<em>Comparative Drama</em>, 37:2: 159-74</div><div>2003 ‘<em>Club
Law</em>,<em>The Family of Love</em>, and the Familist Sect’,<em>Notes and Queries</em>,
248: 65-68</div><div>2003 ‘<em>Histriomastix</em>,<em>Hamlet</em>, and
the“quintessence of Duckes”,<em>Notes and Queries</em>, 248: 327-30</div><div>2003 ‘<em>The
Insatiate Countess</em>: Date, Topicality, and Company Appropriation’,<em>Medieval
and Renaissance Drama in England</em>, 16: 81-100</div><div>2003 ‘Lodge,
Marston, and the Family of Love’,<em>Notes and Queries</em>, 248: 68-70</div><div>2002 ‘John
Fletcher in 1600-1601: Two Early Poems, an Involvement in the“Poets’ War,”
and a Network of Literary Connections’,<em>Philological Quarterly</em>, 81:1:
33-51</div><div>2002 ‘John Weever and the Jonson–Marston Rivalry’,<em>Ben
Jonson Journal</em>, 9: 235-47</div><div>2001 ‘<em>Hamlet</em>: Date and
Early Afterlife’,<em>Review of English Studies</em>, 52: 341-59</div><div>2001 ‘<em>Lust’s
Dominion; or, The Lascivious Queen</em>: Authorship, Date, and Revision’,<em>Review
of English Studies</em>, 52: 360-75</div><div>2000 ‘Ben Jonson and the
Dedication of<em>Antonio and Mellida’</em>,<em>Notes and Queries</em>, 245:
100-103</div><div>2000 ‘Plural Authorship, Attribution, and the Children
of the King’s Revels’,<em>Renaissance Forum</em>, 4:2:<URL:<a href="http://www.hull.ac.uk/renforum/v4no2/cathcart.htm"
rel="nofollow">http://www.hull.ac.uk/renforum/v4no2/cathcart.htm</a>></div><div>2000 ‘<em>Twelfth
Night</em>and John Weever’,<em>Notes and Queries</em>, 245: 79-81</div><div>1999 ‘“You
will crown him King that slew your King”:<em>Lust’s Dominion</em>and Oliver
Cromwell’,<em>Medieval and Renaissance Drama in England</em>, 11: 264-74</div><div>1999 ‘Marston,
Montaigne, and Lady Politic Would-be’,<em>English Language Notes</em>, 36:1:
4-8</div><p> </p> |
| 22c97e0bfee6890d5f21779eaa1e1810 |
type |
Person |
| 22c97e0bfee6890d5f21779eaa1e1810 |
label |
Dr Charles Cathcart |
| 22c97e0bfee6890d5f21779eaa1e1810 |
account |
cbc49 |
| 22c97e0bfee6890d5f21779eaa1e1810 |
familyName |
Cathcart |
| 22c97e0bfee6890d5f21779eaa1e1810 |
Given name |
Charles |
| 22c97e0bfee6890d5f21779eaa1e1810 |
sha1sum of a personal mailbox URI name |
5be4902f9f5c42d33b79f6f0812ed51ac6d9bbce |
| 22c97e0bfee6890d5f21779eaa1e1810 |
name |
Charles Cathcart |
| 22c97e0bfee6890d5f21779eaa1e1810 |
title |
Dr |
| 22c97e0bfee6890d5f21779eaa1e1810 |
work info homepage |
cbc49 |
| 22c97e0bfee6890d5f21779eaa1e1810 |
Description |
<p>I grew to love Renaissance plays as a private reader and as a visitor to London’s
fringe performances of old plays during the 1980s and 1990s. I owe a special debt
to the editors of modern scholarly dramatic texts because I first encountered many
of the plays I most enjoy through their work. Although I later had the chance to study
at doctoral level and have since engaged in scholarly debate, mostly as an independent
scholar, I look back with affection to those early encounters with Renaissance drama.</p><p>I
am intrigued by the ways in which writers interact with others. I like to explore
the ways in which poets and playwrights respond to the words of fellow authors. And
I am fascinated by the ways in which institutional connections– with playing
companies and publishers, for example– affect the work of writers.</p><p>Much
