Massinger


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Massinger

(ˈmæsɪndʒə)
n
(Biography) Philip. 1583–?1640, English dramatist, noted esp for his comedy A New Way to pay Old Debts (1633)

Mas•sin•ger

(ˈmæs ən dʒər)

n.
Philip, 1583–1640, English playwright.
References in classic literature ?
Philip Massinger, a pupil and collaborator of Fletcher, was of thoughtful spirit, and apparently a sincere moralist at heart, in spite of much concession in his plays to the contrary demands of the time.
The last group, under James I and Charles I, to 1642: Ford, Massinger, and Shirley.
That diversity is reflected in the volume itself which contains a sequence of some fifteen essays, covering Shakespeare, Jonson, Massinger, Heywood, and Etherege as well as less obvious topics such as Wordsworthian comedy and Wittgenstein.
Beaumont's hand also probably appears in three other plays written together with Fletcher and Philip Massinger.
A further chapter is devoted to Shakespeare (Richard III, Macbeth and Julius Caesar) and Jonson (Sejanus); and the book ends with a chapter on Stuart drama, The Second Maiden's Tragedy, plays by Beaumont and Fletcher, and then Massinger, ending with a consideration of his The Roman Actor.
(1) This paper focuses on two such personalities in Fletcher and Massinger's The False One: the Caesarean centurion Scaeva, and Titus Labienus, the ex-Caesarean legate and a supporter of Pompey in the civil war.
And of all the playwrights whose work features such dramatic insets, Philip Massinger is perhaps the one who most explicitly deals with the relationship between the stage, its critics, and its audience in one of the period's most metatheatrical plays, The Roman Actor.
Staging Spectatorship in the Plays of Philip Massinger. Studies in Performance and Early Modern Drama.
Claire Jowitt continues in a similar vein, looking at the allegorical political content in two plays written and performed in the first few years after Charles' return, Philip Massinger's The Renegado and The Unnatural Combat.
This is the point behind an argument Woodbridge does not cite, Empson's account of The Beggars' Opera as "rogue pastoral," but it is also an implicit point in her own discussion of the "merry beggar" tradition in works like Bartholomew Fair, Fletcher and Massinger's Beggar's Bush, and Brome's A Jovial Crew.
And then we toured the world in As You Like It.' Since then Lester has played Hamlet for Peter Brook and Dixon is now at Stratford, where he has parts in three of the RSC's season of five Jacobean rarities, including the title role in Philip Massinger's The Roman Actor.
Thomas Heywood's Londons Ius Honorarium advises the new mayor to remain deaf to the temptations of high office: "Yet like Vlisses, doe but stop your eare / To their inchantments, with an heart sincere." [9] The jealous Honoria avers in Philip Massinger's The Picture: "If he shut his eares, / Against my Siren notes, Ile boldly sweare / Vlysses liues againe" (2.2.418-20).