of this has had a focus in John Marston’s plays and poems. Marston was the subject
of my doctoral studies and also of my book,<em>Marston, Rivalry, Rapprochement, and
Jonson</em>(2008). Because‘The War of the Theatres’ was a topic at one
time notorious for over-development by excitable literary scholars, this book reflects
upon the decorum of academic debate as well as upon the plays and playwrights involved.</p><p>I
am very interested in questions of authorial agency, in literary borrowings and allusions,
and in the playing companies that flourished in the early Jacobean years. I have recently
begun to explore the popular writings published by Leonard Becket from around 1610
to the early 1630s. Becket’s miscellanies and other publications are packed
with unattributed snippets of verse from published poets. They are a kind of adventure
playground for the scholar.</p><p>Charles may be reached at c.b.cathcart@open.ac.uk.</p><h2>Publications</h2><div>2021 ‘John
Day and Edward Sharpham at the Black and White Friars’,<em>Medieval and Renaissance
Drama in England</em>, 34</div><div>2019 'Du Bartas'<em>Semaines</em> and
John Marston's<em>The Malcontent</em>',<em>Notes and Queries</em>, 264: 515–19</div><div>2019 ‘Alexander
Grosart,“the first true gentleman that ever breathed”, and the Independent
Scholar’,<em>English</em>, 68: 264-82</div><div>2019 ‘<em>Heavens
Tones’</em>and‘<em>Tones</em>of Heaven’ in<em>Antonio’s Revenge</em>and<em>What
You Will</em>’,<em>Notes and Queries</em>, 264: 469-73</div><div>2019 ‘<em>The
Insatiate Countess</em>, William Barksted’s<em>Hiren, The Fair Greek</em>, and
the Children of the King’s Revels’,<em>Early Theatre</em>, 22.1: 119-39</div><div>2018 ‘Leonard
Becket, Stationer, and<em>A help to discourse</em>’,<em>The Library</em>, 19.3:
301-24</div><div>2018 ‘Thomas Brewer and his Associates: Hayman, Taylor,
Heywood’,<em>Notes and Queries</em>, 263: 198-201</div><div>2017‘“Swell,
swell, my joys”: Ben Jonson, Quotation, and<em>A Help to Memory and Discourse</em>’,<em>Ben
Jonson Journal</em>, 24.2: 187-204</div><div>2017 ‘Robert Daborne’s
Irish Critic’,<em>Medieval and Renaissance Drama in England</em>, 30: 36-51</div><div>2016‘<em>The
Curtain-Drawer of the World</em>:<em>Hamlet</em>,<em>Lear</em>, Parkes, and Becket’,<em>Notes
and Queries</em>, 261:543-47</div><div>2016‘Edward Greene, Goldsmith; William
Marston, Apprentice; and<em>Eastward Ho!</em>’<em>Early Theatre</em>, 19.2:
81-99</div><div>2016 ‘“A Memento for Mortality”, the Publications
of Leonard Becket, and the Afterlife of<em>Hamlet</em>’,<em>Review of English
Studies</em>, 67: 275-93</div><div>2013‘“The Masque being Endid”
and<em>The Works of Mr John Marston</em>’,<em>Notes and Queries</em>, 258: 538-42.</div><div>2013 ‘“Passionate
man in his slight play”: John Marston’s prologues and epilogues’,<em>The
Dutch Courtesan</em>website:<URL:<a href="http://www.dutchcourtesan.co.uk/passionate-man-in-his-slight-play-john-marstons-prologues-and-epilogues/"
rel="nofollow">http://www.dutchcourtesan.co.uk/passionate-man-in-his-slight-play-john-marstons-prologues-and-epilogues/</a>></div><div>2012 ‘<em>Sir
Giles Goosecap, Knight</em>: George Chapman;<em>Poetaster</em>; and the Children of
the Chapel’,<em>Medieval and Renaissance Drama in England</em>, 25: 42-61</div><div>2011‘Guilpin
and the Godly Satyre’,<em>Review of English Studies</em>, 62: 64-79</div><div>2010‘John
Davies of Hereford, Marston, and Hall’,<em>Ben Jonson Journal</em>, 17.2: 242-48</div><div>2010‘Romeo
at the Rose in 1598’,<em>Early Theatre</em>, 13.2: 149-62</div><div>2009 ‘<em>How
a Man May Choose a Good Wife from a Bad</em>and<em>The Taming of the Shrew</em>’,<em>Notes
and Queries</em>, 254: 612–15</div><div>2009 ‘Lampatho’s“Delicious
Sweet” in Marston’s<em>What You Will</em>’,<em>Notes and Queries</em>,
254: 610–12</div><div>2009 ‘Old Plays and the General Reader: An
Essay in Praise of the Regents Renaissance Drama Series’,<em>Early Modern Literary
Studies</em>, 14.3:<URL:<a href="http://purl.oclc.org/emls/14-3/Cathrege.html"
rel="nofollow">http://purl.oclc.org/emls/14-3/Cathrege.html</a>></div><div>2008 <em>Marston,
Rivalry, Rapprochement, and Jonson</em>(Aldershot: Ashgate)</div><div>2007 ‘Guilpin,
Shakespeare, and“a Scourge of Wire”,<em>Notes and Queries</em>252: 307-10</div><div>2007 ‘<em>Poetaster</em>and
the Prince of Love’,<em>Ben Jonson Journal</em>, 14.2: 206-17</div><div>2006 ‘John
Marston,<em>The Malcontent</em>, and the King’s Men’,<em>Review of English
Studies</em>, 57: 43-63</div><div>2005 ‘Authorship, Indebtedness, and the
Children of the King’s Revels’,<em>Studies in English Literature, 1500-1900</em>,
45.2: 357-74</div><div>2003 ‘Borrowings and the Authorial Domain: Gostanzo,
Polonius, and Marston’s Gonzago’,<em>Comparative Drama</em>, 37:2: 159-74</div><div>2003 ‘<em>Club
Law</em>,<em>The Family of Love</em>, and the Familist Sect’,<em>Notes and Queries</em>,
248: 65-68</div><div>2003 ‘<em>Histriomastix</em>,<em>Hamlet</em>, and
the“quintessence of Duckes”,<em>Notes and Queries</em>, 248: 327-30</div><div>2003 ‘<em>The
Insatiate Countess</em>: Date, Topicality, and Company Appropriation’,<em>Medieval
and Renaissance Drama in England</em>, 16: 81-100</div><div>2003 ‘Lodge,
Marston, and the Family of Love’,<em>Notes and Queries</em>, 248: 68-70</div><div>2002 ‘John
Fletcher in 1600-1601: Two Early Poems, an Involvement in the“Poets’ War,”
and a Network of Literary Connections’,<em>Philological Quarterly</em>, 81:1:
33-51</div><div>2002 ‘John Weever and the Jonson–Marston Rivalry’,<em>Ben
Jonson Journal</em>, 9: 235-47</div><div>2001 ‘<em>Hamlet</em>: Date and
Early Afterlife’,<em>Review of English Studies</em>, 52: 341-59</div><div>2001 ‘<em>Lust’s
Dominion; or, The Lascivious Queen</em>: Authorship, Date, and Revision’,<em>Review
of English Studies</em>, 52: 360-75</div><div>2000 ‘Ben Jonson and the
Dedication of<em>Antonio and Mellida’</em>,<em>Notes and Queries</em>, 245:
100-103</div><div>2000 ‘Plural Authorship, Attribution, and the Children
of the King’s Revels’,<em>Renaissance Forum</em>, 4:2:<URL:<a href="http://www.hull.ac.uk/renforum/v4no2/cathcart.htm"
rel="nofollow">http://www.hull.ac.uk/renforum/v4no2/cathcart.htm</a>></div><div>2000 ‘<em>Twelfth
Night</em>and John Weever’,<em>Notes and Queries</em>, 245: 79-81</div><div>1999 ‘“You
will crown him King that slew your King”:<em>Lust’s Dominion</em>and Oliver
Cromwell’,<em>Medieval and Renaissance Drama in England</em>, 11: 264-74</div><div>1999 ‘Marston,
Montaigne, and Lady Politic Would-be’,<em>English Language Notes</em>, 36:1:
4-8</div><p> </p> |
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